A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business

7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business

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Arthur L. AsseoMary Anne Hopgood SantaellaMara de Mater ONeill

5th International Conerence on Typography and Visual Communicationon the theme o Against Lethe...,June 6-8, 2013,Department o Design & Multimedia, University o Nicosia, Cyprus.

A Central Paradigm in the Periphery:

The Rise and Fall o a

Graphic Design Business


2/75

First graphic design studio to proessionalize

the graphic design industry o Puerto Rico.

Gra, Inc.: A New Paradigm

1982-2002

How did

they do it?


3/75

1982-1998

Gra, Inc.

Corporate Identity


4/75

It is the spanish term for whats happening,a friendly way of asking what is going on.

It triggered the formal founding of the rm.

It also marked the beginning of Grafs demise. It illustrates how Graf grew and changed.

A recurring publication design project for

the Puerto Rico Tourism Company.

Case Study

Qu PasaThe Ofcial Guide To Puerto Rico

1982-1998


5/75

to complex visual communication

services in an adverse context.

Qu Pasawill be used to understand

how Gra changed the local practice

rom fne art printmaking tradition

Qu Pasa(December, 1980)

Puerto Rico Tourism CompanyEditor: Patricia OReilley

Design: Irene Delano

Example of the magazine before Graf.

Qu Pasa(Winter, 1994)

Graf, Inc.

Puerto Rico Tourism Company

Grafs second revamp of

the magazine.


6/75

Thriving Under Adversity(1982-1996)

No design industry

Weak design culture

Technological limitations

(pre-digital era)

Whatwas the

adversity?


7/75

Our Question

What

was thehistoricalcontext?


8/75

Whatwas the

historicalcontext?

Lack o design industry:Only Architectural rms were in business.

No Diverse Practice:

Design services were mostly offered bymultinational Ad Agencies.

Lack o Strong Government Policies:DIVEDCO(Division o Community Education),a strong cultural program that ran since the1950s, had closed, leaving Concilio de Diseo(based on the model of the United Kingdoms

Design Council) as the only governmentprogram ocused on design.


9/75

Qu Pasa(January, 1981)


The intrusion o politics in the tourist

guide is evident in the January

1981 edition of Qu Pasa, where

the cover (top) shows a picture of

the reelected governor at the time,

Carlos Romero Barcel but the table

o contents (right, marked with

red) shows a footnote referencing

the cover photo that reads: Cover:Guayama plaza. PRTC Photo. It

appears that the PRTC decided to

change the approved cover ater

it had gone to press. According to

Hopgood this move had an infuence

on then editor Patricia OReilleys

retirement later that year.

Politicized processes

Cultural insitutions and products were targetedand restrained by right wing government.


10/75

Peripheral Design PracticesGui Bonsieppe, El diseo de la periferia. Debates y experiencias

(1985)

Periphery = developing countries

Design is a luxuryCountries with no reliable infrastructure or

manuacturing industry

Cheap laborNo design discourseNo design education (except architecture)

Theoryo the

Context


11/75

Central Design PracticesGui Bonsieppe, El diseo de la periferia. Debates y experiencias

(1985)

Center = developed countries

Design is an integral part o production

Theoryo the

Context


12/75

Our Question

Whatmodels did

Hopgooduse toshapeGra?


13/75

Whatmodels didHopgood

use to shapeGra?

Business model o West IndiesAdvertising (a local ad agency).

Ethical Guidelines of the American Institute ofGraphic Arts (AIGA) to begin/develop a designpractice discourse.

Pricing model of the Graphic Artists Guild.

Creative models of successful design groups likePentagram to establish creative processes.

All Central Models:


14/75

How werethese models

adapted to thepheripheral

designpractice?

New Question


15/75

Analysis FrameworkReal-Time

Response

Planning(RTRP)

(ONeill, 2011)

A four stage problem solving spiralmodel is used to explain, underResiliency Theory, the stategies usedby Graf to tackle adversity, thrive andlater, succumb.

RTRP uses 4 sets of behavior patternsconsisting o 9 tools or designpractitioners to make resilient strategies.

RTRP MODEL PROCESS

(diagram)

analysis

strategy

actMethod (Tools prominence)

Choose the Tools

Grasp the Adversity

Learn observe

R

T

R

P

ADVERSE

EVENT


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rtrpGRAFS AXIOLOGICAL MODEL(1982-1992)

Graf, Inc. team in 1991. Sitting down,in the middle with her arms crossed is

Mary Anne Hopgood Santaella, President

and owner of Graf, Inc. The photo is

part o a shooting done or a three part

promotional mailing piece. The photo was

taken in Grafs new facilities, inaugurated

in 1990. Photo: Mark Bacon.


