GDE730 W3 | Workshop Challenge

REVIEW OF A DESIGNED OBJECT AND THE POTENTIAL FOR IPO INFRINGEMENT

Select a designed object and highlight the key areas that may infringe copyright or require IP protection.

CJ HENDRY

For this week’s Workshop Challenge, I chose to focus on the artist and illustrator, CJ Hendry. She is a photorealistic pencil artist from Australia who now resides in New York, NY. Her works have been shown across the globe via massive installations putting her in a position of great demand. That doesn’t protect her however from the implications of copyright infringement or intellectual property challenges.

In 2018, Henry created a series of limited edition creations based on Polaroid phots taken by Andy Warhol. She sketched the Polaroids found in a Warhol coffee table book, then printed the sketches, then crumpled up the prints and then sketched those crumpled up prints. To distribute the series on a more mass level, she then created a set of limited edition t-shirt complete with an homage to Warhol’s iconic Campbell’s Soup artwork by creating packaging resembling a tomato soup can.

From an outside perspective, one would imagine what could possibly shut down this production from a copyright perspective would be two-fold: one that potentially infringes on the original artwork copyright of Andy Warhol, and two: using a globally known brand for the purposes of marketing oneself for profit, that being Campbell’s soup.

A mere five hours from launching the limited edition collection for sale, Hendry received a cease and desist order from the family of Muhammad Ali, one of the likenesses photographed by Warhol and then illustrated by Hendry.

Due to the fact that the potential legal and financial liability, Hendry chose not to sell the limited edition t-shirts, but did give them away via another interesting artistic expression of copyright and intellectual property.

So, the question is what is art and how far can that art rely on the art or expression, in this case, likeness of another? Warhol used the iconic brand of Campbell’s soup to great success. I wonder if he was creating in today’s litigious society if he’d had been as successful. He made a tremendous amount of art leveraging the likeness of others: Elvis, Marilyn Monroe, Elizabeth Taylor, and countless others. It may also come down to those that appreciate (or not) the artist’s take on those brands, branded objects, and likenesses. For example, NIKE, Christian Louboutin, and creative visionary Jeff Staple — who partnered with NIKE to create a custom designed Pigeon Dunk basketball shoe which is now a collector’s item valued at about $25,000 —have all passionately supported and sought out partnerships with Hendry.

OTHER WORKS BY HENDRY

GDE730 W2 | Workshop Challenge

WORKSHOP CHALLENGE

Map a resourcing model for budget and staff allocation to deliver a project or creative initiative of your choice.

If you are thinking about a generic project budgeting exercise, the example below gives an indication of the parameters for consideration. As the last week of this project brief requires you to write a more substantive strategic plan, please ensure you choose a topic or client that is most suited to your own practice interests.

Example:

You have been asked to pitch by National Theatre for a campaign to promote a new play, to include:

• Promotional poster;

• Programme;

• Digital banner;

• Print;

• Design production.

Your client has not given an indication of the budget but would like to pay you fairly. There are no existing images. Please outline the time and costs required to deliver initial stage one body of work across three concepts. Also provide an indication of production costs based on your design proposals.

ROCKET DOG RESCUE

I chose to focus my challenge this week on a dog rescue here in San Francisco, Rocket Dog Rescue. Each year they have a big concert headlined by Emmy Lou Harris to raise money for Rocket Dogs Rescue. I chose this as my love of dogs as well as my desire to help organizations doing good in the world. 

I chose to lean on my love of dogs as part of the proposal so as to tailor it to the prospective client. My hope is that they would see AttaGirl Design as a committed partner in promoting their signature fundraising event. 

You can download the PDF of the proposal here.

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GDE730 W1 | Workshop Challenge

POSITIONING STATEMENTS

Write an ‘about’ paragraph – an elevator pitch on either your current positioning or one you would like to establish. You may choose to take a speculative approach and envision your global dominance as a design studio superpower. Or as a more humble sole trader who works in a freelance capacity. Have your values changed since beginning the course? Is there a strategic approach your company would communicate to potential commissioners or clients?

Please consider the following in your approach:

• What is the idea?

• How does it work?

• Why does it work?

