Writing and Research for Graphic Designers

(Ray)

(Fogra 29_WF)Job:08-28858 Title:RP-Writing & Research for Graphic Designers

#175 Dtp:225 Page:40

018-055_28858.indd 40 8/30/12 4:42 PM

(Ray)

(Fogra 29_WF)Job:08-28858 Title:RP-Writing & Research for Graphic Designers

#175 Dtp:225 Page:41

018-055_28858.indd 41 8/30/12 4:42 PM

Writing & research for graphic designers

(Text)

40

usage. No school, however, exists to teach this stuff—yet

take virtually any promotional brochure for a design firm,

scratch the surface, and you will find variations of the

following platitudes:

• Design is a tool for achieving specific results. Being

responsive, we begin each project by learning exactly

what results our client expects. This then becomes our

communications goal.

• Establishing an appropriate, positive emphasis is the

key. This, in conjunction with good graphic design,

is our special skill.

• Our work exhibits a great diversity of styles and

imagery. In an era of design specialists, we invariably

believe that as varied as the messages are, so should

the means of conveying them.

These statements by three very different design firms are not

inherently disingenuous, but when viewed as representative

of most promo copy, they are formulaic. Should all selling

copy sound alike? Imagine what the prospective client who

gets pitched by many designers must think after reading the

same phrases and sentiments over and over. The client probably

thinks they’ve all read the same copy of How to Succeed in Business

without Really Trying, or at least have hired the same PR firm.

To further the point that, despite the remarkable diversity

among design firms today—their hype comes from the same

copy of Bartlett’s Familiar Design Firm Promotions—the

following phrases have been culled from a variety of sources.

In fact, virtually no two of the design firms represented by

these unattributed statements do the same kind of work.

For purposes of clarity they are organized according to the

six major thematic categories.

One has to wonder whether these designers and firms read

one another’s promotional material or whether these pearls

just develop over time in their own hermetically sealed environ-

ments. Design firms tend to stink of their own perfume. In fact,

virtually all of the designers represented by the statements on

the previous pages are fluid and literate when talking about their

work. But put them in front of a keyboard and they choke up.

Of course, there are those who eschew the conventions of

promo writing. Some designers have gone overboard in the

other direction, emphasizing human, rather than business,

values, such as this one: “During our day, we encourage pride

but not possessiveness.” Rarely, in an open-office environment

can an idea emerge and evolve without being “touched” by

more than one person. This interaction is what tests the idea

to ensure its rightfulness. Others prefer wit and humor, such as

this send-up of a famous quote: “When I hear the words design

philosophy I reach for my X-Acto.” (The reference being to

Hermann Göring, who said, “When I hear the word culture,

I reach for my Browning!”)

But the most understated and curiously poetic piece that

this writer ever read can be attributed to Henry Wolf in the

book New York Design: “My firm is not unique but it com-

bines the facilities of photography and design under one roof.

I photograph for my own concepts.” Though this quote is a

masterpiece of clarity and concision, one might nevertheless

wonder, does he get much work?

The Music of Words

When I was a graphic designer, I orchestrated words into a

symphony of typefaces. They were not my words, so I typo-

graphically interpreted other people’s thoughts and mean-

ings. They weren’t my typefaces either; I simply selected and

composed them to make a demonstrative expression of content.

When writing, however, the orchestration of the manuscript

goes hand in glove with the composition of the prose. Writing

is as much about achieving harmony or tension between words

in a sentence as it is about conveying the facts.

Experienced writers have a rather deep reservoir of words.

Less experienced ones may rely on tried-and-true words and

phrases. They may also jump headfirst into the thesaurus or

synonym finder to seek good alternatives. Using these tools is

not cheating, although it is often not as effective as you would

think. While some synonyms fit nicely into the sentence,

many are not custom made for what is written. The wrong-

sounding word, even if it has the correct meaning, stands

out as strained.