17/75

Intertextuality

Anchored

Publish Participated in local andUnited States competitions.

Open process with creative team.

At Hand Used what was available

rtrp

Work-ethic based on merit, not by public relations

Horizontal organizationSupportive o creative practitioners

Visual acknowledgment o past artists and

designers work

Eective Strategies


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Evidence:

They chose their workload and itinerary. Very different from

Ad agencies at the time.Promoted pro active decision making.

Emphasized collaboration in all stages of production. The

designers participated in the costing of projects based on

their estimated time or executing each phase.

Committo a specic community

and when you nd yourself

in a compromising situation,

remember and honor it. You

should not conuse

this tools meaning with blind

nationalism or xenophobia.

Eective Strategies

Work-ethic based on merit, not by public relations

Horizontal organizationSupportive o creative practitioners

rtrp

designers self-worth

Anchored


19/75

Intertextuality

Eective Strategies


designers work

Evidence:

Grafs adaptation of Irene Delanos centerfold map of

Puerto Rico drawn by photographer Jack Delano.

Graf approached the map as an information design piece.

The decision to pay respect to work of the Delanos in

Qu Pasa, is a way to preserve design history.

Stay tuned to what happened,

is happening and will happen in

the eld. Accept and recognize

the past authors and creators

legacies and integrate them

respectfully in your work. In the

best-case scenario, this tool may

lead you to innovation.

designers role in society

rtrp


20/75

Map o Puerto Rico


Irene and Jack Delano


The decision to pay respect to

work of the Delanos is a way

to build for the future.


21/75

Map o Puerto Rico

Qu Pasa(top: September, 1990; bottom: Fall, 1994)

Graf, Inc.


Paying respect to the work of predecessors

proved that embracing new technologies

and new languages does not have to erase

the past. Recognizing the contribution of the

past oer tools or the present.


22/75

Map o Old San Juan


Irene and Jack Delano



23/75

Map o Old San Juan


Graf, Inc.


Top: (September, 1990) Qu Pasawas a

two-color monthly publication. Bottom:

(Fall, 1994) Qu Pasahad become a full

color, digital, quarterly publication.


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Intertextuality

Eective Strategies


designers work










rtrp

Evidence:

The unique 8x8in (20x20cm) format was kept to mantain a

connection and to build goodwill.


25/75

Qu Pasa(let: September, 1990; right: Fall, 1994)

Graf, Inc.


On the left, Grafs rst design of the

magazine, as a two-color, mothly

publication. On the right, the 1994 revamp,

as a quarterly ull color, digital magazine.


26/75

Qu Pasa(Spring, 1993)

Graf, Inc.



27/75

Qu Pasa(Summer, 1995)

Graf, Inc.


Hopgood on the 8x8in ormat: It

could be easily folded and put in a

bag. An eight and a half by eleven

[letter size] would have been too big.


28/75

Intertextuality

Eective Strategies


designers work










Evidence:

Graf also sustained and strengthened the editorial criteria

that the previous editor had established for the publication

(60% editorial content and 40% advertising).

rtrp


29/75

Current events spread


Graf, Inc.


Top: shows the Events section of the

magazine with the design used by Graf from

1983-1991. Bottom: shows the revamp

or the same section (then called Whats

Happening), used rom 1994-1997.


30/75

Ad pages

Qu Pasa(Winter 1994)

Graf, Inc.


Ad pages were kept apart from

the editorial content in selected

sections o the magazine.


31/75

Main article spread


Graf, Inc.



32/75

Main article spread


Graf, Inc.



33/75

Main article spread


Graf, Inc.



34/75

rtrpEective Strategies

At Hand Used what was available

If you nd yourself in a stressful

situation, constrain your design

work to what is available. Dont

lament about what you dont

have; instead, welcome the new

learning opportunities that this

may bring you.

designers problem solving skills

Evidence:

Used photo-typesetting

Redesigned the magazine section by section

Did a total of three revamps while the production of

the magazine kept on running, i.e. worked on two

magazines simultaneously.


35/75

Old San Juan spread

Qu Pasa(top: July, 1982; bottom: December, 1982)

Graf, Inc.


Top: design by Irene Delano. Bottom: rst

issue completely designed by Graf. Only

small adjustments to Delanos design

had been made. Grafs complete revamp

debuted in December 1983.


36/75

Out on the Island spread

Qu Pasa(top: January, 1985; bottom: January 1986)

Graf, Inc.


Two design approaches for the two-

color Qu Pasa(1982-1991), one

with many smaller photographs and

the other with bigger more dramatic

shots of important landmarks.


37/75

Following the sun spread


Graf, Inc.


