Sustainable

graphic design
What can be done to promote the use of
sustainable graphic design in Brisbane?
7504QCA Design Research Project | Semester 2 2007
Rebecca Green | s2567186
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 Contents

1 Executive Recommendations 1
2 Introduction 2
2.1 Purpose of Study 2
2.1.1 Research Question 2
2.1.2 Hypothesis 2
2.2 Definition of Terminology 3
2.3 Limitations of Study 3
3 Explanation of Topic 4
3.1 Previous Study 4
3.2 Focus of Research 6
3.4 Relevance of Research 7
4 Literature Review 9
5. Methodology 16
5.1 Theory 16
5.2 Instrument 17
5.3 Sampling 17
5.4 Instrumentation 20
5.5 Findings 22
5.6 Conclusions 38
6 Critical Discussion of Conclusions 40
6.1 What the study revealed 40
7 Design Solutions 43
7.1 Street Poster Campaign 43
7.2 Designer’s desktop widget 49
8 Recommendations 52
9 References 53
Appendices 57
Appendix 1 web survey 57
Appendix 2 AGDA news post 61
Appendix 3 DbN news post 61
Appendix 4 AGDA QLD email 61
Appendix 5 o2 Network mailing list post 61
Appendix 6 Designer’s widget content 61

Sustainable Graphic Design i

 Acknowledgements
I would like to thank in no particular order, Dr Jan Green for
invaluable research guidance and proofreading enthusiasm, Donald
Welch (academic supervisor), John Woolrych and Colour Chiefs for
supporting the digital printing of this project, AGDA Gordon Andrews
Scholarship which enabled design solutions to become reality, and
Posterbill for supporting the distribution of the poster.

Sustainable Graphic Design in Brisbane

 What can be done to promote the use of
01 sustainable graphic design in Brisbane?
Executive
Recommendations Street Posters and other campaigns
More recoding and claims-making campaigns are needed to open dialogue
on sustainable graphic design in the community and to effect changes in
society’s structure.

Tertiary education to include sustainability

Queensland universities and other tertiary institutions must educate Brisbane
graphic design students not only on sustainable ethics and ideology, but on
the technical aspects, for example, how to identify and specify an appropriate
paper stock to meet sustainability requirements.

Graphic Design Industry Associations to promote sustainability

Industry associations need to continue promoting sustainability at
conferences, workshops, on the website and in regular mailed material.
Providing a specialised section of their websites for easy reference to
conference notes and other material would contribute more widely to the
graphic design community.

Designers’ desktop widget

Widespread promotion of the designers’ desktop widget will further expand
knowledge of sustainable graphic design.

Sustainable Graphic Design 1

 2.1 Purpose of Study
2
Introduction 2.1.1 Research Question
What can be done to promote the use of
sustainable graphic design in Brisbane?

This project has the following objectives:

» Conduct an in-depth investigation into graphic design practice to

determine barriers to employing sustainable graphic design
» Target public perception of biocidal design practice, and through this,
the client’s graphic design needs
» Ensure Brisbane graphic designers have access to information on
sustainable graphic design methods, techniques and theories.

2.1.2 Hypothesis
Without support from clients, sustainable graphic design
is not possible.

2 Sustainable Graphic Design

 2.2 Definition of Terminology
2
Introduction Many different terms are used for green, environmentally-aware practices.
This report has appropriated the terms “biocidal graphic design” (Papanek,
1995) to denote graphic design methods and ethics that are destructive
to the environment; and “sustainable graphic design” as the terminology
for design and production that consciously reduce adverse environmental
impact as far as possible.

Tony Fry defines the term recoding thus: “…if we give the existing things of
the world new meanings, we effectively change the world and our actions in
it. (Fry, 2006)

2.3 Limitations of Study

A case study into budgetary concerns was recommended in “Sustainable
Graphic Design in Brisbane” (Green, 2007), however this falls outside the
scope of this study. Current literature supports a broader, societal change
to counter the perceived cost difference between biocidal and sustainable
graphic design.

The Australian Graphic Design Association Gordon Andrews Scholarship

was awarded to this project on 25 August 2007, allowing proposed design
solutions to be realised.

Sustainable Graphic Design 3

 3.1 Previous Study
3
Explanation The first stage of this project was completed and documented in
of Topic Sustainable Graphic Design in Brisbane (Green, 2007). Conclusions reached
in this stage have informed the research project, and are listed below.

1. Urgent attention must be paid to environmental issues, and Australian

graphic designers have the skills to significantly cut production
greenhouse gas emissions, and increase recycling potential by simply
switching from coated, glossy paper to uncoated paper.
2. The telephone survey pointed to client requirements as the main reason
for continuing biocidal graphic design, due to budget and required
finishes (client requested a certain look, usually gloss). The majority of
respondents had no dialogue with their clients on this subject.
3. An oft-stated opinion is that sustainable graphic design is not just a
matter of choosing the right paper and processes, but that graphic
designers must look at the bigger picture: environmental sustainability
and social justice of the message they are portraying (Bedrossian,
2005). Considering technical application as the first layer, and content or
message of the design as the second layer, then the third, and deepest
layer of sustainable graphic design is the application of graphic design
skills as an agent for change to sustainability on a global scale.
An example is taking on pro-bono work for an environmental
community group.
This all-encompassing idea can contribute to inaction on the part of
the majority of graphic designers. To be confronted with this statement
at the beginning of understanding sustainable graphic design can be
somewhat discouraging. Starting with the first layer is an important
step to becoming a sustainable graphic designer.
4. Sustainable graphic design was not a discussion topic at university for
most recent graduates.
5. A sustainability widget was designed as an aid for Brisbane graphic
designers to easily access information on sustainability.

4 Sustainable Graphic Design

 This study argued that the AgitProp activists– a state-funded education
3 and information campaign in Lenin’s Soviet Russia (1917–1922) had the
Explanation most appropriate principles for the promotion of sustainable graphic design.
of Topic These principles divided the overall project into two parts:

1. Agit (agitation): a poster campaign to raise awareness within the general

community for environmentally-sustainable graphic design

2. Prop (propaganda, meaning beneficial knowledge): gathering knowledge

and supplying to designers as easily-accessed information: the designer’s
desktop widget.

The designers’ desktop widget was proposed to address two barriers to

sustainable design: “No clear information is readily available” and “Lack of
awareness of issues relating to designers”. This widget can be downloaded
and used as a basic reference/starting point for graphic designers. It has
been suggested that information on ethics and client relationships could be
added to the widget, either as support information at download point, or as
part of the widget itself.

Sustainable Graphic Design 5

 3.2 Focus of Research
3 “The designer’s creative ability can help solve many environmental
Explanation
problems.” —Anne Chick (1992 p.32)
of Topic
The focus of the current research was to promote sustainable graphic
design in Brisbane, with the hypothesis that “without client support,
sustainable graphic design is not possible.”

This hypothesis was examined using a web-based survey with 62

Australian respondents from all levels of the design field. This sampling,
broader than just the designers based in Brisbane, enabled a larger view,
which could then be applied to the Brisbane graphic design community.
The findings from this survey can similarly influence solutions for other
areas.

A literature review investigated the social psychology of the

environmental movement, environmental sociology theories behind the
perception of sustainability in society, and society’s actions in response to
this issue. Methods for altering, or recoding public perception of biocidal
material and other design philosophy were also researched, as well as
examples of existing design responses.

The design solution, a street poster campaign, primarily targeted the use
of gloss paper by the magazine industry as a simple starting point for
awareness within the general community as a means of building client
support.

This solution was developed as the agitation element of the two-part

AgitProp campaign proposed in Semester 1 design study “Sustainable
Graphic Design in Brisbane” (Green, 2007). The propaganda element,
the desktop widget, was further developed and produced in line with
feedback from the design study, and the conclusions of the web-based
survey.

This secondary focus on the propaganda element ensures that when

consumer, and therefore client needs change, Brisbane graphic designers
have access to the necessary information to address these needs through
the completed designers’ desktop widget.

6 Sustainable Graphic Design

 3.3 Relevance of Research
3
Explanation “Let’s face it – we are the last generation before everything goes to pot.”
of Topic —Charles Purcell, Sydney Morning Herald, Oct 24 2007

After 10 years experience as a professional graphic designer, my frustration

with the lack of desire of clients and co-workers from other departments to
approve environmentally-sustainable design spurred me to research ways
to change this situation. The study conducted in Semester 1 showed that it
is of utmost importance that graphic designers handle the commodities we
work with as responsibly as possible, and that this can be achieved once
the barriers to sustainable graphic design have been addressed.

Graphic designers can have a major impact on the environment, and with
the current water shortage particularly affecting Brisbane, graphic designers
must begin to add sustainable solutions to their knowledge base as
standard practice.

Taking into account the number of magazines sold in Australia each month
– over 18 million (Magazine Publishers of Australia n.d.), this example from
“Sustainable Graphic Design in Brisbane” (Green, 2007) shows how changes
to the specifications can make a huge difference:

» Mountain Equipment Co-op (MEC), an outdoor retail and rental company

in Canada, minimised the environmental impact of their printed
catalogues by purchasing reduced weight and recycled content paper.
This paper is bleached without chlorine, and virgin pulp is certified
by the Forest Stewardship Council. MEC estimate that, for their 2007
Spring and Summer print run of over 600,000 catalogues (French and
English editions), the specification of at least 30% post-consumer fibre
saved the use of 1,483 trees, over a million litres of water, and reduced
energy output and greenhouse gas emissions. (MEC, 2006).

