Author: Nour Mohsen

Regarding the “HOPE Poster” case, I do believe that Shepard Fairey was wrong in what he did and wrongfully tampered with a document that belonged to another organization. In the New York Times article, it states that Fairey was accused of infringing on the copyright of The Associated Press by using their image of Obama for his own “HOPE” poster. This was correct as he neither purchased a license nor asked for permission to use the image. Additionally, he tampered with it in slight ways to make his poster. The article “Case Study on Fair Use and Fair Dealing: The Hope Poster Litigation” details the modifications Fairey made to the original photograph, including rotating the image by 5 degrees clockwise, smoothing out and stylizing features of Obama’s appearance, extending his torso, and redrawing/stylizing other features like Obama’s ears, nose, eyes, and hairline.

As an artist, you hold responsibility when utilizing other photographs for reference. You owe the photographer the offer to purchase a license or sign an agreement to use their piece in your own work. What Fairey did was highly irresponsible, and it is understandable why and how this led him to probation. His case serves as an example of how infringing on others’ images for your own work and profiting off of it can lead to harsh punishments and consequences.

In my internship at Brooklyn College, I have been mindful of these ethical considerations. For all my projects, including logo designs and other graphic elements, I ensure that any external images or resources used are properly credited or licensed. This approach not only respects the original creators but also upholds the integrity and professionalism expected in the field of design. By adhering to these ethical guidelines, I aim to avoid the pitfalls that Fairey encountered and maintain a reputable standing as a designer.

Citation(s)

• “Appropriating ‘Hope’.” Ethics Unwrapped, McCombs School of Business, The University of Texas at Austin, https://ethicsunwrapped.utexas.edu/case-study/appropriating-hope. Accessed 29 June 2024.
• “Guide to Copyright” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA.
• “A Client’s Guide to Design: How to Get the Most Out of the Process” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Use of Photography” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Summary.” Ethics of Design, WordPress, 29 June 2024, https://ethicsofdesign.wordpress.com/summary/.
• “Code of Ethics.” Australian Graphic Design Association, AGDA, https://agda.com.au/member/code-of-ethics.

After reading through the AIGA Design Guide as well as the New York Times article on the Shepard Fairey “HOPE Poster” case, I believe that my approach to my own design work will change for the better. The AIGA Design Guide has provided me with a wealth of information on approaching copyright, utilizing photographs and illustrations from other artists, and understanding the responsibilities I have to clients, other designers, and the general public as a designer. AIGA emphasizes the importance of respecting intellectual property, giving proper credit, and ensuring that any images or materials used are either royalty-free or properly licensed.

The “HOPE Poster” case, which involved Shepard Fairey using an AP photograph without permission to create the famous poster of Barack Obama, highlighted the serious repercussions of not adhering to copyright laws. Fairey faced a lawsuit that not only had financial implications but also affected his reputation as an artist. This case serves as a stark reminder of the importance of sourcing images ethically and obtaining the necessary permissions.

In my own experience during my internship at Brooklyn College, I have applied these lessons diligently. While I do not have personal past experiences involving misuse of copyrighted materials, I have always been cautious when using materials from the internet throughout my design classes at college. Whether for designing projects, creating mood boards, or making presentations, I make it a point to save the sources of images so I can give proper credit at the end. This practice aligns with the ethical guidelines emphasized by AIGA and helps me maintain integrity and professionalism in my work.

Citation(s)

• “Guide to Copyright” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA.
• “A Client’s Guide to Design: How to Get the Most Out of the Process” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Use of Photography” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Summary.” Ethics of Design, WordPress, 29 June 2024, https://ethicsofdesign.wordpress.com/summary/.
• “Code of Ethics.” Australian Graphic Design Association, AGDA, https://agda.com.au/member/code-of-ethics.

So far for this internship at Brooklyn College, I have not had to sign any confidentiality or non-disclosure agreement with the organization. The only paperwork I have had to sign was a non-paid internship agreement form. This form contained my personal information, information about my team leader, the organization’s name, and the tasks I would perform during the internship, along with a list of terms applicable to both myself and the organization. I will be sure to follow all guidelines set by my supervisors at the organization, and as a designer, I will create work that reflects the organization in a positive way. I will be respectful of my client and make sure my attitude and designs reflect the organization’s core values of equality, fairness, and justice for all underrepresented groups.

Citation(s)

• “Guide to Copyright” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA.
• “A Client’s Guide to Design: How to Get the Most Out of the Process” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Use of Photography” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Summary.” Ethics of Design, WordPress, 29 June 2024, https://ethicsofdesign.wordpress.com/summary/.

Throughout my internship experience at Brooklyn College, I have diligently adhered to my responsibilities as a designer and followed all ethical guidelines as outlined in the Graphic Design Ethics. During each new project, particularly when creating logos such as the REACHE logo, I ensured that I used appropriate images and designs to produce work that the organization was happy with. The resources provided by Brooklyn College, such as their logo and branding colors, were utilized along with my personal touches to produce works that aligned with the institution’s message.

Graphic Design Ethics emphasize the responsibility of a designer to respect the client’s confidentiality and to use the client’s resources appropriately. In some of my first assignments, I sent versions of my logo designs to my team leader for feedback, where the use of the logo or branding colors was crucial. After receiving feedback, I made the necessary changes to ensure that my work aligned with the college’s vision and branding guidelines. I have always kept the interests of Brooklyn College in mind and will continue to do so for every project I undertake for them.

To prevent any legal issues, I adhered to the ethical guidelines by sourcing all images from royalty-free databases such as Pexels. Websites like these contain royalty-free images that can be used in professional projects without credit. For example, when designing the REACHE logo, I made sure to use only royalty-free images and followed all copyright laws. Any alterations made to these images, such as clipping or color correction, were minimal and ethically sound. Following these ethical guidelines ensured that all my work was legally compliant and professionally responsible.

Citation(s)

• “Guide to Copyright” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA.
• “A Client’s Guide to Design: How to Get the Most Out of the Process” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Use of Photography” AIGA. (2001). PDF. New York City; Richard Grefé, AIGA. 
• “Summary.” Ethics of Design, WordPress, 29 June 2024, https://ethicsofdesign.wordpress.com/summary/.