An image is often said to be worth a thousand words but if a few of those go unsaid what does that say about ownership? In a mood for change the visualisation industry is pushing for greater acknowledgement of their work by uniting behind a common copyright character. Wwe look at the implications for disseminating the work of others.
Globalisation has been a rollercoaster for Float Digital as the studio juggles the opportunities and pitfalls
In the unstated pecking order of construction-related professions, visualisers have long occupied the lower rungs of fame, languishing in the small print of press and PR messaging if mentioned at all. This situation is fermenting calls for change from artists keen to bust out of the back office and onto the front foot by standing tall alongside architects and engineers not relegated to a dismissive ‘et al’.
Standing at the interface between colleagues, clients and public visualisers are at the forefront of communicating often inscrutable design documents to an at times sceptical audience; swaying opinions and breaking down barriers to a brighter future. Now their talents are turning towards winning over their toughest crowd yet – their peers – by pushing back against apathy to claim a commensurate share of the limelight in a fragmenting media landscape driven as much by social media posts as the architectural press.
On the front line of this jostling for position Urban Realm gathered leading lights from the industry to help devise a code of practice for the use of visualisations in the media and spark a discussion on changing mindsets to represent projects more democratically. Here we present their manifesto for change as well as the impassioned pleas for better representation from some of those behind it.
Manifesto
The Problem
There is a tendency for design teams to not include visual artists and fundamental mindset there that crediting visual artists is not required.
Clients usually hold all the cards when it comes to marketing usage of visualisations and so the decision gets taken out the hand of the visualiser.
The use of uncredited visuals has become endemic and there have been no credible attempts to push back and raise awareness. (Though there have been some attempts internationally, notably by Dbox)
The issue requires broader recognition among social media, colleagues and the press.
If a design team realises their vision through visual artists, they can take the credit.
The importance of the role played by visualisation artists is not clear.
The Challenge
Change an entrenched industry mindset that visualisation is either not an important enough part of the design process to credit, or that ownership of visualisations lies elsewhere.
Ensure visualisers are classed on equal terms within the technical team by the wider community.
Fear of aggravating clients who dig their heels in.
The Solution
Ask for accreditation.
Take a leaf from the photographer’s playbook where it is understood not to take other people’s photographs – or there could be repercussions.
Make visualisation an intrinsic part of the design process – by treating visualisation artists as collaborators, not white label consultants.
Directly question architects and clients over omissions of credit.
Mandate that content must be accredited after creation at the contractual stage and acknowledge that the current situation arises from a lack of enforcement.
Ensure each contributing party acknowledges content creators.
Visualisers need to take a stand.
Emphasise collegiate approaches; softly softly not strikes or takedown notices
Produce a visualisation charter signed by architects and clients and gain support from public bodies.
The Opportunities
Crediting visuals shows that clients care enough about their design/cause to hire the best consultants to help them visually communicate it.
Ensure other neglected professions (fire, planning consultants etc) get proper recognition.
A mindset of long-term collaboration and mutual respect, rather than one of short-term personal benefit.
Andy Pennington, founder & creative director, Float Digital
Over the last decade, there has been a silent erosion of our industry as both artists and businesses have slowly succumbed to what seemed like a somewhat coerced trajectory of anonymity. The slow death of accreditation at the hands of the digital and AI age has gone hand in hand with a growing white-label attitude towards sub-consultancy and studios have had to fight hard for what might be argued as a basic professional courtesy on behalf of their clients. Some studios have resisted this with a more hardline approach with accreditation and copyright terms built into sub-consultancy agreements, but it’s not uncommon for clients to push back on this upon threat of withdrawal.
In the film industry, every artist, producer, key grip, and wardrobe manager is credited at the end of a movie. So why are visualisation artists not afforded the same courtesy in a design environment? Perhaps because an artist’s role exists in an often intensely collaborative ecosystem, familiarity breeds complacency. But surely this can’t be an excuse anymore? If we approached accreditation with the same efficacy as photographers, then the usual lazy and fallacious diatribes such as “we didn’t know it was you that created the visuals” or “other sub-consultants don’t get credit either” wouldn’t be accepted from an industry that really ought to know better considering how important visualisation is to the design process.
