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AIGA: Redefinition of a Designer
BY Jacquie Ang
BY Jacquie Ang
THE INSPIRATION
In 1914, at the National Arts Club (a conservative group of easel painters and sculptors) in New York City, the noteworthy cultural achievements in graphic arts came to the board’s attention. It proposed to form a new organization that aimed to be a source of pleasure and intellectual profit to its members.
Today, AIGA is the first place design professionals turn to exchange ideas and information. It is the oldest and largest membership association for professionals engaged in the discipline, practice and culture of designing AIGA, where for the past 93 years, has established a platform to facilitate the engagement of critical analysis, progression of education and the promotion of ethical practice.
When it was founded in 1914, it was named the American Institute of Graphic Arts. Its charter members were veteran professionals comprising of craftsmen and artisans. Now it represents more than 19,000 designers through national activities and local programs developed by more than 55 chapters and 200 student groups.
A stalwart in the eyes of design practitioners, AIGA sets the national agenda for the role of design in its economic, social, political, cultural and creative contexts. Through the collection and analysis of data on the profession, it is authoritative in promoting and communicating standards for ethical conduct and professional expertise. It stimulates members in its provocative programming on critical issues facing design.
In its efforts to nurture emerging talents, AIGA encouraged some of the finest graphic designers to share their knowledge with students and young practitioners. Lectures and workshops were frequent events at the New York headquarters and elsewhere.
In celebration of both effective and innovative design, AIGA was, and continues to be, a source of inspiration to the creative community, always open to new ideas and new professional disciplines in the ever-evolving nature of design.
THE GRAPHIC ARTISTS
AIGA’s far-reaching interests are evident in its membership roster from its first two decades.
Although founding members were pioneers of American typeface, poster and book design, such as F.G. Cooper and Frederic W. Goudy, and masters of fine and commercial printing like Hal Marchbanks of the Marchbanks Press, the term “graphic art” was an umbrella that covered all forms of print communications and AIGA later welcomed the induction of jewelry and glass designer, Louis Comfort Tiffany, illustrator and editor, Charles Dana Gibson, package and trademark designer, Clarence Hornung and photographer, Clarence White.
Currently serving on AIGA’s board of directors is a stellar line-up of individuals elected to steer the organization’s mission.
Sean Adams, AdamsMorioka (President)
James Ales, Monterey Bay Aquarium
Connie Birdsall, Lippincott Mercer
Laurie Churchman, University of Pennsylvania
Moira Cullen, Coca-Cola North America
Bill Grant, Grant Design Collaborative
Nikolaus Hafermaas, Art Center College of Design
Steve Hartman, Creativille, Inc.
Kenna Kay, TV Land
Vernon Lockhart, Art on the Loose
Debbie Millman, Sterling Brands
Bennett Peji, Bennett Peji Design
Shel Perkins, Shel Perkins and Associates (Secretary/Treasury)
Hank Richardson, Portfolio Center
Laura Shore, Mohawk Fine Papers
However, in recent decades, members have urged the search for a new name that would be a more faithful reflection of the profession’s long evolution, from its earliest roots in graphic arts to the varied and diverse representations members have applied to themselves and their practices.
More recently, members have submitted another urgent request, seeking AIGA’s help in reaching out to external audiences to communicate the role of a designer and the value of extraordinary design.
THE REDEFINITION
July 2006 is a landmark in the history of design. AIGA made the groundbreaking move of testifying before the commission on redefining the standard occupational classifications for “designer”, used by the U.S government in its economic research. This is another step in an effort AIGA has pursued steadfastly for 10 years. The occupational classification for designer is at least two decades old and portrayed the functions of a designer prior the introduction of the Macintosh when it was securely anchored in the realm of the commercial artist.
The last 20 years have witnessed the phenomenal evolution of the practice and profession, rendering the term “graphic design” no longer adequate. Graphic designers are primarily engaged in planning, designing and managing the production of visual communication, which conveys specific messages or concepts, clarifies complex information or project visual identities.
To accurately illustrate the role of the profession and the responsibilities it presently encompasses in a more appropriate title, AIGA is championing the revision of “graphic designers” to “communication designers”.
The advocated definition is as follows:
“Communication designers plan, analyze, create and execute visual solutions to communication problems, with specific attention to their context, the needs of clients and audiences. They are involved in the design and production of books and periodicals; corporate, environmental and promotional graphics; web design and computer interfaces; and multimedia projects. Designers may use a variety of mediums and technologies to achieve their effects. They strive to execute designs that are strategic, appealing an effective in communicating.
