7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
1/75
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of 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?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
3/75
1982-1998
Gra, Inc.
Corporate Identity
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
6/75
Thriving Under Adversity(1982-1996)
No design industry
Weak design culture
Technological limitations
(pre-digital era)
Whatwas the
adversity?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
7/75
Our Question
What
was thehistoricalcontext?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
9/75
Qu Pasa(January, 1981)
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
12/75
Our Question
Whatmodels did
Hopgooduse toshapeGra?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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:
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
14/75
How werethese models
adapted to thepheripheral
designpractice?
New Question
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
16/75
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
18/75
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
19/75
Intertextuality
Eective Strategies
Visual acknowledgment o past artists and
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
20/75
Map o Puerto Rico
Qu Pasa(December, 1980)
Irene and Jack Delano
Puerto Rico Tourism Company
The decision to pay respect to
work of the Delanos is a way
to build for the future.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
21/75
Map o Puerto Rico
Qu Pasa(top: September, 1990; bottom: Fall, 1994)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
22/75
Map o Old San Juan
Qu Pasa(December, 1973)
Irene and Jack Delano
Puerto Rico Tourism Company
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
23/75
Map o Old San Juan
Qu Pasa(top: September, 1990; bottom: Fall, 1994)
Graf, Inc.
Puerto Rico Tourism Company
Top: (September, 1990) Qu Pasawas a
two-color monthly publication. Bottom:
(Fall, 1994) Qu Pasahad become a full
color, digital, quarterly publication.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
24/75
Intertextuality
Eective Strategies
Visual acknowledgment o past artists and
designers work
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
Evidence:
The unique 8x8in (20x20cm) format was kept to mantain a
connection and to build goodwill.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
25/75
Qu Pasa(let: September, 1990; right: Fall, 1994)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
26/75
Qu Pasa(Spring, 1993)
Graf, Inc.
Puerto Rico Tourism Company
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
27/75
Qu Pasa(Summer, 1995)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
28/75
Intertextuality
Eective Strategies
Visual acknowledgment o past artists and
designers work
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
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
29/75
Current events spread
Qu Pasa(top: September, 1990; bottom: Fall, 1994)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
30/75
Ad pages
Qu Pasa(Winter 1994)
Graf, Inc.
Puerto Rico Tourism Company
Ad pages were kept apart from
the editorial content in selected
sections o the magazine.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
31/75
Main article spread
Qu Pasa(December, 1983)
Graf, Inc.
Puerto Rico Tourism Company
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
32/75
Main article spread
Qu Pasa(Winter, 1992)
Graf, Inc.
Puerto Rico Tourism Company
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
33/75
Main article spread
Qu Pasa(Winter, 1995)
Graf, Inc.
Puerto Rico Tourism Company
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
35/75
Old San Juan spread
Qu Pasa(top: July, 1982; bottom: December, 1982)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
36/75
Out on the Island spread
Qu Pasa(top: January, 1985; bottom: January 1986)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
37/75
Following the sun spread
Qu Pasa(Winter, 1992)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
38/75
Following the sun spread
Qu Pasa(Fall, 1997)
Graf, Inc.
Puerto Rico Tourism Company
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
39/75
Restaurants spread
Qu Pasa(December, 1983)
Graf, Inc.
Puerto Rico Tourism Company
First revamp by Graf of the
Restaurants section. Debuted in 1983,
Grafs rst revamp of the magazine.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
40/75
Restaurants spread
Qu Pasa(September 1985)
Graf, Inc.
Puerto Rico Tourism Company
1985 revision o the Restaurantes
section. Graf worked continuously
to strengthen the Inormation
Design aspect of the publication.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
41/75
Restaurants spread
Qu Pasa(Winter, 1992)
Graf, Inc.
Puerto Rico Tourism Company
1992 revamp o the Restaurants
section. Same format was used
for other listings like Lodgings.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
42/75
rtrp Eective Strategies
designers self-worth
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
43/75
1995
7th. Edition EXCEL Awards
Corporate Identity
Puerto Rico Tourism Company
Public Relations Association Puerto Rico
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
44/75
1996
8th. Edition EXCEL Awards
Corporate Identity
Commission or the 2004 Olympiad
Public Relations Association Puerto Rico
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
45/75
1997
AMERICAN COPORATE IDENTITY 13
Award of Excellence
Commission or the 2004 Olympiad
Trademark/Logo Design
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
46/75
1997
AMERICAN COPORATE IDENTITY 13
Award of Excellence
Commission or the 2004 Olympiad
Complete Identity Program
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
47/75
1997
AMERICAN COPORATE IDENTITY 13
Award of Excellence
Commission or the 2004 Olympiad
Letterhead Design
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
48/75
1997
AMERICAN COPORATE IDENTITY 13
Award of Excellence
Puerto Rico Tourism Company
Signage/Environmental Graphics
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
49/75
1997
AMERICAN COPORATE IDENTITY 13
Award of Excellence
Puerto Rico Tourism Company
Signage/Environmental Graphics
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
50/75
1997
American Paper Design And Printing Competition
First Prize
Puerto Rico Tourism Company
Promotional Mailing Piece
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
51/75
1998
10th. Edition EXCEL Awards
Corporate Identity
Museum o Art o Puerto Rico
Public Relations Association Puerto Rico
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
54/75
1992
Margarita Penn
Identity and slogan
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
55/75
1990
Banco Popular Dominicano
Corporate Identity Manual
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
56/75
1990
Banco Popular Dominicano
Corporate Identity Manual
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
57/75
1990
Banco Popular Dominicano
Corporate Identity Manual
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
58/75
Whatwas the
adversity?
Succumbing Under Adversity(1997-2002)
Economical Recession
Neoliberal Practices
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
59/75
New Question
Why Grasmodel could
not adapt to anew context?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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.
designers self-worth
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
70/75
Where arewe now?
Design industry in Puerto Rico: 2013
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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?
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
72/75
Not everything
is gloom:Positive
outcomes
Design industry in Puerto Rico: 2013
Not
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
manuacturing industry
Cheap labor
No design discourse (emerging)
No design education (except
architecture)
Not
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
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
manuacturing industry
Cheap labor
No design discourse (emerging)
No design education (except
architecture)
7/28/2019 A Central Paradigm in the Periphery: The Rise and Fall of a Graphic Design Business
75/75
Rubberband, LLP 2013.
rubberbandpr.com
@rubberbandpr rubberbandpr.tumblr.com
facebook.rubberbandpr.com
@rllp