We need a sector-wide change of attitude, one that embodies the spirit and vision of the collaborative nature of design teams; perhaps a more socialist approach to brand awareness rather than a capitalist one. But it needs to come from both sides of the fence. Visualisation studios and artists have a responsibility to raise awareness of the issue with our clients and champion not just our accreditation, but those around us whom we collaborated with. As artists our brand is built on reputation, and with the new AI age taking a foothold the stakes are too important to continue to ignore the problem of accreditation any longer. It’s time to lead by example.
Grant Watson, director, Touch3D
I must admit this this is not a major issue from my stand point, I will jot down some of my thoughts on the mater. Ultimately I think we are always a well respected element of the design team and we ensure and manage crediting our work reasonably well, without any major omissions. I think there are a lot more serious issues that the visualisation industry is facing at this point that a charter help with.
David Houston, director, Trace
In the realm of architectural creation, a group of individuals quietly contribute more to the progression of project development than they are normally given credit for—the architectural visualisers. Often working in the background, these dedicated individuals play a crucial role in translating architectural visions into tangible realities. Yet, their names remain in the shadows when the spotlight illuminates the finished projects.
This humble manifesto seeks a gentle shift, an invitation to acknowledge and appreciate the emotional depth embedded in the work of architectural visualisers. The intention here is not to foster resentment but to inspire a collective understanding of the value these behind-the-scenes artists bring to the table.
Architectural visualisers are more than technicians; they are artists, infusing vitality and emotion into the architects’ visions. While their canvas may be digital, their strokes are as vibrant and meaningful as any traditional paintbrush. When their creations find a place in publications, let it be accompanied by a humility that recognises the essential contributions of these often-overlooked collaborators.
The plea for recognition is not rooted in vanity but in a sincere quest for fairness. By shedding light on the talents of these hidden artisans, we hope to deepen the appreciation for the collaborative process that breathes life into architectural wonders. Acknowledging visualisers can serve as a source of inspiration, nurturing a cycle of creativity that enriches the entire architectural community.
A House of Clay and Bronze by Touch3D for Brown@Brown illustrates the symbolic relationship between visualiser and architect
Curtis Walker, director, Abstract Canvas
One of the largest problems remains that our industry is largely not taken very seriously at large, despite our very publicly visible input to the design representation and marketing across design disciplines (this is similar across most CG industries for that matter). We are an important part of the larger machine, along with all the other specialisms. My own clients, among those of the company herein are largely amazing to work with and always open to crediting us and working with us, hence why we all work with them on a repeat basis. Never the less, the problem does persist. I think our largest hurdle is that our industry evolved out of these other design industries and in part is still an everyday facet of how they still do their jobs, to generally a much lesser extent. Our contractual and IP/copyright practices were born from the same methodologies as design rather than of traditional illustration or photography. These are always our closest and accepted allegory, but I largely feel its way too late to attempt to shoehorn our IP and copyrights along similar avenues now without massive detriment to ourselves and our industry at large. Not small challenges when trying to reinvent our wheel.
Abstract Canvas – Manifesto for Change
At Abstract Canvas we believe in the beauty of visual communication. It’s inclusive in its ability to break barriers for all when it comes to design stories, allowing everyone to be part of the joy of creation, especially where this involves complex interior spaces and architecture. Our craft is in the creation of the visuals that support the design professionals who create these spaces and together we weave tales of change, progress, and metamorphosis in the spaces we will all occupy. We aim to inspire you while doing so, that is our mission here at Abstract Canvas. But how many are aware we were part of the story?
We are but one of many in a complex partnership within a design team that makes these spaces and buildings
a reality, like many others we often go uncited and uncredited for the work we do, in our case our part is very visible. Yet we remain relegated to “artist impression” on the footnote. This is an industry wide issue and not singled out to the visualisation profession, with many important professionals marginalised in this way. The responsibility lies squarely on our own shoulders to change this. We are very fortunate that our partners are always very open and supportive in ensuring we receive credit for our input, and we can’t thank them enough for that as if not for them we wouldn’t be creating these beautiful visuals. But this is the exception, not the rule. Our intention is to change that one client at a time, while working with and encouraging others to do the same.