“Communication designers apply what they know about physical, cognitive, social and cultural human factors to communication planning and the creation of appropriate form that interprets, informs, instructs or persuades.
“Communication designers use media and technologies as a means of creating visual form and as an environment through which communication takes place.”
O*NET (Occupational Information Network of the U.S Department of Labor Employment and Training Administration) will conduct a survey to determine the relevance of the current definition. The survey will be sent to 80 opinion leaders within the profession, whose esteemed responses will govern the future definition.
The redefinition is of grave importance to designers. It governs both the literature about the profession that the government issues, and also influences the economic data collected about the profession. The data is often employed by corporations, educational institutions and the government to determine the arrangement of fund distribution.
THE VOICE
An industry-wide change cannot take place from a government’s implementation alone.
AIGA recognized that redefining graphic design has to include employers, the required skill sets and environmental demands, which will in turn influence design institutions. Thus, the trusted voice in design embarked on an initiative to define the designer of 2015 and the professional requirements. Software powerhouse Adobe has been enlisted in the year-long project that will establish the skills, education needs and the environments designers will face eight years later.
Ultimately, what AIGA hopes to achieve from this initiative is the identification of six general types of designers who will meet the future challenges of communication design, regardless of design practitioners who create two-dimensional or multi-dimensional concepts. The identification will include details such as the required knowledge level and experience level, in addition to the necessary tools to equip each type of designer.
The information will serve as an aid in the development of curricula in design programs. Designers will learn from the valuable insights how to organize, recruit and train their studios at the end of this decade.
THE STATUS QUO
While the government has yet to act on accepting the revisions, AIGA remains fully committed to its cause of pursuing a revised definition of a graphic designer with the US federal government.
As a guide to the definition and application of the Designer of 2015 research initiative, the Visionary Design Council will provide unique perspectives on design and the future of the discipline from the eyes of thought leaders such as Lisa Strausfelf of Pentagram, Lita Talario of School of Visual Arts, Brian Collins of Ogilvy & Mather, Carla Frank of O Magazine and Stanley Hainsworth of Starbucks.
Results from the year-long research project will be presented in the upcoming “Next: AIGA Design Conference” in October this year in Denver.
In the meantime, executive director of AIGA and vice-president of Icograda (2005-2007) Richard Grefé has taken on an active role in pushing forth the redefinition. Since first quarter of 2007, AIGA has been contributing a quarterly article on the future of design.
Read Grefé’s articles:
2015: A Design Odyssey
Designers of the Future: Continuing the Journey
TAXI Design Network supports this endeavor. Read the article written by our business writer and journalist Chia Sihan, [Re]Graphic Design[ated]
© 2003 - 2007 by TAXI Design Network. All rights reserved.
In 1914, at the National Arts Club (a conservative group of easel painters and sculptors) in New York City, the noteworthy cultural achievements in graphic arts came to the board’s attention. It proposed to form a new organization that aimed to be a source of pleasure and intellectual profit to its members.
Today, AIGA is the first place design professionals turn to exchange ideas and information. It is the oldest and largest membership association for professionals engaged in the discipline, practice and culture of designing AIGA, where for the past 93 years, has established a platform to facilitate the engagement of critical analysis, progression of education and the promotion of ethical practice.
When it was founded in 1914, it was named the American Institute of Graphic Arts. Its charter members were veteran professionals comprising of craftsmen and artisans. Now it represents more than 19,000 designers through national activities and local programs developed by more than 55 chapters and 200 student groups.
A stalwart in the eyes of design practitioners, AIGA sets the national agenda for the role of design in its economic, social, political, cultural and creative contexts. Through the collection and analysis of data on the profession, it is authoritative in promoting and communicating standards for ethical conduct and professional expertise. It stimulates members in its provocative programming on critical issues facing design.
In its efforts to nurture emerging talents, AIGA encouraged some of the finest graphic designers to share their knowledge with students and young practitioners. Lectures and workshops were frequent events at the New York headquarters and elsewhere.
In celebration of both effective and innovative design, AIGA was, and continues to be, a source of inspiration to the creative community, always open to new ideas and new professional disciplines in the ever-evolving nature of design.
THE GRAPHIC ARTISTS
AIGA’s far-reaching interests are evident in its membership roster from its first two decades.
Although founding members were pioneers of American typeface, poster and book design, such as F.G. Cooper and Frederic W. Goudy, and masters of fine and commercial printing like Hal Marchbanks of the Marchbanks Press, the term “graphic art” was an umbrella that covered all forms of print communications and AIGA later welcomed the induction of jewelry and glass designer, Louis Comfort Tiffany, illustrator and editor, Charles Dana Gibson, package and trademark designer, Clarence Hornung and photographer, Clarence White.
