Via that same issue of Print I found this interesting matrix of recycled and tree-free papers assembled by Celery Design. About the guide:

“Most graphics professionals are searching for a few simple things in a paper the highest quality, the easiest functionality, and the lowest price. The goal of this guide is to help you add one more critical consideration to the decision making process: the environmental impact of the paper you specify.

Through your paper choices, you are directly connected to the preservation or the degradation of land, water, air, and the creatures that dwell therein. Paper reps and printers provide guidance on finding the best quality, functionality and price, but often can’t help when it comes to preserving the environment. This guide fills that information gap and points you to the very best recycled and tree free papers on the market today. You will discover that most of these papers are also very competitive in terms of quality, functionality, and price.

The recycled and tree-free papers listed here generate fewer toxins and impact the environment far less than typical virgin wood, chlorine-bleached papers. There are options here in nearly every grade, format and price category. We encourage you to contact the paper manufacturers for samples, pricing, and ordering information, and work with your clients and printers to specify these papers. We developed this guide as an easy-to-use, practical tool that makes it simple to change old paper-buying habits. Use it and share it with your friends. With the right information and a bit of initiative, each of us can reach a higher standard for our graphics projects.”

It’s not clear when the guide was last updated, but do bookmark the page at http://www.celerydesign.com/paper/matrix.html

What’s missing from the list are more tree-free, “synthetic” alternatives to paper like:

• TerraSkin, a biodegradable paper made of mineral powder.
• Yupo, made of 100% polypropylene. Not biodegradable, but easy to reconstitute.
• NatureWorks PLA, a biodegradable corn-derived polymer, primarily used for packaging.

Anyone know of other good resources on alternatives to paper?

...

Update July 27, 2005:

More suppliers of tree-free and recycled papers are listed at Rainforest Web

Update August 28, 2005:

The San Francisco AIGA’s Ecological Guide to Paper lists 20 papers that are either 100% recycled, tree-free, or some combination of both

Update October 31, 2005:

Conservatree has lots of good information:

• Paper types
• How to choose paper
• Paper listings
• and a Guide to Choosing Paper

They also offer consulting services.

For more on changing your organization’s paper policy, see the Environmental Paper Network’s Environmentally Preferable Paper Purchasing Guidance (436 Kb PDF).

Just when you’re pounded by clients and far too busy to think about updating your blog, Print magazine publishes a nice little write-up pointing readers your way:

“Most designers agree, even insist, that design is more than clever imagery selling goods and services — it also influences how societies function. Social Design Notes, a remarkably informed and highly useful blog edited by John Emerson, explores design’s sociopolitical power and inspiration. A New York activist and designer who oversaw Web sites for Amnesty International USA and Human Rights Watch, Emerson launched his blog is 2002 as a ‘bridge between design activism — to push designers to think about acting in the public interest and to help activists see how design can facilitate their campaigns.’ Emerson explores how design is used to support and challenge the status quo, posting one historical note about the ‘Black Panther Coloring Book’ created by the FBI during the civil-right movement, and another about South Africa’s use of the comic book to prepare its citizens for their first election. Emerson also discusses the built environment, praising former New York mayor Rudolph Giuliani for having championed design to improve the lives of the disabled. And Social Design Notes’ Resource page contains tools — such as free stock photos — designed to convert readers into true reformers.”

The July/August 2005 issue also has a several excellent articles on sustainable design, and is worth checking out for this alone.

But it makes you wonder — why doesn’t the magazine itself use recycled paper? Despite the “In Print” column which touts the magazine’s “early environmental outlook,” this is not addressed. So, do they care about sustainability or not? I know design magazines are hardly a lucrative venture, but the article “Fiber Optimistic” on page 57 points out that cost differences between recycled paper and not are nowadays “negligible.”

But then why not take it a step further. If toxic printing processes and non-recycled paper are harmful to the environment, why not consider sustainability as a criteria for your annual design competition?

Imagine what a massive force the AIGA could be if they required printed entries to their annual showcase use recycled paper.

Would this punish designers for the choices of their clients? Perhaps, but then why shouldn’t judging the beauty of a product take into account the nature of physical object itself? If designers care about competitions, why shoudn’t they push their clients that much harder? Why don’t all design competitions consider sustainability as a criteria? Does this impose some kind of “political” viewpoint? One could argue that not requiring this broadcasts a political viewpoint just as clearly.

Would the AIGA’s dues paying members revolt? Certainly some, but as the issue of Print notes (p. 11):

“This year the AIGA formed a national task force to develop policies and programs for the organization in support of sustainability. Following a poll revealing the environment to be the profession’s most pressing concern, the Worldstudio Foundation and the AIGA, through their ‘Design Ignites Change’ collaboration addressing social issues on a local level, made sustainability the focus of their first project.”

