Good.

BalancingIntrinsicGoodandInstrumentalGood,whencreatingGraphic
Design.

Introduction

Inanongoingstruggletodefineitselftheworldofdesignisoftenmetwithmanyissues,moraland
practical,eachissuelinkedtothenext.Oneofthoseissuesthatisdeeplyentwinedwithallaspectsof
designisthenotionofgood.Aseeminglysimplewordthatisthrownaroundtoshowourappreciation
oftenwithouthesitation,orapausetothinkofwhatweactuallymeanwhenwesayapieceofdesignis
good.

SimplyputthenotionofgoodnesscanbedividedintotwoprominentmeaningsIntrinsicGood,bywhich
wemeanthatanobjectisinherentlyofhighqualityonitsown,andInstrumentalGood,beinganobject
thatwevalueonitseffectivenessforacertainpurpose,role,messageorcontext.AsRichardHolloway
succinctlyphraseditinaninterviewwithLucienneRobertsAnInstrumentalgoodissomethingthats
goodforsomethingelse,whereasanIntrinsicgoodissomethingthatsgoodinitself(Holloway,N.D.,
citedinRoberts,2006,p.054).

Itisimportanttonotethatthesetwovaluesarenotexclusive,andanobjectorpiececanhaveboth
intrinsicandinstrumentalgoodness.Thedeterminationofthemeaningofgoodhasatremendous
effectontheroleandresponsibilitiesofthedesigner.Thismoralresponsibilityisanissuewhichisa
valid,importantandongoingtopicofconversationwithinthedesignworld,whilenotdirectlycovered
here,itisstronglyoverlappedinthediscussionabouttheuseofethicsindecisionmaking.

TomakeaworthwhilejudgementweneedtobringsomeclaritytothemeaninganduseofIntrinsicand
Instrumentalvalueswithinthedesignprocess,thisessaysetsouttoclarifythosetermsandtheiruses.

Somesaythatthedesignermustberesponsiblefortherepercussionsoftheirworkandconsciousofthe
contextinwhichitisaninstrument.Themainopposingargumentisthatdesignersdeservetohavetheir
workjudgedonitsownmeritandvaluedforitsbeautyregardlessofcontext.Theintentionofthisessay
istoevaluatethepositiveandnegativeaspectsofIntrinsicandInstrumentalgoodandtoapplythose
valuestoasimplemodeloftheindustryofgraphicdesigninordertobringmeaningandclaritytoassist
designersintheirapproachtowork,andtobeabletochoosethecorrectprocessestohaveanethical
approachtotheirdesignandunderstanditsimpactonsociety.


TerminologyandLanguage

Thetermsusedwithintheessayaretobeinterpretedinthecontextofthedesignindustryhowever,as
thedesignworldisconstantlyundergoingdiscussionontheinterpretationofthese,clarificationofsome
ofthemoresignificantterms,andthecontextinwhichtheywillbeusedisgivenbelow:

Designer
ThetermDesignerisusedtomeanthecreatorofanypieceofcreativeworkwithartisticcontent,
regardlessofindustry,style,intention,contextormedium.

GraphicDesigner
ThetermGraphicDesignerisasubsetofdesignerandwillmorespecificallyrefertocreativeartists
whosedisciplineisofvisualdisplay,usuallytwodimensionalbutnotlimitedtoit.ThisexcludesMusic,
FineArtorArchitecture.

Artist
ArtistshallbeusedtospecificallyrefertocreativesfromwithintheFineArtcommunity.

Client
TheroleoftheClientshallbeusedtorepresentwhicheverpartycommissionedthepiece,andcreated
thedemandforthedesignwithinthesimplemodelweareadoptingtodemonstratetheuseofintrinsic
andInstrumentaldesign

Audience
ThetermAudiencewillbeusedtoreferenceanyrecipient,customerorviewerofapieceofcreative
work.

