Sustainable Graphic Design E-Book

Wendy Jedlicka

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 1027

Veröffentlichungsjahr: 2010

Beschreibung

The graphic artist's guide to sustainable design

Graphic design is frequently thought of as a purely decorative effort. Yet these efforts can be responsible for shocking impacts on natural resources just to produce a barely-glanced-at catalog or mail piece. Sustainable Graphic Design: Tools, Systems, and Strategies for Innovative Print Design helps designers view graphic design as a holistic process. By exploring eco-conscious materials and production techniques, it shows designers how to create more effective and more sustainable designs.

Sustainable Graphic Design opens your eyes to the bigger picture of design seen from the viewpoints of the audience, the creative vendor, their suppliers, and society as a whole. Chapters are written by a wide range of sustainable design pioneers and practitioners—including graphic designers, creative managers, marketing consultants, environmentalists, researchers, and psychologists—giving you critical information on materials and processes. Case studies illustrate and tie concepts together.

Sustainability isn't a fad or a movement; it's a long-term paradigm shift. With this forward-looking toolkit, you'll be able to infuse your work with sustainability systems thinking, empowering you to play your role in achieving a future where design and sustainability are natural partners.

Contributors

Paul Andre
Paul J. Beckmann
Sharell Benson
Arlene Birt
Robert Callif
Don Carli
Jeremy Faludi
Terry Gips
Fred Haberman
Dan Halsey
Jessica Jones
Curt McNamara
John Moes
Jacquelyn Ottman
Holly Robbins
Pamela Smith
Dion Zuess
Biomimicry Guild
Carbonless Promise
Chlorine Free Products Association
Environmental Paper Network
Eureka Recycling
Great Printer Environmental Initiative
Package Design Magazine
Promotional Product Solutions
Sustainable Green Printing Partnership
Sustainable Packaging Coalition

Leseprobe

Table of Contents

Cover

Title

Copyright

Foreword

Introduction

How to Use This Book

The Making of This Book

Giving Thanks

Contributing Authors

1: Making the Business Case

Consumption and Renewal

Nearly All New Products Fail

What Does Change Look Like?

Taking Responsibility and Thriving

Transparency and Honesty

Sustainability Means Business

Design and Sustainability

Footprint of Print and Digital Media Supply Chains

2: The Psychology of Graphics

Communication through Graphics

Concepts in Visual Perception

Objective Evaluation of Graphics

3: Seeking Truth in Marketing

Building a Relationship

Ethics-Based Marketing and Business

Design as Bridge or Barrier

Thing or Service?

Eco-Labeling and Eco-Marketing Claims

How to Get It Right

Eco-Design in Three Easy Steps

4: Systems Thinking

Holistic Approach and Design

Sustainability and Graphic Design

Taking Advantage of the Systems View

Biomimicry

Permaculture Principles in Design

Change Management

Technical Approaches to Sustainability

The Next Level in the Picture

Innovation Heuristics

5: Materials and Processes

Materials

Paper

Inks

Processes

Projects and Services

6: Working Smarter

Getting Started

Shop Green

EPP Best Practices

Smart Communications and Digital Workflow

Energy Efficiency in the Workplace

Pollution Prevention and End of Life

Healthier, More Sustainable Work Environments

How You Get to Work Matters

7: Innovation Toolbox

Eco-Design in Three Easy Steps

Definition of “Sustainable Effort”

Shopping List for Change

Innovation Heuristics

Fair Trade Essentials

Overview of Environmental Marketing Claims

Eco Seals, Certifications, and Claims

Materials Choices at a Glance

Eco-Resources at a Glance

Knowledge Is Power

Index

List of Illustrations

Foreword

Sustainability isn’t all just “feel good”—but sometimes that’s just what the doctor ordered. Celery Design created this promotional door hanger for Elephant Pharmacy. These cards with wellness tips and fun activities

Introduction

“One day, son, this will all be yours. ”Photo: W. Jedlička, 1996

1: Making the Business Case

Photo: W. Jedlička, 2009

This seemingly small redesign—“Same net weight, 10% less box”—by Nature’s Path resulted in significant energy, water, and wood resource savings. In addition to resource savings, Nature’s Path uses the box’s “billboard” to communicate with its audience about eco-issues, using text and graphics to both inform the mind and entertain the eye.

Your product in its natural environment.

For the first time in the brand’s history, Burt’s Bees has released a comprehensive Corporate Social Responsibility (CSR) Report, “The Greater Good Social and Environmental Progress Report: 2008 and Before,” documenting the brand’s commitment to sustainable business practices. After many years of pioneering sustainable practices and leading the Natural Personal Care industry, Burt’s Bees intends to rigorously measure its progress and has set ambitious, quantitative goals to better assess its achievements and understand its challenges.Even the materials chosen for the report convey their values. The company chose 100 percent post-consumer recycled, FSC (Forest Stewardship Council) Certified stock and vegetable-based inks and printed only a limited quantity to minimize paper, and instead drove traffic to a flip-through pdf on its Web-site, www.burtsbees.com. They also diagram the resources saved by the choice of paper to help put these efforts into perspective.

Visualizing the Triple Bottom Line.

Promotional Product Solutions (PPS) was one of the promotional-product industry’s early providers of socially responsible promotion options. In 2008, it joined Ceres to improve disclosure and help advance the company’s environmental and social responsibility goals. PPS is one of more than 70 companies in the Ceres company network, which includes nearly 30 Fortune 500 corporations.

Since 1987, the Social Value Network has been a forward advocate of the triple-bottom-line ideals. Approaching their twentieth anniversary, the organization wanted to further raise awareness of their work as well as boost membership to meet new market opportunities. SVN’s creative team, design firm BBMG, interviewed 20 pioneering business leaders to see how they turned their values into action and what it would take to transform business in the twenty-first century, creating the commemorative booklet “20 Ideas that Changed the Way the World Does Business.” In addition, BBMG’s overhaul of SVN’s visual presence, coupled with key marketing efforts, resulted in annual membership levels increasing, and sold-out conferences. The pieces shown here were printed by an FSC-certified printer using renewable energy, contain FSC-certified 50% PCW paper, and are printed with vegetable-based inks.