Similar section to Out on the

Island (previous slide) in the 1992

revamp. In the digital version o the

magazine, Graf stepped away from

the International Style aesthethic.


38/75

Following the sun spread

Qu Pasa(Fall, 1997)

Graf, Inc.


Another version of Following the sun.

This was part of the 1994 revamp

that was used until the end. This is

the last issue designed by Graf.


39/75

Restaurants spread


Graf, Inc.


First revamp by Graf of the

Restaurants section. Debuted in 1983,

Grafs rst revamp of the magazine.


40/75

Restaurants spread

Qu Pasa(September 1985)

Graf, Inc.


1985 revision o the Restaurantes

section. Graf worked continuously

to strengthen the Inormation

Design aspect of the publication.


41/75

Restaurants spread


Graf, Inc.


1992 revamp o the Restaurants

section. Same format was used

for other listings like Lodgings.


42/75

rtrp Eective Strategies


Show others what you are

doing. Allow them to see your

reections on both, the process

and the nal product. Remember

that problems are like fungus;

they grow in the dark, which

means you can also use this

tool to get problems out of the

closet, debilitate them and solve

them. Remember that in order to

publish you need to document

your work, or on the contrary, it

will be like it never happened.

Participated in local and

United States competitions.

Open process with creative team.

Publish


43/75

1995

7th. Edition EXCEL Awards

Corporate Identity


Public Relations Association Puerto Rico


44/75

1996


Corporate Identity

Commission or the 2004 Olympiad



45/75

1997

AMERICAN COPORATE IDENTITY 13

Award of Excellence


Trademark/Logo Design


46/75

1997


Award of Excellence


Complete Identity Program


47/75

1997


Award of Excellence


Letterhead Design


48/75

1997


Award of Excellence


Signage/Environmental Graphics


49/75

1997


Award of Excellence


Signage/Environmental Graphics


50/75

1997

American Paper Design And Printing Competition

First Prize


Promotional Mailing Piece


51/75

1998


Corporate Identity

Museum o Art o Puerto Rico



52/75

Whatwas the

result?

Qu Pasas popularity grew and so did its production budget:

from $423K (USD) in 1987-88 to $453K (USD) in 1989-90. Eventually

PRTC assign up to $1 million to the production budget.Growth o the corporation:

from 3 to 10 employees; revenue: $75.5K (1982), $527.1K (1989) to

$1.3 million (1993)

Peer Recognition:

United StatesPrint Magazine published an article dedicated to PuertoRican graphic design, which included the work of Graf.

Corporate clients: Ponce Museum o Art, Banco Popular o Puerto

Rico, Citibank Corporate Banking, Commission for the 2004 Olympiad,

Museum o Art o Puerto Rico, among others.

Governmentprojects: Tourism Company corporate ID andPromotional ID

Nationaleventsproject: Central American Games of 1993.

Internationalprojects: Banco Popular Dominicano and

Costa Rican presidential candidate Margarita Penn; rst female

presidential candidate.


53/75

1992

Margarita Penn

Identity and slogan

First emale candidate o the Presidency o

Costa Rica. Graf developed the graphics,

promotional pieces, slogan and coordinated

quality control with suppliers in Costa Rica.


54/75

1992

Margarita Penn

Identity and slogan


55/75

1990

Banco Popular Dominicano

Corporate Identity Manual


56/75

1990




57/75

1990




58/75

Whatwas the

adversity?

Succumbing Under Adversity(1997-2002)

Economical Recession

Neoliberal Practices


59/75

New Question

Why Grasmodel could

not adapt to anew context?


60/75

The adapted center model thriveduntil context became erratic.

Why Gras

model could not

adapt to a

new context?

Although Grafs model was adapted to theperipheral practice it was still center-based.

Gras Axiological Modelbecame to rigidand lost ocus.

Grafs designers focusedon adversity instead o opportunities.


61/75

Business Context

New administration handed Qu Pasa

-a product developed with taxpayers money-

to a private corporation

Privatization-Public policy

Cause Eects

Whatwas the

adversity?


62/75

Technology Desktop publishing allowed prolierationo untrained proessionals services and

in-house setups.

Corporate clients started to request

speculative design proposals in order to

choose the lowest bidder.

Unaircorporatepractice

Cause Eects

Whatwas the

adversity?

Business Context


63/75

Business Context

Recession:upcoming

Depression9/11

Citibank closed down its Corporate Banking

division and let the Island.

For Hopgood, this event was example of the unveiling of the

economic crisis that would swipe Puerto Rico as well other

countries, in the upcoming years.

Cause Eects

Whatwas the

adversity?


64/75

In countries like ours, thereis nothing provisional; what isprovisional is permanent.

Architect Leslie Voltaire,

from Haiti, speaking

o the eects o the

earthquake, 2010.


