Since The Politics of Design was published in the fall of 2016, many people have asked me what they should do to avoid offensive or inappropriate visual communication. Indeed the book has some examples but offers no complete guide or list of instructions. That is intentional as such a list does not exist, even though many management books on ‘cross-cultural communication’ suggest otherwise. Some assign character traits or cultural habits to countries, religions, or cultures, which is insulting and even dangerous. National borders have little to do with cultural behavior and we should never assume a country of origin, a language, or someone’s physical appearance aligns with someone’s personality. The truth is, there is no simple answer of how to avoid insensitive communication or how to avoid cultural bias. That is probably an unsatisfying answer to many readers, which is why I want to share some of the insights from my own design practice.
What we consider ‘natural’ comes from our own personal experience. As a graphic designer you could be tempted to create materials for somebody like yourself in mind, because you consider this to be ‘natural’. However it is only natural to you, not to everyone else. Designers have a position of power because they are (partly) in control of the messages that are sent. Most people are not in that position, and in that we tend to forget our privileges, such as that more than half of the world population does not have internet, that very few people are higher educated, that many people are illiterate or low-literate, that very few people speak or read English, that people have (visual) disabilities, that there are many different languages, accents, skin colours, classes, genders, differences in sexual orientation, ages, cultural contexts. Etcetera, etcetera. The list is too long or complex to simplify or categorize. A good way to begin to understand how cultural bias works is to test your own implicit assumptions at Project Implicit made by Harvard University.
NEVER SPEAK IN THE NAME OF OTHERS*
This quote from Michael Hardt and Antonio Negri is as obvious as it is important. Graphic designers are almost always asked to ‘speak’ in the name of others, as we are the messenger between sender and receiver. The paradox is we are incapable of speaking in the name of others, because our designs are made from our personal perspective. Everything we make is subjective and designs can therefore never be neutral, global, universal, or aligned with another person’s beliefs. That is not a problem but rather a blessing. This way we can assume personal responsibility and acknowledge that what we make is subjective, and that any representation of the ideas or feelings of others will be inherently flawed. Practically this means that we should carefully listen to both sender (often the client) and the receiver (the audience or target group) and accept that mistakes can, and will be made in the process. Testing and working with different iterations can help to avoid some of these mistakes.
USE YOUR COMMON SENSE AND SPEAK UP
We should not pretend that inappropriate or insensitive visual communication is something to be learned from books or academia. In deciding what is acceptable and unacceptable social behavior, our common sense and empathy gets us a long way. Sexism, racism, ageism, ableism, xenophobia, transphobia, and other such behavior can unfortunately be encountered in all parts of society, and most of us know all too well what it sounds, feels, and looks like. Such behavior is unacceptable, inexcusable and we should call out and condemn those who are guilty, whatever their social status is.
EDUCATE YOUR CLIENT AND LET THE CLIENT EDUCATE YOU
More often than not, a graphic designer receives text and images from a client. If such material is offensive or inappropriate, it might be difficult to confront your client, as this might jeopardize the work and its associated income. However graphic designers are communication specialists and hired for their professional advice. As a designer you have an ethical responsibility for the work you put into the world, and it is important to communicate your concerns. The client might have overlooked or wrongly assessed a situation and your advice may improve the outcome. If the client insists using offensive or inapproriate messages against your advice, you should be prepared to refuse work. If other designers do so as well, the client will have to reevaluate their messaging. The opposite is also true. If the client tells you your design is insensitive or inappropriate, listen and take their considerations seriously. Be prepared to change your work if you have made mistakes.
DO NOT DO EVERYTHING YOURSELF
Graphic designers are used to doing many tasks themselves, from writing, editing, photographing, to prepress, printing and publishing. During this process you could be tempted to do things or talk about things you know too little about. It is essential to acknowledge everyone has shortcomings and there are limits to what one person can know and understand. Especially if you are working with languages or orthographies other than your own, or visual cultures, media platforms that are different from your own. Do not assume your knowledge in one area automatically translates to another. Reach out to users, communities, translators, anthropologists, sociologists, anyone that might offer needed advice. Seek advice and listen.
YOU WILL MAKE MISTAKES
These insights are from my personal experience and will not necessarily apply to other situations or persons. One thing is certain though: despite these insights, and perhaps even thanks to these insights, you will fail. But you should own up to your mistakes, assume responsibility, and learn from them. Learning from mistakes is what makes a design practice better, and these moments of failure gives us important knowledge to become better designers, and better people.
* Hardt, Michael and Antonio Negri, Assembly, Oxford University Press, 2017.
Diaspora Drama is a magazine from the U.K. dedicated to ‘offbeat creative and cool people of colour on the internet.’ It explores the identities of the children of the diaspora, young artists outside of the mold of Western society who use cyberspace to work outside the dominant narratives. Editor in chief Isaac Kariuki introduces the magazine by saying, ‘We’ll observe just how impactful cyberspace is to our generation and the safe spaces created by and for people of colour to help them navigate through life.’ The first issue features artists like Tabita Rezaire, Hassan Hajjaj, interviews with M.I.A.’s personal photographer, and future Kurdish superstar Cany Dilan. The magazine is 100% contributor based, and physical copies can be bought online via www.diasporadrama.com. Each issue comes with a ‘Punx of Colour’ mixtape.
If you ever played a videogame you are familiar with the limited amount of choice in characters. Female gamers are used to being forced to play a male character, and usually characters have a white skin. Recently game developers have responded to the lack of diversity in games by creating game characters that better reflect society’s diversity. Rust is a first-person survival game created in 2014 by Facepunch studios from the UK. Originally all game characters were bald white men, but then developer Garry Newman decided to change this. Now every player is assigned a random character, which could be black, or white, male or female. The assigned character is used the entire game. The update immediately sparked outrage, particularly amongst white male players. Female players were more pragmatic. Newman, ‘They point out that they’ve already being play Rust as men for the past two years.’
India celebrated international women’s day by introducing a gender equality stamp. Designed by Mirko Ilić, the stamps can be combined to creat images of faces made up from different genders. This is especially remarkable since India ranks 127 of 142 in the gender inequality index. Only 15% of women are employed in the formal sector. female participation in the workforce has actually declined since 1988. India has a so-called sticky floor, the majority of women cannot rise above a certain level of earnings, skills, and benefits. The high-level committee on status of women, formed in 2012 by the government of India, aims to increase gender equality and has recommended 50% seat share for women in government and laws that prevent violence against women.