Mccloud Coral 1000339 RR

Good design and eco print.
How can the graphic design industry make print publishing more sustainable?
Industry report by Coral McCloud

BA Hons Graphic Design Design for Punlishing 2014
Coral McCloud BA (Hons) Industry Report
Abstract
This report looks at the relationship between design and publishing and how they can influence each other to become ethical and sustainable. It discusses the past and present standpoints of designers on the subject as well as the potential of print publishing. Chapter one investigates the role of the designer from when sustainable issues became apparent in the 1950s and 60s, to the issues present today. It discusses how the strengths of a designer in the context of sustainability -including communication of ideas, the ability to identify a target audience and analyse consumer behaviour - can be used to promote sustainable thinking. It also identifies the current position of designers from different viewpoints and discusses the concept of what good design means to the design community Chapter two focuses on issues specific to print publishing. It focuses on reducing the amount of waste by looking at how sale or return policies affected publishing. I found solutions in manufacturing processes, distribution and by creating a filter model which aims to redefine the value of print. I conclude that designers have the ability to identify and communicate effectively to audiences like no other industry and it is through the use of sustainable publishing that they can reach them.
How can the design industry make print publishing more sustainable?
Contents
Introduction Chapter 1: What is good design? 1.1 Design for obsolescence 1.2 The designers role 1.3 Creating good design Chapter 2: The potential of print publishing 2.1 A sustainability model for the publishing industry 2.2 Manufacture 2.3 Pioneering transparency Conclusion Appendices Bibliography
p. 1 p. 2 p. 2 p.3 p.5 p. 8 p. 11 p. 15 p. 17 p. 21 p. 22 p. 28
Table of Illustrations
Figure 1. Ten Principles for good design Zarate, P (No Date) Ten Principles for good design [Internet] Available: <http://www. artflakes.com/en/products/ten-principles-for-good-design> Accessed January 2014 Figure 2. Maslows Hierarchy of Needs Anonymous (No date) Maslows Hierarchy of Needs [Internet] Available: < http:// careersintheory.wordpress.com/2010/01/20/classics-maslows-hierarchy-of-needs/> Accessed January 2014 Figure 3. Regeneration Consumer Segments. Anonymous (2012 Regeneration Consumer Segments. [Internet PDF] Available: <http:// theregenerationroadmap.com/files/reports/TRR_Rethinking_Consumption.pdf> Accessed January 2014> Figure 4. 2012 Greendex Map of the World. Anon. (2012) Greendex map of the World [Internet] Available: <http://environment. nationalgeographic.co.uk/environment/greendex> Accessed January 2014 Figure 5. The three-legged stool analogy Energy Education (No Date) The three Es of sustainable development [Internet] Available:<http://www.energyeducation.tx.gov/energy/section_3/topics/conserving_ in_the_community/c.html> Accessed August 2013 Figure 6. The interlocking circles model SoI (No Date) No title [Internet] Available: <http://secretaryofinnovation.com/2010/09/02/sustainability-101-a-few-basics/> Accessed September 2013
Figure 7. The three nested dependencies model Sustainability studies (2013) Concentric circles model [Internet] Available: <http://www.ohio-forum.com/2013/10/sustainability-studies-thriving-in-theanthropocene-era/> Accessed November 2013 Figure 8. Publishing filter model Authors own (2013) Figure 9. 3D Printed head Mcor Technologies (2013) 3D printed head [Internet] Available: <http://www. mcortechnologies.com/wp-content/uploads/2013/04/MCOR-WP-19032013-EU_low. pdf> Accessed November 2013 Figure 10. Openbook Audit Ooligan Press (2009) Openbook Audit [Internet] Available: <http://ooligan.pdx.edu/ about/about-openbook/> Accessed July 2013 Figure 11. Nutrition NHS (2013) Nutrition [Internet] Available: <http://www.nhs.uk/Livewell/Goodfood/Pages/food-labelling.aspx> Accessed November 2013 Figure 12. The multiple traffic light labelling scheme Co-op (no date) The multiple traffic light labelling scheme [Internet] Available: <http:// www.co-operativefood.co.uk/health/the-multiple-traffic-light-labelling-scheme/> Accessed November 2013 Figure 13. Product Transparency Index Authors own (2013)
Introduction
Sustainability is a concept that introduces social and ecological values into an economic driven world. This report attempts to answer the question, how can the graphic design industry make print publishing more sustainable? It does this by raising questions about design ethics in chapter one and the potential of sustainable print in chapter two. Chapter one investigates the role of the designer from when sustainable issues became apparent in the 1950s and 60s, to the issues present today. It discusses how the strengths of a designer in the context of sustainability -including communication of ideas, the ability to identify a target audience and analyse consumer behaviour - can be used to promote sustainable thinking. It also identifies the current position of designers from different viewpoints and discusses the concept of what good design means to the design community Chapter two focuses on issues specific to print publishing. I am aware of the debate on print vs. digital but have decided to focus exclusively on print based solutions. I have also written extensively about sustainable materials in the past and feel that the subject has been covered many times. I have to focus on more current issues such as new technologies. I also took a business perspective by looking at how existing sustainability models fit with the industry. Like the previous chapter, it looks at the history of sustainable issues but specific to the industry in order to identify what issues needs to be addressed. It also looks at how print can pioneer a concept to influence consumer behaviour.
Chapter 1: What is good design?
t can be believed that designers are responsible for this unsustainable society,
as much of design is only considered good when they contribute only to economic growth. It is important to understand the process in which our world became unsustainable . We have broken out of the circle of life, converting its endless cycles into man-made linear events. (Meikle. 1995)
1.1 Design for obsolescence