65/75

Recent economic collapse due to the globaleconomic crisis has let many designerspowerless and lacking instruments to operate.

Designers - peripheral or not - when they arein an adverse national context can nd theirbusiness and practice efforts derailed easily.

What arethe lessons

learned romGra?


66/75

Gras Axiological ModelrtrpIneective Strategies

Didnotdownsizeormadeadjustmentstoemployees benefts. Thereore compromised the

whole team.

No

Fast Feet Play Were unable to reinvent their practice and

recognize business and innovation opportunities.

Evidence:

Graf did not recognize new ways of working and how the role ofthe designer was changing.

Unable to give employees the exibility to work co-location.

Unable to move from an expert designer to a facilitator designer,

therefore, collaborating in a participatory way with vernacular

designers and users.

Mutate and transorm.

If adversity makes its

appearance, act immediately.

A ast eet play attitude can

substantially change any play,

transforming a problem into a

design opportunity.



67/75

rtrp

Mix and match your allies,

so you can develop an eclectic

network. When moving among

the diverse spheres o action

you will expose yourself to newpossibilities. Note that, in order

to make this tool work, these

spheres cant belong to a specic

social group.

No

Diversifcationdesigners self-worth

It is a fact that the Internet, although it was still very new

to many, presented a niche or designers. In 1989 Puerto

Rico became part of the second group of countries to have

access to the Internet (by NSFNET).

Gra unable to adapt its services to the astpaced emerging Web market.

Ineective Strategies


68/75

Eective and ineective strategies

or contemporary designers

working under adversities:

Freelance operations will limit the growth (both of businesses

and design maturity) in contexts with weak design cultures.

Corporate structure strengthens the design practice as well as

the design culture.

The importance to use models that address the dynamics

o socio-economic instability, similar to the experience o a

peripheral country.

The importance o a deep understanding o local

cultural knowledge in order to create cultural capital

in a sustainable manner.

Lessons

learned

rom Gra

Anchored

At Hand

RTRP

Anchored

Intertextuality

Diversifcation


69/75

Eective and ineective strategies

or contemporary designers

working under adversities:

Focus on opportunities instead o adversity.

Like a two hand operation: one deals with the current problems

at hand, while the other continues with the main plan.

The importance o collaboration and participatory creative

processes that promote a pro active environment among design

teams with the users, clients and vernacular designers.

The importance o inserting ones own practice in design

historyin order to build creatively.

Being comfortable with public error and wandering in the

creative process.

Lessons

learned

rom Gra

Intertextuality

Anchored

Publish

RTRP

Publish

Fast Feet Play

Intertextuality


70/75

Where arewe now?

Design industry in Puerto Rico: 2013


71/75

Still a disorganized guild, dominated byreelance proessionals.

In general, the Puerto Rican audience is unawareof what design is or the role it can play in a society,i.e. Puerto Rico has no design culture.

There is no entrepreneurship culture among thecreative industries. The advertising agencies,which rule the industry, absorb the graphic designproessionals. Others go into the reelance practicewith no vision of something bigger.

The work done by the Graf has fallen victim to theobliterating effects of the context; tabula rasa, verycommon in contexts like Puerto Rico that do nothave a design discourse.

Where arewe now?


72/75

Not everything

is gloom:Positive

outcomes

Design industry in Puerto Rico: 2013

Not


73/75

Noteverythingis gloom:

Positiveoutcomes

Various graphic design programs have openedup in local universities since Grafs time.

Hopgood helped design the initial curriculumof the rst one established, in her alma mater:Escuela de Artes Plsticas de Puerto Rico(Schoolo Fine Arts).

Graf did establish a precedent for designbusinesses in Puerto Rico. It showed that it canbe done. Why people are not doing it?...That is awhole other research.

PeripheralDesign Practices

Gui Bonsieppe (1985)

Design is a luxury

Countries with no reliable

inrastructure or


Cheap labor

No design discourse (emerging)

No design education (except

architecture)

Not


74/75

Noteverythingis gloom:

Positiveoutcomes

There are efforts, like this one byRubberband,LLP, to document the local history

of design as well as current work being done.Among others worth mentioning is Puerto RicoHistoric Building Drawings Society.

More recently, grass roots organizations that

aim to make conscience that design is not aluxury have began to emerge, e.g.: Incubadorade Empresas e Industrias Creativas de Mayagezand Puerto Rico Creative Economy Initiative.

PeripheralDesign Practices

Gui Bonsieppe (1985)

Design is a luxury (shiting)

Countries with no reliable

inrastructure or


Cheap labor

No design discourse (emerging)

No design education (except

architecture)


75/75

Rubberband, LLP 2013.

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A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business

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