2: The Psychology of Graphics

Photo: W. Jedlička, 2009

A message is transformed into a graphic and presented in a context. The viewer extracts a message—the intended one, it is hoped—by interpreting that graphic in that context.

To help its client Ocean Conservancy communicate its efforts, BBMG felt it was important to not only feature the client but to go further by helping to get people to see the oceans as an urgent conservation issue that’s relevant to our daily lives.

Legge, Gu, and Luebker looked at an observers’ ability to perceive the mean and variability of collections of values.

The relationship communicated between icon elements through who’s-on-top graphical ordering.

A perception is an interpretation of a sensation that is based on previous visual experience and context influencing that interpretation.

Interpretation of the darkness/lightness of a surface is called simultaneous contrast.

Segmentation allows us to see the forest—and the trees.

Sign and lamppost combine to illustrate the Gestalt principle of good continuation.

For the 2008 Minnesota State Fair Eco Experience Building, transit-focused organizations collaborated with Entropy Design Lab to bring the message of reducing fuel consumption and emissions to life with the message “Kick Gas!”

Pop-out effect

Boston design firm Payette makes it easy to see the forest for the trees. Its 2008 promotional sketchbook uses 100% post-consumer board for the cover, around pages made with Paperfect Opaque, a Forest Stewardship Council (FSC) Certified 60% post-consumer paper. The festive belly-band, printed by Reynolds DeWalt, an FSC Certified printer, is Fox River’s Evergreen 100% post-consumer paper. The Wire-O binding is manufactured using recycled steel.

Visualizing the Stroop effect

These Come From Trees sticker: A typical fast-food restaurant with two bathrooms can use up to 2,000 pounds of paper towels a year. There are about 50,000 fast-food restaurants in the United States alone. Launched as a guerrilla public service announcement to raise awareness about resource use, as of early 2009, over 70,000 labels have made their way into the world. Since the campaign’s launch, the creators found that a single “These Come From Trees” sticker on a paper towel dispenser reduces consumption by about 15 percent and can save about a tree’s worth of paper every year. This label image was captured in the wild at the REI store in Roseville, Minnesota. (thesecomefromtrees.com)

3: Seeking Truth in Marketing

Photo: W. Jedlička, 2009

Seattle’s ColorGraphics (now part of Cenveo) is one of a growing number of Forest Stewardship Council Certified printers on the West Coast. To help sell its points of difference, ColorGraphics called on Metropolitan Group to help it better connect with its target audience. The key message is that ColorGraphics’ printing process isn’t just environmentally responsible—it also produces a better quality product.

New York based BBMG (Bemporad Baranowski Marketing Group) “believes that actions speak louder than words and smart cause marketing can improve a company’s bottom line while inspiring people to promote social change,” says Raphael Bemporad. “When we align our values with our actions, great things can happen.”

Origins, an Este Lauder company, chose WindPower Recycled Board to help complete its message of “beauty and wellness through good-for-you products.” WindPower Recycled Board is a high-performance product using 50% post-consumer waste and is processed chlorine free (PCF). (www.recycledboard.com)

Background Stories: Connecting the consumer to their supply chain.

Nutrition Facts for a healthier planet.

4: Systems Thinking

Photo: Curt McNamara ([email protected]).

Fuller’s geodesic dome design.

Nine Boxes: Design in Time and Space. Using this tool gives larger perspective on the design. How does it link into systems above and below? Where does it connect into user time and Earth time?

Who is your audience or customer?Photo: Curt McNamara ([email protected]).

All objects we create exist inside economic, societal, and environmental systems.

A boundary, showing the interlinked molecules that form the inner and outer layers.

Capturing the impacts of a piece though its life cycle.

To be successful in propagation, designs need to give as well as attract.Photos: Curt McNamara ([email protected]).

Our understanding of Life’s Principles is constantly evolving. Visit www.biomimicryinstitute.org to better understand their current representation of life’s incredibly elegant and complex systems.

SPRANQ Creative Communications, the Netherlands(www.spranq.eu), designed Eco-font to use up to 20 percent less ink.

Burrs ready to hitch a ride.Photo: Rick Gutierrez (n8studio.com)

Organisms use two methods to create color without paint: internal pigments and the structural color that makes tropical butterflies, peacocks, and hummingbirds so gorgeous.Photo: W. Jedlička.

Nature’s systems, just waiting to be learned from.Photo: W. Jedlička.

An overview of permaculture principles.Adapted by Daniel Halsey from David Holmgren’s original list.

Vertically integrated resource management: A bean vine uses a nearby corn stalk to get off the ground and into more sunlight.Photo: Dan Halsey (halsey1.com).

Managing change need not be like managing cats.Photo: W. Jedlička.

Watertown, Massachusetts, design firm Zen Kitchen took a fresh approach for its client Olive and Bean, to reflect the whimsical yet elegant nature of the boutique’s brand. Printed by Zen Kitchen’s local union eco-printer, the smaller, square business card makes a dynamic impact while minimizing materials use. The background pattern of thin-lined circles for the stationery system allows for visual interest without relying on heavy ink coverage.

Cycle from Material Creation to End of LifeUsed with permission of Sustainable Packaging Coalition

SM

, © Green Blue

SM

.

The Natural Step—a nonprofit research, education, and advisory group that helps corporations and communities move toward sustainability—wanted an updated brand as it opened its first U.S. office. Celery designed a comprehensive identity and collateral system that walks the talk of eco-innovation. The logo references the mythological symbol of regeneration: a serpent eating its own tail. The letterhead is perforated and scored for easy self-mailing, which eliminates the need for envelopes for day-to-day mailing.

The sustainability “tunnel” moving into the future.

“The Wood Reduction Trilogy” is a series by Watershed Media that takes a hard look at one of the planet’s key resources for economic and environmental health. (www.WatershedMedia.org)

ecoEnvelopes began with the simple idea: Why use two envelopes, when the first one is still good? RSVPs and return billings can be sent in a single reusable, two-way envelope, reducing environmental impact and saving money with each mailing cycle. ecoEnvelopes are manufactured exclusively with Forest Stewardship Council and Sustainable Forestry Initiative certified papers, can be made with 100 percent post-consumer waste content, uses environmentally responsible inks and window films, and is recyclable when the final return trip is made. (ecoenvelopes.com)

A product moving through a Cradle to Cradle

SM

Technical Nutrient Cycle.

