Design Disciples & Contemporary Design Techniques

Is the emergence of contemporary design 

techniques in religious branding a good thing? 

rachel mccullagh 

Ulster University Belfast 

Faculty of Art, Design, and the Built Environment 

bdes hons Graphic Design and Illustration 

Module VIC503 

B00605061

abstract

design disciples 

religious branding in the modern world is all around us. 

Historically, religion was at the forefront of communication 

through imagery and text. Religious organisations have started 

to utilise contemporary design techniques in order to remain 

relevant to the new world growing along with us. In an 

increasingly secular leaning society, it cannot be surprising that 

religions have done this, but it could be questioned as to whether 

this deemed as being ‘good’, both aesthetically and ethically. 

Key research for this area consists of Kantor’s Graphic 

Design and Religion: A Call for Renewal where he insists the need 

to reevaluate where religious design is going and urges care to 

be taken in presenting the word of God. Lucienne Robert’s Good: 

an introduction to ethics in graphic design indicates that there are 

a number of ethical issues to consider when designing at all. 

Juanita Dugdale in In good faith: contemplating design and religion 

explores the viability of presenting religion in a graphically 

justified way, and Bettina Schulz in Novum is especially 

condemning towards existing modern religious communication 

insisting that there is a correlation between the quality of 

religious design and the absense of religious design in respected 

journals. The insight from Sam Bell’s interview reinforces the 

need for more considered religious design both historically and 

in the modern world. 

Conclusions drawn from this research show that 

religious branding has both good and bad design but neither 

are due to the content itself. This research enforces the idea 

that design should be valued by religion as much as by a 

company and that religious organisations should reinforce the 

message with care and consideration, using design not as a not 

a persuasive tool but as a vehicle for the message.

contents


01 

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TITLE PAGE 

ABSTRACT 

CONTENTS 

INTRODUCTION 

Chapter One : HISTORICAL RELIGIOUS COMMUNICATION 

Chapter Two : CONTEMPORARY RELIGIOUS BRANDING 

Chapter Three : ETHICAL IMPLICATIONS 

CONCLUSION 

APPENDICES 

BIBLIOGRAPHY 

LIST OF ILLUSTRATIONS 

ACKNOWLEDGEMENTS

introduction

08: 09 introduction 

Fig. 1 : Johann Gutenberg, The Gutenberg Bible, 1455

- 


contemporary religious branding is a topic that is not often 

visited as to whether it is effective. It is argued in Novum that 

‘nowadays, faith alone is no longer sufficient’ 1 suggesting that 

religious branding has become necessary to compete in the 

modern increasingly secular world. Juanita Dugdale notes that 

‘it’s curious that so little work of a religious nature appears in 

our contemporary magazines, books, or portfolios.’ 2 It will be 

discussed as to whether it is a good thing for religion to use 

modern design techniques, whether there is an ethical conflict 

for a secular designer working on religious material and if there 

is such a thing as critically good design for religion. 

In this thesis, the historical impact of religious branding 

will be examined and whether it has been beneficial to graphic 

design. The effectiveness of contemporary design techniques in 

Christian branding will be explored through a series of case 

studies and it will be studied as to whether passive or active 

branding is more effective in the conveyance of religious visual 

communication. Colour palettes, typography and the imagery 

used in contemporary design for religious branding will be 

scrutinised, as will whether it is visually advantageous to market 

religion in the same way visually and/or methodically as a secular 

company in the modern day. Content of contemporary religious 

branding will be considered to be more or less valuable that the 

religious branding itself, and the value of contemporary design 

techniques in religious branding will be brought into question. 

It will be argued as to whether innovation is the key to the future 

of successful religious branding and it will be proposed that 

designers are as equally equipped to deal with the challenge 

of great religious design regardless of whether they share the 

religious beliefs of what is being communicated. 

1 

Almeida, M., Schulz, B., Lechner, H. and Sommese, L. (2012) Novum plus: Design and religion. Novum, (3), 45 

2 

Dugdale, J. (1995) In good faith: contemplating design and religion. Print, 49 (2), 50

10 : 11 introduction 

In addition, the impact of contemporary religious 

branding will be questioned whether it in itself is good. In 

investigating this, a range of issues will be considered. It will 

be discussed as to whether graphic design is as persuasive or as 

important as the content it is portraying. The ethical dilemma of 

whether a designer should be expected to work on contemporary 

religious branding will be explored, as will whether it is effective 

to brand a religion with contemporary design techniques. 

The possibility of a contemporary business being able to obtain 

the same level of lifestyle power as a religion by mimicking 

religious branding will be questioned and it will be deliberated 

whether secular designers should be expected to design for a 

conflicting spiritual belief. 

This thesis will use the encapsulating word ‘good’ to 

contest whether contemporary religious branding is effective and 

whether the designs are, in turn, good. It will be concluded as to 

whether the emergence of modern design techniques in religious 

branding can be considered a good thing by examining the 

aforementioned issues in conjunction with references from 

respected graphic designers and theologians, and by conducting 

an interview with an industry insider, Sam Bell, on his thoughts 

on the argument.

1 

historical religious 

communication

12 : 13 Chapter One historical religious communication 

in order to fully understand the prevalence of modern design 

in religion and its perception of good, historical religious 

branding must first be considered in order to fully understand 

the contemporary attempts. Kantor in interview with Novum 

suggests that, ‘in the purest sense, religions represent some of 

the world’s first brands.’ 3 Although this thesis concentrates on 

whether modern religious branding can be considered a good 

thing, it should also be noted that religion has influenced graphic 

design today through its religious communication in distribution 

and imagery throughout the ages. 

Produced between 1450 and 1455, the Gutenberg Bible 

was the world’s first major publication to be distributed with 

movable type (Fig. 1). With Gutenberg himself inventing the 

printing press, it was regarded as a remarkable breakthrough 

in the advancements of distribution en mass. Its impact and 

influence rolled through the format of the Bible for many 

editions and accelerated the demand for technological 

advancements of the printing press. The Gutenberg Bible allowed 

distribution of God’s word to be raised to a monumental scale in 

comparison to previous attempts. 

Juanita Dugdale proposes that ‘heritage of faith is so 

strong in our graphic past.’ 4 The Christian faith has inspired 

and funded lauded works of art in fields from sculpture, 

Fig. 2 : Michelangelo di Lodovico Buonarroti Simoni, 

Pietà, 1499 (opposite page) 

Michelangelo’s Pietà (Fig. 2) to fine art, Leonardo da Vinci’s 

last supper (Fig. 3). Another example of renowned religious 

communication is The Waterford Dalmatic Vestments (Fig. 4) 

which are ‘regarded as one of the great treasures of late 

medieval Europe.’ 5 The remains form part of the only surviving 

pre-reformation vestments existing in Britain and Ireland. The 

opulent vestment, dating from the 15th Century 6 , demonstrates 

3 

Almeida, M., Schulz, B., Lechner, H. and Sommese, L. (2012) Novum plus: Design and religion. 

Novum, (3), 37 

4 

Dugdale, J. (1995) In good faith: contemplating design and religion. Print, 49 (2), 50 

5 

Anonymous, A. (2016) Cloth of Gold Vestments. Ireland: Waterford Treasures. Available from: 

http://www.waterfordtreasures.com/medieval-museum/whats-inside/cloth-of-gold-vestments 

[Accessed 12/12/2016]. 

6 

Anonymous, A. (2016) Cloth of Gold Vestments. Ireland: Waterford Treasures. Available from: 

http://www.waterfordtreasures.com/medieval-museum/whats-inside/cloth-of-gold-vestments 

[Accessed 12/12/2016].


skilled artistry through the form of woven Italian silk depicting 

various scenes from the Bible and from the life of the Virgin 

Mary. Religious communication can be seen to be strolling hand 

in hand with innovation throughout these artefacts. 