Sustainable Graphic Design 7

 Designers are trained to analyse problems and provide creative solutions,
3 and clients seek professional guidance on issues surrounding their design
Explanation job. As the expert, at least some of the responsibility for using sustainable
of Topic methods must rest with the designer: “Clients depend on professionals’
expertise – that’s what they’re paying for.” —Anne Chick (1992 p.33)

As was discovered in the design study research, client support is vital to

sustainable graphic design. Client support can be bolstered by awareness
within the general community on the issue, but if agitation for more
sustainable graphic design is to occur and succeed, designers must
be ready to meet the projected new awareness with viable sustainable
solutions.

8 Sustainable Graphic Design

 Literature Review
4
Literature Investigating Environmental Concern
Review Environmental concern is currently at a high level. Society is becoming more
aware of the industrial impact on the environment, both through information
found in mass media and by perceiving actual environmental damage.
Similarly, concern about consumerism was becoming a major issue until
the attacks on the World Trade Centre buildings in New York on September
11, 2001 stalled the movement (Poynor, 2006). Several texts on sociology
of environmentalism were reviewed to provide an understanding of the key
audience, so as to ensure any design solutions progress environmentalism
at this key moment in the movement’s history.

The Sociology of Environmentalism

Many theories attempt to define environmental concern. One theory, known
as the Paradigm Shift, was proposed by Riley Dunlap, William Catton and
Ken Van Liere in the late 70s, and Stephen Cotgrove and Lester Millbrath
in the 1980s. Paradigm Shift theory proposes that people in general
are switching from the old paradigm, where humans are separate from
nature which exists for their exploitation in the creation of wealth, to a
new paradigm, where humans are a part of nature and therefore need to
maintain balance and live within environmental limits.
(Bell, 2006).

For whatever reasons people are altering their ideology to reflect this new
paradigm; the problem is that ideology and actual actions do not appear
to be matching. This difference is known among social psychologists
as the A-B split (Bell, 2006), where A (attitude) represents what people
profess to believe, and B (behaviour) represents how they act. While each
individual’s A-B split may be cause for internal struggle or external scorn,
its main cause is the social structure. For example, I buy a magazine that
I need for research. It is made from 100% chopped-down trees, and my
only alternative is to not buy it. This means that our social structures must
change to enable us to close the split between our beliefs and actions
(Bell, 2006).

Sustainable Graphic Design 9

 So how do we achieve structural change in our societies? We need to
4 open the dialogue amongst the community, try to promote messages
Literature and ideals that, as citizens, we believe are important: “Individuals are the
Review agents of community change as much as communities are the agents of
individual change.” (Bell, 2006 p.248).

John Hannigan (1995) analysed society’s response to environmental

concerns using a contructionist perspective. Constructionist analysis
looks at how people assign meaning to their world and the objects in it.
Environmental constructionism looks at how certain issues are judged
by society as important, and therefore requiring action. Hannigan argues
that “Environmental problems do not materialise by themselves; rather,
they must be ‘constructed’ by individuals or organisations who define
pollution or some other objective condition as worrisome and seek to do
something about it.” (Hannigan, 1995 p.2)

In his book, Hannigan refers to Joel Best’s view of how those individuals
or organisations ‘construct’ these problems in the public sphere, which
Best terms making “claims”. A claims-making campaign has three parts.
First, the grounds; either definitions, examples, or numeric estimates
based on facts. Secondly, the warrants, the justification or reason for
action, where the grounds are linked to basic rights or freedoms.
Thirdly, the conclusions, which refer to the action required to respond
to the problem.

An excellent example was when Rachel Carson published “Silent Spring”

in 1962, on the use of pesticides and its projected environmental impact:
no living birds to herald Spring. It caused a dramatic shift in popular
opinion, and is often credited as the defining moment in the birth of
the modern environmentalist movement. People became more aware
of the issue, dialogue was opened and social structure was changed
accordingly (Bell, 2006). We need to continue this tradition, and ensure
that issues currently accepted as normal within society are highlighted,
or recoded into their true biocidal nature.

10 Sustainable Graphic Design

 Design Philosophy on Sustainability
4 Rick Poynor, in his collection of essays (Designing Pornotopia, 2006)
Literature addresses the issue of designers acting as citizens and promoting local
Review action, starting at community level. Poynor cites Milton Glaser, who pointed
out during an AIGA (American Institute of Graphic Arts) conference talk that
AIGA’s new code of ethics discussed the relationship between designer and
client, and between designers, but contained nothing about the relationship
between the designer and the public. A former San Diego president of AIGA,
Bennett Peji, summarised it thus: “Design is not the end goal. Design is
simply a tool to help us connect to our communities and make a difference”
(Peji, cited in Poynor 2006, p.62)

Other sustainable design theorists, such as Victor Papanek in 1995, suggest

that by designing with sustainability and the greater good as core principles,
meaning and function can return to a profession that has often been
accused of being concerned only with style.

In Rick Poynor’s essay titled “Look Inward, Australia” he discusses the

phenomenon of designers becoming less anonymous, and more concerned
with achieving fame, with design as an expression of style rather than
substance. In the essay, Poynor cites Graeme Smith who describes AGDA,
the Australian Graphic Design Association as being too concerned with
“…free pitching, the craft of graphic design and how clients need to be
educated… It’s not the client that needs to be educated. It’s the culture.”
(Smith, cited in Poynor, 2006 p. 108)

Tony Fry, an Australian designer and design theorist, supports recoding as a

way to achieve better sustainability. He defines recoding as transforming the
image of existing things to alter our perceptions, and therefore our actions
or reactions. Recoding is about changing the perceived view of a culture,
rather than simply that of the individual within that culture. “If we give the
existing things of the world new meanings, we effectively change the world
and our actions in it.” (Fry, 2006)

Sustainable Graphic Design 11

 Advertising itself is being organically recoded. From the alarmingly titled
4 “Advertising is Brain Damage”, Kalle Lasn (2007) notes that people are
Literature beginning to place some of the blame for their stress on invasive advertising.
Review He estimates that some 3,000 marketing messages are absorbed by the
average North American each day. “As global warming deepens, and a
somber, new reality sinks in, people are starting to ask some uncomfortable
questions: Why am I being told to buy a new car a dozen times every day?
Why am I constantly being urged to splurge on myself ‘because I’m worth
it’?” (Lasn, 2007 p.14). This barrage of advertising material seems to have
been accepted as part of everyday life, yet Lasn estimates that as little as
60 years ago, the average consumer had to absorb only 30 or so ads in a
normal day. The visual language is a major part of our everyday experience.

In other essays, Poynor discusses advertising as the primary imagery that

exists in our public spaces. He advocates as many alternative points of view
as possible to be displayed on the streets of communities: “…there can
never be enough debate because
the barrage of propaganda in
support of an advertising-led culture
continues without cease.” (Poynor,
2006 p. 54)

In São Paolo, Brazil, billboards and

ads have been banned from the
city’s landscape altogether. This is
an extreme example of reclaiming
public space from companies
who are trying to convince us to
consume more at the expense of our
environment, and our mental health.
However, São Paolo’s outdoor
figure 1: Empty billboard in São Paolo revealing building behind advertising levels were apparently
Image © Tony de Marco 2007 extreme, with claims that even
the architecture was hidden by the mass of billboards, posters and logos
(fig.1). Interesting results are appearing since the 2007 ban, in particular
the appearance of shantytowns, which are not new, but were previously
obscured by massive billboards and signage (Harris, 2007).

12 Sustainable Graphic Design

 “Sustainable Graphic Design in Brisbane” (Green, 2007) argued that AgitProp
4 – a state-supported education and information campaign in Lenin’s Soviet
Literature Russia (1917–1922) provided applicable principles for the promotion of
Review sustainable graphic design than advertising theory.

To entice individuals to consume non-essential consumer commodities,

advertisers use a variety of techniques. The first form is price advertising.
Because prices can be matched by competitors, another form is sentiment.
Sentimentality adds a social aspect, a community tie to goods (Papanek,
1995). Consumers are becoming increasingly alert to advertising that
appeals to their sentiments: ‘Most people do have considerable resistance
to ads. They know that ads are manipulative propaganda.’ (Bell, 2006 p.41,
citing Schudson, 1984).

AgitProp is a contraction of “otdel agitatsii i

propagandy”. Agitatsii can be translated as “to
urge people along a path”, and Propagandy,
originally from Latin, means “beneficial
knowledge”. AgitProp principles were to educate
a population that was 50% illiterate on the social
change that was occurring in Russia at the time
(Pethybridge, 1974). This meant that complicated
theories and ideals had to be expressed with
simple, clean design, which was considered
avant-garde at the time. Street posters were
one of the main media for the movement. It was
art used to attract attention to the messages of
enlightenment (Lavrentiev & Nasarov, 1995).

The street poster has been part of many socialist

and communist governments tools for societal
enlightenment. Other versions of the street poster
can be found as street art, or graffiti, such as
the posters printed by the collective “El Cartel”
which were pasted over right-wing propaganda
displayed in the city streets of Madrid, Spain
figure 2: Street poster by “El Cartel” (Manco, 2004 p.36) (fig.2).