ReProduct

™

greeting cards and envelopes use synthetic paper vetted for both human and environmental health. Cards reach their first destination in a prepaid two-way envelope that can, with their greeting delivered, direct the card and envelope to Shaw Industries Group, which then converts 100 percent of the collected material to create carpet backing for new carpet tiles.

The fractal triangle of economy, environment, and society.Text adaptation of Sierpinski Triangle to reflect triple-top-line ideas © MBDC.

5: Materials and Processes

Resources are Earth’s gifts to be shared with the future.

Each FEED 100 bag provides 100 school meals to hungry children in Rwanda through the UN World Food Program (WFP). FEED Projects started in 2006 when model and activist Lauren Bush designed a bag to benefit the WFP’s School Feeding operations. All FEED products are made as eco-friendly and fairly as possible, are produced with 100 percent organic cotton and natural burlap, and are manufactured by audited and certified fair labor facilities. The hangtags for the FEED 100 bags shown here were printed by Greg Barber Printing (gregbarberco.com) on 100 percent post-consumer waste (PCW) recycled, and certified processed chlorine-free (PCF) stock.

Surface mining operation.

Walking the talk. Since the company was founded in 1998, San Francisco–based New Leaf Paper’s mission is to be the leading national source for environmentally responsible, economically sound paper. To help further its goals, it called on Chambers Design to create guides to serve the technical and aesthetic demands of both printers and designers. New Leaf’s “Eco-Audit” chart for its papers provides a tangible overview of savings in terms of trees, water, energy, solid waste, and greenhouse gases when recycled paper is used versus virgin sources.

“Taking the Steps to Environmentally Responsible Paper,” provided by the Environmental Paper Network.

Clearcut hillside in North Carolina. An area that was once able to boast about being part of the oldest and most diverse forest system in the world.

Glama Natural is the only translucent paper currently available that uses a mechanical rather than chemical process. In addition, it is one of the only translucent papers to come in recycled grades and is readily recyclable. It has earned Forest Stewardship Council certification as well.

Rizco Design created a three-tiered environmental program to extend the sustainability efforts of the Forest Stewardship Council’s (FSC) chain of custody to measure decision-making impacts throughout the creative process. The effort starts with how its office operates, then extends to how it approaches a design, and finally, to how projects are printed, linking up with the rest of the chain-of-custody process.

This full-color program and educational resource directory was designed by ecoLingo: earth-friendly graphic design to reflect the goals and values of the Green Building Expo. The publication was printed by a FSC-certified printer with light ink coverage using low-VOC, vegetable-based inks on recycled stock—“Reincarnation Matte” from New Leaf Paper. A customized eco-audit was also printed inside the directory to show the tangible, positive effects of using post-consumer recycled paper instead of virgin paper—showing savings in trees, water, energy, solid waste, and greenhouse gases.

For its 2009 promotional journal, Payette used paper embedded with wildflower seeds for the book’s belly band to encourage people to get out, participate in, and enjoy nature.

This box from Distant Village Packaging is made of 100 percent post-consumer recycled (PCR) content paperboard, covered in woven, wild grass paper. (distantvillage.com)

Burt’s Bees pioneered the use of TerraSkin™ paper in personal care for wrapping bar soaps. TerraSkin™ is an environmentally conscious, treeless and bleach-free paper alternative. It also has a lower absorption rate so 20–30 percent less ink is used when printing.

Mr. Ellie Pooh paper uses nature to “pre process” naturally growing fibers for papermaking. They are made up of 75 percent elephant dung and 25 percent post-consumer paper. No toxic chemicals are used in this papermaking process; instead, natural vegetative binding agents are used, along with water-soluble salt dyes for coloring. “Mr. Ellie Pooh’s papers are handmade, acid free and as organic as it gets.” (www.mrelliepooh.com)

Conscious Creative started in 2001 to support the community of entrepreneurs who handle business in a more sustainable manner. Highly targeted graphics and resource minimization as well as high post-consumer waste content stocks and vegetable inks are some of the natural choices Conscious Creative uses to help deliver client messages. (www.ConsciousCreative.com)Yoga in the Vineyard was looking to strike a balance between the two seemingly disparate worlds of yoga and fine dining to attract people to eco-conscious retreats that provided guided yoga practice in the vineyards of California, with organic wine and meals that feature the rich diversity of the region.From the Garden to the Table is a nonprofit that works with inner-city schools in Oakland, California, to teach children how to garden, grow organic vegetables, and cook for themselves.Sustainable Environments for Health + Shelter provides solar-powered sustainable energy, heating, and water filtration systems to charitable and other organizations that provide for the care of disadvantaged, homeless, orphaned, or disabled children.Sustained Note Records (now known as Sustained Note World) is a marriage of music, architecture, and sustainability whose mission is to improve homeless shelters around the world in a sustainable fashion.

Firebelly Design takes advantage of the paper’s tooth to really make an impression. These pieces are printed on French Paper’s Frostone with vegetable-based inks at Chicago’s Wildflower Letterpress. (www.firebellydesign.com)

Architects at Payette Associates in Boston and Seattle-based software company Bee Docs teamed up with Portland, Oregon, creative services firm Prolabro to create these eco-responsible shirts printed on EDUN LIVE 100 percent organic cotton shirt using water-based inks. Prolabro is a petroleum-free studio utilizing soy-based cleaners, and specifies sustainably produced garments and paper stocks for its print medium. (www.prolabro.com)

When Anatomy Communications had to change its phone number, the idea of tossing away a huge stack of beautifully printed and embossed, and otherwise perfectly correct, cards really bothered them. Instead, a simple rubber stamp impression was applied over the old phone number. Not only did it announce that there had been a phone number change, but it added a touch of whimsy everyone could appreciate.

One of the original Great Printers, Johnson Printing and Packaging (www.JPPcorp.com) has been staying ahead of the curve since 1921. This promotional set from JPP shows off its certifications, as well as a glueless envelope design that adds no contaminants to the pulp mix at recycling time.

Space is the place. This illustration shows two boxes: a Standard Straight Tuck and a Standard Reverse Tuck. The Standard Straight box on the same width stock requires 6.83 percent more board to deliver the same size box as the Standard Reverse.