With Christianity commissioning Gutenberg to print the 

Gutenberg Bible, it subsequently endorsed the development of 

typesetting, whether they realised it or not. Relaying information 

well is the pinnacle of modern graphic design expertise, and 

typography is a large sector of this. David Kantor stated that 

‘our patience with information is likely proportional to its sheer 

volume and perhaps also to the lack of visual hospitality through 

which much of this information is delivered.’ 7 This shows that 

introducing typography as an early graphic concept to methodically 

organise a message into a hierarchal structure aided the Bible 

to reach a wider audience. In utilising a system that was 

subsequently so widely adapted, it eased accessibility and could 

be argued to have made people more susceptible to the word of 

God through scripture in literature in the time that followed. 

Fig. 3 : Leonardo da Vinci, The Last Supper, 1498 

7 

Kantor, D. (2008) Graphic Design and Religion: A Call for Renewal. 1st edn. US: GIA Publications, 

168


Fig. 4 : Unknown, Waterford Dalmatic Vestments, 1420 

A topical use of graphic design distributing religious 

messages is the example of The Gideons International’s take 

on the Bible. From 1908 to the present day 8 they’ve distributed 

Bibles and New Testaments (Fig. 5) free of charge to schools, 

hospitals, and hotels. Their primary objective is to reach as many 

people as they can. It was and is in line with their religious 

beliefs of spreading the word of God to both spiritual and secular 

members of society. 

The organisation of the version that The Gideons 

International gives out is similar in division and structure 

to many Bibles that have gone before it. Perhaps, more of a 

consideration should be taken to what way the words they spread 

8 

Unknown (2015) Gideons Distribute Historic Two Billionth Scripture. Leicestershire: The Gideons 

International. Available from: http://blog.gideons.org/2015/04/two-billion/ [Accessed 04/12/2016].

16 : 17 

Chapter One historical religious communication 

Fig. 5 : The Gideons International, Holy Bible, 2016 

are presented. The lack of innovation in the proclamation of the 

words could suggest that ‘contemporary religious organisations 

often neglect to communicate beautifully,’ 9 Kantor critiques. In 

their consistent persistent dispersal of literature in a familiar 

format, the messages attempting to be communicated could be at 

risk of becoming diluted. Dugdale argues: 

‘Since our communications have now become as 

global as they once were regional, everyone, including 

those who shape religious messages, must find 

innovative ways to tell stories that will engage 

ever-expanding audiences.’ 10 

What could have once been argued to have been a strategically 

effective method of circulation that The Gideons International 

utilised and solely relied on could now be considered to be an 

idle approach in need of revolutionising in order to stay relevant. 

9 

Kantor, D. (2008) Graphic Design and Religion: A Call for Renewal. 1st edn. US: GIA Publications, 42 

10 



Ray Redding interviewed by Pruzan further enforces this point 

by saying that ‘once they [churches] become stagnant, they are 

not viable.’ 11 The Gideons International literature was once a 

treasured gift and could now be considered to be a discardable 

set of tales depending on the recipient. 

An important event to acknowledge in the progression 

of the communication of religion was the Protestant Reformation. 

The removal of symbolism linked to the Catholic Church was a 

dramatic change to the religious communication of the church. 

Sam Bell argued that the reformation had a negative effect on 

visual religious communication: 

‘The deliberate knock on effect of the rejection of 

art and art being seen as idols had a big impact 

graphically... It changed the nature of the importance 

of design across the Protestant world. It removed 

existing beauty, communication and reverence that is 

to be lamented.’ 12 

The reformation stripped the Church of existing adornments. 

In restricting the church’s visual nature, the core aim was to 

rely on the words of God more heavily. Rothenbuhler described 

the Reformation as ‘essentially a desire for a plain world.’ 13 He 

proposes that ‘the Protestant attack on ritual, symbol, and icon 

was out of proportion.’ 14 This would suggest that stripping the 

church of it’s imagery and symbols created a negative impact 

from the rejection religious branding because there was then 

what could be considered to be a lack of visual stimulation. 

It could be argued that content is more important 

than how it’s presented as Bettina Schulz proposes that 

11 

Pruzan, T. (1999) Angels in the ad field. Print, 53 (1), 63 

12 

Bell, Sam (2016) ‘Student Dissertation,’ In Person Interview 

13 

Rothenbuhler, E.W. (1998) Ritual communication: from everyday conversation to mediated ceremony. 

Thousand Oaks, Calif; London: Sage Publications, 127 

14 

Rothenbuhler, E.W. (1998) Ritual communication: from everyday conversation to mediated ceremony. 

Thousand Oaks, Calif; London: Sage Publications, 126

18 : 19 

Chapter One historical religious communication 

‘the pompous regalia of Catholic dignitaries sends just as much 

a message as the comparatively sober garb of their Protestant 

counterparts.’ 15 She goes on to state that ‘when it comes to 

belief, the debate centres on content.’ 16 This raises the question 

as to whether religious branding is then necessary at all, if both 

can be as effective as the other. This would suggest that religious 

branding is neither a good thing, nor a bad thing. It’s simply a 

thing. Martin contradicts Schulz by discussing that: 

‘Only the arts can describe Being in the sense of 

interpretation or articulation, unveiling Being as 

Being and thus giving us understanding though not 

knowledge of Being.’ 17 

In Martin suggesting that the arts are needed to further 

comprehend the message of a higher being, he implies that 

graphical representation is needed to illustrate the spiritual points 

of Christianity. This would suggest that religious branding is said 

to be a requirement to hit home the mystical significance of the 

words of Christianity’s teachings. 

Despite the Protestant Reformation’s iconoclasm, 

the Christian cross is very much an identifier globally of the 

overarching Christian faith, despite it not being accepted by 

all such as Jehovah’s Witnesses. The symbol itself predates 

Christianity but was adopted in the 2nd or 3rd Century to depict 

the memorialisation of the crucifixion of Jesus. 18 In it’s simplest 

Fig. 6 : Unknown, The Christian Cross, 2016 

(opposite page) 

form it is two lines perpendicular to one another (Fig. 6), 

but this was often not the case. Throughout history it has been 

depicted in varying ways, such as in Damiano’s cross (Fig. 7) 

where the body of Jesus is surrounded by minute figures 

15 


Novum, (3), 3 

16 


Novum, (3), 3 

17 

Martin, F.D. (1972) Art and the religious experience: The ‘language’ of the sacred. 1st ed. Lewisburg, 

PA: Bucknell University Press, 71 

18 

Unknown (2016) The Cross as Christian Symbol. United States of America: Religion Facts. Available 

from: http://www.religionfacts.com/cross [Accessed 05/12/2016].


Fig. 7 : Unknown, The Damiano Cross, 1100 

and intricate details. 

Kantor discussed how the ‘overuse of symbols can 

render them invisible. Instead, focusing on breaking them 

open and making them new again.’ 19 For being such an iconic 

symbol, the Christian cross was not subject to one or two design 

studios to aid in getting it to a stage of recognition. It evolved 

over a great amount of time with laypeople, scholars, historians, 

19 


Novum, (3), 3


townspeople, artists and designers alike tampering and crafting 

it to revive the spirit in every work it appears in. The beautifully 

crafted illustrations of crosses in their various forms could be 

viewed to be equally valuable visually to the figure of Jesus on 

the cross, or the empty cross (Fig. 5) that the modern Protestant 

Church tends to adopt. Through the variants and divergents, 

the simplistic vectorised version of the Christian cross has for 

now become the principal identifier to Christianity, but as long 

as the Christian cross continues to deconstruct itself and evolve 

with how it’s used and by who uses it, it is an example of good 

cohesive visual design within religious branding because it is 

malleable to the times. 

