One of my ideas was to delve into the concept of a manifesto and how it can be a powerful tool for addressing broader issues or sparking change. Manifestos have historically been used by designers and artists to articulate their visions, challenge the status quo, and inspire new ways of thinking. I became intrigued by the idea of creating my own manifesto, as it seemed like an opportunity to express my beliefs and values in a structured yet creative way.
As I began researching, I explored the manifestos of influential designers and movements, from the Bauhaus to contemporary design collectives. I discovered that a manifesto isn’t just a declaration of intent; it’s a call to action that can resonate with others who share similar concerns or aspirations.
Since I’ve never written a manifesto before, this is uncharted territory for me, and I’m excited about the process of exploration and self-expression it entails. I’m eager to see how I can use this format to engage with larger conversations and, perhaps, initiate meaningful change in my area of focus.
First Things First Manifesto: Original (1964) by Ken Garland. The First Things First Manifesto is a significant document in the history of graphic design and visual communication, calling for a more ethically driven approach to design. Originally written and published by British designer Ken Garland in 1964, the manifesto was later revised in 2000 by a group of designers, writers, and cultural critics, often referred to as the First Things First 2000 manifesto. This manifesto criticised the use of graphic design for trivial purposes, such as advertising and consumerism, and called for a return to more meaningful and socially responsible design work. Key quote - “We think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, television and film titles, and much more.”
In 2000, the manifesto was revisited and updated by a new generation of designers, including notable figures like Adbusters’ Kalle Lasn, Rick Poynor, Jonathan Barnbrook, and others. The updated version was published in design magazines and websites, resonating with a new era of designers facing similar concerns about the role of design in society. While the original manifesto focused primarily on the tension between design for commercial versus social purposes, the 2000 version also addressed the environmental impact of consumerism, the role of technology, and the increasing influence of global capitalism on the design profession.
The manifesto’s core message remains relevant today, as designers continue to grapple with issues related to consumerism, sustainability, and social responsibility. It is often cited in discussions about the purpose of design and the need for a more conscious approach to the profession.
By drawing inspiration from “First Things First,” I’m reminded that design is not just about creating visually appealing products, but also about making a statement and contributing to a cause. This perspective is guiding my approach as I explore how a manifesto can be more than just words on paper—it can be a powerful catalyst for change.
Bruce Mau: A Canadian designer and educator, is renowned for his Incomplete Manifesto for Growth (1998), a set of 43 statements that reflect his approach to design and creativity. The manifesto is not a rigid set of rules but rather a flexible guide for nurturing creative growth. Mau’s manifesto encourages embracing process over perfection, learning through making, and remaining open to unexpected outcomes.
Mau’s manifesto teaches that growth is an ongoing process, and perfection is not the goal. This is a powerful reminder that manifestos can evolve over time, just as ideas and people do. It emphasises the importance of experimentation and iteration, suggesting that writing a manifesto is about exploring ideas and refining them through practice and experience. The Incomplete Manifesto for Growth is deeply personal, reflecting Mau’s own experiences and beliefs. This shows that manifestos can be both individual and universal, offering insights drawn from personal journeys that resonate with others.
Sister Corita Kent’s Rules and Hints for Students and Teachers: I was asked to look into Sister Corita by Lizzie. Sister Corita Kent, an artist, educator, and advocate for social justice, created her Rules and Hints for Students and Teachers in the late 1960s while teaching at Immaculate Heart College in Los Angeles. Her manifesto, co-authored with composer John Cage, is a set often rules designed to encourage creativity, learning, and collaboration. Her manifesto emphasises the importance of working together and learning from others. This underscores the idea that manifestos can foster a sense of community and shared purpose, rather than simply being a set of directives.
Sister Corita’s rules are infused with positivity and curiosity, encouraging students to stay open-minded and engaged. This approach suggests that manifestos can be uplifting and motivating, serving as a guide for maintaining an optimistic and inquisitive mindset.
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