The Footprint Chronicles Web site by apparel maker and longtime eco-advocate Patagonia was created to help consumers connect with the firm’s products on a very tangible level. It details all stages of product and materials use as well as the pros and cons of the product’s production. (www.patagonia.com)

It was a restaurant, now it’s just a roof. Biloxi, MS.

Since 1908, RockTenn has been turning waste paper and paperboard into packaging.

Comparing photography’s tools and consumables, then and now.

Relative impact of digital: A spider diagram.

Fabrics for printing.

Sharing the eco-experience at the Minnesota State Fair.

Product promotion may be about image, but to make connections that lead to something more than just awareness, companies need to deliver substance, too. Promotional Product Solutions has been an industry leader in the promotional product industry and was the first to create corporate promotional marketing solutions that are socially conscious and earth friendly. Unlike the usual giveaway that becomes garbage, these bags are made from recycled soda bottles. (www.ppsolutionsllc.com)

6: Working Smarter

Photo: Halsey1.com 401

Author Andrew Cook turned to San Francico’s Roughstock Studios to see the sustainability issues addressed in his book reflected in the printing itself. Roughstock selected a final page size that would make use of the entire press sheet, reducing typical trim waste for a book of this type from 25 percent to 9.1 percent. A. Maciel, the printer tapped for this project, is, like Roughstock, is a Green Business certified by the city of San Francisco. A. Maciel’s electricity powering its energy-efficient equipment is 100 percent offset by wind-power credits, and its printing plates are recycled after use. The inks for this run were Toyo Hyplus 100 series inks, a soy-based ink that produces less than 1 gram per liter of VOCs. In addition to the low VOC count, these inks cover well and require less ink usage overall.

Expressing the idea that sustainable design is, at its root, a discipline requiring foresight and ethical responsibility, Chicago nonproft Foresight Design Initiative expanded the definition of function for its day-to-day print needs. Each piece is designed for extra duty. A single print piece, for example, can function as a letterhead, folded card, or notepaper, depending on how it’s folded or cut at the time of use.

7: Innovation Toolbox

The “Pea Pod” business card for Organic Design Operatives takes the opportunity to educate on sustainability issues as well as provide information about the firm.

Beer importer All Saints Brands tapped Jedlička Design to create this first introduction of its own branded Belgian ale. With no other budget available for promotion other than the packaging, All Saints wanted a look that would sell itself. Produced and bottled at the brewery, under the strict rules for packaging in Europe, the bottles’ labels used water-based adhesive to easily facilitate reuse or recycling.

Sometimes it’s not what you add but what you take away. This fun take on J. Ottman’s logo by Celery Design adds visual impact without requiring additional inks.

Airside UK wanted each aspect of its rebrand to be environmentally considered. CD and DVD cases were replaced by fully recycled and recyclable slipcases and wallets. Printers were chosen based on their eco-processes for inks, wash-ups and waste management. With branding items such as a show-reel DVD case that needs to be refreshed every few months, rather than specify dates and risk having to discard unused, out-of-date stock, Airside designed cases with a choice of dates and simply blacks out the others with a matching pen. This ensures the cases will be usable for several years, about the right time for another rebrand (http://airside.co.uk).

Based in New York City, Seltzer, a maker of fun and playful eco-conscious greeting cards, graphic T-shirts, gifts, and stationery, takes minding the impacts of its materials, packaging, and production methods very seriously. According to its eco-audit environmental savings as of July 2007, by using 100 percent post-consumer recycled paper, the company has saved 375 trees, 65,914 gallons of water, 87,967 btus of energy, and 13,357 emissions. (www.seltzergoods.com)

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Sustainable Graphic Design

Tools, Systems, and Strategies for Innovative Print Design

Wendy Jedlička, CPP

with

Paul Andre, Dr. Paul J. Beckmann, Sharell Benson, Arlene Birt, Robert Callif, Don Carli, Jeremy Faludi, Terry Gips, Fred Haberman, Dan Halsey, Jessica Jones, Curt McNamara, Jacquelyn Ottman, Dr. Pamela Smith, Dion Zuess

Biomimicry Guild, Carbonless Promise, Chlorine Free Products Association, Environmental Paper Network, Eureka Recycling, Package Design Magazine, Printing Industry of Minnesota, Promotional Product Solutions, Sustainable Green Printing Partnership,SMSustainable Packaging CoalitionSM

Additional contributions by:

Amelia McNamara, John Moes, Tom Nelson, Holly Robbins, Sharon Sudman

Foreword by: Marc Alt

Copyright © 2010 by John Wiley & Sons, Inc.

All rights reserved

Published by John Wiley & Sons, Inc., Hoboken, New Jersey

Published simultaneously in Canada

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Library of Congress Cataloging-in-Publication Data:

Jedlicka, Wendy, 1959–

Sustainable graphic design : tools, systems and strategies for innovative print design / Wendy Jedlicka.

p. cm.

Includes bibliographical references and index.

ISBN 978-0-470-24670-2 (pbk.)

1. Graphic arts—Social aspects.  2. Commercial art—Social aspects.  3. Sustainable design.  I. Title.

NC997.J37  2009

741.6—dc22      2009017330

Foreword

Sustainability isn’t all just “feel good”—but sometimes that’s just what the doctor ordered. Celery Design created this promotional door hanger for Elephant Pharmacy. These cards with wellness tips and fun activities (like finger-Pilates using the natural latex band) are made from 100 percent post-consumer-waste fiber and are chop-cut to minimize trim waste.

A paradox of sustainability is that there is an underlying, commonsense simplicity beneath what appears on the surface to be a very complex discipline. One of the key points that the authors of Sustainable Graphic Design have made in their years of educating, evangelizing, and writing about sustainability, and one that is reinforced gently but persistently in this book, is that “Sustainability isn’t hard; it’s just not simple.”

It is an interesting challenge to write the opening remarks and observations for a book that may be looked at in a few decades as quaint and outdated, a relic of an earlier age. I should take a step back and mention that many proponents of sustainability feel that their purpose and mission is in essence to make themselves obsolete. Their basic calling is to reveal missing or forgotten connections between cause and effect, between decisions and consequences.