UseofLanguage
Itisofgeneralagreementthatlanguageasatool,specificallythelanguagethatwehavewithinethics,is
oftennotenoughtofullyconveyourintentions.Obviouslyinthepursuitofdecipheringthemeaningof
good,thiscouldbeahugeobstacle.AsLucienneRobertsexplainsit,onthetopicofmorallanguage,
thatthelackofanadequatelanguagewithwhichtomakejudgementsistheheartofthe
problem(Roberts,2006,p.102),andforalongtimesocietyhasbeenawareofthis.Philosopher'ssince
theearlytwentiethcentury,haveexpressedattheinadequacyandredundancyofmorallanguage,and
how,asLudwigWittgensteinexpressedinhiswritingsofreligiousandmorallanguage,languagecan
onlyexpressempiricalfacts(Philosphia,2014,Online).InaninterviewwithLucienneRoberts,Anthony
Graylingmakesthepointthatwhentalkingofmorals,asuitablesolutionmaybeareplacementofthe
wordgoodwithmoredetailedadjectives.Thesewouldbemoreaccurateinexpressingwhatwemean,
e.g.striking,emotional,effectiveoraccessible(Grayling,N.D.,citedinRoberts,2006,p.042).
However,thedownsidetothissolutionisthatalthoughitmayprovidegreaterinsightintoourmeanings
ofgood,itfailstofollowtheprogressanddevelopmentoflanguageandthuslacksthesocialgraspsto
becomecommonusage.Unfortunatelyhowever,languageistheonlymediumwehavefordiscussionon
thematter,sowemustpresson.

Itisalsoessentialtorememberthatethicsgivesnoanswersonrightorwrong,itmerelybegsthe
question.Thereforefromtheperspectiveofethics,instrumentalandintrinsicrepresent,intheir
extremes,altruisticandselfishbehavioursrespectively.Theexplorationoftheseideascoversallareas
andbalancesinbetweeninthepursuitofthegreatestgoodforglobalsocietyasawhole.

EthicsandMorals

Ethics,oftenreferredtoasMoralPhilosophy,istheconcernforasystemofmorals,rightandwrong,
goodandbad.Itquestionshowweashumansshouldliveourlives,andtheeffectthatthewaywelive
hasonindividualsandsocieties,ourrepercussions,responsibilitiesandvalues(BBC,N.D.,online).One
ofthemainissuesthatisraisedinthestudyofethicsisthepursuitofhappiness,andwhetheritshould
bepersonaloraltruisticbothinintentionandinoutcome.Thiscontentionisthesourceofdebates
throughoutsocietyinmanydifferentformssuchasdiscussionsonlawsandrights.Itisimportanttonote
thatethicsdoesnotprovideanswers,insteaditcomparesthevaluesofpossibleanswers(Britannica,
N.D.a,online).GermanphilosopherGeorgHegeldescribestheconflictasbeingnotbetweengoodand
evil,butbetweenmultiplegoods(Britannica,N.D.b,online).AsDelythMorganstatesinaninterviewwith
LucienneRobertsTheonlywayyoucandealwiththesekindsofdiscussionsisthroughdemocracy
debateanddiscussion.Theresnorightanswer(Morgan,N.D.,citedinRoberts,2006,p.062).

Someprofessionshaveasetofindustrywideethicalstandards,suchastheArchitectsRegistration
BoardsCodeofConductforpractisingarchitects.Theseareanagreementofprofessionalethicsto
whicharchitectsmustadhereto,enforcedbytheArchitectsAct1997(Section13)(Architects
RegistrationBoard,N.D.,online).TheARBstatesthatNoteveryshortcoming,orfailuretomeetthe
StandardsexpectedbytheCode,willnecessarilygiverisetodisciplinaryproceedings.howeveritis
madeclearthattocomplywiththissetofguidelinesisanecessitytotheindustry.

AlthoughthereareorganisationsthatexistwithintheGraphicDesigncommunitythathavesimilar
expressionsofprofessionalcodesofconduct,nosingleboardorcommitteehasbeenprominent
enough,orunderenoughmutualagreementtobecomeamainreliablesourceofethicalpractice
guidelines.TheclosestexampletothiswouldbetheAmericanInstituteofGraphicArts(AIGA),which
claimstohavetwentyfivethousandmembersthroughouttheUSwhichitsStandardsofProfessional
Practiceisfollowedby.TheAIGAdescribestheimportanceoftheseconducts,statingthatA
professionaldesigneradherestoprinciplesofintegritythatdemonstraterespectfortheprofession,for
colleagues,forclients,foraudiencesorconsumers,andforsocietyasawhole.

Forthediscussionthatthisessaymeanstoapproach,oneofthemostinterestingoftheAIGAs
standardsis6.1Aprofessionaldesignershallavoidprojectsthatwillresultinharmtothepublic.,this
isalreadypotentiallyproblematicasthedesignermaybefollowingthisguidelineinintention,butthe
resultmaybeunpredictedandturnoutdifferently.Thisdilemmaofethicsisnottheonlypointinthe
AIGAsstandardsthatmayholdsomecontention,anotherexampleis7.3Aprofessionaldesignershall
considerenvironmental,economic,socialandculturalimplicationsofhisorherworkandminimizethe
adverseimpacts.,whichitcouldbesaidisdirectlysettingthestandardthatgraphicdesignersareto
approachworkwithinstrumentalvalues,effectivelygivingoneanswertothequestionthisessay
explores.Wecansee,becauseofthediscussionaroundtheseissues,howdifficultitmaybetosetan
industrywidestandardforprofessionalconductingraphicdesign.(AmericanInstituteofGraphicArts,
N.D.,online)