Sustainable Graphic Design 13

 Design responses
4 Adbusters has been recoding for years, with recoded ads, billboards and
Literature other examples of what they term “culture jamming”. In culture jamming,
Review Adbusters use visual manipulation (often humorous) of existing ads to get
their message across in an instantly-recognisable way (figs. 3 & 4).

In particular, the Nike ad is striking, compelling the

viewer to keep reading the message, even though
it arouses more and more uncomfortable feelings
the further through the text the reader delves. This
type of message presentation has power. It attracts
because its message has meaning, rather than as
a designed piece that exists only to sell goods or
services.

In this sequence from a television ad for the

Victorian government’s “You have the power.
Save energy” campaign, black balloons are used
as a metaphor for greenhouse gases (fig. 5).
Calculations were made that a single black balloon
could contain about 50 grams of greenhouse
gases, which are ordinarily invisible. The ad was
figures 3 & 4: based around this notion, with the equivalent
Advertising campaigns by Adbusters members number of black balloons eerily squeezing out
(Adbusters n.d.: Spoof Ads) of appliances all over the house. By making the
greenhouse gases visual (and slightly evil-looking
for that matter) appliances were recoded, or
highlighted as the harmful gas-emitters that
they really are. This campaign also contained a
positive message: it suggested ways to limit these
emissions, and also promoted money-saving as an
incentive.

14 Sustainable Graphic Design

 Figure 5: Screenshots from “Black Balloons”
television advertisement (Sustainability Victoria n.d)

Sustainable Graphic Design 15

 5.1 Theory
5
Methodology An online survey was chosen as the primary research instrument to
provide information for the formulation of answers to the research
question.

Two types of questions were asked in this survey. Closed, or pre-coded

questions, where respondents selected answers using a Likert scale,
or from a multiple-choice selection, and open-ended questions, where
opinions and comments were entered freely by the respondent.

Benefits to the online method of surveying were:

» Reduced interference or prompting from researcher

» Many respondents could answer in a short amount of time
» No recording errors, especially for quoting open-ended responses
» Respondents were not able to submit incomplete surveys, resulting
in 100% completion rate
» Assurance of anonymity made for more honest answers
» Stable, uniform measure without variation
» Wider coverage
Limits to the online survey method were:

» Possible low response numbers as it was self-administered

» Did not allow for clarification of questions
» It was not possible to ensure that the correct order was followed
» Inability to submit incomplete surveys may have discouraged some
respondents, resulting in no response at all.
(Oppenheim, 1992 and Sarantakos, 1998)

16 Sustainable Graphic Design

 5.2 Instrument
5
Methodology A web survey (Appendix 1) was available at the address:
http://kali.qcas.gu.edu.au/~dod/green/bgsurvey.html
during the period 27/8/07—16/10/07.

The survey was designed to notify respondents if they had not completed all
compulsory questions on the survey, and submission was not possible until
this was rectified, ensuring greater accuracy in qualitative data. Open-ended
questions were optional, except for Q.7 which asked for respondent’s location,
vital for filtering non-Australian respondents.

Submitted data was then sent via email and entered as data for analysis.

The survey questions were piloted in “Sustainable Graphic Design in Brisbane”

(Green, 2007), as a phone survey using a probability sample of nine Brisbane
graphic designers.

5.3 Sampling
Respondents were directed to the survey through the following electronic
methods:

» forum post (Appendix 2) on Australian Graphic Design Association (AGDA)

website – http://www.agda.com.au
» forum post (Appendix 3) on Design By Nature website –
http://www.designbynature.org
» AGDA Queensland member email (appendix 4)
» o2 sustainable design network mailing list (appendix 5) –
http://www.o2.org

Sustainable Graphic Design 17

 The respondents are classed as a theory sample, targeting a specific
5 audience (graphic designers) and location (Australia). Two compulsory
Methodology questions requested the designer’s occupation from a pre-coded set of
answers, and their location. Answers to either of these questions that did
not fall within the target group were excluded. Of the 75 respondents, 13
were excluded on this basis.

Data from the remaining 62 respondents were accepted for analysis. The
62 respondents were from all over Australia (fig.6), from a variety of graphic
design levels (fig.7)
figure 6
City or town in which
respondent is based

Brisbane
Sydney 2
Melbourne 6
17
Adelaide
2
Canberra
2
Hobart
Perth 4
Regional QLD 1
Regional NSW 8 3
Gold Coast
18
Excluded

9 Outside Australia

18 Sustainable Graphic Design

 5
Methodology

figure 7
respondent’s job title

Junior designer
Graphic designer
Senior designer
Art director 1 2 19
Mac Operator
Student 7
Studio Owner
4
Excluded
6
4 None of the above 24
(no alternative job
title was stated)

Sustainable Graphic Design 19

 5.4 Instrumentation
5
Methodology Questions 1, and 3 used the funnelling technique to determine the
experimental variable of the level of sustainable design in Brisbane.
Question 1 led the subject through a set of closed questions with Likert
scale options. The respondents estimated their frequency of use of
sustainable and biocidal design techniques over the preceding three months.
Importantly, the subject also became familiar with the concept and format
for listing design techniques. Question 3 was placed one question away
from question 1 using the randomised concept to minimise the relationship
between the two questions. It asked a closed question about whether the
subject had used any sustainable design techniques, with a request for an
open-ended answer of which specific techniques they had used.

Question 2 was designed to discover two pieces of nominal data: whether

the subject had asked about their printer’s environmental statement, and if
so, whether the supplier had one. A closed question, answers of ‘yes’ or ‘no’
indicated that the designer had enquired or had been made aware of the
statement, while an answer of ‘I don’t know’ indicated that the designer had
not enquired or been made aware.

Question 4 was a dependant variable, asking whether respondents would

prefer to use environmentally-sustainable design techniques. It was
expected that all subjects would select yes.

Questions 5 was a closed question, with respondents selecting from a

list of possible barriers that they felt prevented them from employing
sustainable graphic design methods. The barriers listed were originated by
respondents to the telephone interviews completed in “Sustainable Graphic
Design in Brisbane” (Green, 2007). An open-ended section was provided to
uncover any new barriers the respondents had experienced.

Question 6 was a filtering question, asking respondents to select from a

list the job title closest to theirs. As the test group was Australian graphic
designers, any respondents who selected a job title, pre-coded as non-
graphic design or screen-based design, were excluded from the study.
These titles were “Web or screen-based designer”, “Account manager”
and “Other”.

20 Sustainable Graphic Design

 An open-ended answer section was provided for the “other” title, however
5 none of the respondents who selected “other” chose to enter their job title,
Methodology and were therefore excluded.
Question 7 was also a filtering question, asking respondents to state the
town or city in which they live. As the test group was Australian graphic
designers, any respondents who stated a location outside Australia were
excluded from the study.

Questions 8 and 9 examined an experimental variable: a possible cause

of biocidal design’s continuation (lack of support from the client or lack
of promotion of sustainable design from within the subject’s studio
environment towards the client). This question asked on the frequency
of dialogue on the subject of sustainable graphic design between the
respondent and their clients.

Question 10 was a closed question, asking where respondents might

seek information on sustainable graphic design. This seeks to confirm the
internet as the number one resource for graphic designers as indicated
in the telephone interview results from “Sustainable Graphic Design
in Brisbane” (Green, 2007). The possible answers were originated by
respondents to these interviews. An open-ended section was provided to
uncover any new information sources the respondents had discovered.

Question 11 was a closed question, asking if respondents had learned

any sustainable design ethics or methods at their tertiary institution. Two
possible “no” answers were provided, one which indicated that the
respondent had attended university 7 or more years ago, before the current
widespread interest in sustainability. A basic “no” answer was also provided.
“Yes” answers were divided into four choices, from a small amount, to either
ethics, or methods, or both.

Question 12 was a completely open question, asking the subject if they had
anything they wished to add to inform the study, or to talk about the issue
of sustainable graphic design in general. This question was posed at the
conclusion of the interview, so that the subject was aware of the full scope
of questions, and could add to the body of information already supplied.

Sustainable Graphic Design 21

 5.5 Findings
5
Methodology Question 1
This question was intended as a terminology indicator of the concept and
format for stating design techniques by the respondent in question 3. It also
served as an interesting investigation into the respondent’s estimation of the
frequency of use of both biocidal and sustainable techniques over a 3 month
period.

The univariate mean responses for techniques coded as biocidal (fig.8), and
those coded sustainable (fig.9) are shown below. The most common biocidal
print method is using bleed, followed by the use of coated paper and 4 or
more colours in print jobs. The most common sustainable print methods
were using paper with strong environmental accreditation, general uncoated
paper and the use of less than 2 colours.

Interestingly, the mean response of the use of environmental paper does not
correspond with the use of corresponding environmental logos on the print
job (fig. 9).

figure 8
Mean response of techniques coded as biocidal
Std Err of LS Mean = 0.127
on all jobs 5
4.339
4
3.306
3.145
3
2.306
2
1.500 1.419
1.097
never 1
metallic ink

cello coating
UV Varnish or

Bleed

Coated paper

Fluorescent ink

Foil stamping

in print job
4 or more colours

22 Sustainable Graphic Design

 A two-way “analysis of variance” test showed that the difference in the
5 mean values among the different levels of subject is greater than would
Methodology be expected by chance after allowing for effects of differences in semantic
(table 1), however the range of techniques applied to graphic design jobs
at different times is extremely varied, therefore further analysis of common
denominators to determine an alternate reason for this statistical variation
is not valid.