Where we find ourselves today is the result of millions of these disconnects, accrued steadily over time, consciously or unconsciously, as our population and its ever-expanding need grows at a pace that outstrips traditional or balanced ways of doing things. Exactly when, why, or how our society lost that balance and began outrunning the carrying capacity of the planet is the subject of endless debate. One thing we can all agree on, however, is the need for immediate solutions.

Designers like to claim privilege of being in a unique position to change things. I don’t disagree with this opinion, but I think it needs an update. A new generation of designers has realized that in order to deliver on this promise, the profession needs to move beyond its traditional calling and embody a new set of universal principles that address the consequences of design.

It is said that design decisions account for an average of 80 percent of the life cycle impacts of a product or service. Understanding the importance of this math and building the discipline and leadership to equip current and future generations of designers with the knowledge, direction, and inspiration to take responsibility is the challenge of this decade.

This book is filled with inspiration, ideas, and actionable advice from an extraordinary group of sustainability leaders. It will give designers at any stage in their careers frameworks for rethinking and assessing their daily design activity. It gives dimension to complex ideas and brings a sometimes-daunting topic to life in a way that is understandable and approachable. It provides a solid foundation in the underlying principles of design for sustainability that are a fundamental discipline of our time. I’m optimistic about a future in which there will be no need for a book entitled Sustainable Graphic Design. Until that day, this volume is an essential guidebook, a road map to an achievable future where all design is well considered, and where sustainability is systemic.

Marc AltCo-Chair, AIGA Center for Sustainable Design

Introduction

Wendy Jedlička, CPP02 International Network for Sustainable Design

“One day, son, this will all be yours. ”

Photo: W. Jedlička, 1996

You must be the change you wish to see in the world.

—Mahatma Gandhi

In theory, picking an eco-material is better than a non-eco one. Lists filled with materials and vendors can be found in an ever-growing field of “green” books and on “green” supplier Web sites. But these are only simple indexes of companies that offer materials, goods, or services with some level of green/eco/sustainability as part of their point of difference. Many of these companies are third-party certified and are willing to back up their environmental marketing claims; many are not.

If one doesn’t know why a material is eco, how to apply its use correctly, or even if the material or process actually is eco, it is possible to create a piece with environmental and economic impacts far worse than where the project started.

In addition to applying eco-materials properly, clients are looking to their designers to help them meet new, more restrictive legislation; new initiatives from their own clients (e.g., Walmart’s scorecard); and a whole host of hot-button issues. These are problems much bigger than picking a recycled paper and calling it good; they require a careful look at the system of the design, not just a substrate or two.

In approaching problems the same way they always have, many companies seem to think they have done their part if they can just locate what could be referred to as the “happy list” of magically green materials. They then pick something off the menu for their project and check “get eco” off their to-do list. Any eco-practitioners worth their salt who receive a request for such a list will ask if the inquirer understands systems thinking concepts or if the company has a training program in place to help the people using the list figure out what actually will be eco for their applications. Today more often than not, the answer is still “No, we don’t do any of that; we just want the list.”

One thing that never fails to get eco-practitioners to smile is when very earnest people say, “We want to see pictures of your really cutting-edge eco-examples.” Apparently, they believe that if they could just look at an eco-example, they’d be able to copy it, as they’ve done for any other “fad.” But the reality is, sustainability isn’t a “fad” or even a “movement,” it’s a long-term paradigm shift.

To understand sustainable design, you must tell an honest story, leverage audience triggers for the greater good, understand the economic impacts of design choices, and know how all of that fits in a verifiably sustainable context. Without that depth of background, we’re just painting another pretty picture and calling it “green.”

How to Use This Book

One of the author’s requirements for doing this book was that the question of sustainable design related to print and graphics needed to be approached in a completely new way, not only looking at systems thinking in general terms, but looking deeply into the very soul of design and its stakeholders. In addition, rather than the outpouring of a single voice, the book needed to be a collection of many voices. This chorus of voices allows people new to sustainable design to experience the broad range of contributions the pioneers of sustainability and today’s eco-practitioners draw from. Readers find they can hit the ground running, as they race to catch up with the overwhelming flow of sustainability information coming out daily.

This book is designed to help people clearly see the big picture, what all that means for design, how all the various groups that serve industry connect and interact—all in a sustainability context.

For those in academia, this book is representative of the core approach of Minneapolis College of Art and Design’s (MCAD) Sustainable Design Certificate Program (mcad.edu/sustainable). Most of the key contributors to this book are Sustainable Design Certificate faculty, who welcome the opportunity to open a dialogue about higher education’s roll and responsibility in reshaping industry. Taking a holistic approach, MCAD’s Sustainable Design Certificate students are taught how to think in sustainability terms, and are empowered to become fellow agents for positive change.

Just as one should not pick from a “happy list” of eco-materials and consider the job done, this book is not a complete one-size-fits-all tome. It is a comprehensive guide to sustainability approaches applied to design and business employed by today’s sustainability leaders and eco-practitioners using graphics and print as the industry where examples are drawn from, the ideas expressed in this book though, are the fundamentals of applied systems thinking and can be applied to any effort. The goal of this book is to show the reader not only sustainability ideas but the logic behind them.

This book is meant to be used as a portal to works by the original content providers as it takes the reader through the design process, touching on inputs that make up what design is really about. By seeing how those works fit together into the bigger picture, and how they flow together and overlap, identifying quality resources that will address specific needs becomes much easier.

To get an even more detailed picture, it is suggested that readers expand their library to include Wiley’s companion book to this work, Packaging Sustainability: Tools, Systems and Strategies for Innovative Package Design www.packagingsustainability.info. Putting sustainable design into practice is an integral part of today’s global competitive market. Written by practitioners from the wide variety of fields that make up the packaging industry, Packaging Sustainability is a comprehensive, single source of actionable information that enables everyone involved in the design and development process to make smart, informed decisions, opening new possibilities for creating truly innovative solutions.

Sustainable design options today are growing faster than any one person can keep up with. It is highly recommended that design professionals subscribe to one or more of the information update services mentioned throughout this book. In collecting cases and examples for this book, it became apparent we would not be able to fit in all of the great work from both past and current production cycles. This in no way is a comment on the value of the work not included. This book is not a portfolio collection of the most eco-works ever produced. Examples and cases were selected from companies that are creating solutions of interest for their category and that were willing to offer readers a deeper look at their processes and design logic.