Thewordgoodhastraditionallyhadmoralconnotations,multiplecitationsofitsetymologymake
connectionswiththewordgod,sometimesusingalongoinoldEnglishandotherhistoriclanguages.
Definitionsofgoodnessareinmostcaseslinkedtovirtuosity,benefit,andmoralcorrectness
(Etymonline,N.D.,online).thereforetakingtheseunderstandingsofgoodwouldleadustoan
instrumentalvaluewherebygoodnessisthequalityoftheoutcomebasedonmoralintentions.
However,themodernuseforgoodinmostsituationsisintendednotasameasureofmoralsor
outcomes,insteaditisusedcontextofquality,howeverthatmaybemeasured.Forexamplewhenwe
nowsayagoodrestaurantwearereferringtothequalityoffood,serviceandatmosphereamongst
otherthingsandnottothemoralfibresorethicalpracticesofthebusiness.Thismoremodern

understandingofgoodnessleadsustoassumethatapieceofdesigndescribedasgoodisvaluedon
intrinsicquality,craftandbeauty.(OxfordDictionaries,N.D.,online)

Relationshipswithinthedesignenvironment

Inanydesignscenarioofanynaturetherearethreerolesclient,designer,andaudience.Theseare
alwaysattributedtocertainpartieswithintheprocess,theymayallbelongtothesameparty,separate
parties,oranycombinationofthem.Itistherelationshipsandinteractionsbetweentheserolesthat
definethenatureofIntrinsicandInstrumental.

Fig1.Ademonstrationoftherelationshipsinthedesignenvironmentsimplifiedforclarity

ClientDesignerrelationship
TherearetwolevelsofrelationshipbetweentheClientandDesigner,thefirstlevelinvolvestheBrief,an
oftenunderrateddocumentwhich,asweshallseeisofgreatimportance,arguablythemostimportantin
thewholeprocessofdesign.WhenpresentedwithaBriefthedesignershouldhavealltheinformation
andknowledgerequiredtocompletetheproject,howeverthisisanunrealisticaimatfirstpresentation.
Thebriefshouldoutlinetheinstrumentalgoodthattheproductistoachievewhatitdoesandthe
contextinwhichitwillbeused,givingthedesigneradirectiononthevisualaspectsofthedesignthe
intrinsicaspecthowitlooks.ToconstructaperfectbrieftheClientwouldhavetohaveacomplete
knowledgeofwhatthedesignerscapabilitiesandexperienceswere,asthisisextremelyunlikely,amore
effectivewayfortheBrieftobeaccomplishedisbynegotiationwiththedesigner,givingtheopportunity
todevelopthebriefbeyondtheClientsoriginalideasandforthedesignertoofferadditionalinformation
thatwillhelptheClientproduceamoreeffectiveproduct.

Thesecondlevelofinteractionbetweentheclientandthedesigner,comesafterthefinalbriefhasbeen
agreedandaftertheproducthasbeendesigned.Intrinsicandinstrumentalarethevaluesthattheclient
mayattributetotheworkofthedesignerinrelationtothebrief.Intrinsicgoodinthiscontextisthevalue
andqualitytowhichthedesignerhascompletedthebrief,thismayincludesuchfactorsasaesthetic
quality,standardofmaterialsused,masteryofcraft,attentiontodetailandanyotherfactorswhich

determinethestandardofthedesigninandofitself.Instrumentalgoodinthiscontextistheaccuracyto
whichthedesignerhascompletedthebrief,assetbytheclient.Itisimportanttonotethatthesevalues
arenotexclusive,infactFrankLloydWrighttakesittoanotherlevelaltogetherwhenin1908in
responsetoLouisSullivansstatementFormfollowsfunction,hesaidFormandfunctionshouldbe
one,joinedinaspiritualunion(Artsology,N.D.,online).

DesignerProductrelationship
Thisareaisthemainfocusofthepaper.

TheDesignersrelationshipwiththeproduct,isintheabilitytoconceive,andcreatethedesignwhile
followingtheBriefprecisely,yettoalsobringtotheproductanaestheticqualityuniquetothespecific
productwhatiswidelyseenasthesolepurposeofthedesigneritisclearlynot.

Thedesigner,havingcompletedtheinitialroleofcreating,bydiscussion,theBrief,nowtakesonthis
roleandwillcomeupagainstthepressuresofadheringtobothIntrinsicandInstrumentalgoodin
approachingtheproblem.