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ATTAGIRL DESIGN CURRENT POSITIONING STATMENT AND “ABOUT” PAGE

My philosophy is simple: be a good listener, ask questions, never promise what you can’t deliver, exceed expectations, build long-term relationships, and: be fearless.

What you can expect when working with me:

• Innovative, influential and award-winning Creative Director successful in cultivating great design teams and work environments that produce exceptional ideas for championing an organization's values, image and brand.

• Blends passion for design with business savvy and expert skills in client facing, conceptualizing and pitching ideas, guiding the creative direction of projects, and on-time project delivery. Focused and persistent; diplomatic and resilient. Excel in analysis, decision-making, problem solving, time management and meeting deadlines.

Competencies include: 

• Leadership – Based on the understanding that good management is a service, not a restraint; that business is an ecosystem which requires nurturance; that companies are composed of people not machines; and that the best work environments are great because they're fun AND productive

• Communication - Building and maintaining relationships and garnering buy-in via drafting effective creative briefs, presenting creative and persuasive visions/pitches across stakeholders (clients, staff, and leadership), and using effective negotiation to identify and implement mutually beneficial outcomes

• Creativity - Proven and hands-on designer who inspires innovation, drives ingenuity, and achieves results via effective brainstorming and ideation, creative problem solving, and resourceful and storytelling with impact

• Technical Knowledge – Possess high levels of knowledge of and skill in working with creative softwares, web design best practices, social media platforms, etc.

• Staffing – Hiring, developing, motivating, managing and retaining the best talent

• Budgeting – Creation, management, working within

• Presentations – Creative briefs, creative visions, drafts, finished products

• Teaching, Training – Developing staff, introducing new users to new products and technologies

• Work Culture – Develop and evolve the workplace into THE place employees want to be

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RESEARCH

Design for Good

WHAT

Design for Good is an ethos to use problem-solving and design thinking towards social change.

HOW

AIGA Design for Good highlights opportunities of engagement for designers to build their practice, expand their network, and have hands-on leadership opportunities. Design for Good recognizes the wide range of designers’ work and hands-on leadership and professional development opportunities, which benefit the world, our country, and our communities. Design for Good sustains designers playing a catalytic role through community projects that create positive social impact.

WHY

By supporting designers through online networks, inspirational stories, meaningful programs, open dialogues and chapter events, impact measurement toolkits, and national advocacy and promotion, Design for Good serves as a powerful resource for designers who wish to work in this area and a beacon for designers leading the charge.

Matter Unlimited

WHAT

Matter Unlimited is a strategic and creative consultancy built for the purpose-led economy.

HOW

We are situated at the intersection of culture, capital and cause, and leverage this unique perspective to create impactful solutions to service our client’s needs.

WHY

We help build and grow mission driven brands.

HelpGood

WHAT

HelpGood is an agency focused on social good.

HOW

We help nonprofits, NGOs, foundations, universities, social enterprises, cause marketers, and corporate social responsibility teams develop digital-first marketing, communications, and fundraising strategies…. 

WHY

….that inspire action and create a lasting social impact.

IDEO.ORG

WHAT

IDEO.org is a nonprofit design studio.

HOW

We design products and services alongside organizations…. 

WHY

…. that are committed to creating a more just and inclusive world

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ATTAGIRL DESIGN REVISED POSITION STATEMENT

Exclamation: an informal expression of encouragement

WHAT

AttaGirl Design is a studio dedicated to giving voice for social good.

HOW

Through an engaged, empathetic, and collaborative approach, AttaGirl Design provides strategic solutions aimed at amplifying the efforts of organizations committed to create a more humane and just world. 

WHY

There has never been a more important time to provide a platform for the voices for social good. Together, we can make a difference. Together, we can make the world a better place.

FINAL STATEMENT

AttaGirl Design is a studio dedicated to giving voice for social good.

Through an engaged, empathetic, and collaborative approach, AttaGirl Design provides strategic solutions aimed at amplifying the efforts of organizations committed to create a more humane and just world. 

There has never been a more important time to provide a platform for the voices for social good. Together, we can make a difference. Together, we can make the world a better place.