Designer Ben Terret stated on his blog that for designers, more stuff means more money (2007) and therefore in order to create more stuff variation, is introduced. The design industry has prospered from the rapid rise in production since the beginning of the 1950s and 60s post war economic boom. Vance Packard observed in his book The Waste Makers (1960) that obsolescence (pg.79) (when fully operational products are discarded in favour of something with slight advantages or new aesthetic style) became integrated into mainstream retail and marketing at this time. One of the first prominent examples of style obsolescence was the 1950s automobile industry. The advancement of automobile technology had come to a plateau, meaning that there had to be a new point of sale, which was to be changes in style. Inspired by the fashion industry where style obsolescence was commonplace, car companies made minor stylistic changes to the outer body and sold it as new. New became the word in advertising, which influenced the consumer to want to be the most up to date and therefore the most fashionable. While this created economic growth for the industry, it also introduced waste into the environment and changed consumer behaviour.
Chairman Frederic Donner of General Motors was reported admitting that if there had not been an annual style change, cars would not be produced in volume and customers would have no reason to buy a new car until their one wore out (Packard 1960 pg.85). We now see this form sale strategy in almost all modern brands, Apple being a leader in this by bringing out a new version of their products annually. The introduction of single use plastics began the throwaway culture that we are accustomed to today. Disposable plastics were initially rejected as plastic had been marketed as durable and reusable. This changed in the 1956 National Society of Plastics Industry conference. It was discussed that the emphasis should be put on volume, expendability and convenience of plastic, which consumers quickly took to (Meikle 1995. pg.266). Designers continue to use plastic for its versatility and low cost but are now contributing to the 2,474 kilotons (per annum) of plastics in UK production, of which 97% is wasted after use (GHK. 2006). Plastic was created outside of nature and so does not biodegrade like natural materials (Meikle. 1995).
1.2 The designers role