Intheroleofthedesigner,intrinsicandinstrumentalvaluesrefertothenatureinwhichthedesigner
approachesthetaskathand(designingtheProduct).Iftheapproachwerepurelyintrinsicandaimed
purelytocreateahighqualitypieceofdesignwhetherthatbetheaestheticsofthepiece,theexpertise
ofthecraftwithwhichitiscreated,thequalityoftheresourcesusedorothersuchfactorsthatmay
constituteapieceofdesigntobeinherentlygoodthedesignwouldfailonitslackofproperusability.
Conversely,ifapureleyinstrumentalapproachweretakenandthedesignerconsideredonlytheroleof
thepieceonalargerscalewithinsocietyandtheeffectsitmayhave,orthetaskthatitisintendedto
accomplish,thedesignwouldfailthroughlackofaestheticvalue

ProductAudiencerelationship
Fortheaudience,intrinsicandinstrumentalarethevalueswithwhichapieceofdesignisjudged.Quite
simply,intrinsicistheaestheticvalueofthework,andinstrumentalisthecapabilitiesofthedesignfor
itsfunction.Againthesevaluesarenotexclusive,andmayattimesbecomesynonymous,forexampleif
apieceofdesignsfunctionistobeaestheticallypleasing,thenitmayaccomplishbothinherently.

TheAudiencerarelyhasarelationshipwiththedesignerintheGraphicdesignworld,thedesigneris
hiddenawayintheprocessofproduction,oftennomorenoteworthythanwhereaproductismade.
Thereareinstanceswheredesignersarewellknown,butthesesuperstarindividualsarenottypicalof
theindustry.

Itisimportanttomakethesedistinctionsandrecognisethatapiecehavingintrinsicvalueorinstrumental
tosomepartiesmaynotnecessarilymeanitdoesforothers.Forexampleafunctioningandexpertly
craftedpairofscissorsmaywellbebothinstrumentallyandintrinsicallygoodfromtheperspectiveofthe
designerandtheclient,butalefthandedpersonintheaudiencemaynothaveanyinstrumentalvalue
forthem.

Designsolutionsinhistory

Throughouthistorytheroleofthedesignerisonethathasalwaysbeenavaluedposition,whetheritbe
anindividualssoleemploymentoraspartofanotherjob,whichhasundergonedramaticchangesas
societiesandcivilisationsgrewanddeveloped.Asthefreedomofexpressiondevelopedwithsocietyso
toohastheimpactthatdesignworkhashad.Tooverviewthisgrowth,tounderstandthischangeitis
enlighteningtocompareaseriesofexampleswhichillustratesomeofthechangesfordesigners
throughouthistory.Atthispointitisimportantthatwerememberthethreerolesthatare,insomewayor

another,alwayspresentindesignscenarios:theclient,thedesigner,andtheaudience.Theserolesare
afundamentalpremisethroughoutalloftheexamplesandplaykeyrolesindefiningthehierarchyof
designwork.

Fig2.TilesfromtheAlhambraPalace,13??,ImagebyBritishMuseum
Thesetwotilesread:ThereisnovictorexceptGod

TheAlhambraPalacewasbuiltinGrenada,Spain,inthemidfourteenthcentury(AD)byMuslimrulers
inSpain.Thetilesfromthepalaceshowtheislamicartstyle(fig.1),whichwasrestrictedbyreligious
authorityandnotpermittedtodisplaylivingbeingsorlifelikecreatures.Thesepatternsgenerally
consistedofsymbols,twistingleaves,vines,orflowers,calligraphy,andgeometricpatterns.Thisart
stylewaspopularwithinthesocietiesandwasusedforexpensivedecorationsuchasinpalacesor
mosques,givingthedesignersgreatrespectinsociety(BritishMuseum,N.D.,online).Although
creativelyconfinedinthiscasethereligiousbeliefswouldhaveheavilyinfluencedthepotential
developmentoftheBriefthevariationanddiversitywithinearlyIslamdesignwasvast,asLucienne
RobertsputsitReligiousrestrictionspurredindividualcreativity(Roberts,2006,p.22).Inthisexample
wecanseethattheclienthadimposedhugerestrictionsontothedesigner,however,bythinking
intrinsically,designersproducedhighqualityworkwithintheconfinesoftheBrief.Theaestheticbeauty
attractedtheAudience(thepublic)andhadtheinstrumentaleffectofstrengtheningthemuslimsociety.
Thisexampleisoneofmankindsfirstmodelsofcivilization,andsotheresponsibilitiesandpositionof
thedesignerwasnotyetfullyexplored.LucienneRobertsexplainsinherbookGood:Anintroductionto
ethicsingraphicdesign:

Artistswereregardedasskilledpeoplewhocouldbeusedtosupport,illustrate,anddocument
visuallytheauthorityofthoseinpower.Thispowermightbemilitaryorpolitical,butartnearly
alwaysreflectedthehigherandmysticalguidanceofthegods...Themajorityofartistsdeveloped
theirskillsasapprenticestoamaster,whoseknowledgeincludedthemakingofnecessarytools
andmaterials,andanunderstandingoftheprevailingiconography(Roberts,2006,p.20)

Fig.3PieterdeHooch,1663.AWomanPeelingApples

Whenwelookatthisexampleofadesignfromthreecenturieslater,weseethatthenatureoftheart
haschanged,notonlyinqualityandrealism,butincontentandexpression.Weseetheeverydaylives
ofthecitizensandthepublic.Thisisaclearchangefromthestrictconfinesoftheartistwithinanearly
civilization.Theexpansionoftheideaoffreedomofspeechandsocietiesthatallowedthischange
promotedthevisualartsandartistswhowereofferedwideropportunitiesforexpression,theethical
impactthattheirartefactshadspreadwithequalspeed.InexamplesasearlyasPieterdeHoochsA
WomanPeelingApples,thenotionofagraphicdesignerwasnotyetestablished,howeverweseethe
emergenceoftheClientDesignerAudiencerelationshipthistypeofpaintingwouldtypicallyhavebeen
commissionedbyawealthypatrontoshowhiswealthsomeofthecontentwouldhavebeenrequested
(withintheBrief),butmuchofthedetailwouldhavebeenlefttotheartist.

Theestablishmentofthegraphicdesignerasarolecameaboutmuchlaterwithconnectionstothe
industrialrevolutionandtheadvertisingrevolution.Instead,producersofartefactsinthevisualartswere
synonymouslyreferredtoasartists,somethingwhichinthemodernworld,withmodernlanguage,we
tendtoassociatewiththeroleofafineartists.Inthisexample,weseethatwithfewerrestrictions
imposedbytheclient,thedesignerwasabletodirectlyrepresenttheaudience,closingthegapbetween
thepublicandthecraft.

Fig.4Bubbles,1890,Imagefrombubbles.org

In1890ThomasJ.BarrattpurchasedtherightstoapaintingandusedittosellaproductcalledPears
Soap.Thisisoftenthoughttobethebirthofmodernadvertisingasitwasthefirsttimethatartand
productshadcometogetherinsuchaway,andthefirstrealtasteofanadvertthatthecommercial
worldhadfaced.Itwasalsothefirsttimethatarealbrandwascreated.ThisearnedThomasJ.Barratt
hisplaceinhistory,oftenreferredtoasThefatherofadvertising(Bubbles,N.D.,online).Itwasfromthis
incidentthataphasesometimescalledtheadvertisingrevolutionbegun.Inthisexample,theclientand
designerweremergedintooneparty,asBarrattwasalsothechairmanofthebusiness,meaningthat
thegoodnessofthepiecewasattributedbytheaudiencetothedesigner.

Throughoutthelatenineteenthcenturyandintotheearlytwentiethcentury,theworldofcommercialism
andadvertisingflourishedexponentiallyandbegangrowingintotheadvertisingmarketthatweare
familiarwithtoday.Advertisingandbrandingwastakenseriously,thoughtofasanindustryofitsown
andwasbeginningtobestudiedinuniversitiesaroundtheworld.Advertisingisamediumofdesignin
whichthefunctionofapieceofdesignistopersuade,enticeandappealtotheaudience.Within
advertisingthelinesbetweenIntrinsicandInstrumentalbecomeblurred.Itcouldbesaidthatan
intrinsicallygoodadvertisementrepresentstheproductaccurately,ingoodlight,isaesthetically
pleasing,andisalsocraftedwithhighstandardsandprofessionalquality.Howeverthesevaluesare
verysimilartowhatwewouldvalueasaninstrumentallygoodadvertisementforanadvertisementtodo
itsjobeffectively,itmusttoobeaestheticallypleasingandshowtheproductingoodlight,aswellas
othervaluessuchasactivelyincreasingthesalesorpopularityofaproduct.