Zelenko considered that ‘the reassertion of religion 

and religious differences is played out in the public domain’, 20 

much like the iconography evolution of the Christian cross. 

Historically, Christianity has branded itself organically whereas 

in modern times it could be said to be utilising a forced 

contemporary design application. This, in turn, employs the 

argument that religious branding isn’t a good thing as it’s not a 

public action that could be shaped authentically by the people. 

Lucienne Roberts believes that: 

‘Graphic designers are key players in the 

communication process because we give form to a 

message. Our job is to help make it travel further.’ 21 

It is clear throughout the aforementioned historical points that 

not only has visual communication aided in the promotion of 

religion, but religion has been a key component in the origins 

and development of graphic design as an art form in itself. 

20 

Zelenko, O., Vaughan, S. and Felton, E. (2012) Design and ethics: reflections on practice. London: 

Routledge, 130 

21 

Roberts, L. (2006) Good: an introduction to ethics in graphic design. Lausanne: AVA Academia, 90


With the allure of design and its developments to information 

distribution, it is not surprising that religion has remained 

intrinsically linked with graphic design throughout the ages with 

design. Whether this design is subjectively good or bad, it will 

likely continue to be utilised in religious communication into 

the future.

2 

contemporary design 

techniques in modern 

religious branding

24 : 25 Chapter Two contemporary design techniques 

Fig. 8 : Paul Malone, The Diocese of London Branding, 

2013 

Fig. 9 : Michelangelo di Lodovico Buonarroti Simoni, 

The Creation of Adam, 1512


it can be all too easy to unfairly generalise or stereotype a 

division of religion in terms of the execution of its branding. In 

order to combat this, it is beneficial to look at some individual 

case studies in order to illustrate some of the strengths and 

flaws in that are seen in some contemporary religion branding. 

Paperjam is a Belfast based agency that specialise in 

design experience both on and off screen. In 2013 they were 

tasked with creating an identity for Diocese of London. Paperjam 

stated that they were ‘originally briefed by the Diocese to 

create a brand that was modern, not overly pastoral and that 

would appeal to young people.’ 22 After a reevaluation with the 

client, this brief was changed to an identity that maintained 

the heritage of The Church of Ireland to keep a more realistic 

progression of the brand that would be more comfortable 

with the clergy. It is not unusual for religion to be resistant to 

visual change like this. Bettina Schulz identifies that ‘in terms 

of design, it’s [graphic design in religion] a field that’s exactly 

known for innovation, impact and verse.’ 23 Bell agrees with 

this in saying that ‘religion is very often the slowest to respond 

to new techniques or thinking anything.’ 24 He refers to Hans 

Rookmaaker’s philosophy of ideas on culture by paraphrasing 

that ‘religion is pretty resistant to changes.’ 25 This would suggest 

that religion is at a disadvantage by not utilising more 

contemporary design techniques. 

Religious communication itself is a muddled area of 

conveyance and understanding. In conversation with Sam Bell, 

he explains that ‘promotion is only ever as effective long term 

and the substantive quality of whatever is being promoted.’ 26 

This assesses that the role of the graphic design as merely 

an indifferent vehicle for the delivery of theology. This can be 

22 

Malone, P. (2016) The Diocese of London. Belfast: Paperjam. Available from: The Diocese of 

London [Accessed 06/12/2016]. 

23 


Novum, (3), 3 

24 


25 


26 

Bell, Sam (2016) ‘Student Dissertation,’ In Person Interview


argued to be the case when seen in the passive tone of the work 

for The Diocese of London. 

The visual (Fig. 8) has an assertive tone of voice. The 

san serif titles in their literature (Fig. 8) could be construed as 

being domineering had they not been paired with backgrounds 

of their softened secondary colour palette of yellow red and 

Good design 

green, added onto their primary colour of blue. The imagery of 

pixelised hands communicating the titles draw a familiarity of 

image to the modernised look. The hands praying and the hands 

reduces and 

Drawing these images together could have felt disjointed but with 

structures 

a corporate feel. If the image of praying hands were swapped 

the essential. 

reaching for one another, not dissimilar to The Creation of 

Adam (Fig. 9), sit alongside a more secular symbol for creativity. 

the stylised nature of their presentation they meld together well. 

The Diocese of London could be described as having 

for a more secular gesture, a member of the general population 

could be forgiven for thinking that it wasn’t from a religious 

organisation. The design agency Nordonne Identity’s maxim is 

that the distancing of word and traditional visuals in religious 

branding is a good thing. ‘Churches too can better meet the 

growing demands of media society with contemporary and 

carefully used methods of communication.’ 27 They go on to 

explain that ‘good design reduces and structures the essential.’ 28 

Much like Nordonne Identity, Paperjam have taken the belief 

that frills and religious imagery are not necessary when conveying 

a religious message. David Kantor, however, disagrees with this 

approach. He claims that: 

‘Commercial design is often concerned with explaining, 

simplifying, and demystifying. Religions, however, are 

27 


Novum, (3), 45 

28 


Novum, (3), 45


steeped in mystery. The wrong kind of design can strip 

religion of some of its richest qualities.’ 29 

Kantor words allude that by Paperjam stripping The Diocese 

of London down to it’s bare bones they have stripped it of its 

spirituality which exactly what he protests against. The magic 

of what made the diocese is gone and what is left is more 

aesthetically similar to a commercial business. 

Bell questions the negativity of comparing religion to a 

business by arguing that ‘I think it [religions] has [have] always 

operated as a company.’ 30 In considering this point of view, 

it would then be unfair to restrict religion from also looking 

like a company, or other application of graphic design for that 

matter if the separation of religious and business is not distinct. 

Religions should be able to benefit for any type of design, 

including contemporary design, as long as that design’s quality 

is good. 

In establishing an identity for The Ecclesiastical Parish 

of Leyton St Catherine & St Paul, Cornerstone Church in Leyton, 

London, was created in 1998. Branded by JCI Marketing, who 

are a frequent branding agency used by ministries, Cornerstone 

Church could be considered as an effective example of religious 

branding. The logo, as featured in (Fig. 10) as the epicentre of 

the brand, graphically represents a safe place for members of 

all of the community whether single, married, divorced or never 

having experienced a family environment before. It visually 

portrays a welcoming nook in an otherwise daunting London 

landscape. Schulz proposes that ‘religious design, like all design, 

should in the end get under the skin and awaken emotion’ 31 and 

it could be argued that Cornerstone Church did exactly this with 

29 


Novum, (3), 45 

30 


31 


Novum, (3), 3


Fig. 10 : JCI Marketing, Cornerstone Church Website 

Homepage, 2016 

the logo but, also, by going beyond the logo. Rolled out through 

a website with copy that reinforces the brand identity (Fig. 10), it 

communicates attitudes and relatable personalities applicable to 

the Parish’s restructure. It’s clear consistent use of appropriate 

text styles, a consistent clear layout and a clear menu structure 

aided these brand attitudes to shine through in the message of 

the overall image of the Church. 

There are elements of the visual messages used that 

may not strike the tune of some designer’s affections. The 

contradicting element would be colour. Red used as domineeringly 

as in the Cornerstone Church’s branding is a threatening presence 

in an otherwise welcoming output. Bromley insists that in 

order for colour to be an effective presence, the colour used 

must exhibit ‘identifiable spiritual properties, determined by 

an intrinsic relationship between particular hue and values and 

particular spiritual and emotional qualities.’ 32 In this instance, 

the colour theory behind Cornerstone’s representation could be 

viewed to be dishevelled and that it washes a friendly brand with 

32 

Promey, S.M. (1994) The Ribband of Faith: George Inness, Color Theory, and the Swedenborgian 

Church. American Art Journal, 26 (1), 45.


unnecessary tones of danger, peril, and instability. 33 Despite 

an all encompassing brand message being clear, a missed 

opportunity could be argued to be presented in raising good 

religious branding to great religious branding at the hands of 

modern design techniques. 