It can be argued that designers facilitate consumerism and waste with clever advertising campaigns for unnecessary products with excessive packaging, but to what extent should they be held accountable? Designer Ben Terrett (2007) says that although there are many different people involved in projects, the designer is the one with the solutions and the ability to step in and say when something is being created unnecessarily. He appeals for designers like himself to be used better. In 1964, at the time when the economy and design was at its height, twenty two creative practitioners at the Institute of Contemporary Arts signed the First Things First manifesto. It was produced by Ken Garland who recognized that designers were being rewarded for what he considered, the shallowest and most
ephemeral forms of design (Poyner. 1999). It created a discussion about putting society and environmental wellbeing over economic needs. The manifesto was updated in 2000 by thirty three visual communicators and was again published in design magazines and wider media as well as being distributed to design schools. Jan Michl a professor and writer at Oslo School of Architecture and Design stated that the manifesto was short-sighted. He expressed in his essay entitled Our Things First that value of an object or of design is subjective and so what they deem to be needed to be put first, is not necessarily the same as other groups. Michl also recognized that the successes of western consumerism have not been presented and suggests that the framework in which the manifesto is proposing is detrimental to a democratic society. Noel Douglas of Occupy design (2014) also stated that First Things First was unsuccessful which is evidenced by the continued teaching of commercial design in universities. Also, that organisations such as Design and Art Direction (D&AD) which although introduced the White Pencil award for social good, still largely celebrates the achievements of commercial design. Douglas also stated that sustainable issues are a political matter so designers should not bear individual guilt. He goes on to say that all designers have to work, as they are all trapped in a capitalist society, but it is in devoting time to ethical causes in which designers can make a difference. This was also suggested in 1973 by Victor Papanek that designers predominantly design for the elite, so should therefore spend 10% of their time designing for the 75% of the population who would truly benefit from their talent.
1.3 Creating good design
Fig. 1 Ten Principles for good design Pablo Zarate, (no date)
Modernism can be considered as the last design movement in which design was created for the purpose to better the world. The German industrial designer Dieter Rams created Ten Principles for Good Design [fig.1] based his talk Design by Vits in New York 1976. It appears as a revised and contemporary approach to modernism stating the importance of the use of innovation, environmentally friendly materials and honesty within design. These design principles are key in achieving sustainability through design.
The aim of design is to provoke an emotional response, communicate an idea or to sell a product. The types of reactions can be categorized by psychologist, Abraham Maslow, and his Hierarchy of Needs [Fig.2]. He stated in his paper, A Theory of Human Motivation (1943) that people have five sets of needs in a particular order and once a need is met, there is a desire to move onto the next one. In todays western world, commercial design exploits social, esteem and self-actualisation needs in order to make money from the wealthy who have had their basic needs met. Good design would focus on developing solutions and creating awareness of physiological and safety needs that are not being met by the 75% of the global population.Design activism is a way of communicating
Fig. 2 Maslows Hierarchy of Needs. anon. (no date)
issues that are not represented in mainstream media because they conflict with the interests of powerful corporations. Adbusters is a magazine that is anticonsumerist and pro environment. It initiated the Occupy movement, which began in September 2011 with Wall Street. Its aim was to create awareness of social and economic inequality by physically occupying a space, which then is communicated further through the media. It made something that is hidden from public view visible in a way that the public can understand and react to. As part of creating design to encourage ethical and sustainable thinking, the terminology needs to be made more accessible to society. Michael Braungart, a sustainable design writer and chemist stated (2008) that the terms such as sustainability, green and efficient were boring and have no relation to real life. Designers need to create solutions that communicate with people in all walks of life: not just corporations with sustainable policies. Positive worlds like innovation, progressive and revolutionary may be the type of language that would appeal. Even the word new could be used because it is associated with being an improvement. Identifying a target audience is key to the design process. The Regeneration Roadmap (Bemporad et al. 2012) project aimed to bring a consumer voice into the sustainability conversation. Data was compiled from 6,224 people across six countries, (three emerging, and three developed countries) assess their attitudes towards sustainability and materialism. The data was then segmented into social groups with different levels of materialistic and sustainable attitudes. The largest group at 34% named the Aspirationals was found to be the most materialistic, but second only to Advocates on environmental values [fig.3]. Their openness to new knowledge and communication skills makes them the ideal audience to focus on. This group would respond positively to design solutions such as creating sustainable products that fit with their core value of product efficiency and also a platform to be part of a community that use the same products. The study also found that they have a high potential influence because of their use of social media so therefore would be able to persuade the
Fig. 3 Regeneration Consumer Segments Anon. (2012)