Hell, the AIGA’s last national conference was largely devoted to discussion of sustainability.

So at what point does sustainable design cease to be a “special issue”? When does it become incorporated as a fundamental part of what we do? And when do our design institutions take a stand and show some leadership? When do we start demanding it?

Is this all unreasonable? I would point out that it’s already happened once before. The American Institute of Architects, another national design association, went through a very similar internal debate years ago and came out embracing the green.

...

Update July 18, 2005 — Print responds:

“It’s true, Print does not currently use recycled paper, but we are looking into doing so as soon as our current supply of paper is fully depleted. It has been an economic issue in the past, but we are hoping to persuade our publishers to spend a little extra on this aspect of responsibility.”

Just flipping through Teaching Graphic Design, another compilation edited by Steven Heller.

The book consists of sample curricula, “Course Offerings and Class Projects from the Leading Undergraduate and Graduate Programs” in graphic design and typography, professional practice, exhibition, and Web design.

Notably absent is much mention of social responsibility. Only one chapter by Stewart Ewan attempts to do so explicitly (with projects on designing flags... and currency. Blah.) Another assignment asks students to design a poster “about human rights.” But to what ends?

This absence of any actual public engagement is particularly striking because Heller’s previous volume, Citizen Designer: Perspectives on Design Responsibility repeatedly and specifically fingers design education as the place where designers go astray and the reason designers are not more socially engaged.

Well, so much for that.

It raises the question, though, of what a book of progressive design curricula would look like.

A little Paolo Freire? A little Augusto Boal? I imagine something written not just for design teachers, but for a broader audience. It might touch on:

• Using design research and problem solving methodolgy to address civic issues
• Designing visual tools for public participation
• Reading assumptions encoded in images, structures, and practices
• Design for community building and advocacy
• Using design to streamline civic processes
• Issues on sustainable design and responsible printing
• Methods of user testing
• Multi-lingual design

It would cover media including:

• Basic typography
• Information design
• Documentary or narrative design
• Posters, graffiti, and street art
• Transportation graphics and civic way finding
• Mapping
• Branding and communications design
• Design for multimedia

It would integrate principles of cost-effectiveness, accessibility and inclusiveness, usability, environmental sensitivity, and technologically appropriate solutions.

Too much for undergrads? Why not throw in some historical analysis of art, design and social movements? An analysis of strategy and tactics... I could go on.

Any takers? Done properly, such book might be useful for grassroots groups and social movements, too. I’m sure there’s grant money to be had.

From an interview with Dan Bar-On, co-founder of the Peace Research Institute in the Middle East:

“One of our projects is to develop a new school textbook with a group of Palestinian teachers and Israeli teachers and two historians. We suggested that they take some dates from the history of the conflict... there were three dates: 1917, the Balfour Declaration, 1948, and the First Intifada. Each teacher should write his own narrative about these dates. Then they read each other’s narratives, they commented on them, and they asked questions. Finally, they were written up as two separate narratives. The task of the teacher is to teach both narratives to the pupils, and thereby to make the pupils aware, and to respect and acknowledge the fact that there are different narratives, that it’s not one legitimate and one not, and not that one are facts and one are propaganda, like the public says. These are two different perspectives, two different understandings of what happened in the history of the conflict.”

The book itself is a physical model of the divide — one half tells the Israeli story, flip it over and the other half tells the Palestinian story, with blank pages between the two.

Josh MacPhee is collecting submissions of graphics, illustrations and art for a book of freely reproducible graphics to be published by Soft Skull Press in late 2006.

He writes:

“Reproduce and Revolt!: Radical Graphics for the 21st Century is a graphic toolbox to be launched into the hands of political activists. The book will contain over 300 new and exciting high-quality illustrations and graphics about social justice and political activism for activists to use on flyers, posters, t-shirts, brochures, stencils or any other graphic aspects of political campaigns. All the graphics will be bold and easy to reproduce, in addition to being open source/anti-copyright. The book will come with clear instructions on how to best utilize the images so as to improve the graphic qualities of political campaigns. It will also contain a short history of political graphics, an archive of political flyers and posters throughout history, as well as information about and a bibliography of further reading for all of the social justice issues the art will cover....

Reproduce & Revolt! is not intended to be a who’s who of well known and successful political artists, this call is open to all levels of artists.”

Materials are due by October 31st, 2005. Contact ‘reproduce [at] justseeds [dot] org’ for more information.