Justin Murphy from Sharefaith feels particularly 

strongly about the need for branding of religion. He believes: 

‘If you think that your church brand is not that important, 

you’re wrong. Church branding is incredibly important, 

because it’s about more than just a nifty logo with 

pleasing colors. It’s about your message, your 

testimony, your influence, and your role in reflecting 

God’s character.’ 34 

It could be argued that had Cornerstone not commissioned 

this effective personalised inner city brand, their outreach the 

Church would have been limited in comparison. Their ethos is 

all about connecting with people regardless of background, and 

without communicating this outwardly in a digital way, they 

would have struggled to gain public support to the extent that 

they have in the busy introverted London landscape they inhabit. 

In this instance, modern design techniques for religion have 

been divulged as ‘an agent for social change’ 35 and, thus, can be 

considered a catalyst for good. 

Another example of contemporary religious branding is 

Christian Unions Ireland. Adapted as an extension from IFES in 

2016 to CUI, an all encompassing reference website was required 

for the overarching communal website. Its aim is to bring 

resources and communication together for all Christian Unions 

33 

Turner, C. (2016) Colour Theory. Apollo: The International Magazine for Collectors, 2016, 183, 642, 

60-65 

34 

Murphy, J. (2010) Church Marketing Basics – How to Brand Your Ministry (Part 1). United States of 

America: Sharefaith Online Magazine. Available from: http://www.sharefaith.com/blog/2010/10/ 

church-marketing-basics-brand-ministry-part-1 [Accessed 01/09/2016]. 

35 

Scalin, N. and Taute, M. (2012) The design activist’s handbook: how to change the world (or at least 

your part of it) with socially conscious design. Cincinnati, Ohio; Newton Abbot: How Design; David 

& Charles [distributor], 27


throughout Ireland by which the Christian Unions can work from. 

The slight difference between Christian Unions 

Ireland and Cornerstone Church is that CUI acts as more of an 

administrative organisation, whereas Cornerstone instilled and 

established more of a locally crafted ethos. It could be argued 

that avoiding ethos rhetoric from the outset in CUI was a downfall 

of the branding (Fig. 11) from the organisation’s point of view, 

and not the responsibility of the designer’s. 

Fig. 11 : Thought Collective, Church of Ireland 

Website Homepage, 2016 

Bell demonstrates this by stating that graphic design 

is ‘an element in a group of things that combine to persuade 

people, but I would probably say that it’s one of the lesser 

important elements.’ 36 He explains that, ‘good design should be 

used for what you believe in and what other people believe as 

well. Effectively, it comes down to the substance and content’ 37 

rather than the persuasive impact of the graphic design alone. 

The surrounding circles in the logo (Fig. 11) represent 

each of the current Christian Unions in affiliation with the website 

36 


37 



with the possibility to add more. Although the adaptability is 

a positive for convenience, the idea could have as easily been 

applied to other organisations, religious or otherwise. Dugdale 

considers that ‘renewed popular interest in spirituality may 

create more sources religious work for designers’ 38 and the 

opportunity to exploit this interest into a work of create beauty 

and acceptance could be considered to have been an opportunity 

sadly missed given the youth market CUI is geared towards. 

There are challenges that present themselves 

immediately with the CUI branding, aside from the logo. It’s 

target audience is the youth sector, primarily those of third level 

education age, whether that be those attending a technical college 

or a university. Taking into consideration the level of education 

that the people it is aimed towards has, the website itself is 

superficial and passive in its appeal. ‘Promoting one’s church 

and marketing is a big part of evangelism’ 39 so why shouldn’t 

this extend to it’s youth market through its rhetoric and 

imagery? Kantor believes that ‘religious groups and institutions 

tend to overlook the positive that good design can produce.’ 40 

This would suggest that the CUI organisation may be at fault for 

not utilising or embracing good design and what it can achieve. 

Despite there being clear attempts to convey some 

ethos of the brand in copy such as follow-ons from ‘Our Mission’, 

there seems to be a deep disconnect between the visual 

communication used and the main aims of the organisation. 

From a aesthetic point of view, it could be argued that a 

large amount of the images employed would appeal more to a 

aspirational youth centred travel website than an informative 

Christian aid. Sam Bell sympathises with graphic design in 

religious branding by saying that it: 

38 

Dugdale, J. (1995) In good faith: contemplating design and religion. Print, 49 (2), 52 

39 

Pruzan, T. (1999) Angels in the ad field. Print, 53 (1), 61 

40 

Kantor, D., Banchero, P. and Banchero, P. (2010) Graphic design and religion. Journal of media and 

religion, 9 (3), 176


‘...has had little bearing. It may be initially that people 

are looking at the beautifully designed work and get 

a sense of something grand and important but that 

will quickly dissipate when they realise they’re having 

sausages for tea.’ 41 

CUI, however, has not a lot to say in terms of religious content. 

Although it is a resources website, this does not mean that it 

cannot strive for more emphatic design through appropriately 

powerful copy. Bell argues that ‘not to use the best form 

of communication that you can would be to misrepresent 

whatever you’re trying to communicate’ 42 and that this should 

theoretically apply regardless of the content quality. The design 

is deliberately passive in terms of appealing to young people 

who are already invested, but who is to say that they should not 

be further inspired by the way the organisation is presented. 

Heller goes as far as to argue that not utilising design to the best 

of one’s ability is akin to ‘sins in need of redemption.’ 43 

A critically acclaimed example of contemporary 

innovation to religious branding was Angus Hyland’s The Pocket 

Canons (Fig. 12). The religious branding industry has been 

tarred by Kantor, where ‘thoughtful design and artistry is 

rare’ 44 but it is demonstrated that this condemning is bypassed 

by Hyland by counterintuitively breaking up the Bible, as it had 

been previously stagnantly arranged, into 22 volumes stretching 

through both Old and New Testament. It was previously 

mentioned that Kantor also believed that the organisation of 

form is key to how willing the audience is to remain patient with 

it. 45 Hyland avoided what Kantor believed to be the trap common 

to the Bible format in valuing form just as much as content as 

41 


42 


43 

Heller, S. (2003) Damned if you don’t. Print, 57 (1), 111. 

44 

Kantor, D., Banchero, P. and Banchero, P. (2010) Graphic design and religion. Journal of media and 

religion, 9 (3), 176 

45 

Kantor, D. (2008) Graphic Design and Religion: A Call for Renewal. 1st edn. US: GIA Publications, 168


shown in The Pocket Canons formation. 

The aim in the division was to be able to visually 

represent the cover of each in a way that would appeal to both a 

religious and secular audience. Every cover adopted a grayscale 

photograph or illustration with varying degrees of uneasiness 

in tone. The subject matter was modern, applying images 

mushroom clouds and infrastructure to bring a relevance of the 

stories to present-day life. The Pocket Canons changed the 

perception of the Bible with its publication as it was no longer 

a prophetic work of strictly spiritual use, but an attractive 

intriguing book that the reader wouldn’t think twice about 

reading on a train. 

Hyland’s interpretation and invention of The Pocket 

Canons is an important one because it could be perceived that 

religion sometimes hold the reigns too close to themselves. 