Currently serving on AIGA’s board of directors is a stellar line-up of individuals elected to steer the organization’s mission.
However, in recent decades, members have urged the search for a new name that would be a more faithful reflection of the profession’s long evolution, from its earliest roots in graphic arts to the varied and diverse representations members have applied to themselves and their practices.
More recently, members have submitted another urgent request, seeking AIGA’s help in reaching out to external audiences to communicate the role of a designer and the value of extraordinary design.
THE REDEFINITION
July 2006 is a landmark in the history of design. AIGA made the groundbreaking move of testifying before the commission on redefining the standard occupational classifications for “designer”, used by the U.S government in its economic research. This is another step in an effort AIGA has pursued steadfastly for 10 years. The occupational classification for designer is at least two decades old and portrayed the functions of a designer prior the introduction of the Macintosh when it was securely anchored in the realm of the commercial artist.
The last 20 years have witnessed the phenomenal evolution of the practice and profession, rendering the term “graphic design” no longer adequate. Graphic designers are primarily engaged in planning, designing and managing the production of visual communication, which conveys specific messages or concepts, clarifies complex information or project visual identities.
To accurately illustrate the role of the profession and the responsibilities it presently encompasses in a more appropriate title, AIGA is championing the revision of “graphic designers” to “communication designers”.
The advocated definition is as follows:
“Communication designers plan, analyze, create and execute visual solutions to communication problems, with specific attention to their context, the needs of clients and audiences. They are involved in the design and production of books and periodicals; corporate, environmental and promotional graphics; web design and computer interfaces; and multimedia projects. Designers may use a variety of mediums and technologies to achieve their effects. They strive to execute designs that are strategic, appealing an effective in communicating.
“Communication designers apply what they know about physical, cognitive, social and cultural human factors to communication planning and the creation of appropriate form that interprets, informs, instructs or persuades.
“Communication designers use media and technologies as a means of creating visual form and as an environment through which communication takes place.”
O*NET (Occupational Information Network of the U.S Department of Labor Employment and Training Administration) will conduct a survey to determine the relevance of the current definition. The survey will be sent to 80 opinion leaders within the profession, whose esteemed responses will govern the future definition.
The redefinition is of grave importance to designers. It governs both the literature about the profession that the government issues, and also influences the economic data collected about the profession. The data is often employed by corporations, educational institutions and the government to determine the arrangement of fund distribution.
THE VOICE
An industry-wide change cannot take place from a government’s implementation alone.
AIGA recognized that redefining graphic design has to include employers, the required skill sets and environmental demands, which will in turn influence design institutions. Thus, the trusted voice in design embarked on an initiative to define the designer of 2015 and the professional requirements. Software powerhouse Adobe has been enlisted in the year-long project that will establish the skills, education needs and the environments designers will face eight years later.
Ultimately, what AIGA hopes to achieve from this initiative is the identification of six general types of designers who will meet the future challenges of communication design, regardless of design practitioners who create two-dimensional or multi-dimensional concepts. The identification will include details such as the required knowledge level and experience level, in addition to the necessary tools to equip each type of designer.
The information will serve as an aid in the development of curricula in design programs. Designers will learn from the valuable insights how to organize, recruit and train their studios at the end of this decade.
THE STATUS QUO
While the government has yet to act on accepting the revisions, AIGA remains fully committed to its cause of pursuing a revised definition of a graphic designer with the US federal government.
As a guide to the definition and application of the Designer of 2015 research initiative, the Visionary Design Council will provide unique perspectives on design and the future of the discipline from the eyes of thought leaders such as Lisa Strausfelf of Pentagram, Lita Talario of School of Visual Arts, Brian Collins of Ogilvy & Mather, Carla Frank of O Magazine and Stanley Hainsworth of Starbucks.
Results from the year-long research project will be presented in the upcoming “Next: AIGA Design Conference” in October this year in Denver.
In the meantime, executive director of AIGA and vice-president of Icograda (2005-2007) Richard Grefé has taken on an active role in pushing forth the redefinition. Since first quarter of 2007, AIGA has been contributing a quarterly article on the future of design.
Read Grefé’s articles:
TAXI Design Network supports this endeavor. Read the article written by our business writer and journalist Chia Sihan, [Re]Graphic Design[ated]
© 2003 - 2007 by TAXI Design Network. All rights reserved.
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