Itshouldalsobeconsideredthatinthecasesofpropagandadesignthatalotofthesepositionsand
valuesmaybeskewed.HoweverasastudentofGraphicDesign,surroundedbyyoungdesigners,Isee
inthemnotonlyapursuitnotonlyofintrinsicdesignpotential,butalsopoliticalcommentary.Insuch
areasaspropaganda,wecanseethatthischangeofapproachisinnowaynewtotheindustryof
designbutwithsuchaheavytransitionhappeningoverrecentgenerationsitcouldbeachangewhich
weseetransformtheworldofgraphicdesignintoonewherepropagandaisindistinguishablefromother
designwithpoliticalcommentary.Itisforthisreason,andalsotokeeptheessayfocusedthatIshallnot
beexploringtheroleofpropagandainthisessay.

Inatypical(ifsimplified)graphicdesignscenario,suchasonemightfindinadvertising,therolesof
client,designer,andaudienceareusuallyclearlysetout.Theclientistheparty,oftenacompany,that
needsaproductthattheyhavecreatedtobeadvertised.Thedesignerisaseparatepartythattakesa
brieffromtheclientinwhichtheyoutlinetheirneedsanddesiresfortheproductsmarketing,and
executesthatbrieftotheirbestability.Finallytheaudienceistherecipientofthemarketingwho,inthe
vastmajorityofcases,receivefromtheclientandnotthedesignerforexampleacustomerofthe
mobilenetworkEEinc.isawarethattheyarebeingmarketedtobythecompanybehindtheproduct
(EE),andnotthedesignerbehindtheadvertisements(WolffOlins)(WolffOlins,N.D.online).Although
thelinesbetweendesignerandclientbecomeslightlyblurredintheeyesoftheaudiencewhen
companiesuseinhousedesignerstomarkettheirproducts,themajorityofthepublicareunawareof
whetheracompanyusesinhousedesignersornot.

Fig5.AnslemKeifer,198384,Seraphim,ImagebyGuggenheim

Withintheprofessionoffineart,therolesofclientanddesignertendtocombineandbecomeone,as
themessagethatisbeingportrayedhascomefromtheartist,whoisalsothedesigner.Inthecontextof
graphicdesign,thiscouldbereferredtoasselfinitiateddesign.Theconsequencesofcombiningthese
rolesarethattheaudienceisadirectrecipientofthedesigner,andthemessagesandemotions
portrayedareinmostcasesdirectlyattributedtothem.Oneprominentexampleofthisistheworkof
AnslemKeifer,aGermanpainterbornjustbeforetheendofthesecondworldwar.Throughhis
childhoodhegrewupinthepostwarcountrysideofawartornanddividedGermany(Guggenheim,N.D.,
online).Thisimageryisseentobehisprimarysourceofinfluenceandhisworkisstriking,emotional,
andhasdrawntheattentionofcriticsworldwide.Thereceptionofhisworkandthemessagesbehindit
aredirectlyattributedinaverypersonalmannertoKeifersownexperiencesandopinionsitisinthis
waythattherolesofclientanddesignerarecombined.Itcouldbesaidthattotrulyapproachfineart
intrinsically,onesintentionsmustbepurelyintheinterestofthecraft,andnotwithanymessageor
contextatall.PaulCzanne,afrenchpostimpressionistartistisanexamplethisidea.Hisapproachto
artwaspurelyintrinsicinthathewasnotconcernedfortheoutcomeofhiswork,oranymessagesit
mayportray.Insteadhestudiedartasacraftandsoughttoexploretheboundariesofhisworkingsand
methodsthroughwhatisoftendescribedasseekingorinterpreting(Ibiblio,2002,online).His
landscapeswereinlargepartwerenotdirectrepresentationsofexistinglandscapesfrommemoryor
photograph,theywereconstructedashepaintedpurelyintheinterestofexploringhismedium.Although
eveninthiscase,asboththeclientanddesigner,Czanneisstillthesolepartyresponsibleforthe
repercussionsofhiswork.


Fig.6Czanne,1873,Etude:PaysageaAuvers(Study:LandscapeatAuvers)

Asdiscussedabove,inaprofessionalscenarioinwhichtherolesofclientanddesigneraremerged,the
responsibilityandrepercussionsoftheworkrestuponthedesigner.Inthemodernindustry,graphic
designersseemtobemovingmoretowardstheroleoffineartists,inthewaythatselfinitiateddesignis
becomingmorepopular.