Some of the examples showcased in this book are very good; some are just a solid step in the right direction. But in all cases, the companies contributing were willing to talk about the issues they weighed to arrive at their solution. We are still in the early stages of this paradigm shift, and many people are shy about helping to train their competition. Eco-leaders, though, have recognized that the greatest benefits come when ideas and efforts, successes as well as failures, are shared openly. They’ve found that the louder you are, the greater the rewards, and the stronger your market position—leaving competitors scrambling for the me-too slot—which itself creates a positive ripple effect throughout the whole industry.

The Making of This Book

Wiley is committed to continuous reevaluation of its environmental impacts and partnering with stakeholders to help achieve ever-improving performance. The paper for the pages of this book is Rolland Enviro100 Print, manufactured by Cascades Fine Papers Group. It’s made from 100 percent post-consumer fiber and processed chlorine free. Cascades’ Rolland Enviro100 is a Chlorine Free Products Association endorsed product.

According to Cascades, for every ton of Rolland Enviro100 Book paper used instead of traditionally processed virgin pulp source paper, the environment is served in these ways:

— 17 mature trees saved

— 6.9 pounds. waterborne waste generation avoided

— 10,196 gallons waterflow saved

— 2,098 pounds atmospheric emissions eliminated

— 1,081 pounds solid waste reduced

— 2,478 cubic feet natural gas use eliminated by using biogas

Giving Thanks

This book features the work and ideas of many current eco-practitioners. But we all stand on the shoulders of giants—those who walked tirelessly forward in spite of the obstacles set before them. Today we are empowered to make their dreams a reality.

We offer this work as a tribute to the example they set and whose work we are building on. For making our work possible, we would like to extend our deepest gratitude to:

R. Buckminster Fuller, Victor Papanak, David Orr, Sim Van der Ryn, Fritjof Capra, E. F. Schumacher, Karl-Henrik Robèrt, Janine Benyus, Paul Hawken, Hunter Lovins, Amory Lovins, John Thackara,

J. I. and Robert Rodale, and of course Rachel Carson.

Contributing Authors

Wendy Jedlička, CPP

Contributing Editor / Creative Contributor

An IoPP Certified Packaging Professional, Jedlička is president of Jedlička Design Ltd. (www.jedlicka.com), with over 20 years of packaging and print experience, coupled with 11 years as a retail industry insider. As a design and business strategy vendor, she has served clients such as 3M, Target, Hormel, Anchor Hocking, and Toro. Jedlička writes the regular feature “Sustainability Update” for Package Design Magazine; is the contributing editor for two books by Wiley, and is regularly tapped to speak on eco-packaging and print design as well as a variety of sustainable design and business issues.

As part of her professional outreach efforts, Jedlička is the United States co-coordinator for the o2 International Network for Sustainable Design (www.o2.org) as well as Upper Midwest chapter chair (www.o2umw.org). Working to change minds in higher education, Jedlička is program development team member and faculty for the groundbreaking Sustainable Design Certificate Program at Minneapolis College of Art and Design (MCAD) (mcad.edu/sustainable).

Attracted to packaging since beginning to learn origami at age eight, Jedlička started her formal art training through the Minneapolis Society of Fine Arts experimental youth art program, continuing through high school at Parsons School of Design and the Art Students League of New York. She completed her bachelor’s degree in graphic and industrial design at the University of Bridgeport and her master’s degree in international management with a certificate in marketing at the University of St. Thomas.

Paul Andre

Designer and creative team leader at the Minnesota Pollution Control Agency, Andre has worked for many years doing intensive, multimedia outreach campaigns on topics ranging from backyard garbage burning to global climate change. More recently, he has helped develop large-scale, citizen-focused green events that attempt to inspire eco-minded behavior and consumption changes.

Dr. Paul J. Beckmann

Paul J. Beckmann, Ph.D. ([email protected]) is a curious polymath. He holds degrees in physics (BA), biophysical sciences (MS), and cognitive and biological psychology (Ph.D). He has experience in such diverse projects as implantable medical device development, machine vision and robotics, reading by people with visual impairment, color formation in microwavable foods, office lighting design to minimize fatigue and maximize legibility, information flow from fast food restaurant menu board systems to customers, simulation of the information processing in the human eye, design and implementation of emergency communications systems for state and local agencies, and photoelectric photometry of variable stars. His current research explores the mental maps created and used by people with visual impairment as they navigate large office buildings. In addition, he has recently established a laboratory to investigate visual signaling of affordances by common graspable objects.

Trained in awareness, native skills, and tracking at Tom Brown’s school in New Jersey, Beckmann found a focus for his connection to the natural environment and brings that perspective to much of his current work. He has taught at a number of universities in Minnesota, including courses in sensation and perception; physiological psychology; human– machine interaction; alcohol, drugs, and behavior; research methods; cognition; and learning and memory.

Sharell Benson

Sharell Benson (www.sharellbenson.com) is an independent packaging contractor specializing in green marketing, research and project management. She has been in the packaging business for more than 20 years and has expertise in color management, folding cartons, corrugated, pressure-sensitive labels, and paper recycling. Benson holds a master’s degree from the University of Minnesota.

Arlene Birt

Arlene Birt (www.arlenebirt.com) is a visual storyteller at Haberman & Associates, Modern Storytellers for Media + Marketing, a public relations and marketing agency dedicated to telling the stories of pioneers who change the way business is done or make the world a better place. She created Background Stories, her master’s thesis, while studying in the Netherlands on a Fulbright grant. Birt is also faculty for MCAD’s Sustainable Design Certificate Program and a member of the o2 International Network for Sustainable Design.

Robert Callif

Robert Callif is vice president, and second-generation owner, at BCM INKS USA, Inc., and was featured on CBS’s “Eye on America” for their eco-forward ink solution, Eekoflex. Calif has been a speaker within the flexographic industry for AICC, ACCCSA, and FPPA, and has written articles about inks for Corrugated Today and other magazines. Callif is a graduate of University of Florida with a bachelor’s degree in finance.

Don Carli

Don Carli is senior research fellow with the nonprofit Institute for Sustainable Communication and chairperson of SustainCommWorld.com and Principal of Nima Hunter Inc., a consultancy founded in 1986 that offers strategic planning, market research, technology assessment, and marketing advisory services to clients on a worldwide basis. He is also an Alfred P. Sloan Foundation Industry Studies Research Affiliate scholar as well as professor in the Advertising, Design and Graphic Arts Department at the City University of New York City College of Technology.