Fig. 12: Angus Hyland, The Pocket Canons, 1999


Hyland exemplified how a designer who is not necessarily 

stringently versed on religious outcomes can achieve inventive, 

and thus, good religious design. Bell proposes that ‘it’s fair 

to say that most people have the ability to have blindspots on 

things.’ 46 By Hyland ordinarily being removed from the spiritual 

sector of design through being a member of the famed design 

agency Pentagram at the time he was able to bring a fresher 

take compared to the likes of the aforementioned FCI Marketing 

agency. Schulz suggests: 

‘When some religious communities do try to “get 

closer” to their flock, the resulting designs are 

disappointedly ingratiating, cramped in style and 

on occasion even embarrassing.’ 47 

Bell continues this point of view by demonstrating that: 

‘You don’t have to embrace something to be able to 

do a good job for what it is that they’ve been doing. 

I would say that a vast majority of graphic design 

projects, the designers are at best ambivalent to the 

project that they have been working on.’ 48 

This ambivalence is arguably the best background to work with. 

A blank canvas to place creative ideas onto with a fresh mind. 

The paperbacks’ stark colour contrast of stripped 

down layout to orange text is a far departure from the Bibles 

traditionally associated with Christianity, such as the crafted 

Gutenberg Bible (Fig.1). Schulz suggests that good religious 

branding is: 

46 


47 


Novum, (3), 3 

48 



‘...a real tightrope walk, establishing distance from the 

commercial and yet communicating the traditional 

messages visually into the here and now. So successful 

examples are sadly quite rare.’ 49 

The Pocket Canons are an example of one of those rare cases. 

People have 

For Hyland to present the canons in such an austere way is a 

humbling undressing of the grandeur sometimes associated with 

them. It retains the mystery that Kantor alluded to in being so 

the ability 

important with religious branding whilst simplifying the design 

to aid accessibility of the word to all. 

In Lucienne Roberts discussing the ethics of difference, 

to have 

it could be suggested that it is possible to deal with sensitive 

subjects such as religion despite being from a secular background, 

much like Hyland has done. The ethics of difference: 

blindspots on ‘...seeks to articulate forms of human understanding 

and interaction that accommodate differences, rather 

things. 

than disguising them or undermining them… it does 

not give up hope of finding values that can be accepted 

by all.’ 50 

It could be argued that Hyland has used methodology similar to 

this to his advantage in creating a work that can make people 

more receptive to the bible as a work of significance regardless 

of religious belief. He proves that modern design techniques 

allow religious branding to be good when represented as secular 

as well as spiritual. 

49 


Novum, (3), 37 

50 


ethical implications 

3

38 : 39 Chapter Three ethical implications 

branding has long been a tool of significant power. From the 

start of the 1997 reign of Tony Blair in government, branding 

and its affiliated spin doctoring tactics have been discussed as 

being the ‘new religion’. 51 In religion being compared to one of 

the most influential factors in shaping the world, the power of 

branding in the modern world is undeniable but what is the 

impact when religion and branding stride hand in hand, and is 

that impact good? 

Bell believes, ‘designers quite often overemphasise 

graphic design as a method of persuasion.’ 52 He goes on to 

explain that ‘design is still important because things are placed 

in a particular way to show importance.’ 53 He illustrates that 

although graphic design may simply be a vessel in communication 

a message no matter how arbitrary or religious, the finesse it 

is done with justifies the designing of the message of it in the 

first place. The beautify and clarity of hierarchy that is created 

elevates a message not to one of more importance, but to a 

standard of accessibility. 

There’s an underlying ethical issue that presents 

itself as an impact in the process of branding of religion. When 

approaching a graphic designer for work of a religious nature, 

there exists the possibility of working with designers who 

may or may not be in line with the religious beliefs they are 

being asked to convey. Whether this divide may be because of 

denomination or religious differences as a whole, it reveals the 

issue of whether the work being created would be as effective 

and meaningful whether it be for Angus Hyland’s rebranding 

of The Bible and New Testament or the Cornerstone Church. 

In order to represent Christianity it is asking the designer to 

convey the word of God and the ethos of Christianity itself. 

51 

Tony Blair, New Britain: My Vision of a Young Country, Fourth Estate, London, 1996 and N. 

Fairclough, New Labour, New Language, Roudedge, London, 2000. ‘Brands are the new religion’, 

Fitch consultancy press release quoted in Blueprint, no. 169, February 2000, 41. 

52 


53 



A good 

designer 

In potentially lacking the understanding of the ethos behind 

it, the design in danger of being void of spiritual meaning. In 

saying this, there’s is a point worth making whether those who 

are not spiritually connected with the work should be expected 

to participate in it at all. Paul Rand states: 

‘To design is much more than simply to assemble, to 

order, or even to edit; it is to add value and meaning, 

to illuminate, to simplify, to clarify, to modify, to 

dignify, to dramatise, to persuade, and perhaps even 

to amuse. To design is to transform prose into poetry. 

Design broadens perception, magnifies experience, and 

could do a 

enhances vision.’ 54 

In taking Rand’s words into consideration, it could be argued 

good job. 

that creatives with a contrasting or nonexistent view should 

have the right to deny work that they themselves do not believe 

in. To do otherwise could create work insincere in meaning as 

they themselves are not emotionally or spiritually invested in 

the message of their God. Bell believes completely the opposite. 

‘A good designer would be able to design something 

amazing for something that he positively despised. 

Should he actually have to take on the project? Of 

course not… but a good designer could do a good job.’ 55 

This would suggest that graphic designers can become sufficiently 

knowledgable for the religion they are designer in order to create 

good design. Kantor suggests that designers ought to ‘build a 

relationship with a good theologian and consult with them on 

54 

Rand, P. (1993) Design, form and chaos. New Haven, Conn; London: Yale University Press, 3 

55 



religious projects’ 56 and this is because ‘whether you’re a great 

designer or a great theologian, chances are you’re not both.’ 57 

There is the consideration that religion is or has 

always operated as a commercial entity. Brands such as Apple 

have fed off of the spiritual energy that emanates from religion. 

It has often skirted the line of division between spiritual and 

commercial branding. Kantor discusses how ‘the modes of 

communication used by a business and a church, for example, 

are virtually identical.’ 58 The company ethos that they have 

created around their brand exudes into every area of the user 

experience. If you are an Apple consumer, you are not only that 

but you are also a follower of Apple, similar to that of a religious 

follower. You are a part of the Apple congregation. Walter Lim 

deduces that there is a limit to how far Apple can permeate the 

consumer mind: 

‘While the corporate world should emulate some of 

the “best practices” embodied in religious beliefs, we 

should also be mindful that there are limits to how 

corporate brands can extend themselves into the lives 

of the customers that they serve.’ 59 

Despite Apple’s attempts at becoming as highly regarded as 

religion, religion can be argued to have a power beyond branding 

that cannot be emulated with superficial means. 

Fig. 13 : Unknown, Apple Store, 2016 

(opposite page) 

Apple (Fig. 13) used the basis of what Arrend de Vries 

believes is good religious design in that it ‘immediately 

communicates what is at the heart of [the] work and 

preaching.’ 60 It could then be argued that Apple will ultimately 

not be able to measure up to religion’s power. With modelling 

56 

lmeida, M., Schulz, B., Lechner, H. and Sommese, L. (2012) Novum plus: Design and religion. Novum, 

(3), 37 

57 


(3), 37 58 Kantor, D. (2008) Graphic Design and Religion: A Call for Renewal. 1st edn. US: GIA 

Publications, 44 

59 

Lim, W. (2016) Can Religions be Branded? Available from: 

http://coolerinsights.com/2011/07/can-religions-be-branded/ [Accessed Wed 19th Oct]. 