Normality Test: Passed (P = 0.027)

Equal Variance Test: Passed (P = 1.000)

Source of DF Sum of Mean F ratio F prob.

Variation Squares Squares
subject 61 217.481 3.565 3.584 <0.001
semantic 14 711.531 50.824 51.091 <0.001
Residual 854 849.535 0.995
table 1
Total 929 1778.547 1.914
Two-way analysis of variance

figure 9
Mean response of techniques coded as sustainable
Std Err of LS Mean = 0.127
on all jobs 5

4
3.339
3.113
3
2.629
2.403 2.306
1.984
2
1.613 1.613

never 1
Uncoated paper

based ink
Soy or vegetable-

enviro credentials
Paper with strong

Embossing

logo or similar
Adding recycled

Water-based glue

Aqueous varnish

4 colour print
Less than

Sustainable Graphic Design 23

 Question 3
5 Respondents were asked if they had used any sustainable techniques over
Methodology the previous 3 months (fig. 10). Only answers of “yes” indicated a conscious
decision to employ sustainable graphic design techniques during that period.
Therefore it can be stated that 48% of respondents consciously employed
sustainable graphic design in the 3 months preceding the survey.

Open-ended responses from that 48% as to which techniques they were

employing covered a broad range of sustainable graphic design methods
(fig.11).
The most common technique was paper with sound environmental
credentials, followed very closely by sheet minimisation. Many also stated
that they had diverted print jobs entirely into an electronic format. One
respondent described a total commitment to sustainable design rather than
any specific techniques.

no 24%
don’t know
27.5%

Figure 10 yes 48.5%

percentage of respondents
who indicated they had used
sustainable techniques

24 Sustainable Graphic Design

 Question 3
01
5
Methodology
Introduction figure 11
Top eight sustainable design techniques consciously employed by respondents
number of responses

13
13
12
10

8
7

5
4
4
3 3 3 3
1
purchasing green electricity
Changes in office eg.

Electronic proofing

Soy-based ink

less ink coverage on jobs

environmental credentials
Paper stock with strong

economic use of sheet size

Minimisation of waste by

Electronic solution

Using FSC accredited printer

Smaller quantity

Responses with a frequency of 2 were:

» Consult with client to apply a » Use less than 4 colours
variety of more sustainable » Waterless Printing
techniques

Responses with a frequency of 1 were:

» Water-based glue » Adding environmental » “The studio is committed to reducing
» Avoiding bleed accreditation to job the environmental impact of client
» Soy-based varnish communication in every part of the
» No fluorescent or metallic ink
design process from studio practice
» Emboss » “All aspects”
to product disposal.”

Sustainable Graphic Design 25

 Question 2
5 Forty percent of subjects did not know if their regular printer had a company
Methodology environmental statement (fig. 12). It can be assumed that these subjects
had not asked or been made aware by their printer. The remaining 60% are
likely to have asked or been made aware, indicating that there is a small
majority of dialogue between designers and printers on the subject.
Of those 60%, the overwhelming majority did have a company
environmental statement, which, while not quite reaching the standards
of FSC or ISO14001 accredited printers, is a positive indication that
environmental sustainability is an important issue.
Five respondents (8%) knew that their regular printer did not have a
company environmental statement, but still used their services. This may
be explained by the findings of question 5, where 18 respondents selected
“lack of available manufacturers” as a barrier to sustainable graphic design.

don’t know
40%

Figure 12 no 8%
respondents whose regular
yes 52%
printer has a company
environmental statement

26 Sustainable Graphic Design

 Question 4
5 59 respondents (95%) answered that they would like to use more
Methodology sustainable techniques (fig.13). It was expected that all respondents
would answer yes, however three respondents signalled that they did
not know. Further interrogation of their data in question 5 revealed that
all three selected “I need to learn more about it”, and that to a lesser
degree, client requirements added to their uncertainty (fig.14).

yes 95%

Figure 13
respondents who would like don’t know
to use more sustainable 5%
techniques
number of responses

3
3
2
Figure 14 2
barriers to sustainable graphic
1
design for the three “don’t know” 1
respondents in fig. 10
0
cheapest option
My client prefers the

or other unsustainable finish

My client prefers gloss paper
I need to learn more about it

Sustainable Graphic Design 27

 Question 5
5 The highest-rated barrier to sustainable graphic design was that the client
Methodology preferred the cheapest option (fig. 15). This result reflected the opinions
given in the phone survey in “Sustainable Graphic Design in Brisbane”
(Green, 2007). Respondents indicated they needed to learn more about the
subject, and selected a client-based requirement as the third most common
barrier to sustainable graphic design.

Figure 15
barriers to sustainable graphic design for all respondents

39
36
number of responses

22
18

6
2
cheapest option
My client prefers the

other unsustainable finish

My client prefers gloss paper or

Lack of available manufacturers

my organisation
Lack of support from within

any difference
I don’t feel I can make
I need to learn more about it

28 Sustainable Graphic Design

 Question 5
015 These results were sub-sampled using the variables from question 3:
Methodology
Introduction respondents who had specified sustainable graphic design techniques in
the previous 3 months (fig.16).

The results for the “no” and “I don’t know” respondents were very similar.

Respondents who had actively pursued more sustainable techniques

indicated that their top response was still client requiring the cheapest
option, but a lack of sustainable manufacturers and the client requiring a
particular biocidal method were both more important than learning more.
These respondents also returned a higher lack of support from within their
organisations than those who had not specified sustainable methods.

Figure 16
barriers to sustainable graphic design with Question 3 sub-sample

My client prefers the 10

cheapest option
10
19
13
I need to learn more about it 14
9
My client prefers gloss paper or 3
other unsustainable finish 6
13
3
Lack of available manufacturers 2
13

Lack of support from within 2

my organisation
1
3

I don’t feel I can make 0

2
any difference didn’t know if they specified sustainable techniques
2
did not specify sustainable techniques
did specify sustainable techniques

Sustainable Graphic Design 29

 Question 5
5 Respondents also had the option to answer freely on the question of factors
Methodology which may have prevented successful use of sustainable graphic design.
These comments, all from respondents who answered that they would like
to use more sustainable methods in question 4 were:

» While sustainable ideals are top of mind with our studio, our corporate
clients are just starting to get the message and therefore their choices/
decisions are not necessarily driving enviro solutions.
» The above ticks apply to just some of our clients, some are quite
environmentally minded.
» To some varying degree for all of above depending on client, job and
technique. Question is a bit broad.
» Often times, we are bound by client expectation. That said, with greater
awareness we may be able to push for more sustainable techniques.
» All clients are very supportive and I don’t quote non-environmental
stocks, so they don’t see any price comparison.
» The studio believes it is accountable for ensuring the best possible
outcome while minimising environmental impact, and only offers the
most environmentally sustainable production solutions available within
the client budget.
» No factors prevent us, we’ve been doing it wherever possible for ages.
» Depends on nature of the job and what the solution requires.
Depends on budget/options provided by printers.
Again, most respondents refer to client support, in either a negative or
positive way, as the major contributor to the use of sustainable graphic
design.

30 Sustainable Graphic Design

 Question 8
5 Respondents were asked how often their clients enquired about building
Methodology environmental sustainability into their brief. Totals were calculated for each
semantic to indicate these responses (fig. 17).

Results show that clients are rarely prompting the dialogue on sustainable
solutions to their design briefs for a majority of respondents. 82% of
respondents’ clients are asking about sustainable graphic design less than
half the time (fig. 18).
Figure 17
client enquiry into sustainable graphic design

26 25
number of responses

6
4
1
not at all

sometimes

about half the time

more than half the time

on all jobs

half the time

or more
18%
less than half
Figure 18 the time
client enquiry into 82%
sustainable graphic
design simplified

Sustainable Graphic Design 31

 Question 9
5 Respondents were asked how often they discussed sustainable graphic
Methodology design options with the client. Totals were calculated for each semantic to
indicate these responses (fig. 19).

Results show that a slight majority of respondents are discussing

sustainable options with clients at least half the time (fig. 20). In comparison
with findings from question 8, this would indicate that designers are
initiating the conversation more often than clients.

Figure 19
designer discussion of sustainable options with client

19

12 12
number of responses

10 9
not at all

sometimes

about half the time

more than half the time

on all jobs

less than half

the time
47% half the time
Figure 20
or more
designer discussion of
53%
sustainable options with
client simplified

32 Sustainable Graphic Design

 Question 10
5 Respondents were asked to rate information sources on a Likert scale.
Methodology Mean results show the internet was the number one resource for
sustainable graphic design, with paper and print companies the next most
used respectively (fig. 21).

Networking with other designers was rated slightly higher than seeking
information from books, journals and magazines.

Three respondents mentioned speakers at conferences at seminars as

another source of information, and one respondent ventured:
“There’s bugger all out there”.

Figure 21
mean response of sustainable graphic design resources
Std Err of LS Mean = 0.143
most-used 5
4.194
4 3.742
3.274
3 2.806 2.790
2.242
2

least-used 1
Internet

Paper company

Print company

Other designers

Journals and magazines

Books

Sustainable Graphic Design 33

 Question 11
5 Respondents were asked if they were taught sustainable methods or ethics
Methodology while studying for their graphic design qualification (fig. 22). As the job title
results (fig. 7) showed, the majority of respondents were at a senior level or
above, and so the result of “no, but that was over 6 years ago” was to be
expected. This survey questions the more recent curriculum, and therefore
these answers have been filtered from the results to show a more accurate
indication of respondents’ formal education about sustainability (fig. 23).