Practicals and possibly the Indifferents. For a further explanation of the social groups please see appendix A. The study also found that 82% of people in emerging countries and only 49% in developed countries think they have an individual responsibility towards sustainability. The countries with the most Advocates and Aspirationals were also emerging countries. These findings are supported by The National Geographic Greendex (2012) which confirms that emerging countries (India, China and Brazil) are the most sustainably minded countries with America being the least. It also states that the most sustainably minded countries feel the most guilt about their environmental impact but also feel they have the least power to make a difference.
Fig. 4 2012 Greendex Map of the World. Anon. (2012)
In 2010 Carolina Vallejo, a designer born in Colombia who studied in New York began the Design for the First World competition. It empowered people from developing countries to create solutions centered around five main First World problems, one of them being sustainability and overconsumption. She wanted to change the current model of the superior First World giving aid to the submissive and inferior Third World. She believes that both Worlds have skills and knowledge to offer each other, which could help resolve global issues. I believe designers should donate a portion of their time to creating sustainable solutions. They should look to gain insight from people of different cultures and values as well as educating themselves about the history of consumerism and how to ensure mistakes are not passed onto developing countries. It is their job to identify potential in industries and social groups which can progress sustainability and influence wider society.
Chapter 2: The potential of print publishing
he publishing industry is unique in that its soul purpose is to share information.
It has already made some positive steps towards creating awareness about sustainability. The Guardian (2011) aims to educate and inform on a global scale as well as creating platforms for public debate. There are also specialized publishers such as Chelsea Green Publishing (2013) who are dedicated to using recycled paper and producing educational books on sustainability. The Green Press Initiative in the US works with publishers to help them make sustainable decisions for industry improvement.
The print publishing industry is particularly unsustainable as it generates a high level of waste material due irresponsible manufacture, overproduction and because the market is overpopulated. This became a problem in the 1980s when G+J and Bauer launched a policy of sale or return. Over time became the norm for the magazine industry. Previously there had been a firm sale market, which had developed from wartime paper rationing. Similarly in book publishing, the right of return meant that shops were able to order books without the financial risk of them being unable to sell. Jessicah Carver and Natalie Guidry state that 30% of books are returned with a life of no more than six weeks. They are then donated, pulped, remaindered or stored in a warehouse, (2011 pg. 17,18) essentially creating waste. The UK magazine industry consumes 1 million tonnes of paper a year with only 1-3% containing recycled content (Wrap. No date). In 2006, magazine waste in the UK reached an enormous 37% (Bilton 2012), which due to the nature of magazines, potentially increases to 100% once they have been read.
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The newspaper and magazine market is worth over 4 billion a year with 10.6 million newspapers sold each day and 20 million magazines sold each week (Smiths News PLC. 2009). WH Smith (a UK based high street retailer that stocks print publishing) evidences on its website (2013) just how varied the high street publishing market is. it sells the 12 popular daily newspapers in the UK and offers subscriptions to 1310 magazines including 161 fashion and beauty, 92 home and 133 motoring titles which are issued monthly, weekly or even daily.
2.1 A sustainability model for the publishing industry
A solution to make the industry more sustainable is to to reduce the amount of publishing being produced by filtering it. This would ensure that the cost of the publishing process does not outweigh the benefits it brings to the consumer. (Carver & Guidry. 2011, pg.9). The industry needs to consider the environmental cost and the social gain while maintaining economic benefit. There are currently three models to create this balance. The first was highlighted in The United Nations report, Our Common Future (1987) (otherwise known as the Brundtland Report) which first coined the phrase sustainable development and highlights that all three elements had to balance in order to achieve it. This model is often visualised as a three-legged stool [Fig.5]. The interlocking circles model [Fig.6] acknowledges that all three are needed to achieve sustainability, but that each can exist without the other. Another flaw is that individuals or industries re-size the circles to show that one factor is more dominant than the other two. For example, most businesses prefer to show the economy as the largest circle because making a profit is the most important factor to them. (Willard. 2010).
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Fig.5 The three Es of sustainable development Energy Education, (No Date)
Fig.6 No title Secretary of innovation, (no date)
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The concentric circles model is preferable according to Carver and Guidry (2011 pg 65) [Fig.7]. It describes how each entity should be considered, as it shows the reality that the welfare of the environment directly informs society and the economy: a fact that is largely overlooked.
Fig.7 Concentric Circles Model Sustainability Studies, (2013)
In my opinion, these models do not fit the publishing industry well enough for them to be put into practice. My theoretical filter model [Fig.8] aims to reduce waste and consumption at the concept stage by putting it through social and environmental filters. I feel that a piece of publishing should be judged first by its social worth. Publisher and writer Dennis Stovall (Webb. 2011) states that Theres all sorts of publishing Id love to see disappear in the hope of making a buck, we publish an extraordinary amount of worthless dross. A piece of publishing should have value in what it communicates to the reader. It has potential to increase Human Capital, which is the knowledge and skill of an individual relating to wider society as well as providing a recreational outlet. The second filter considers the cost the piece of publishing will have on the environment. It would ensure the most sustainable materials and production methods are used. It also contemplates the appropriate format for the information as well as ensuring similar information has not been published before,