60 


(3), 37

42 : 43 

Chapter Three ethical implications 

itself on religion, Apple has gained a monopoly that is parasitic 

to the technology community in a negative way. Apple’s good 

design may not necessarily have contributed to a good impact 

on society’s technological innovation. 

In discussing whether it is ethical for religion to be 

branded at all, Bell asserts the fact that ‘graphic design is a 

skill that we bring to messages that we want to communicate 

and bound up in that is the concept of free speech.’ 61 Religions 

ultimately have the option to brand as they please despite 

the social impact of their campaigns. The effectiveness of 

the branding that a designer does for a commercially minded 

business or a religious sect must be the same value of quality so 

that they do not discriminate against one or the other. ‘Whether 

you are dealing with jeans or Jesus – you have to bring out 

the quality.’ 62 When a graphic designer chooses to designs for 

anything, they must be able to throw themselves into it. 

If designers feel ethically uneasy in doing this, they 

may feel confused as to whether they should partake in religious 

branding they don’t agree with. Religious branding can have 

the power to impact badly upon the ethics of a graphic designer 

if they are forced to work on something they don’t believe in, 

no matter how good the job it is that they do. There are some 

like Vignelli who’s ‘biggest dream… is to design a new identity 

for the Vatican. Its entire image is dominated by the worst 

kitch ever conceived,’ 63 but there are others who would feel 

uncomfortable correcting this institution’s design flaws based 

on their own beliefs. Meanwhile, it is viewed that secular and 

non-secular beliefs contributing to design may be a positive 

thing. Since Buck-Coleman believes that ‘multiple viewpoints 

are necessary for meaningful conversations that could result 

61 


62 


(3), 3 

63 



in enriched work,’ 64 should the secular party be at fault for not 

feeling morally obliged to create the work? The decision will 

always ultimately lie with the secular designer, by law, when 

deciding if they are ethically comfortable creating religious work. 

However, the quality of the work that they create can be valuable 

You have 

regardless 

to 

of their own personal beliefs. 

Advertising a religion over another, or none at all, 

could be seen as a ‘hidden persuasion,’ 65 and this is where the 

difficulty of designing against an individual’s ethics lies. Noah 

bring out the 

Scalin argued that the graphic design industry was in such 

ethical disarray that he was ‘thrust into a world where people 

hung up their ethics on the way into the office.’ 66 Individual 

quality. 

graphic designers could argue that they should have a choice to 

undertake an ethical responsibility in incorporating religion into 

design, but this is deemed to be entirely at the discretion of the 

designer per project. After all, applying contemporary design 

techniques to religious branding can be good, but ultimately it 

is more important to consider Berman’s thoughts, ‘don’t just 

do good design, do good.’ 67 If designing for religion is, by a 

person’s beliefs, unethical, then it should be left by the wayside. 

64 

Buck-Coleman, A. (2010) Navigating cross-cultures, curriculum and confrontation: Addressing ethics 

and stereotypes in design education. Visible Language, 44 (2), 197 

65 

Hayward, S. (2001) The branding of modern British culture: consumer citizenship and the age of 

anxiety. Journal of Design History (U.K.), 14 (2), 141 

66 

Scalin, N. and Taute, M. (2012) The design activist’s handbook: how to change the world (or at least 

your part of it) with socially conscious design. Cincinnati, Ohio; Newton Abbot: How Design; David & 

Charles [distributor], 27 

67 

Berman, D.B. (2009) Do good: how designers can change the world. Berkeley, Calif: New Riders, 157

conclusion


in the present world of technology at the fingertips of most 

of the community, it is difficult to place exactly where exactly 

religion is succeeding and failing in its conveyance through 

graphic design. To do so would be an unfair generalisation 

and stereotyping of religious branding and its effectiveness. 

Lucienne Roberts discussed how it is ‘crucial to remember that 

graphic design is a social activity - by its very nature it affects 

lots of people and with this comes a responsibility.’ 68 This is 

applicable to not only to graphic designers, advertising agencies, 

and self appointed publicists within religious communities. 

A number of issues remain to be concluded. It can be 

said that historical design is a resource that should always be 

drawn from when creating contemporary design, regardless of 

whether it is religious or not. To do so would ignore works of 

create significance and create work of lesser worth. Christian 

branding utilises contemporary branding likened to corporate 

branding but this does not mean that it has to be passive. 

Corporate branding has the ability to engage as actively as 

historical religious design. The flaws tend to lie in the design 

not being well considered enough, not whether it’s too similar 

to the commercial world. How blatantly religious design 

resembles commercial design is at the discretion of the designer. 

Contemporary techniques such as colour palettes, typography 

and the imagery used must be well considered and appropriately 

used in terms of religious context. 

Contemporary religious branding’s main flaw is that 

the content may not be strong enough to validate the branding. 

No matter how much innovation is utilised as a part of religious 

design, good design can be applied without being effective 

because of the lacklustre content. It is argued that designers 

68 


46 : 47 conclusion 

are well equipped to design for religion regardless of their own 

beliefs because it is the drive behind the designer to generate 

powerful design that is important, not the breadth of knowledge. 

Knowledge can be easily obtained but the skill to create good 

design is significantly more difficult to refine. 

The ethical impact of contemporary religious design 

Be mindful 

is a more complicated topic to conclude. The persuasive impact 

of religious branding could be deemed to be not an issue as 

the content is argued to be more valuable than the vehicle it is 

of what you 

communicated in. Religious branding could pressure designers 

into work of a nature they are uncomfortable with participating 

in but, in the end, the decision lies with he designer as they are 

are trying 

perfectly 

to 

capable of creating good design as much as a spiritual 

designer. Contemporary design techniques are a questionable 

topic of ethics in that they can masquerade content in a 

persuade. 

misleading way and this could be detrimental to the design itself. 

Contemporary design techniques are definitely powerful in terms 

of influencing corporate brands, but this doesn’t necessarily 

mean that it consistently produces good design. 

Ultimately, it can be argued that good design, and 

good religious design, is one of the most respected and most 

influential factors of influence in society today. Lucienne 

Roberts states for her fellow designers that ‘each of us needs to 

decide where to draw the line. In doing so we will be redefining 

a professional ethos’ 69 and to ‘be mindful of what you are 

trying to persuade.’ 70 In doing so, a designer can have a clear 

conscience about what they are promoting and can continue to 

despair guilt free at the unskilled masses’ interpretation of good 

design for religion. Whether contemporary design techniques 

in religious design is a good thing, it cannot be concluded to be 

69 

Roberts, L. (2006) Good: an introduction to ethics in graphic design. Lausanne: AVA Academia, 91-92 

70 

Roberts, L. (2006) Good: an introduction to ethics in graphic design. Lausanne: AVA Academia, 91-92


as clear cut as other sectors of academic investigation. It must 

be considered on a case by case basis. However, it is fair to say 

that branding that utilising contemporary design techniques 

has the capability of being good or bad in terms of quality or 

impact whether religious or otherwise.

appendices

50 : 51 appendices 

Sam Bell is an accomplished designer with more than 25 years 

experience in his field. He is the Creative Director of Thought 

Collective, a graphic design and web agency in Belfast, 

Co-Founder of Depot, a business management software 

company, and holds First Class Hons in Scholastic Philosophy 

from Queens University, Belfast.


Rachel McCullagh 

It could be argued that graphic designers are responsible to people, and 

the commercial element of graphic design can disturb this. Is it feasible 

to have an ethical code for a practice such as graphic design? 

Sam Bell 

Graphic 

So, yes, it is definitely feasible. It’s desirable to have an ethical 

code for any aspect of life including work so that covers graphic 

design practices. My experience in terms of churches, individual 

design is 

local churches, is that they are the stingiest of stingies. Don’t 

work for your friends and don’t work for the church, to quote 

Kenney Hamill, because graphic design is always commercial in 

the sense that you’re aiming for a return. Now, that’s not always 

always 

financial so people, activists, members of different denominations 

or political groups or lobbyists may not be interested in money, 

but that is the commercial side that you’re looking for. 

commercial. 