Figure 22
respondent’s formal education on sustainability

28
number of responses

22

6
3 3
0
0
over 6 years ago
No, but that was

No

Yes, a small amount

Yes, ethics only

Yes, ethics and techniques

Yes, techniques only

34 Sustainable Graphic Design

 Question 11
5 The filtered result for the level of sustainable ethics and techniques in
Methodology the respondents’ formal education shows a majority did not receive any
education in this area. Only 9% of more recent graduates were taught both
ethical and technical approaches to sustainable graphic design.

No
65%

yes, both
9%
yes, ethics
Figure 23 9% small amount
filtered results of
17%
respondent’s formal
education on sustainability

Sustainable Graphic Design 35

 Question 12
5 This open-ended question invited respondents to enter any final comments
Methodology on the issue of sustainable graphic design. Each comment is listed (table
2), except for those either containing email addresses from respondents
who wished to be contacted with results, containing links to inform the
researcher, or well-wishes (which were nonetheless greatly appreciated).

Table 2
Respondent comments

Green design doesn’t have to be ‘packaged’ as hippy, left, There needs to be strict environmental standards imposed
or alternate... countless samples come in which all look on printers to considerably clean up their act in order to
like the ‘scruffy greenie’ which has been stereotyped. This meet environmental sustainability, as well as on paper
makes it hard to sell to a dull client, if recycled papers, companies so that they can only supply environmentally
inks etc all looked A grade and I fear ‘corporate’ much sustainable paper. This way designers and their clients
more would be used, or signed off on. have to comply to being environmentally sustainable.

Good luck in your research, hope AGDA or some press

publish it widely in papers inside and most importantly
More education for clients and especially designers is
outside of the design world.
required!

As I am regional, there is the issue for our printer of paper

I would love to see a website devoted to all Australian
transportation and storage. This limits my choice.
sustainable practitioners, suppliers as well as designers,
and resources about techniques, etc that are really up
to date. I think giving designers better tools to be able to
I have suggested using more environmental procedures
explain sustainable design and its advantages to clients
and products to my peer designers and they seem
is important in the future of the industry. I also think
uninterested. I also have encouraged them to increase the
that design education needs to play a part in educating
awareness with their clients and they just seem like they
designers about the business advantages of sustainable
don’t care.
design, because many designers are afraid to limit
themselves by working in a niche market and by refusing
certain clients / jobs.
Am willing to learn more so I can, hopefully, make a small
step in lessening the burden on the environment our
industry creates.

36 Sustainable Graphic Design

 5 Table 2
Methodology
Respondent comments continued

Environmentally-sustainable graphic design is a great A gov’t subsidy to offset increased costs of using the
concept but in reality, in a regional area like ours, it is enviro-best products would help...
difficult to achieve. We have an inhouse printery for
whom price is the prime factor - we have little choice
in stock selection for the majority of our jobs. For some Env sustainable design is the core practice of my business
jobs, we are fortunate to be able to specify the paper, so this is not a typical response.
grammage and supplier - but even when we select an
environmentally conscious option, there is still a high
probability that the paper is coming in from Europe to Very frustrating when a lot of designers say they employ
Australia then to our regional area - so a large freight green design methods and all they do is just choose a
footprint - which in some ways negates the good effect mildly green stock. Education required for both designers
of choosing that particular stock (we think??) Is it just a and printers, and a far greater commitment.
feel good (for us) exercise rather than an economical and
It’s also viewed as not able to make much of a difference
sustainable option??
in terms of it being such a small part of the overall
business pie, but we all have to do our part regardless.

It would be great if some of the industry associations took

on this issue, graphic design is far behind the other design
I have worked with many designers who could not give a
disciplines.
stuff about the environment, which I believe stems from a
A list of sustainable suppliers would be helpful also. lack of education as a student.

I find it hard to convince various clients to persue an

environmentally sustainable option as it generally may
i think that most designers would love to push enviro
cost more, but am slowly winning the battle and will not
ethics onto their clients. unfortunately we collectively do
give up.
not have a huge amount of tools available to help educate
or sell to them the benefits outweigh the cost in the
long term. we sometimes push the web as a means of
You tend to do more when the client asks directly. Always
distribution instead of producing brochures at all in print.
good to get a reminder prompt now and then. Good idea
this saves paper etc but also most of the time brochures
to remember the little things that can help on every job.
reach the expiration before the total quantity is distributed
Better choices with paper these days. Inks – not as sure
and they get binned!!!
they are as widely available. Tend to value reliability of the
printer before their environmental credentials.

Sustainable Graphic Design 37

 5.6 Conclusions
5
Methodology » The sampling methodology possibly targeted mainly those designers
who had some level of concern for sustainable graphic design. The
results should be viewed as a representation of the more sustainable
members of the Australian graphic design community.
» While “paper with strong environmental credentials” was the most-
common sustainable technique selected from the limited list, using
a logo to inform the public about the paper was at a lower rate. Full
bleed was the most common technique, which is classed as biocidal.
The limiting of this list makes these results less meaningful than those
entered as free-response.
» 48% of respondents had consciously used sustainable graphic design
methods in the previous 3 months before completing the survey.
The most common method entered as free-response by that group
was “paper with strong environmental credentials”, “minimisation of
waste by considering sheet size and grouping jobs”, and “electronic
alternatives to print”. “Adding environmental accreditation or logo” was
even lower: only used by one respondent over the 3 month period.
» The highest-rated barrier to sustainable graphic design for all
respondents was that the client preferred the cheapest option.
Respondents indicated they needed to learn more about the subject, and
selected a client-based requirement as the third most common barrier
to sustainable graphic design.
» A sub-sample of respondents from the 48% of conscious sustainable
methodologists indicated that their top response was still client
requiring the cheapest option, but that a lack of sustainable
manufacturers and the client requiring a particular biocidal method
were both more important than learning more. These respondents also
returned a higher lack of support from within their organisations than
those who had not specified sustainable methods.

38 Sustainable Graphic Design

 5.6 Conclusions
5
Methodology » Respondents are raising the issue of sustainability more than their
clients. 42% of respondents’ clients did not ask about sustainable
design solutions at all.
» 95% of respondents indicated they would like to use more sustainable
graphic design methods. The remainder indicated that they did not
know if they would like to, but all indicated in another section that they
would like to learn more.
» 40% of respondents did not know if their regular printer had a company
environmental statement. It can be assumed that there has been no
dialogue on sustainability between the respondent and their main print
supplier.
» The top source of information for respondents was the internet, followed
by paper and print representatives. Design networks were more
important than magazines, books and journals. Printed matter was rated
lowest of all information sources.
» 65% of recent graduates reported that they did not receive any
education on sustainable graphic design as part of their formal
education. Several comments reflected the need for tertiary institutions
to ensure their graduates are well-educated on the subject.
» Respondents from regional areas found a major barrier to be lack of
available manufacturers.
» Sustainable standards could be imposed on printers and paper
companies to restrict product to sustainable varieties.
» Industry associations need to be leading the way, as graphic design is
far behind other design disciplines in the area of sustainability.

Sustainable Graphic Design 39

 6.1 What the study revealed
6
Critical The survey revealed that Australian graphic designers have a marked
Discussion difference between their attitude and their behaviour, known as the
A/B Split (Bell, 2006). 95% of respondents answered that they would
prefer to use more sustainable graphic design options, yet only 48% had
consciously applied any sustainable graphic design techniques over the
three months prior to completing the survey.

Investigation into the reasons behind this difference in the A/B split of
Australian graphic designers revealed barriers that can be grouped into
three main areas:

» Client support
» Education
» Lack of available manufacturers

Client Support
The highest-rated barriers for the 48% of designers who had consciously
employed sustainable graphic design techniques were those involving
client requirements. For the full complement of respondents, the same
barriers rated in the top three, with education coming in second. Lack of
support within the organisation also rated highly.

Most respondents commented that client support was the major barrier to
the use of sustainable graphic design. The dialogue on sustainable design
between designers and clients is mostly sparked by the designer, although
many did signal that many of their clients are very supportive: “The above
ticks apply to just some of our clients, some are quite environmentally
minded” (Survey respondent, p.30).

Initially, this report looked for ways to educate clients to address this
barrier, however the literature review suggested a larger, society-based
solution instead: “It’s not the client that needs to be educated. It’s the
culture.” (Smith, cited in Poynor, 2006 p. 108). Bell (2006) suggested that
society structures need to change to allow all members of society to more
closely align their attitudes and behaviours.

40 Sustainable Graphic Design

 One respondent questioned what graphic designers can do to make this
6 type of change: “I think that most designers would love to push enviro ethics
Critical onto their clients. Unfortunately we collectively do not have a huge amount
Discussion of tools available to help educate or sell to them the benefits outweigh the
cost in the long term” (Survey respondent, p.37).