Jeremy Faludi

Jeremy Faludi (www.faludidesign.com) is a product designer and researcher specializing in eco-design. He has consulted for Rocky Mountain Institute, Janine Benyus, Chorus Motors, ExBiblio, Lawrence Berkeley National Labs, and others. He was a finalist in the 2007 California Cleantech Open competition and is a juror for Dell’s ReGeneration contest on green computing. A bicycle he helped design appeared in the Cooper-Hewitt National Design Museum’s exhibit Design for the Other 90%.

In addition to his design work, Faludi is a contributing editor to worldchanging.com and is one of the many authors of Worldchanging: A User’s Guide for the 21st Century. His articles have appeared in GreenBiz, Package Design Magazine, Samsung’s DigitALL magazine, and the Secretariat of the Commonwealth of Nations’ newsletter Commonwealth Today. He also speaks at conferences, schools, and businesses around the world. Faludi is active in the o2 International Network for Sustainable Design, serving the o2 Bay Area and Cascadia groups. He is also on the faculty for MCAD’s Sustainable Design Certificate Program and is a lecturer in the product design program at Stanford University.

Terry Gips

Terry Gips is a widely published ecologist, agricultural economist, sustainability consultant, certified independent Natural Step Framework Instructor, speaker, author (Breaking the Pesticide Habit and The Humane Consumer and Producer Guide), and member of the faculty for MCAD’s Sustainable Design Certificate Program. Gips, president of Sustainability Associates, works with business, government, and organizations to save money, improve performance, and become socially and environmentally responsible. (www.sustainabilityassoc.com)

Previously, Gips served as Aveda Corporation’s director of ecological affairs and sustainability, Cargill grain merchant and assistant to the chief economist, a congressional and White House aide, Wall Street brokerage assistant, and cofounder and director of the Cooperative Extension Sacramento Community Garden Program.

Gips volunteers as the cofounder and president of the Alliance for Sustainability (www.afors.org). As a founding board member of Ceres (www.ceres.org), he helped develop the Ceres Principles for Corporate Environmental Responsibility. He completed his MS in agricultural and applied economics at UC Davis and an MBA at the Yale School of Management.

Fred Haberman

As the cofounder and CEO of Haberman & Associates (www.modernstorytellers.com), Fred Haberman specializes in brand and cause-related storytelling. He has counseled hundreds of companies on how to create emotional connections between their brands and their customers to generate brand awareness, sales, and positive change.

Dan Halsey

Contributing Author/Photography Contributor

Daniel Halsey (www.Halsey1.com) is a certified permaculture designer, graphic designer, and food photographer. He lives with his wife, Ginny, in South Woods of Spring Lake, Minnesota, a 25-acre wetland with an edible forest garden installed by the Twin Cities Perma-culture Collaborative. He is working on a degree in temperate-climate polyculture design at the University of Minnesota, and is faculty member for MCAD’s Sustainable Design Certificate Program. His articles have appeared in Package Design Magazine.

Jessica Jones

Jessica Jones spent her childhood in the deserts of Phoenix, Arizona, and the forests of the Black Hills, South Dakota, and credits much of her creativity to these landscapes. The inviting forms, shapes, and colors of these natural places have inspired her design style and continue to influence her work at the Biomimicry Guild. Jones graduated from the University of Montana, Missoula, with a bachelor’s in recreation management, an option in nature-based tourism, and minors in media arts and nonprofit administration. While an intern for both the Biomimicry Institute and the Montana Natural History Center, Jones designed interpretive exhibits and other marketing materials. Before joining the Biomimicry Guild, she was an interpretive naturalist for Custer State Park in South Dakota, where she developed and presented natural history programs to visitors of all ages. She is also a member of the National Association for Interpretation. Jones thinks interpretation, information design, and being well versed in many disciplines, especially biology, are valuable studies for graphic designers. For a current example of Jones’s work, download the “Guild’s Complete Product and Services Reference,” available at www.biomimicryguild.com/guild_services_complete.html.

Curt McNamara, P.E.

Curt McNamara, P.E. ([email protected]), is a practicing designer with 20 years’ experience in commercial and industrial markets. He is an R. Buckminster Fuller scholar and authored the entry on Fuller in the UNESCO Encyclopedia of Life Support Systems, and his articles have appeared in Package Design Magazine. An active Institute of Electrical and Electronic Engineers member, McNamara received the IEEE Millennium Medal in 2000 for his ongoing work in education. McNamara is a board member and serves as the engineering liaison for the o2-USA/Upper Midwest chapter of the o2 International Network for Sustainable Design. McNamara is also a faculty and program development team member for MCAD’s Sustainable Design Certificate Program, as well as an Engineering Instructor for the Biomimicry Institute’s Two Year Certificate Program.

Jacquelyn Ottman

Since 1989, Jacquelyn Ottman has been helping businesses find competitive advantage through green marketing and eco-innovation. President and founder of J. Ottman Consulting, Inc., she advised clients such as IBM, Interface, DuPont, and the US EPA’s Energy Star® label. A popular speaker at industry conferences around the world, Ottman authored Green Marketing: Opportunity for Innovation (second edition), described by the American Marketing Association as the “definitive work on the subject.” For seven years, she chaired the special Edison Awards for Environmental Achievement jury. Her firm is the principal organizer of Design:Green, a pioneering eco-design educational initiative endorsed by the Industrial Designers Society of America. (www.designgreen.org)

A graduate of Smith College, Ottman also attended the NYU Graduate School of Business. She holds a certificate from the Creative Education Foundation in facilitating the Osborn Parnes Creative Problem Solving Process. Ottman is also a faculty member for MCAD’s Sustainable Design Certificate Program and a longtime member of the o2 International Network for Sustainable Design.

Dr. Pamela Smith

Pamela J. Smith, PhD, is a faculty member in the Department of Applied Economics at the University of Minnesota. Her specializations include international economics and econometrics (statistics). (www.apec.umn.edu/Pamela_Smith.html). Smith is also a faculty member for MCAD’s Sustainable Design Certificate Program, and her articles have appeared in Package Design Magazine.