DealingwithGoodinotherprofessions

Partofthediscussionbehindthenotionofgoodrevolvesaroundthedesignersprofessionalethicsand
theirresponsibilityfortherepercussionsoftheirwork.Thisisimportantinourexplorationofgoodinthe
comparisonofIntrinsicandInstrumental,asthetwomainopposingargumentscanbeverycloselylinked
withtheideasbehindbothstances:Somearguethatanindividualwithinaprofessionshouldhavethe
freedomtocarryouttheirworkwithcompletefocusonquality,expertiseandmastery,andshouldbe
judged,whetheritbecreditordiscredit,solelyonthequalityofthatwork.Thisviewpointisanexample
oftheideologyofintrinsicgood,thatapieceofworkshouldbegoodinandofitselfandwithinthe
contextofitsprofession.Otherswouldsaythattoworkinsuchawayistoonarrowlyfocused,andthat
anyprofessionalhasaresponsibilitytosocietyforrepercussionsoftheirwork,andthatcreditand
discreditshouldbeextendedtotheeffectsoftheirtrade.Wecanseethelinksinthisargumenttothe
valuesofInstrumentalGood,inthewaythatapieceofworkisseenasatoolwithinthelargerpictureof
afunctioningsociety.

Thisisadilemmawhichisnotuniquetothedesignworldandcanbefoundinaplethoraofprofessions,
Iwillbeexaminingsomeexamplesandhowtheyapproachandtacklethisissue.

In1945,theworldsfirstnuclearbomb,designedbyJ.RobertOppenheimer,wasdetonated
(History.com,N.D.,online).In1947,theAK47,wasdesignedbyMikhailKalashnikov,andwentonto
becomeahugecommodityontheblackmarketandamongstterroristforces(MilitaryFactor,N.D.,
online).DuringhistimeintheNaziparty,HugoBoss,whosenamewentontobecomeaglobalfashion
brand,designedtheuniformsfortheSS,apowerfulmilitaryforceforGermanyinWorldWarII(BBC,
2011,online).

Eachoftheseexamples,althoughseeminglyextreme,offerustheopportunitytoexaminetheworkofa
designer,thecontextandeffectswhichtheirworkultimatelyleadto,andhowwerespondtotheseasa
society.Ifwearetovaluethesedesignsintrinsically,thenwewouldfocusonthequalityoftheircraft.An

efficient,powerfulandeasytomanufactureweaponisoneofextremeintrinsicvalue,andonemadebya
verytalentedandcompetentdesigner.However,theinstrumentalvalueofaproductisalsomeasuredby
itsoutcomesandeffects,butthismaynotbeassimpleasitfirstappears.Itmayseemthattojudgethe
instrumentalvalueof,forexampleOppenheimersBomb,wecanlookatthedirectimpactithadwhenit
wasused,whichis,indisputably,thedeathofmanypeople.Thiswouldmakeitinstrumentallyevil,or
bad.Ontheotherhanditcouldbeseenthattomeasureinstrumentalvalue,abiggerpictureneedsto
beconsideredmightitbethatwithoutatomicbombingsofHiroshimaandNagasakithateffectively
endedtheSecondWorldWar,thatmorelivesmayhavebeenlostintotalifthewarhadcontinued.This
viewquestionsthemoreshorttermviewofInstrumentalGood,infacttheabilityofanyindividualto
accuratelyjudgeGood,andopensawiderangeofpossibleinterpretationsontheeffectsofdesign.Itis
alsoimportanttonotethatinallthreeoftheseexamples,thegeneralconsensusofthepublicisthat
thesedesignersareforgiven,andtreatedasvictimsofcircumstance,politics,orotherfactorsbeyond
theircontrol,andhaveeachapologisedandaskedforforgivenessfortheirparticipation.

Thenatureofthelawistoenforceabehaviorsystembasedonasetofagreedmoralsforthebenefitof
afunctioningsocietyandtheindividualswithinthatsocietybeingamanmadeconcept,thelawcan
onlybeaninstrumentashumansarethecreatorsandtherecipientsoflaws.Thejobofabarristeristo
defendtheirclienttothebestoftheirability,withinthelaw.Itisnottopassjudgementonthegoodor
badofaclientscase.Somuchsothatthereisalawinplace,calledthecabrankrule(Roach,N.D.,
citedinRobert2006,p.047),whichstatesthat:

Aselfemployedbarristermustcomplywiththe"Cabrankrule"andaccordingly...hemust
inanyfieldinwhichheprofessestopractiseinrelationtoworkappropriatetohis
experienceandseniorityandirrespectiveofwhetherhisclientispayingprivatelyoris
publiclyfunded:
1.

acceptanybrieftoappearbeforeaCourtinwhichheprofessestopractise

2.

acceptanyinstructions

3.

actforanypersononwhosebehalfheisinstructed

4.

anddosoirrespectiveof
1.

thepartyonwhosebehalfheisinstructed

2.

thenatureofthecase

3.

anybelieforopinionwhichhemayhaveformedastothe
character,reputation,cause,conduct,guiltorinnocenceof
thatperson.