Actually, in a society where the visual language is increasingly part of our

everyday experience of culture, graphic designers have incredible power:
as masters of visual communication. In revolutionary Russia, most of the
vital revolutionary propaganda was produced by Avant Garde artists, who
believed in their cause and produced pieces of design that helped shape
both their country and the graphic design profession. By using graphic
design skills to recode our culture, or construct “claims”, as Joel Best
proposes in John Hannigan’s 1995 text, the designer re-establishes the
relationship with the general public and helps to reclaim the public space
with meaningful communication. A sustainable graphic design claim is
constructed in Chapter 7: Design Solutions in line with this theory.

Lack of Available Manufacturers

Designers in regional areas found it difficult to use sustainable print methods
with their available suppliers. Some respondents suggested legislative
changes to the environmental laws to encourage more sustainable
methods. If recoding, claims-making and the general shift in society toward
environmentalism succeed in making changes in society’s structure, every
manufacturer will have to comply with, or exceed new laws.

By opening dialogue with those manufacturers, designers create demand,

which may in time create supply. Opening dialogue with clients, or
colleagues within the designer’s organisation may also spur change in
attitudes and behaviour.

Sustainable Graphic Design 41

 Education
6 Once the claim becomes a valid issue in society, graphic designers
Critical must be ready to accommodate their clients’ needs, and the needs
Discussion of the public. This requires education. 58% of respondents signalled
they would like to learn more about sustainable graphic design, and
65% of recent graduates indicated that they had not learned any
sustainable graphic design during their formal education. This must be
amended urgently if the profession is to be ready for the changes in the
environment and society that seem inevitable.

For designers who have already completed their education, other means
of education must be pursued. The most-used resource was the internet,
with industry networks the next-most used. Printed matter was the
least-used resource. This supports the semester 1 design outcome of
a Macintosh desktop widget, which contains basic sustainable graphic
design information for quick reference. Happily, AGDA have agreed to
host this widget on their website and fund its development through the
Gordon Andrews scholarship. This will give the widget its necessary
credibility and serve to commence AGDA’s commitment to providing
sustainable graphic design solutions for the Australian graphic design
community.

The new and improved designer’s desktop widget can be found in

Chapter 7: Design Solutions

42 Sustainable Graphic Design

 7.1 Street Poster Campaign
6
7
Critical
Design The initial design solution was to be similar in theory to the black balloon
Discussion
Solutions campaign. The idea was to make biocidal print techniques, in particular,
gloss varnishes, heavy ink coverage and metallic ink, a visual, tangible thing
as an educative tool for the general public. Tips on how to help stop the
processes being so widespread would be on the reverse side, and a subtle
varnish effect with conflicting imagery would be used to spark interest
(fig. 23).

This really proved expensive, and when examined closely, was probably
going to be a bit confusing and over-designed for the general public. The
message would be lost, and yet
another piece of biocidal print
would head straight to land fill.

The main message, on the reverse

of the handout, was for the general
public to take note of the amount
of glossy magazines on sale
every month and perhaps send
the handout to the publishers of
their favourite magazine. A better
way had to be found to get this
message across.

Figure 23
Initial design concept:
Toxic Print handout

Sustainable Graphic Design 43

 Taking inspiration from Joel Best’s theory on claims-making, and linking
7 with the recommendation proposed in Sustainable Graphic Design in
Design Brisbane (Green, 2007), a claims-making approach involving street
Solutions posters was researched.

Firstly, the ‘grounds’ had to be investigated (definitions, examples, or

numeric estimates based on facts). A numeric estimate was found in the
statistics provided by the Magazine Publishers of Australia. Gross sales of
magazines over a 12 month period to June 2007 were around 223 million
(Magazine Publishers of Australia n.d.). That’s a lot of magazines. The
estimated impact on the environment for that many magazines, using a
gross tonnage of virgin fibre paper as the base, was 109,765 trees (fig.1).
That’s a lot of trees.

223,000,000 magazines ÷ 12 = 18,583,333 magazines per month

Estimated average weight of Australian magazine = 300gms

300 x 18,583,333 = 5574 metric tons of paper stock

Estimated environmental impact of the paper found in 5574 metric tons of paper stock

Output Equivalent Environmental Impact

Wood Use 109,765 trees
Total Energy 2,228 homes per year
Greenhouse Gases 2,775 cars per year
Wastewater 143 swimming pools
Solid Waste 439 garbage trucks

table 3: Estimated impact of the paper found in 5574 metric tons of paper stock
Environmental impact estimates were made using the Environmental Defense Paper Calculator.
For more information visit http://www.papercalculator.org.

44 Sustainable Graphic Design

 Next, the grounds had to be linked to ‘warrants’ (justification or reason for
7 action, where the grounds are linked to basic rights or freedoms). Trees are
Design often referred to in environmentalism, but it was important to actually link
Solutions trees to that most basic of human needs: the need to breathe. By referring to
trees as “big woody things that make oxygen” (fig. 24), a light-hearted but
pertinent point was made regarding the importance of these
trees to our very existence.

Lastly, ‘conclusions’ had to be made (the action required to

Over 80 million glossy respond to the problem). The most obvious conclusion to be
magazines are sold in
Australia every month. made was to not buy magazines that you really do not need.
The problem with advertising this conclusion in the public
That’s 474,092 trees. sphere, is that it can possibly open up a litigious situation.
Actively deterring consumers from purchasing a product, and
therefore contributing to damaging a business by reducing
sales is a risky venture. It was hoped that this conclusion will
be arrived at without prompting. The design solution instead
stated two conclusions that promoted positive ways to address
ask the people at your
magazine to choose the claim. The first was to “ask the people at your favourite
better paper
work with qualified magazine to choose better paper”. This was a simple, easy-
graphic designers who
know what to do
to-understand statement without too much technical jargon,
and reminded the reader that there are humans running these
magazines, not a giant conglomerate set on an unalterable path
to destruction. The second solution advocated working with
Over 80 million glossy qualified graphic designers, in the hope that dialogue between
magazines are sold in designer and client opens up on the issue of environmental
Australia every month.
sustainability, and that clients understand designers can help.
That’s 474,092 trees.
(big woody things
that make oxygen)
Environmental impact estimates were made using the Environmental Defense Paper Calculator.

Ask the people at your

1favourite magazine to
For more information visit http://www.papercalculator.org.

choose better paper

Work with qualified figure 24
2graphic designers who
know what to do Drafts for A2 street poster (initial drafts
contained incorrect numeric estimates).

Sustainable Graphic Design 45

 The final poster (fig. 25) was printed and distributed for a 4 week period
7 from 22 October. Funds provided by AGDA through the Gordon Andrews
Design scholarship secured printing and distribution (table 4).
Solutions
Areas of distribution:
New Farm, Teneriffe, Fortitude Valley, City, West End, Paddington, South
Brisbane, Albion, Alderley, Ascot, Ashgrove, Clayfield, Everton Park, Hamilton,
Mitchelton, Spring Hill, The Gap, Toombul, Wilston, Windsor, Annerley,
table 4. Final costing for
campaign of 350 A2 posters
Buranda, Fairfield, Highgate Hill, Stones Corner, Woolloongabba, Yeronga,
(150 overs) distributed around Bardon, Graceville, Indooroopilly, Kenmore, Milton, Mt Coot-tha, Red Hill,
Brisbane Rosalie, Sherwood, St Lucia, Toowong, Bulimba, Camp Hill, Carina, Carindale,
A2 posters 634.70 Coorparoo, East Brisbane, Manly, Morningside, Norman Park, Wynnum,
UQ (St Lucia), Griffith Uni (Nathan), Griffith Uni (Mt Gravatt), QLD College of
distribution 231
Art (Southbank), QLD Conservatorium (Southbank), QUT (Kelvin Grove), QUT
new plates 120
(Gardens Point), QUT (Carseldine), Kangaroo Point TAFE, Morningside TAFE,
TOTAL $985.70 Southbank TAFE and Shafston University.

The poster used the following sustainable methods (ensuring obviously

destructive techniques are applied wisely, conservatively and for an ethical
purpose):

» Only as many as were needed are printed (a second distribution will

take place in the new year).
» Two colour print instead of four. Green was screened to 80% coverage
to increase ease of de-inking.
» Red and dark blue inks were avoided as they are harder to de-ink at
recycling stage.
» No bleed, to ensure offcuts are easily recyclable without de-inking
required.
» Paper and ink could have been at a higher environmental level, but
the message was deemed to be more important than not being able to
afford it at all. Paper is coated, with a percentage of recycled post-
consumer waste.

46 Sustainable Graphic Design

 Over 18 million glossy
g
magazines are sold in
Australia every month.
That’s 109,765 trees.
(big woody things
that make oxygen)

For more information visit http://www.papercalculator.org. Original photograph by Stephane Bocken

Environmental impact estimates were made using the Environmental Defense Paper Calculator.

Ask the people at your

Produced by a concerned citizen: www.beagoodhumantoday.blogspot.com

favourite magazine to
1 choose better paper
Work with qualified
g
graphic designers who
2 know what to do

figure 25 Final A2 street poster

Sustainable Graphic Design 47

 Conclusion
7
Design This street poster design addressed the issue of client support for
Solutions sustainable graphic design by sparking awareness and dialogue on a
graphic design issue among the general populace.

Using environmental sociology theory to construct a claim about a

sustainable graphic design issue and utilising graphic design as a tool to
connect with the community, members of the public were made aware of
the issue as it relates to society (fig. 26). By becoming a citizen designer,
and helping to recode the magazine, and gloss paper in general, it was
hoped that this will contribute to change in the social structures surrounding
the magazine industry. Change in the social structure will make it easier for
magazine consumers to lessen the gap between their attitudes and their
behaviours.