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as unsustainable. The products that are able to go through both filters will be economically viable, as they will have social worth, which people will buy into and also be cost effective by producing little or no waste. If all of todays publishing were to be put through these filters, there would be very minimal waste, as each publication would bring something new to society and would be produced using environmentally sound processes. This could only exist if the industry collaborated to pool resources and produce less, but more meaningful publications, rather than many of the same type of product. Similarly, through industry collaboration the use of variable data printing could be used to create publications with meaning and value. Consumers could choose parts of the magazine, book or newspaper through an online facility to be printed specifically for them, meaning that parts that are of no interest to the individual would not be produced and therefore not be wasted. An individual could also receive a single publication from a variety of sources across the industry that is relevant to them, therefore giving it personal value and less likely to be wasted after a single use. This type of product would appeal to the Aspirationals group discussed in the previous chapter.
Fig.8 Filter model Author, (2013)
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2.2 Manufacture
Manufacture is an important consideration for any industry. There are many different options available for publishers which each have their own advantages. Printing on demand (POD) is a solution to greatly reduce the amount of waste created by overstocking and overproduction. It is currently used in the book industry to allow new authors to publish their work without the usual start up costs of large print runs. It is a method of printing using digital technology to print books in very low quantities or even singularly. This technology is also used in short run digital (SRD) book printing for quantities of 25-1000. Digital printing has limitations on being sustainable because petroleum based inks are most commonly used. However, the significant reduction of waste may make up for the drawbacks (Carver & Guidry. 2011 pg.21). In the magazine industry, there is currently a sale based replenishment (SBR) system that focuses on reducing retail waste, but does not affect the print run. However, this could be expanded using print on demand methods for both small and large magazines. Currently, magazines with smaller circulations account for 30% total magazine waste (Bilton 2012). This suggests that large magazines have a better understanding of their sales so are able tailor their production numbers more accurately than smaller magazines. To eliminate the amount of waste magazines produce, both large and small companies could produce an initial print run based on their minimum sales and then produce further copies - if needed - through short run digital printing. Book publishers Schiel and Denver (no date) do exactly this and there is a direct profit on every book sold and importantly, no waste. They also have multiple printers that deliver to the locations closest to them. The reduction of transport costs could help to cover any extra printing expenses as well as reduce carbon emissions. This could then be pushed into retail outlets for all types of publications. Shops could offer subscription services as well as a pre-ordering on demand service, which would have a quick turn around, if local printers were able to produce all of publications being sold.
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These manufacturing methods can help to reduce waste of existing products, but also enables an incredible number of new titles to be printed (Webb.2011). Steven Piersanti, president of Berrett-Koehler publishers states that it is getting harder every year to sell books as many book categories have become entirely saturated, with a surplus of books on every topic (2012). Variable data printing would lead to complications with large-scale production, as each publication would be bespoke. However, production considerations including environmental responsibility may be taken away from the industry with the emergence of new technologies such as 3D printing. It was first created in 1984, and has been used in manufacturing of components but has recently begun to rapidly develop to enter the mass consumer market and into peoples homes. 3D printing uses additive manufacturing - as opposed to reductive manufacturing - so that there is no waste material. Currently, it has the capability of producing solid objects in layers of materials such as plastic polymers, metal, ceramic and most interestingly, paper. Mcor Technologies (2013) have developed a 3D printer that uses traditional 2D printing to add intricate colour to printed objects such as the printed head [Fig.9] (overleaf). This technology is called Selective Deposition Lamination (SDL) as objects are built in layers of paper sheets with water-based adhesive applied in selected areas. This technology has potential in creating fully bound books and magazines in one print. There have been no publicized developments in this direction at this time [Appendix Bi] as 3D printing is still in its very early stage [Appendix Bii]. There may also be opportunity for William McDonough and Michael Braungart to produce books like the second edition of Cradle to Cradle. It is made of plastics... polymers that are infinitely recyclable at the same level of quality... designed with their future life foremost in mind (2002. pg 70). Each page could be individually printed in plastic, printed on with ink and then bound together all in one process.
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Fig.9 3D printed head Mcor Technologies, (2013)
2.3 Pioneering Transparency