Would you, for example, feel ethically responsible for pushing the ethos 

of one religion compared to another considering the fact that one of the 

religions doesn’t have the funding to push themselves? Would this be 

an unfair advantage to be able to spread the word of one rather than 

the other? 

Sam Bell 

The short answer is no, it actually doesn’t worry me. The reason 

for that is that any type of promotion is only ever as effective 

long term as the substantive quality of whatever is being 

promoted. It might take, on occasion, a really long time for 

something of really dubious quality to be uncovered and there


may be a significant impact of an idea or a product or a person 

before it is uncovered that they are really not what they say 

they are. 

However, the promotion of it is only a small aspect of 

it. It doesn’t on a general basis worry me. There are probably 

some very specific examples where it could be an issue but on 

the whole, no. If anything, it’s just a fact of life because whether 

it’s religion or moving consumer goods, for the most part, it’s 

the person who puts the most commitment to it that will have a 

good result. Sometimes that’s in spite of them not necessarily 

having the best product. 


In saying that, would you agree that religion seems to now operate like 

a company? 

Sam Bell 

I don’t think it operates like a company now, I think it has 

always operated as a company. Going back to 13th Century 

monastaries, they were commercial operations. They were 

literally the point of sale for, at that point, the Catholic Church. 

It’s not new in any way. Infact, the monasteries did a lot of good 

in building up the communities. They then brought education 

with it so the universities only really started because of the 

itinerant monks. 


Do you think that designers should primarily take on jobs based on an 

ethos they agree with?


Sam Bell 

You don’t have to embrace something to be able to do a good 

job for what it is that they’re doing. I would say that in a vast 

majority of graphic design projects, the designers are at best 

ambivalent to the project that they’re working on. 


Would you say that someone who is invested in religion in the realm 

of graphic design would be better equipped to design for that religion, 

rather than the average joe in a design studio? 

Sam Bell 

Absolutely not, the majority of design within faith based 

organisations is rubbish and a good designer would be able to 

design something amazing for something that he positively 

despised. Should he actually have to take on the project? Of course 

not. Should you take on a project for something that is going 

to increase the sale of landmines, or a cult that is going to rob 

people of their money and their dignity? No, absolutely not, but 

a good designer could do a good job. 


Would you also think that if someone is too close to a religion, they 

may get blinded by the words behind it rather than the design of it? 

Would they care too much that they almost compromise design in 

order to relay information? 

Sam Bell 

Yeah, I think it’s fair to say that most people have the ability 

to have blindspots on things. With something like religion,


or ideological groups, the range of information and ideas is 

usually so wide that it’s very hard to generalise on that. Within 

denominations there are vastly different thoughts on 

particular issues. 


Historically, religion has placed value in religious design. 

Comparitively, do you believe that contemporary religion places 

a similar level of value in design? 

Sam Bell 

I think it’s starting to change a little bit but the reformation 

changed design across the Protestant world. It removed existing 

beauty, communication and reverence that is to be lamented. 

You can see in buildings the feeling that you get when you 

go into a well designed church. There are some of the really 

beautiful Catholic Churches in Donegal, Church of Ireland have 

some really fantastic churches but then you’ve got the most dour 

Presbyterian Churches. The design is still important because 

things are placed in a particular way to show the importance. 

Architecture probably, while it looked more flat and less 

interesting than churches before the reformation, the deliberate 

knock on effect of the rejection of art and art being seen as 

idols had a big impact graphically. 


Do you think that they then place more importance on typesetting in 

comparison to the Catholic Church for example?


Sam Bell 

Generally no, but there are some individual projects and designers 

that have a massive impact. Derek Birdsall who designed the 

structure for The Book of Common Prayer, I’m not sure if he has 

faith of any description, but regardless of whether he does he 

did an amazing job on the Church of England Common Prayer. 

Then you have people like Eric Gill whose work was not solely 

People have 

focused on religion. He did some exquisite pieces of illustrations 

and typography communicating really important concepts in faith. 

The man is a sexual offender in really quite a horrific way and yet 

the ability 

his work has been used, I think there’s some images of Christ that 

are used in some Churches. 

There’s some really beautiful graphic design that has 

to have 

been created for the church by some less than desirable people. 

I think the best answer to that is, there is no way to generalise 

about that. These organisations of any religion are just so vast. 

blindspots 

On the one hand, within Christianity, you have the mystics such 

as Blake who was creating these amazing artworks. A lot of the 

people at the minute are doing some amazing graphic design, 

things. 

psychedelic stuff before LSD. 

Then you have people who completely shun anything 

to do with it. It’s a vast landscape of opinion and even though 

there is some centralisation of thought, you get the likes of Derek 

Birdsall that effect all of these groups of Christianity. 


Would you agree or disagree in saying that graphic design could be 

viewed as a form of persuasion?


Sam Bell 

I don’t think you can say one way or the other. I think it’s an 

element in a group of things that combine to persuade people, 

but I would probably say that it’s one of the lesser important 

elements. You can have a statement of words, obviously, that is 

set incredibly badly but the effect of those words could be deep 

and long-lasting. You could have another statement that conveys 

nothing but it is designed and set with exquisite beauty and will 

have no impact. For design from that point of view, the graphic 

design has had little bearing. It may be that initially people 

are looking at the beautifully designed work and get a sense of 

something grand and important but that will quickly dissipate 

when they realise it says they’re having sausages for tea. 

Designers quite often overemphasise graphic design 

as a method of persuasion. There’s a brilliant poster book 

downstairs called The Power of Graphic Agitation and it has the 

most incredibly powerful posters. There are some posters that are 

very generic which use the dove as a symbol of peace against war. 

Now, at times, they may have been designed against a particular 

war but the war is not referenced in the poster so effectively what 

you are left with for people like us who are coming to them 

years later is just a dove. Some of those are incredibly powerful 

images but they lack context. The graphic design is phenomenal 

but the actual context and object of the poster is completely 

missing so it’s kind of bad design in that way. Then you have 

other posters, the graphic design in some of them can be really 

powerful but its power to persuade is actually minimised because 

they have exaggerated graphically what it is that they’re trying to 

convey. Yes, it can help to persuade. Again, there may be very 

specific examples. It’s only part of the equation, it is not in itself


a form of persuasion, but I may disagree with myself when I 

think about that. 


Religion is increasingly using modern design techniques to reach 

society today. Do you think that designing for religion in this climate is 

sustainable in terms of value in design? 

Sam Bell 

I actually don’t think that religion is using design any differently. 

Religion is very often the slowest to respond to new techniques 

or thinking on anything. There’s a guy called Hans Rookmaaker, 

he wrote a series of books about modern art, and he is a Christian 

who wrote about the impact and philosophy of ideas on culture. 

There’s a process that he has, or a step diagram, that shows the 

impact of philosophical ideas on society. So, philosophy impacts 

art, art impacts x y and z, and finally philosophy impacts religion 

or something along those lines. Generally, religion is pretty 

resistant to changes. 


Do you think that since it’s resistant to change, it’s maybe not utilising 

graphic design as much as it could or should? 

Sam Bell 

As a company we do work for various organisations but they 

are conferences, they’re events, or a campaign. There may be 

resources like the likes of books or websites where the designs


are really important. In terms of spreading the core message of 

any religion, yes people have handed out tracts and leaflets since 

printing was invented. For me, personally, I don’t think it’s an 

effective way to communicate those ideas. Graphic design is of 

little value in really explaining. 