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REFERENCE:

Falmouth University (2018). Planning, Strategy and Management | Philosophies, Roles and Approach | Lecture. Studio and Entrepreneurship GDE730 20/21 Part-Time Study Block S3 (Falmouth, UK: Falmouth University)

Butler, Sarah (2018) ‘Wallace & Gromit producers hand stake to staff

USI Events (2017) Redesigning Leadership John Maeda, at USI 

DesignInDaBa (2016) John Maeda on Design Thinking and Creative Leadership 

Computer Arts (2016) How to Launch and Run a Design Studio (Links to an external site.)

millsustwo (2017) Inside ustwo (Links to an external site.)

The Futur (2017) How To Run A Creative Business: In-depth breakdown w/ Melinda Livsey 

Sagmeister, Stefan (2013) ‘Medalist Stefan Sagmeister (Links to an external site.)’, AIGA

&walsh – https://andwalsh.com (Links to an external site.)

Sagmeister inc – https://sagmeister.com (Links to an external site.)

Maeda Studio – https://maedastudio.com/

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GDE720 W12 | Workshop Challenge

Design & Develop

This week’s challenge includes:

1. Research and discover issues that relate to your locality* and post them on the Ideas Wall.

   REVISED: Direct engagement is encouraged, to identify potential issues, although we understand this is unlikely in the current situation. Show evidence of reaching out, by conducting an email or letter, although we appreciate you may not get a reply. 

2. Distill your research to identify one issue you would like to resolve and reveal through a visual outcome.

3. Write a short 200-word project brief that reports on the issue to be solved.

4. Design and produce a visual summary to contextualize your issue and project brief. Your summary can be a digital, print or moving image, but it must be succinct, to enable third party viewers to quickly understand the requirements, needs and challenges.

   *Your locality can be broad and refer to your street, district, town, area, county or region.   

ISSUES APPARENT IN SAN FRANCISCO

For this project, we were to evaluate several issues that related to our locality. For me, I am choosing the city of San Francisco as my locale. It’s a big city, but a close knit one and one not without issues. The three issues that I found to be most apparent to me are: homelessness, economic inequality, and loneliness. I believe all are intertwined and not mutually exclusive.

Given the timeliness of the current social impact of COVID19 on the city of San Francisco, I chose to focus my project on loneliness. It also provides an opportunity for me to reflect on my own experiences stemming from the pandemic and feel like I am making a contribution to society as a result.

LONELINESS IN THE TIME OF COVID19 PROJECT BRIEF

WHAT SPECIFIC OBJECTIVE IS THIS PROJECT TRYING TO ACHIEVE?

Provide resources to anyone feeling loneliness as a result of COVID19

WHAT SINGLE THOUGHT SHOULD THE AUDIENCE COME AWAY WITH?

I am not alone.

TARGET AUDIENCE(S)

Primary: San Francisco community members

Secondary: all other people on the planet

PROJECT CRITICAL CONTEXT

In early March of 2020, the city of San Francisco initiated a shelter in place order in response to the COVID19 coronavirus pandemic in order to flatten the curve and spread of the virus and to keep people safe. This meant staying indoors, refraining from any physical connection with anyone outside of your home, and remaining at least six feet a part when outside for only essential activities. So far these efforts seem to be working as San Francisco’s early and aggressive response to the virus has kept the numbers of infected and fatalities lower than any other city in the United States.

Those low numbers have not come without a cost. One cost in particular is the increase in feelings of loneliness by those sheltering in place, including those that have contracted the virus and have been further isolated from their families.

What could I do as a designer to help?

The COVID19 pandemic has forced us all indoors with many of us in isolation from any forms of regular human contact. Understanding the research already successfully conducted on mitigating loneliness for the elderly, how could these methods be simply applied to a wider demographic and audience to help alleviate the feelings of loneliness? Further, how can those affected by loneliness get help if they are not comfortable asking for help or letting it be known they are feeling lonely? 

ANTICIPATED OUTCOME

A system of communication vehicles for people to share how they are feeling, expressing any levels of loneliness, and willingness to help those that have expressed loneliness or suspected of feeling lonely. Possible deliverables to include:

• Pre-designed, printable signs (2 versions: self-indicating, and outreach)

• Social media templates

• Zoom backgrounds

• Instructions on how to make it your own

WHAT IS THE TONE?