Ooligan Press is leader in transparency. It is an advocate of ethical publishing who produces a series called Openbook. Each book contains an audit (fig. 10) highlighting the impact it has had on the environment which helps ensure that they choosing the best materials and processes as well as educating people on the choices available to publishers. This concept could be pushed further to influence consumer habits. The audit itself is very informative but is placed inside the book so is likely not to be noticed before purchase. The way the information is presented is comparable to nutritional information on conventional food packaging [Fig.11]. Both need to be studied for a period of time to gain the information required which would not influence the majority of consumers who often have to make quick decisions when choosing a product.
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Fig. 10 Openbook Audit Ooligan Press, (2009)
Fig. 11 Nutrition NHS, (2013)
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A solution that is impactful and extremely easy to understand is The Department for Healths traffic light food label system [Fig.12] which displays the same nutritional information but in a concise, visible way in the hope of influencing people to make healthy choices. It was created by Bell Communications in 2005 and then updated in 2009. Although this labelling was voluntary and potentially damaging to companies with unhealthy products, more than 60% of food sold in the UK now had this printed on the front of the packaging (Montgomery 2013). This includes participation of all major supermarkets and major brands such as Nestle and Mars. According to a Co-operative survey, 41% of women and 30% of men would leave a product on the shelf if it had a red traffic light (MurrayWest. 2013) proving that this designed, visual information has had a tremendous impact on consumer behavior.
Fig. 12 The multiple traffic light labelling scheme Co-op (no date)
The faults to this system are that large brands such as Coca Cola, Kelloggs and Cadbury have not adopted the scheme so comparisons across all products cannot be made. Also, there are also many variations of the label which reduces the ability to compare products. This traffic light concept could be used to highlight a book or any other products sustainable and ethical attributes as well as ones that are harmful. This would guide the consumer towards products with positive values and influence companies to improve areas that are being represented negatively. Figure 13 is an example of a labelling system that can be applied to any product. Ian Birkett (2012) of Design Week states that successful design should be easy to understand and make people think why dont I? rather than why should I?
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The simplistic design would have to be supported by an awareness campaign so that people know the meaning behind the symbols. The footprint represents the miles travelled in manufacture and distribution of the product, which also indicates the amount of carbon dioxide prduced in emissions. How environmentally friendly and non-toxic materials in the product and packaging are signified by the leaf and then how recyclable or reusable they are is indicated by the recycling symbol. The cogs represent the efficiency of the manufacturing process, taking issues like energy efficiency and production waste into account. The hand symbolizes social issues such as fair pay and healthy working conditions. The QR code would lead to detailed information about the product.
Fig 13. Product Transparency index Author (2014)
This labelling system would only be successful if every company had to use this label on their products. The label could potentially become more important than the branding itself. For the majority of companies, there would either have to be financial incentive for them to voluntarily use it or it would have enforced by a governing body such as Trading Standards. The publishing industry is ideal to pioneer the system as it has an enormous reach and it can publicize itself through its own media. Sustainable book publisher Hayley Cull (no date) expresses, Id love to think people would buy books based on their green credentials. But the title comes first, and it has to. This may be the case, but the ability to make people think about these issues and influence other industries to adopt the system would be invaluable.
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Conclusion
I believe that designers have a moral responsibility to create ethical and sustainable design. Although they are not always the decision makers in a production process, they have the skills to effectively communicate ideas and create solutions to ensure that the sustainable option is always the best one. At present publishing is a very wasteful industry, with overproduction of superfluous products and the use of irresponsibly sourced materials. Designers are at the forefront of technology so can be constantly bringing innovative ideas to the manufacturing processes and create sustainable models tailored to the changing industry. Designers can facilitate the knowledge and ideas to the print publishing industry, which would then be communicated to the client base of the mainstream population - such as the product transparency. Although I agree with Noel Douglas that the future sustainability lies in the hands of the politicians, designers are persuaders not only to the government, but also to society. They have the ability to identify and communicate effectively to audiences like no other industry and it is through the use of sustainable publishing that they can reach them.
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Appendicies
Appendix A
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Appendix B
i. Email from Shapeways. R.e. 3D printing Original message: Hello I am a graphic design student writing my dissertation on sustainable publishing. I am looking at ways to lower waste production in the book publishing industry and was wondering if you had heard anything about how 3D printing/additive manufacturing could be applied to book production? If traditional printing methods could be combined with new technology to produce a fully bound book in one print? Any help on this would be very much appreciated. With thanks, Coral McCloud Reply: Dear Coral, Thanks for reaching out to us. I must say we are not aware of any ways that might help you with your research. What Ive heard is that some publisher apply the method of not keeping any stock and just printing the books by order. That indeed saves the environment and prevents unwanted waste. I hope this helps at least a bit. Good luck with your paper! Adela
