Rezwan Haque’s ePortfolio

My main duties as a graphic design intern at Brooklyn College are to create different design works, with a particular emphasis on logos and poster layouts. Together with the team, I create designs that are visually appealing, harmonious, and compliant with the college’s brand standards. My job entails ideation, sketching preliminary concepts, and iteratively improving designs in response to feedback. We communicate with each other as a team using Zoom once a week, sharing our work and starting a conversation about what is and is not working. In addition, I make sure that every design project satisfies the high standards of quality and consistency set by the college and successfully conveys the intended message. My abilities in brand identity and visual communication are improving as a result of this experience.

Located in the center of Brooklyn, Brooklyn College is a member of the City University of New York (CUNY) system. It was established in 1930 and provides a large selection of graduate and undergraduate programs. The college is well-known for its stunning campus, multicultural student body, and liberal arts and sciences curriculum. It offers a nurturing atmosphere that promotes both artistic expression and academic achievement. I’ve gained invaluable practical knowledge and exposure to professional design processes from my graphic design internship here.

I think my approach to my own design work will improve after reading the AIGA Design Guide and the New York Times piece on the Shepard Fairey “HOPE Poster” case. I have learned a great deal from the AIGA Design Guide about handling copyright, using other people’s photos and illustrations, and knowing my obligations as a designer to customers, other designers, and the public. AIGA places a strong emphasis on the value of upholding intellectual property rights, providing due attribution, and making sure that any photos or other assets used are either legally licensed or royalty-free.
The “HOPE Poster” case brought attention to the grave consequences of breaking copyright laws. Shepard Fairey used an AP photo without permission to produce the now-famous poster of Barack Obama. Fairey was involved in a legal battle that not only had financial ramifications but also damaged his artistic reputation. This case is a sobering reminder of how crucial it is to source photos responsibly and acquire the required licenses.

In reference to the “HOPE Poster” issue, I do think Shepard Fairey acted improperly when he altered a document that was the property of another group. According to an article in the New York Times, Fairey faced accusations of violating The Associated Press’s copyright by copying their photo of Obama for his own “HOPE” poster. This was accurate because he didn’t get permission to use the photo or buy a license. He also made minor adjustments to it in order to create his poster.The changes Fairey made to the original photo are described in detail in the article “Case Study on Fair Use and Fair Dealing: The Hope Poster Litigation.” These adjustments included rotating the picture by five degrees clockwise, extending Obama’s torso, and redrawing or stylizing other features such as Obama’s ears, nose, eyes, and hairline.

It is your job as an artist to use other people’s photos as references. The photographer is owed an offer to buy a license or a contract allowing you to use their image in your own creations. It makes sense that Fairey was placed on probation as a result of his extremely careless actions. His story shows how using someone else’s image for your own work and making money off of it may result in severe penalties and repercussions.

Throughout my internship at Brooklyn College, I have kept these moral issues in mind. I make sure that all external pictures and materials utilized in my projects—including logo designs and other graphic elements—are appropriately credited or licensed. This method preserves the integrity and professionalism required in the design industry while also paying respect to the original inventors. By following these moral standards, I hope to stay away from the mistakes that Fairey made and continue to have a good reputation as a designer.

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.

Especially when considered in the context of the AIGA guide’s ethical criteria, my internship at Brooklyn College has been illuminating. As a member of the brand design team, I have had the chance to learn a great deal about the moral issues surrounding the sourcing of pictures and the upkeep of corporate trademarks and logos.
Finding photos that adhere to the ethical guidelines established by AIGA is one of our main design job responsibilities. To prevent any concerns about misuse, we make sure that all photos used are appropriately licensed and attributed. This procedure preserves the integrity of our work while also paying respect to the original artists. Our group stays away from using royalty-free graphics since we are aware of the risks involved, including unauthorized usage and inadequate payment to the artists. We maintain a high standard of ethical conduct by getting photos directly from artists as well as from reliable stock photo providers.
We stick to the guidelines provided by Brooklyn College in terms of trademarks and logos and any use of the elements in the branding they provided are thoroughly checked to see if any thing was misused or could misrepresent the college.
My time at Brooklyn College has been rewarding, and I now have a strong grasp of the moral issues that the design business faces. It has emphasized how crucial it is to preserve the integrity of the design profession and to protect intellectual property.

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/.