Hopeful, inviting, welcoming, friendly

WHAT IS THE CALL TO ACTION?

Share your feelings. Help those that are lonely.

CREATIVE MANDATORIES

Create an easy system for people to share how they are feeling to easily invite help from other people as well as a way for people to share their willingness to help.

TIMLELINE

Two weeks that include six phases:

• Week One: initial outreach, research, and data evaluation

• Week Two: ideation, design, and proposed implementation

ASSETS

All to be created

POTENTIAL BARRIERS AND/OR CONCERNS

Timeline to launch the final system is tight (less than three weeks). A phased approach of deliverables is likely most practical.

SUCCESS METRICS

Web and social analytics, data from initial and follow-up surveys, anecdotal feedback 

RESEARCH

Examine previous studies on addressing loneliness for elderly, survey subjects, use design tools to evaluate responses and identify insights.

REFERENCE:

Clarke, A., (ed) (2017) ‘Chapter 6: Prototyping the Social: Temporary and Speculative Futures at the Intersection of Design and Culture’ in Design Anthropology: Object Cultures in Transition, London: Bloomsbury, pp. 87 – 98. Available from: https://www.dawsonera.com/abstract/9781474259057

Clarke, A., (ed) (2017) ‘Chapter 4, Valuable to Values: How ‘User Research’ ought to change’, in Design Anthropology: Object Cultures in Transition, London: Bloomsbury, pp. 53 – 67. Available from: https://www.dawsonera.com/abstract/9781474259057 

Falmouth University (2018). Visual Writing: Research & Reveal | Lecture. History and Futures GDE720 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

McQuiston, L., (2015) Visual Impact: Creative Dissent in the 21st Century. London: Phaidon. Available from: https://content.talisaspire.com/falmouth/bundles/5c62b80d69df506330522374

GDE720 W12 | Lecture Review

The Age of No Retirement

This week’s lecture included a conversation with Hefin Jones, a service designer and collaborative researcher.

HEFIN JONES

Hefin Jones began his service design career in university. He enjoyed the collaborative nature and immersion possibilities when working with people in their communities. He used his project Cosmic Colliery to engage a community in Wales around the fictional notion of reimagining a closed-down coal mine into an astronaut training facility. His work immersed him into this community, spending long periods of time in conversations with young people, former coal miners, families, youth center directors and operators, local governments.

By using fiction, Jones hope was to allow for deeper, more meaningful conversations around how the community could think differently about its culture, history, networks, relationships, and practices. What made this project most successful was Jones’ willingness to allow for space for long and meandering conversations to take place. To provide room for people to imagine and engage in dialogue. He expressed the necessity to listen, and not bring your own biases about the project into the foreground.

A take away for Jones was the projects opportunity to engage the marginal voices, in this case, the youth of the community — unable to vote — and finding ways to create agency and advocacy on their behalf.

His advice for service designers starting out is to prioritize listening, leaving bias out as much as possible, having a responsibility to the subjects and subject community and to be willing to allow for variances and evolution to take place within and beyond the project.

REFERENCE:

Clarke, A., (ed) (2017) ‘Chapter 6: Prototyping the Social: Temporary and Speculative Futures at the Intersection of Design and Culture’ in Design Anthropology: Object Cultures in Transition, London: Bloomsbury, pp. 87 – 98. Available from: https://www.dawsonera.com/abstract/9781474259057

Clarke, A., (ed) (2017) ‘Chapter 4, Valuable to Values: How ‘User Research’ ought to change’, in Design Anthropology: Object Cultures in Transition, London: Bloomsbury, pp. 53 – 67. Available from: https://www.dawsonera.com/abstract/9781474259057 

Falmouth University (2018). Visual Writing: Research & Reveal | Lecture. History and Futures GDE720 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

McQuiston, L., (2015) Visual Impact: Creative Dissent in the 21st Century. London: Phaidon. Available from: https://content.talisaspire.com/falmouth/bundles/5c62b80d69df506330522374