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ii. Response from 3Ders.org Hi Coral, 3D printing can not print book yet. Someone has tried to make this sculpture-style book (link below), but it is more like an art or just for fun. And it is plastic, which is not environment-friendly. http://www.3ders.org/articles/20130712-3d-printed-accordion-book-of-texturesand-reliefs.html 3D printing is still in its very early stage. Best regards, Anja
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Bibliography
Book Carver, C and Guidry, N.(2011) Rethinking Paper & Ink: The sustainable pubilishing revolution. Portland:Ooligan Press Lees-Maffei, G and Houze, R. (2010) The design history reader Great Britain:Berg McDonough,W and Braungart,M (2002) Cradle to cradle Remaking the Way We Make Things. New York:North Point Press Meikle, J (1995) American Plastic: A Cultural History. New Brunswick:Rutgers University Press Makower, J et al (1991) The Green Consumer Supermarket Guide. New York:Penguin Maslow, A (1954) Motivation and personality. New York: Harper Packard, V (1960) The Waste Makers. New York:D. McKay Co. Papanek, V. (1973) Design for the Real World: Human Ecology and Social Change. Toronto: Bantam Books Internet Bemporad,R et al (no date) Re: Thinking consumption. [Internet PDF] Available: <http://theregenerationroadmap.com/files/reports/TRR_Rethinking_ Consumption.pdf> Accessed January 2014 Bilton, J (2012) Magazine Waste in the UK [Internet] Available: <http://www. inpublishing.co.uk/kb/articles/magazine_waste_in_the_uk.aspx> Accessed October 2013 Birkett, I (2012) Can design alter consumer behaviour for the better? [Internet] Available at: <http://www.designweek.co.uk/industry-voice/can-design-alterconsumer-behaviour-for-the-better/3035415.article> Accessed July 2013
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Chelsea Green (2013). Our Mission. [Internet] Available: <http://www. chelseagreen.com/company/contactus/our_mission_and_history/> Accessed March 2013. Cull, H (no date) Sustainability in publishing: who cares? [Internet] Available at <http://www.eggmag.co.uk/sustainability-in-publishing-who-cares/> Accessed July 2013 GHK (2006) UK Plastics Waste A review of supplies for recycling, global market demand, future trends and associated risks. [Internet] Available: <http://www. wrap.org.uk/sites/files/wrap/UK%20Plastics%20Waste.pdf> Accessed January 2014 Greendex (2012) 2012 Greendex map of the world [Internet] Available: <http:// environment.nationalgeographic.co.uk/environment/greendex/> Accessed July 2013 Mcor Technologies (2013) How paper-based 3D printing works [Internet] Available: <http://www.mcortechnologies.com/wp-content/uploads/2013/04/ MCOR-WP-19032013-EU_low.pdf> Accessed November 2013 Murray-West, R (2013) Will the new food labelling scheme get the green light? [Internet] Available: <http://www.telegraph.co.uk/finance/personalfinance/ consumertips/household-bills/10146645/Will-the-new-food-labelling-schemeget-the-green-light.html> Accessed July 2013 Piersanti, S (2012) The 10 Awful Truths About Book Publishing [Internet] Available:<http://www.bkpextranet.com/AuthorMaterials/10AwfulTruths.htm> Accessed October 2013. Rams, D (1976) Dieter Rams: Design by Vits [Internet PDF] Available: <https:// www.vitsoe.com/files/assets/1000/17/VITSOE_Dieter_Rams_speech.pdf> Accessed January 2014 Schiel & Denver. (.). Schiel & Denver - A Responsible Book Publisher [Internet] .Available: <http://www.schieldenver.com/learning-center/a-greenerpublisher.html> Accessed July 2013. Smiths News PLC (2009) Becoming a retailer [Internet] Available: <http://www. smithsnews.co.uk/smithsnews/customers/becomingaretailer/the_benefits_of_ selling_newspapers_and_magazines> Accessed January 2014
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United Nations (1987) Our Common future Brundtland Report [Internet] Available at: <http://conspect.nl/pdf/Our_Common_Future-Brundtland_ Report_1987.pdf> Accessed July 2013 V&A (2006) The Exhibition [Internet] Available: <http://www.vam.ac.uk/vastatic/microsites/1331_modernism/the_exhibition. html> Accessed January 2014 Vallejo, C (2010) Design for the First World. The Rest Saving the Rest [Internet] Available: <http://designforthefirstworld.com/about-2/> Accessed January 2014 W H Smith (2013) Magazines [Internet] Available: <http://www.whsmith.co.uk/ dept/magazines/list?sort=asc_bestSellerRanking&hierarchyPath=/3/TOP_ NAVIGATION/wc_dept_magazines&page=1&results=60> Accessed October 2013 Webb. J. (2011). Sustainable publishing is a mindset, not a format Dennis Stovall on the intricacies of sustainable publishing.. Available: http://toc.oreilly. com/2011/07/sustainable-publishing-green-environment.html. Last accessed 12th March 2013. Willard, B. (2010) 3 Sustainable Models [Internet] Available at <http:// sustainabilityadvantage.com/2010/07/20/3-sustainability-models/> Accessed July 2013 Wrap (no date) Using recycled content paper in magazines - print trials and case studies. [Internet] Available: <http://www.wrap.org.uk/content/usingrecycled-content-paper-magazines-print-trials-and-case-studies> Accessed January 2014 Magazine/Journal Michl, J (2006) First things first- or OUR things first. TYPO. No. 21, p. 7. June 2006 Poyner, R (1999) First things first revisited. migr. No. 51. 1999
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Lecture Bemporad, R (2012) Research Panel: Untangling the Consumer Attitude/ Behavior Gap [Sustainable Brands Conference] London 2012 [Internet] Available: < http://www.sustainablebrands.com/digital_learning/event-video/ research-panel-untangling-consumer-attitudebehavior-gap> Accessed September 2013 Blazy, L (2014) Packaging design: the villain. [Lecture to BA Graphics. Talk series] Norwich University of the Arts. January 2014 Braungart (2008) Why less isnt better. [Do lectures] [Internet] Available: < http://www.dolectures.com/lectures/why-less-bad-isn%E2%80%99t-better/> Accessed January 2014 Bridle, J (2014) Code/Spaces [Lecture to BA Graphics. Talk series] Norwich University of the Arts. January 2014 Douglas, N (2014) No title [Lecture to BA Graphics. Talk series] Norwich University of the Arts. January 2014
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Good design and eco print.