Dion Zuess

With over a decade of design experience in eco-design and visual communications, Dion Zuess is a green advocate who believes designers have a unique opportunity to integrate talent, communication strategies, and social responsibility. Her studio, ecoLingo, is dedicated to green design, blending design ecology, style, and sustainability. The award-winning studio (ww.ecolingo.com) is an approved member of Green America’s Green Business Network as well as a member of 1% for the Planet, Design Can Change, the Designers Accord, and the o2 International Network for Sustainable Design.

Her work has been published in a variety of publications, including Package Design Magazine, and she is frequently invited to be a guest speaker, guest teacher, mentor, portfolio reviewer, writer, and consultant. In 2006, Zuess received an American Graphic Design Award for excellence in communication from Graphic Design: USA. In 2007, she was nominated as a candidate for a Communications Design Award as part of the prestigious Smithsonian Cooper-Hewitt National Design Museum’s National Design Awards program. Zuess is also a faculty member for MCAD’s Sustainable Design Certificate Program.

Contributing Groups

Biomimicry Guild

Since 1998, the Biomimicry Guild has been helping companies and communities find, vet, understand, and emulate life’s time-tested strategies. An ecosystem of individuals and organizations spread all over the world, the Guild brings together the expertise needed to help projects succeed. By emulating 3.8 billion years of well-adapted technology, the Guild helps innovators realize the shared goal of designing sustainable products and processes that create conditions conducive to all life. In addition to workshops, research reports, biological consulting, and field excursions, the Biomimicry Guild has a wide range of experienced speakers available to organizations to learn about the potential of Bio-mimicry and the methods of implementing Bio-mimicry ideas. (www.biomimicryguild.com)

Carbonless Promise

It is the belief at Carbonless Promise that carbon is the currency of the future. It represents both a new asset class and a new risk paradigm that all organizations will need to manage. CP Holdings LLC (dba Carbonless Promise), founded in 2007, works with corporations, institutions, governmental units, and other organizations to help them identify and manage their greenhouse gas risks and opportunities. CP delivers expertise and tools that enable organizations to quantify and create a management plan that minimizes their carbon liabilities and optimizes their carbon assets. CP Holdings is headquartered in Stillwater, Minnesota, with field offices across the United States.

Eric Jackson, cofounder of CP Holdings LLC, has been working in international agriculture and energy markets since the early 1980s and leads the group’s GHG Management practice. (www.carbonlesspromise.com)

Chlorine Free Products Association

The Chlorine Free Products Association (CFPA) is an independent not-for-profit accreditation and standard-setting organization. The primary purpose of the association is to promote Total Chlorine Free policies, programs, and technologies throughout the world. Its mission is to provide market awareness by providing facts, drawing direct comparisons, and highlight process advantages for Totally Chlorine Free (TCF) and Processed Chlorine Free (PCF) products. (www.chlorinefreeproducts.org)

Environmental Paper Network

Environmental Paper Network is a diverse group of over 100 nonprofit social and environmental organizations joined together to achieve the Common Vision for the Transformation of the Pulp and Paper Industry. The EPN provides information, tools, events, and strategic collaboration to advance a more socially and environmentally responsible paper industry. (www.environmentalpaper.org)

Eureka Recycling

Eureka Recycling is one of the largest nonprofit recyclers in the United States and an industry leader demonstrating the best waste reduction and recycling practices not only for the Twin Cities metro area but for the nation. For over 15 years, Eureka Recycling has been St. Paul’s nonprofit recycler. Under a long-term contract with the city, Eureka Recycling provides recycling services to St. Paul’s homes and apartments. In addition, Eureka Recycling is a leader in waste reduction education and advocacy. (www.EurekaRecycling.org)

Package Design Magazine

Package Design Magazine delivers the news and information professionals need to stay on top of the latest innovations and technology driving industry. Sustainability is driving changes in industry to protect the earth and find efficient solutions. In addition to its monthly feature column, “Sustainability Update,” Package Design’s year-end issue is devoted to the latest sustainable materials, initiatives, processes, and advances affecting the packaging industry. (www.packagedesignmag.com)

Printing Industry of Minnesota (PIM)

PIM is the trade association for one of the largest industries in Minnesota. The mission of PIM is to be a leading resource for the printing and graphic communications industry in the areas of advocacy, education, safety and environmental information to enhance the strength and profitability of its members. PIM is one of the driving groups behind the evolution of (and currently manages) the groundbreaking Great Printer Environmental Initiative certification program, a collaborative project undertaken initially by the Council of Great Lake Governors, the Environmental Defense Fund, and the Printing Industries of America. (www.pimn.org)

Promotional Product Solutions

Promotional Product Solutions (PPS) was the first distributor in the promotional products industry of the United States to provide custom-tailored, high-quality Socially Responsible Promotions.® PPS is a Green America (formerly Co-op America) approved Green Business and is a member of 1 percent for the Planet. Jocelyn Azada, chief executive of PPS, is an entrepreneur with a background in theological ethics and socially responsible investing and a passion for increasing environmental and social awareness. Azada spearheads social responsibility, environmental, and diversity initiatives at PPS, and uses proprietary supplier evaluations of environmental, labor, and diversity practices to ensure that the company’s product sources are ethically and environmentally sound.

Sustainable Green Printing PartnershipSM

Launched in 2008, the Sustainable Green Printing PartnershipSM (SGP Partnership program) provides a pathway for printing facilities to begin their sustainability journey. The mission of the SGP is to encourage and promote participation in the worldwide movement to reduce environmental impact and increase social responsibility of the print and graphic communications industry through sustainably green printing practices. (www.sgppartnership.org)

Sustainable Packaging CoalitionSM

The Sustainable Packaging CoalitionSM (SPC) is an industry working group dedicated to creating and implementing sustainable packaging systems.

Through informed design practice, supply chain collaboration, education, and innovation, the coalition strives to transform packaging into a system that encourages an economically prosperous and sustainable flow of materials, creating lasting value for present and future generations. (www.SustainablePackaging.org)

The Sustainable Packaging Coalition is a project of GreenBlue,SM a nonprofit, 501(c)3 tax-exempt institute committed to sustainability by design. (www.GreenBlue.org)

Creative Contributors

Amelia McNamara

Illustration