In promoting graphic designers as

professionals who are able to provide
solutions, rather than conspirators in
the production of print material that
is not sustainable, client support was
bolstered by recoding the entire graphic
design profession. The profession must
be ready to meet this challenge with
innovative sustainable solutions.

Figure 26
Poster displayed in various cafes and
venues in Brisbane

48 Sustainable Graphic Design

 7.2 Designer’s Desktop Widget
7 The designer’s desktop widget was submitted in “Sustainable Graphic
Design
Design in Brisbane” (Green, 2007). Revisions to the design and functionality
Solutions
have since occurred and are reported here.

The original widget was a small, stand-alone piece of scripted software

intended to run from the desktop in Macintosh OS X computers (figure 27).

Users could select

either “paper” or
“print” and then
select a technique
from a pull-down
menu to display
information on its
sustainability
(fig. 28)

Figure 27 Screenshot of macintosh OS 10.4.9 desktop with widgets open

Figure 28
original sustainability
widget in various states

Sustainable Graphic Design 49

 Criticisms were made that the widget featured north American trees, and
7 that the design was a little uninspiring. Other comments included the
Design possible addition of ethics, the secondary and tertiary layers of sustainable
Solutions graphic design, to this widget.

As this widget serves the primary layer, that of sustainable graphic design
techniques and methods, the main focus must remain on simple, factual
instruction in this area. However, it would be unwise not to take advantage
of the educational opportunity provided by this widget, and its scheduled
home on the AGDA website. As a result, some ethical summaries have been
added, as well as links to more substantial websites to prompt thought in
this area. The content for this widget can be found in appendix 6.

The design was amended to differ from other widgets. A beaten-metal

signage aesthetic was developed, to give the feel of re-use (fig. 29). Users
were given the choice of three different colour schemes, to create interest
for an audience with a higher level of aesthetic requirement
(figs 30,31,32).

Figure 29
sustainability widget
displaying selected print
technique information

50 Sustainable Graphic Design

 7
Design
Solutions

Figure 30
sustainability widget in
“global warming”
colour scheme

Figure 31
sustainability widget in
“greenhouse”
colour scheme

Figure 32
sustainability widget in
“ice cap”
colour scheme

Sustainable Graphic Design 51

 What can be done to promote the use of
8 sustainable graphic design in Brisbane?
Recommendations
Street Posters and other campaigns
More recoding and claims-making campaigns are needed to open
dialogue on sustainable graphic design in the community and to effect
changes in society’s structure.

Tertiary education to include sustainability

Recommendations Queensland universities and other tertiary institutions must educate
Brisbane graphic design students not only on sustainable ethics and
ideology, but on the technical aspects, for example, how to identify and
specify an appropriate paper stock to meet sustainability requirements.

Graphic Design Industry Associations to promote sustainability

Industry associations need to continue promoting sustainability at
conferences, workshops, on the website and in regular mailed material.
Providing a specialised section of their websites for easy reference to
conference notes and other material would contribute more widely to the
graphic design community.

Designers’ desktop widget

Widespread promotion of the designers’ desktop widget will further
expand knowledge of sustainable graphic design.

52 Sustainable Graphic Design

 Adbusters n.d.: Spoof Ads
9 Retrieved September 12, 2007, from
References http://adbusters.org/spoofads/index.php

Bell, M.M. 1995: An Invitation to Environmental Sociology

C.S. Graphics, Singapore

Chick, A 1992: The Graphic Designer’s Greenbook:

environmental concerns of the Design & Print Industries
Sterling Bianca, USA

Chick, A 2003: “Waste paper”

Design Week; 3/13/2003, Vol. 18 Issue 11

Davidson, M 1992: The Consumerist Manifesto

Comedia, London & New York

Design By Nature n.d.

retrieved April 30, 2007
www.designbynature.org

Food and Agriculture Organization of the United Nations (FAO) 2004:

FAOSTAT on-line statistical service.
Retrieved April 22, 2007 from
http://apps.fao.org.

Fry, T 2006: On Good Design

Essay developed from paper given at The Brisbane Ideas Festival,
March 2006

Green, R 2007: Sustainable Graphic Design in Brisbane

Unpub. MDes Paper, QCA Griffith University

Glaser, M and Ilic,M 2005: The Design of Dissent

Rockport Publishers, Massachusetts

Hannigan, J.A. 1995: Environmental Sociology: A social constructionist

perspective
Routledge, London & New York

Sustainable Graphic Design 53

 Harris, D.E. 2007, São Paolo: A City Without Ads
9 Adbusters magazine
References vol. 73, Aug—Sept 2007, pp. 38—41.

Hollis, R 2001: Graphic Design: A Concise History

Thames & Hudson, London

Kleanthous, A and Peck, J 2006: Let Them Eat Cake:

Satisfying the new consumer appetite for
responsible brands
Report for WWF-UK

Lasn, K 2007, Advertising is Brain Damage

Adbusters magazine
vol. 73, Aug—Sept 2007, pp. 55—58.

Laurel, B (Ed) 2003: Design Research: Methods and Perspectives

MIT Press, Cambridge, Mass USA

Lavrentiev, A. and Nasarov, Y.V. 1995: Russian Design 1920–1990

Academy Editions, UK

Lewis, H 2003: Defining Sustainable Packaging: A stakeholder survey

Centre For Design, RMIT University Melbourne

Lodder, C 1983: Russian Constructivism

Yale University Press, New Haven and London

Magazine Publishers of Australia n.d.: Circulation

Retrieved October 10, 2007, from
http://www.magazines.org.au/default.asp?page=/facts+%26+figures/
circulation

Manco, T 2004: Street Logos

Thames and Hudson, London

Mountain Equipment Co-op (MEC) (2006a). Sustainability: Greening Our

Operations – Green Catalogue Production.
Retrieved May 15, 2007 from
http://www.mec.ca/

54 Sustainable Graphic Design

 O’Barr, W 1994: Culture and the Ad: Exploring Otherness in the World of
9 Advertising
References Westview Press, Boulder, San Francisco, Oxford

Oppenheim, A.N. 1992: Questionnaire Design, Interviewing

and Attitude Measurement
Cassell, London UK

Papanek, V 1995: The Green Imperative

C.S. Graphics, Singapore

Paper Calculator Powered by Environmental Defense n.d.

retrieved May 29, 2007 from
www.papercalculator.org

Pethybridge, R 1974: The Social Prelude to Stalinism

Macmillan, London, UK
Poynor, R 2006: Designing Pornotopia: Travels in visual culture
Laurence King, London

Press, M & Cooper, R 2003: The Design Experience: The role of design and
designers in the twenty-first century
Ashgate Publishing, Aldershot

Printing Industries Association of Australia (PIAA) n.d.

Facts and Figures
Retrieved April 20, 2007 from
http://www.printnet.com.au/

Purcell, C 2007: A duty to indulge, and pass on the tales of a golden era
The Sydney Morning Herald, 24 October 2007
Retrieved October 25, 2007 from
http://www.smh.com.au/articles/2007/10/23/1192941065120.html

Printing Industries Association of Australia (PIAA) n.d.

Eco-Efficiency Assistance Program for Book Production Industries
Retrieved April 20, 2007 from
http://www.printnet.com.au/

Sustainable Graphic Design 55

 Sarantakos, S 1998: Social Research
8 Macmillan Publishers Australia, (2nd Edition)
References Shah, H and Marks, N 2004: A Wellbeing Manifesto for a Flourishing
Society: The Power of Wellbeing, Report for New Economics Foundation,
September 2004 Retrieved April 2 from
http://www.neweconomics.org/gen/

Society for Responsible Designers n.d.: Green Ink, Green Vision:

Responsible Graphic Designers.
Retrieved March 14 2007 from
www.srd.org.au/

Sustainability Victoria n.d.: “You have the power. Save energy” campaign,
black balloons ad
Retrieved September 12, 2007, from
http://www.saveenergy.vic.gov.au/getthefacts/whatisblackballoon.aspx

Talberth, J and Venetoulis, J 2005: Ecological Footprint of Nations: 2005

Update
Report produced for Redefining Progress
California, USA

Tupitsyn, M 1999: El Lissitsky: Beyond the Abstract Cabinet

Yale University Press, USA

Weston, N 1968: A Kaleidoscope of Modern Art

Harrap & Co, London, UK

56 Sustainable Graphic Design

Appendix 1 Web Survey

1. On a scale of 1 to 5, how often have you specified these print techniques in the last 3 months?

on all
never jobs

metallic ink 1 2 3 4 5

UV varnish or cello coating 1 2 3 4 5

bleed 1 2 3 4 5

uncoated paper 1 2 3 4 5

coated paper 1 2 3 4 5

flourescent inks 1 2 3 4 5

soy or vegetable-based ink 1 2 3 4 5

paper with strong

environmental credentials 1 2 3 4 5

embossing 1 2 3 4 5

adding recycled logo, or similar

environmental accreditation
to the finished design 1 2 3 4 5

foil stamping 1 2 3 4 5

water-based glue 1 2 3 4 5

aqueous varnish 1 2 3 4 5

less than 4 colour print 1 2 3 4 5

4 or more colours in print job 1 2 3 4 5

Sustainable Graphic Design 57

 Appendix 1 Web Survey

2. Does the printer you prefer to use have a company environmental

statement, or recognised credentials?

yes

no

I don't know

3. Have you specified any environmentally-sustainable

design techniques in the last 3 months?

yes

no

I don't know

If yes, which techniques were they?