A few places to start:

• Planning Your Next Conference (855KB PDF)
  “This paper is intended to assist organizers in developing successful grassroots/community level conferences within 5 months. It is written from a designer’s perspective to help you complete your tasks for maximum impact and minimum stress.”
  
  
• Failing By Design: Why Bad Ads Happen to Good Causes (1.9MB PDF)
  On layout and messaging.
  
  
• 14 ways to cut design and production costs (while increasing response)
  How to work with print shops.
  
  
• Public Relations Strategy and Media Relations Tips for Non-Profits and Advocacy Campaigns
  
  

From the American Institute of Graphics Arts:

“AIGA and Worldstudio Foundation will collaborate on a number of projects in 2005.

‘Design Ignites Change,’ a new joint initiative of AIGA and Worldstudio Foundation is an annual program in which members of the design community across the country work individually or in teams to create together some kind of visual artifact that will have broad visibility in our communities; that will be seen as a way to emphasize the value of design by doing something valuable to the community; and that will stimulate thought, dialog and action.

The goal is to showcase the projects in a traveling exhibition with a companion book or publication that will demonstrate the impact they had in their respective communities.

We are currently seeking designers’ input on what the program should address through a short online questionnaire.

Please take just a few minutes to share your thoughts before Friday, February 11.

While project parameters are still in development, certain criteria will be important, whatever final form the program may take: the program will be nationwide, annual, should include nonprofessionals and/or young people and program themes should be topical, current and politically nonpartisan.”

While it’s great that the AIGA is compiling a collection of graphic work for social change, it’s a shame that it’s so isolated from the rest of their work. For instance, there wasn’t much at all on social change in the results of their annual competition. Just think what an engine for progress the AIGA could be if they required (or even just awarded bonus points) for printed entries submitted recycled paper, printed with non-toxic, sustainable practices.

These types of things also tend to recognize work that other designers like rather than what works best for the client or issue. But if the resulting publication inspired a designer or student or two to take on a project in the public interest, that’d be a fine thing indeed.

And while the AIGA is a 501(c)(3) non-profit corporation and can’t endorse candidates or lobby too much, the whole “politically non-partisan” thing seems increasingly like a firm vote of approval for the status quo and its consequences. Now more than ever.

In any case, it’s hopefully a full first step towards a broader embracing and encouraging design in the public interest. And it’s nice that they are open for comments. Go tell ‘em what you think.

The United Nations Office for Project Services currently seeks a graphic designer and cartoonist to facillitate elections in Kabul, Afghanistan.

“The Afghan Government has announced the holding of elections for Parliament in July 2005. The Joint Electoral Management Body (JEMB) consists of Afghan Electoral Commissioners, UN appointees, and the Secretariat of the JEMB supported by UNOPS who are responsible for the electoral process.�

Graphic Designer:

“Under the supervision of the Chief of Public Outreach and the Senior Designer the incumbent will be expected to work with the team to conceptualize, design and produce nation wide print campaigns for civic education, voter registration, training and elections. These materials will be produced in English, Dari and Pashto. The materials will include posters, brochures, flip charts, manuals and other printed materials. Specific tasks include: �

• Working with Public Outreach officers, training and procurement officers and senior designers to conceptualize the print campaigns.
• Design and layout print materials in Quark Xpress, Photoshop, Illustrator and Word.
• Design and layout Dari and Pashto versions of printed materials.
• Provide illustrations for designs where needed.
• Assist in providing direction and assistance to local artists/illustrators.
• Prepare materials for printing.”

“In close consultation with the Chief of Public Outreach, Civic educators and the Senior Designer from the Graphic Design Unit and the National Illustrators the incumbent will be expected to undertake the following tasks:

• To work as a team member to develop the concepts of print materials for Civic Education, Public Information and Training.
• To execute initial cartoons/illustrations and revise for flip charts, posters, leaflets, newspaper cartoon strips and inserts, booklets and other print materials as needed.
• To attend National focus groups and meetings to ensure the intended message is easily understood.
• To work with the National Illustrators in developing these cartoons/illustrations into final art.
• To provide direction and assistance to local artists/illustrators.
• To work with Graphic designers when creating final art to ensure the illustrations work with the intended print materials.”

Funny, I wonder why the UN can’t find local a designer willing to support the election.

Antiwar activists found not guilty over flier distribution

“The Tokyo District Court found three peace activists not guilty Thursday of trespassing at a Self-Defense Forces housing facility in the western suburbs of Tokyo and distributing leaflets in mailboxes expressing opposition to the SDF deployment in Iraq.