Writing about design is not poetry, per se. But there is no

reason not to be poetic when appropriate—or at least inter-

esting. The ultimate bugaboo of any writing is the b-word:

(Ray)

(Fogra 29_WF)Job:08-28858 Title:RP-Writing & Research for Graphic Designers

09-C67944 #175 Dtp:225 Page:40

018-055_C67944.indd 40 9/22/12 11:25 AM

section 1

the three r’s : reading, writing, and research

(Text)

41

boring. Just as meandering, idle patter at a cocktail party is

uninspiring, the stringing together of words, no matter how

clear the meaning is, will induce a yawn. Words have rhythm,

bravado, and drama when used in the right combinations

and proper syntax. Why must a business report be dry? Why

should an academic paper lack character? Often, just a

well-placed word or simple phrase can turn the commonplace

into a vibrant crescendo.

Telling Stories

I tell my design students: “All good design is storytelling.”

I tell my writing students: “All good storytelling is design.”

Storytelling is the new buzz-mantra, and the s-word has been

overused lately. Perhaps reality TV and real-time online videos

bring out the storyteller in all of us. It appears that everyone

wants to tell stories. So, all art, design, science, and technology

are rooted in storytelling more than ever before. What are

the renowned TED conferences but storytelling mash-ups?

Erstwhile amateurs use the term narrative arc in as common-

place a manner as font (once only used by professionals).

Nonetheless, storytelling and narrative are essential to the

design writing process. Without story—or plot, if you will—

what have you got? Even a factual business report can tell a

tale, albeit often in a neutral manner. Not all stories have to be

dramatic or melodramatic. Storytelling is simply the expres-

sion of something you, as the writer, believe is of interest to

you, as the reader. Indeed, you may well be representative of

your average reader.

I was writing an article recently about a graphic designer

who accomplished something I thought would be a terrific

story to share with my audience (including you). The entire

piece is reproduced here. But I will also highlight certain parts

that make this a story worth telling, rather than a mere report.

Here’s my story:

Paula Scher, a respected designer and good friend, insisted

that I meet Johnny Selman, who recently received his graduate

degree in design and was a newcomer to New York. Not

knowing what to expect, other than Scher having given him

a two-thumbs-up recommendation, he pulled out a thick

volume filled with reproductions of posters he had made. At

first glance, they were handsome though reminiscent of other

designers I knew. Then he told me there were 365 posters

designed over the course of a year—one a day—based on

news reports from the BBC. He religiously produced a highly

sophisticated, conceptually astute visual diary, which was

posted daily on a website and then collected in the volume

before me. I knew immediately that I wanted to tell his story.

Like the posters, I wanted to make it a story that could

be easily digested and appreciated—no more, no less. I also

wanted to make it less ephemeral than it was. Since he com-

pleted his project in 2011, it was already many months old.

I wanted the reader to feel his excitement and understand his

process, while not having to consider whether or not it was

“breaking news.” My method was to give it a timeless, rather

than timely, lead:

Ever wonder what a graphic designer does to wile away the idle

hours? Johnny Selman spends every morning ritually checking

headlines on the BBC. But that’s not all. In 2010, “I decided to

create a poster a day for twenty days in reaction to a headline for

each day,” he recently told me.

The first sentence establishes the idea that this is not just a

story about a former student’s thesis, but rather a self-initiated

challenge. Selman’s work is the protagonist, so the authorial

voice was there to move things along, connect the dots, and

provide context. An edited interview with Selman provided

the true voice and the firsthand details. I was particularly

glad he provided his checklist. While not exciting prose,

in an instant it gives the reader a sense of Selman’s criteria

(see page 42). But first, our case study:

“All good design is storytelling. All good storytelling is design.”

part tWo : WrItIng

(Ray)

(Fogra 29_WF)Job:08-28858 Title:RP-Writing & Research for Graphic Designers

09-C67944 #175 Dtp:225 Page:41

018-055_C67944.indd 41 9/22/12 11:25 AM