On Design
Design – abridged definition (Oxford English Dictionary)
- To mark out; to plan, purpose, intend…
- A plan conceived in the mind, of something to be done…
- Adaption of means to end…
Every human is a designer. Many also earn their living by design – in every field that warrants pause, and careful consideration, between the conceiving of an action and fashioning of means to carry it out, and an estimation of its effects.
Above is the opening paragraph from Norman Potter’s book What is a designer – first published in 1969.
Why is a debate about design valuable today and what has changed? There is one thing that remains constant, and that is a designer is still a very different practice from that of an art. A designer focusses their actions in response to a situation, need or client directive – a commission. An artist on the other hand generates their work from within – often working without specific direction or directive. Inspirations, references and situations can be an overlap between the two disciplines. But they are two delicately different disciplines.
Problem – Design – Solution | Situation – Art – Artefact
Metamorphosis and Serial States
Contemporary design education assesses students through a system of review. Observing the creative process as a whole rather than focusing singularly on the outcome of a final proposal. A successful creative journey is informed by detailed contextual research, testing, regular review and further development. This results in a ‘designed’ solution underpinned by a disciplined, linear creative process. Yet in professional environments the delivery of the ‘vision’ (or end product) without context or research is commonplace. Presentations (to clients) will provide ‘context’ for a proposal but often elect not present the whole creative journey. Perhaps today the whole creative journey undermines the integrity of the ‘vision’ – therefore to focus singularly on the point of arrival portrays a more successful ‘solution’ – and as discussed prior design is about solution, art is not.
Within the discipline of art the process is predominantly transparent, clearly informed by a creative journey. Where Picasso worked on an idea in printmaking or painting, he repeatedly reworked a single motif across multiple progressive stages to track how an idea evolves. His ideas, process and approach was documented and exposed for all to see – not privately archived as a designer!
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AI and the Client / Designer Relationship
The development and adoption of artificial intelligence (AI) as a creative tool impacts on the role of the designer and in some instances that of an artist. In turn, the position of the client is also in flux. Supposedly by adopting to interface with AI the client has total control of the creative process. For AI to function the client has only two simple actions – to compose and submit their question. There after AI responds seamlessly to provide a solution. No referencing, context or qualification – just a pure delivery based transaction.
- Compose a question | Submit to AI | Adopt / Use AI generated solution.
- Re-write the question | Submit to AI | Adopt / Use AI generated solution.
- Adjust AI generated solution to suit specific needs.
Without any specific context, the client has to navigate AI’s proposal without origin. A process of untangling or assigning context. Without any design or aesthetic training how can a client navigate this digital ‘quality control’ process?
- Does it answer the question?
- Is it good / successful?
- What is good / successful? (that is another journal post)
- Will it do?
Where previously the designer would have presented a rationale for a ‘design solution’ AI is completely silent. Although behind the digital veil AI would have profiled the client’s needs as part of the ‘design’ process – producing a solution that AI felt the client would desire! Not delivering a solution that could possibly expand on the clients initial needs.
So, what will become of design?
- You want an egg – AI provides you with an egg.
- You want an egg – A chef cooks you an omlet.
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Further reference:
- Ed Melanie Dodd – Spacial Practices, Modes of Action and Engagement with the City – Routledge – 2020
- Gyorgy Kepes – Education of Vision – George Brazillier Inc – 1965
- Norman Potter – What is a designer: things. places. messages – Studio Vista – 1969
- Ed Jan van Toorn – Design Beyond Design – critical reflection and the practice of visual communication – Jan van Eyck Akademie Editions – 1998
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© Carl Middleton – August 2026.
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