(CabrankRule2010)

Thisshowsusthatthevaluesofthebarristersdutiesareintrinsical,thattojudgewhetherabarristeris
goodornot,youmustlookatthequalityofthecasestheypresent,thestrengthoftheirargumentsand
theirknowledgeandmasteryofthelaw,andnotattheeffectsofthecasestheyhaveproducedupon
society.Howeveraswellasshowingustheintrinsicnatureofthisprofession,italsoshowstheconcept
offreespeechandliberalopportunitiesinaction:Itisthenatureofafreespeakingsocietytoofferequal
opportunitytoallvoicesandopinions,thatisnottosaythattheywillallbeheard,valued,orreceived

withequalweightandrespectintheeyesofthepublic,butitisthebeliefthatafairandfreesocietyis
oneofliberatedopinions.Itisuponthispremisethattheprofessionofbarristeringofferstherighttofair
trial.Howeverthepursuitoffreespeechandequalopportunitiesdoesnotalwaysleadtotheagreement
ofIntrinsicGoodintheseprofessions,somewouldarguethatthepurposeoffreespeechistocreatea
balancedsocietywhichbenefitsthemasses,andisthereforeInstrumentallyGoodprofessionalconduct.

Theroleofateacherisanotherprofessioninwhichthesameissueoccursitisateachersjobto
properly,accuratelyandaccessiblyconveytheknowledgeandinformationofacurriculumtotheir
students.Itcanbesaidthattobeagoodteacheristoaccomplishthosethings,thiswouldbean
IntrinsicallyGoodvalue.Whereas,basedonInstrumentalvalues,mightitbesaidthattheteacher,orthe
writerofthecurriculum,isresponsiblenotonlyfortheknowledgethattheyconveytothestudents,but
alsowhatisdonewiththatknowledgeandtheeffectswhichthatmayhaveinsociety.Forexample,in
chemistryclassesfromayoungagestudentsareshowntheeffectsofchemicals,chemicalreactions
andfunctions.Inanextremecasewemayaskhowresponsibleteachersorcurriculumsareforany
irresponsible,illegalorharmfulusesofthesechemicalsoutsideoftheclassroom?Intheinterestof
freedomofinformation,andtoavoidadogmaticeducationalsysteminwhichknowledgeiscensored,
thesesubjectsmustbeabletobetaughtwithoutendlessresponsibilitybeingtracedbacktothe
teachers.Toallowthis,thesekindofeducationalrolesmustbeapproachedintrinsically,inorderfor
themtofunctioninstrumentallyinsociety.Itisthroughthisexamplethatwestarttoseehowimportant
thedifferencebetweenintentionandoutcomeis,andhowbeneficialabalanceofintrinsicand
instrumentalcanbe.

Itisimportanttonotethatinprofessionssuchasthepreviouslygivenexamples,aliberatedand
freespeakingsocietyrequiresthatintentionandnotoutcomeiswhatwemustindividuallystrivefor,as
LucienneRobertsstatesinherbookGood,theprincipleisthatdifferencedoesnotmeaninequalitya
standardfundamentaltohumanrights(Roberts,2006,p.086).Itmeansthatthemeasureofgoodness
mustbeapproachedintrinsically,basedandvaluedontheprofessioninquestion.Thisallowsindividuals
toadheretotheirownmorals,andbejudgedfairlyontheirtradewithoutfearofbeingreprimandedfor
unpredictableconsequences.Theinstrumentalvaluesofthegreatergoodforthemasseswilltherefore
beanoutcomeofindustriesapproachingtheirworkintrinsically.

Conclusion

Thisdiscussionhastakenintoconsiderationthehierarchyofresponsibilityintheindustriesoffineart
andgraphicdesign,andexaminedthemincomparisontohowotherprofessionsmanagetheirethical
responsibilities.Fromthisexplorationwecanseethatwhenconsideringhowadesignershould
approachtheirwork,intermsofintrinsicandinstrumental,inbothfineartstyleandtypicalgraphic
designenvironment,itisanintrinsicapproachwhichaccomplishesthefairestdistributionof
responsibility.Workingintrinsicallyallowsdesignersofallkindstobefairlycreditedordiscreditedonthe
skilloftheircraftwithoutthereprimandsofapoliticalactivity,whilealsoresultingintheinstrumentally
beneficialoutcomesofaliberal,freespoken,andfairsociety.

AsAnthonyGraylingexpressesIfyouwanttoliveagoodlife,andtodogoodintheworld,youvegotto
begoodyourself(Grayling,N.D.,citedinRoberts,2006,p.036).

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