They were arrested Feb 27 after trespassing Jan 17 at the SDF residential quarters in Tachikawa, Tokyo, to distribute the fliers urging SDF personnel and their families to consider the appropriateness of sending Japanese troops to Iraq.”

The three spent nearly 2 1/2 months in detention.

Japanese police have become increasingly agressive in their crackdown on peaceful protestors distributing political leaflets.

More from the Japan Times:

“The Feb. 27 arrest of the three, members of local citizens’ group Tachikawa Jieitai Kanshi Tentomura (Tachikawa Tent Village to Monitor the Self-Defense Forces), shocked many civic groups and legal experts, who see it as an attempt by authorities to silence antiwar activists.

The handbills say SDF personnel may inevitably be forced to kill Iraqis and call on the service members to critically assess the government’s decision to dispatch troops to Iraq....

After returning home Tuesday night, one of the three, a 47-year-old worker at a public school in Tokyo, said the arrest and subsequent detention caused irreparable damage to his social reputation and career.

He said that on the day of his arrest, some media reported his name as a criminal suspect, and that he must stay away from work as long as his trial is ongoing.

Established in 1972, the group, which currently has seven members, has been posting handbills at the complex for the past two decades, but members claimed there had never been problems until they posted the handbills in January, drawing complaints from the residents.

...

In April last year, a 25-year-old bookstore employee was arrested for vandalism, after writing antiwar graffiti on the wall of a public lavatory at a park in Suginami Ward, Tokyo. The man said he was questioned by public security police, who grilled him over his political background.

His arrest was unusual, his counsel said, in that instead of the ward initiating a criminal complaint, police approached the ward to do so.

In February, the man was handed a suspended 14-month prison term. He has appealed the case to higher court, claiming his sentence is too harsh for the crime.

In March, a 50-year-old Social Security Agency employee was arrested and charged with violating the National Public Service Law by posting copies of the Japanese Communist Party organ Akahata in more than 100 mailboxes in Tokyo’s Chuo Ward during campaigning for November’s general election.

It is illegal for civil servants to engage openly in election-related activities, but no one has been charged with such an offense since 1967, according to legal experts, although over the years a few have been arrested.

His lawyer said it is unprecedented for a public servant to be arrested for merely posting leaflets. This case was also handled by public security investigators, who raided the man’s home, workplace and the JCP’s office in Chiyoda Ward.

‘Posting leaflets is the most peaceful means and one of the few tools powerless citizens have to convey their message,’ said Katsuko Kato, a 66-year-old cram school teacher who heads the Tachikawa citizens’ group. She added that peace activists targeting SDF bases widely employ the tactic.

‘This (renewed) oppression of citizens’ voices and the rights of those in the military to have wide access to information was something that was prevalent during the war. It reminds me that Japan is again at war,’ she added.”

Of course, article 9 of Japan’s Constitution forbids the country from engaging in war:

“Aspiring sincerely to an international peace based on justice and order, the Japanese people forever renounce war as a sovereign right of the nation and the threat or use of force as means of settling international disputes. 2) In order to accomplish the aim of the preceding paragraph, land, sea, and air forces, as well as other war potential, will never be maintained. The right of belligerency of the state will not be recognized.”

That is, the same Constitution drafted by the occupation government of the United States military in 1946.

Read more about the history of Tachikawa Tent Village to Monitor the Self-Defense Forces.

See this previous post on recruiting graphics for Japan’s Self-Defense Force.

Those little yellow magnets seem to be everywhere. Not quite posters, it’s a regular grassroots movement of car signage, marking the public space in the bumper-to-bumper gaps between the private. (And what better place to support a war for oil?)

The NY Times has a brief story on the origins of the current magnet ribbon, while Design Observer digs up a broader history of the yellow ribbon symbol.

Since the civil war, the ribbon has been used to welcome home loved ones who had been away at war or in prison. The popular 1973 song was loosely based on the story of a soldier returning home from the Civil War. It was a number one hit in April 1973, at the height of the Vietnam War — a time when many veterans ambled to a less than friendly welcome.

But the meaning of the yellow ribbon has shifted over time. Do the current ribbons encourage support of those broken and maimed veterans showing up at homeless shelters? I presume not. I read the symbol as more than just a welcome home, but sign of “loyalty,” not just a show of concern for U.S. soldiers at war, but to admonish those who are not sufficiently supportive — for instance, who oppose the war.

Which is why I’m inclined towards the more specific version produced by United for Peace and Justice:

And the more oppositional styling of the duct tape version:

See also previous posts on freeway posters, orange, red, and blue ribbons.