Industry report by Coral McCloud

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

Chapter 1: What is good design?

1.1 Design for obsolescence

Coral McCloud BA (Hons) Industry Report

1.2 The designers role

Coral McCloud BA (Hons) Industry Report

1.3 Creating good design

Fig. 2 Maslows Hierarchy of Needs. anon. (no date)

Coral McCloud BA (Hons) Industry Report

Fig. 3 Regeneration Consumer Segments Anon. (2012)

Coral McCloud BA (Hons) Industry Report

Fig. 4 2012 Greendex Map of the World. Anon. (2012)

Chapter 2: The potential of print publishing

he publishing industry is unique in that its soul purpose is to share information.

Coral McCloud BA (Hons) Industry Report

2.1 A sustainability model for the publishing industry

Fig.5 The three Es of sustainable development Energy Education, (No Date)

Fig.6 No title Secretary of innovation, (no date)

Coral McCloud BA (Hons) Industry Report

Fig.7 Concentric Circles Model Sustainability Studies, (2013)

Fig.8 Filter model Author, (2013)

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

Fig.9 3D printed head Mcor Technologies, (2013)

2.3 Pioneering Transparency

Fig. 10 Openbook Audit Ooligan Press, (2009)

Fig. 11 Nutrition NHS, (2013)

Coral McCloud BA (Hons) Industry Report

Fig 13. Product Transparency index Author (2014)

Coral McCloud BA (Hons) Industry Report

Word count: 4817 words

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

Coral McCloud BA (Hons) Industry Report

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