4. Would you prefer to use environmentally-sustainable design techniques?

yes

no

I don't know

5. What factors prevent you from using environmentally-sustainable design techniques?

I need to learn more about it

I don't feel I can make any difference

Lack of support from within my organisation

My client prefers the cheapest option

My client prefers gloss paper/other unsustainable finish

Lack of available manufacturers

Other (please describe)

58 Sustainable Graphic Design

Appendix 1 Web Survey

6. Which of the following is closest to your job title?

Junior graphic designer (up to 2 years)

Graphic designer (more than 2 years)

Senior graphic designer (more than 5 years)

Web or screen-based designer

Art Director

Mac Operator

Graphic design student

Account manager

Production manager

Studio Owner

None of the above (please describe)

7. Which City/Town are you based in?

8. In the last 3 months, how often have your clients enquired

about building environmental-sustainability into their brief?

not at all sometimes about half the time more than half the time on all jobs

9. In the last 3 months, how often have you suggested an

environmentally-sustainable option to your client?

not at all sometimes about half the time more than half the time on all jobs

Sustainable Graphic Design 59

 Appendix 1 Web Survey
10. On a scale of 1 to 5, with 5 as the best resource, where would you look for information on
environmentally-sustainable graphic design?

least- most-
used used

Internet 1 2 3 4 5

Print company 1 2 3 4 5

Paper company 1 2 3 4 5

Other designers 1 2 3 4 5

Books 1 2 3 4 5

Journals & magazines 1 2 3 4 5

Other (please describe)

11. Were you taught any environmentally-sustainable graphic design methods

at your university/college?

No, but that was last century

No

A small amount

Yes, general ethics

Yes, general ethics and techniques

Yes, techniques

12. Is there anything at all you would like to discuss/add?

Submit or Clear Form

60 Sustainable Graphic Design

Appendix 2 news post: AGDA

Appendix 3 news post: Design By Nature

Sustainable Graphic Design 61

 Appendix 4 AGDA QLD email

Gordon Andrews Scholarship winner needs your help!

Winner of the Gordon Andrews Scholarship 2007 Becky Green, is asking all AGDA members
and friends to complete an anonymous survey central to her Master of Design research
project conducted at QCA Griffith University.
This survey asks for simple information from the day-to-day practice of graphic designers
at all levels of environmental awareness. Please complete before 16 October, 2007.
http://kali.qcas.gu.edu.au/~dod/green/

You are receiving this email because you are or have been an AGDA AGDA Inbox is
member or have added your email to our mailing list. If you do not wish produced
to receive this email, please unsubscribe below or reply to this email with by AGDA Queensland
the word 'unsubscribe' as the subject header. PO Box 858
Fortitude Valley Q
If you would not like to receive AGDA Inbox, please go here:
4006
unsubscribe
ABN 13 813 089 272
If you would like to subscribe or refer a friend, please go here: subscribe www.agda.com.au

Appendix 5 o2 Network mailing list

62 Sustainable Graphic Design

 Appendix 6 content for “paper” section of widget

PAPER

Heading in pull-down menu Information displayed

Coated papers Harder to recycle due to clay coating. 40% less fibres can be re-used from
coated stock than from uncoated stock. In some areas, there is more coated
paper being recycled than can actually be used, as gloss is specified at much
higher rates than uncoated or satin.
Uncoated or satin papers Easier to recycle than coated papers
Recycled paper Look for paper with a high percentage of recycled fibre, of which a high
percentage is post-consumer waste (PCW).

Some recycled paper has a very small percentage of recycled fibre, some of
which is pre-consumer waste, (rejected paper made from virgin fibre, aka mill-
broke, re-used in “recycled” stock).
Paper using virgin fibre Look for accreditation, such as
1. Blue Angel or Nordic Swan for European Papers
2. FSC (Forest Stewardship Council – Check what percentage of fibre is
accredited)
3. EMAS (Eco Management and Audit System in Europe) and/or ISO 14001
(an international environmental management standard).
Unbleached or ECF/PCF/TCF white paper Unbleached paper uses no harmful bleaches, but if white papers are required,
look for (order of preference) 1. PCF (Process Chlorine Free) or TCF (Totally
Chlorine Free) 2. ECF (Elemental Chlorine Free)

note: TCF indicates there is no post-consumer recycled fibre

Overseas Milled paper Requires a large amount of energy to transport to printer, and does not support
the local market
Australian Milled Paper Australian paper requires far less energy to transport to the printer. This must be
judged against its environmental credentials. Using Australian paper supports
the local market
Envelopes Plastic windows in business envelopes can last for 500 years in landfill. Specify
business envelopes with cellulose-based windows, as these break down easily
in landfill or compost.
Tree-free fibres Some papers use bagasse (from sugar cane), kenaf or hemp, all of which are
sustainable easily re-grown.

Sustainable Graphic Design 63

 Appendix 6 content for “print” section of widget

PRINT

Heading in pull-down menu Information displayed

Petroleum-based ink The drying agent, petroleum, releases VOCs (Volatile Organic Compounds) into the atmosphere during
the drying process. VOCs contribute to low-lying ozone and smog. These inks are also more difficult
to de-ink than vegetable or water-based inks. Petroleum inks that go to landfill can leach hazardous
metals into the soil, possibly contaminating the water table.
Soy, Vegetable & water-based inks Soy or vegetable ink still produces a small amount of VOCs (Volatile Organic Compounds) but these
inks can also be cleaned from the press with water instead of solvents. Soybean oil is a renewable
resource. 10% VOCs should be the highest percentage produced by your printer’s ink.

Water-based ink looks different to petroleum or vegetable inks, but is far cleaner. Both inks are
biodegradable, and are easier to recycle
Varnishes Mylar, UV varnish, polypropylene, celloglaze are all much harder to strip out of paper for recycling.
Some laser sorters mistake gloss UV varnish for plastic. Alternative varnishes are available, either
water-based or cellulose-based.
Solid areas of ink Solid ink areas increase the difficulty in the de-inking process. Using a 70% screen instead of solid
pms or cmyk is preferred.
Metallic ink Increases the difficulty in de-inking process. Metallic inks that go to landfill leach heavy metals into
the soil. Particularly worrisome metals are: cadmium, arsenic, mercury, antimony, lead, selenium,
considered a serious hazard to humans.
Number of inks The choice of ink colours should be carefully considered if the piece is likely to be recycled. Use
as few inks as possible to aid the de-inking process. If considering a 3 colour job, consider a cmyk
alternative. This may be cheaper and result in less wash-up of the press.
Dark blue, dark purple and red These colours are more difficult to de-ink than other colours, requiring additional chemicals and
colours treatment.
Binding material Plastic bindings can create problems when mixed with wastepaper. Metal binding can be easily
removed with magnets in the recycling process.
Bleed By eliminating ink in bleed areas as far as possible, the waste from the print job is much cleaner, and
less chemicals are needed for recycling the waste.

64 Sustainable Graphic Design

 Appendix 6 content for “print” section of widget

PRINT (continued)

Heading in pull-down menu Information displayed

Offset printing Waster water from dampening solutions, part of the lithographic process, is tainted with a high VOC
(Volatile Organic Compounds) count. Press and blanket roller washing solutions also contain harmful
solvents which also contain high VOC levels. Try to find a printer with FSC accreditation, ISO 14001 or
at least a company environmental statement.
Waterless printing Waterless printing uses no dampening solution, instead, a silicone-coated printing plate, specialised
ink and a temperature-controlled press are used. Images can be much crisper using this system, as
dot gain is lower, thus screen rulings can be higher (depending on stock selected). Quality levels are
often reached faster, resulting in less waste paper.
Digital printing Digital printing uses no harmful chemicals to clean the machinery, inks are safer and there is no
wastage, as each printed item is a one-off print.
Embossing Embossing uses no ink, and the metal die can be re-used for other embosses.
Die cutting Die cutting also uses no ink, and the knives in the die can be re-shaped to new dies easily.
Solvent-based glues Solvents in glues for bindings and labels emit harmful VOCs and make the recycling and de-inking
process more difficult.
Water-based glues Water-based glues dissolve easily during the recycling and de-inking process.

Appendix 6 content for “ethics” section of widget

ETHICS

Heading in pull-down menu Information displayed

Sustainable graphic design Design and production that consciously reduces adverse environmental impact
as far as possible. At best, ensuring that obviously destructive techniques are
applied wisely, conservatively and for an ethical purpose.
Get involved 1 Use your design skills to help an environmental or social justice group to make
their claims stand out and be heard
Get involved 2 Ask your client if they would like to see a sustainable graphic design option on
their next job
Get involved 3 Ask your printer if they have a company environmental statement, and if they
plan to seek ISO 14001 or FSC accreditation
links http://www.designbynature.org/
http://www.o2.org/
http://www.ecogeek.org/
http://www.re-nourish.com/
http://www.treehugger.com/
http://www.green.net.au/srd/

Sustainable Graphic Design 65

 Literature Review
01
Introduction Secondary Research

Primary Research

Recommendations

Bibliography

Sustainable Graphic Design 66