Would it be more of a vehicle for the ethos rather than a persuasive 

technique? 

Sam Bell 

Yeah, definitely a communication device, but persuasion? I would 

say there are few people who are persuaded to believe something 

because effectively you’re in a position of saying, ‘What I’m 

telling you is right.’ You can believe that and people believe 

different things but as to persuading something to do that, I’m 

not sure graphic design plays a particularly massive role, if any. 

It might help you understand something and have a role, but it’s 

not a big thing. 


Would you think that graphic design in religion is a self indulgent 

practice? Who do you think it would be geared towards? 

Sam Bell 

The identity of religions is not in anything that can be codified 

in any identity manual. It’s not even a name. Those things don’t 

come into play. They come into play in a culture where people


would like to be identified by something. From the earliest 

Christian communities being identified with symbols as a secret 

way of indicating that we’re part of the same group. That type 

of thing has a specific purpose, but it’s identification without 

expressing the real meaning of a religion, even words written 

down in scripture. 


In terms of the manufacture and distribution of the Gutenberg Bible, 

design could be said to be indebted to religion. Since religion has 

expanded the breadth and limitations of design, is it ethically justified 

for religion to have a claim on the same reciprocal power? 

Sam Bell 

Yeah, if something is good. I suppose graphic design is a skill that 

we bring to messages that we want to communicate and bound 

up in that is the concept of free speech. In that context, actually, 

people who believe the tenants of three of four mainstream 

religions have as much right to use the skills of such talented 

designers as do people who would be described as extreme 

conspiracy theorists. Equally people with no belief that think that 

either of those group are lunatics, they all have the same right to 

use good techniques. Infact, it’s just smart to use the best form 

of communication that you can to communicate a message that 

either you believe in or that you are being paid to communicate. 

I think that in terms of religion using skills like that over 

the centuries, they’ve had some really good outcomes, some 

really beautiful buildings, some incredibly beautiful typography 

traditions that have developed. Has that always been good?


No, because some of the people that have been used to build the 

cathedrals have, I’m sure, were abused and I’m sure that many 

people have lost their lives in awful conditions. Are those two 

things compatible? Building this huge edifice to glorify a God 

but at the same time exploiting people to do that? No, there’s 

contradictions in there that can never be justified. 

I think not to use the best form of communication 

that you can would be to misrepresent whatever you’re trying 

to communicate. I mean, Richard Dawkins has as much right to 

good book design. You should definitely use good book design 

because even when presenting something you don’t agree with 

you should always represent both your own and other people’s 

views in the strongest possible way and if you don’t do that, 

you’re demonstrating the lack of belief in your own thinking. If 

you can’t counter something that is contrary to what you believe 

at it’s strongest then there’s no point in having the conversation 

in the first place. Good design should be used for what you 

believe and what other people believe as well. Effectively, it 

comes down to the substance and the content.

ibliography

62 : 63 bibliography 

Books 

Berman, D.B. (2009) Do good: how designers can change the world. 

Berkeley, Calif: New Riders. 

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objectives: designing for an ethical message. Mies; Hove: RotoVision. 

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list of illustrations


Fig. 1 

Johann Gutenberg, The Gutenberg Bible, 1455 

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Bible. United States of America: Southern Methodist University. 

Available from: http://www.smu.edu/~/media//Site/Bridwell/ 

Exhibitions/Schoeffer/images/06117%20GutenbergBible.ashx 

[Accessed 05/12/2016]. 

Fig. 2 

Michelangelo di Lodovico Buonarroti Simoni, Pietà, 1499 

Source: Vincent, F. (2016) Suffering and Seeds of New Life. 

United States of America: Eyes of Faith DC. Available from: 

http://eyesoffaithdc.com/wp-content/uploads/2015/04/ 

20-091310402943739.jpg [Accessed 06/12/2016]. 

Fig. 3 

Leonardo da Vinci, The Last Supper, 1498 

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Leonardo Da Vinci. United States of America: Waldina. Available 

from: https://waldinadotcom.files.wordpress.com/2015/04/ 

leonardo-da-vinci-4.jpg [Accessed 05/12/2016]. 

Fig. 4 

Unknown, The Dalmatic Waterford Vestments, 1420 

Source: Castle Hotel, W. (2016) The Dalmatic Wateford Vestments. 

Ireland: Available from: http://waterfordcastlehotel.blogspot. 

co.uk/2013/07/waterford-museum-of-treasures-medieval.html 

[Accessed 21/12/2016].

70 : 71 list of illustrations 

Fig. 5 

The Gideons International, Holy Bible, 2016 

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From Hotel Rooms But Not From Hotels. United States of America: 

NBC Philadelphia. Available from: http://media.nbcphiladelphia. 

com/images/1200*675/gideons-129851785.jpg 

[Accessed 06/12/2016]. 

Fig. 6 

Unknown, The Christian Cross, 2016 

Source: Allred, K. (2016) The Cross. United States of America: 

Allred, Katie. Available from: http://pef.mycpanel.princeton.edu/ 

wp-content/uploads/2012/01/Cross.PEF_.web_.gif [Accessed 

06/12/2016]. 

Fig. 7 

Unknown, Damiano Cross, 1100 

Source: Vincent, F. (2016) Suffering and Seeds of New Life. 

United States of America: Eyes of Faith DC. Available from: 

http://eyesoffaithdc.com/wp-content/uploads/2015/04/ 

20-091310402943739.jpg [Accessed 06/12/2016]. 

Fig. 8 

Paul Malone, The Diocese of London Branding, 2013 

Source: Malone, P. (2016) The Diocese of London. Belfast: 

Paperjam. Available from: The Diocese of London [Accessed 

06/12/2016]. 

Fig. 9 

Michelangelo di Lodovico Buonarroti Simoni, The Creation of Adam, 1512 

Source: Archer, P. (2016) Paintings You Should Know: 

Michelangelo’s ‘The Creation of Adam’, 1511. New Zealand: The 

Culture Project. Available from: https://thecultureprojectblog. 

files.wordpress.com/2016/09/michelangelo-the-creation-ofadam-1511.jpg 

[Accessed 06/01/2016].


Fig. 10 

JCI Marketing, Cornerstone Church Website, 2016 

Source: Allred, K. (2016) The Cross. United States of America: 

Allred, Katie. Available from: http://pef.mycpanel.princeton.edu/ 

wp-content/uploads/2012/01/Cross.PEF_.web_.gif 

[Accessed 06/12/2016]. 

Fig. 11 

Thought Collective, Christian Unions Ireland Website, 2016 

Source: Duke, N. (2016) Christian Unions Ireland Website. United 

Kingdom: Thought Collective. Available from: 

https://www.cui.ie/ [Accessed 01/10/2016]. 

Fig. 12 

Angus Hyland, The Pocket Canons, 1999 

Source: Hyland, A. (1998) The Pocket Canons. 1st ed.Edinburgh: 

Pentagram.Available from: http://www.pentagram.com/#/ 

blog/122059 [Accessed 01/10/2016]. 

Fig. 13 

Unknown, Apple Store, 2016 

Source: Rodriguez, A. (2012) Apple is my religion, in Apple I trust. 

United States of America: 500px. Available from: 

https://drscdn.500px.org/photo/5168690/q%3D80_m%3D1500/3 

df08499f38501834b67f9a652810a04 [Accessed 06/12/2016].

with thanks 

i would like to thank Liam McComish, Maura Ruth Brolly, 

Jill Spratt and Professor John McMillan for their guidance and 

support throughout the process of this dissertation. 

I would also like to thank Sam Bell for taking time out of 

his busy schedule to allow me to conduct a very much 

appreciated interview.

Design Disciples & Contemporary Design Techniques

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