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Design in figures

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Study background

Study commissioned by Design Flanders

Scope of the study : design in Flanders, the figures?

Figures on Flemish design businesses

Figures on design related educations and professions

Figures on design and leisure time

Figures on design and Flemish popular media

Conducted from December 2005 to February 2006 by the research agency

Compagnie. Different research methods were combined:

Quantitative survey by phone

Desk research

Qualtitative in-depth interviews

Content analyses

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Design in Flanders: the figures?

The figures show, after extrapolation, that Flanders disposes of 12.OOO design businesses

(businesses that are part of the core-design industries and see design as their main activity).

One could consider an additional 67.000 Flemish businesses active in design, but not in the

design industries as such.

The turnover of these 12.000 design-businesses ads up to almost 16 billion euros. And if

taking into account the larger scope, a turnover of about 175 billion euros can be related

to design in Flanders.

In Flanders almost 11.000 jobs are purely design-jobs, 200.000 jobs are design related.

7.000 students attended the last year of a education in which design has a (limited)

place, and about 500 students attended the last year of a education that prepares for a

design profession directly. In Flanders, approximately 550000 persons have a design related leisure activity

In Flanders 800000 persons attended a design related event, activity or fair during the

past 12 months.

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Structure of this report

Design businesses

Design professions

Design as leisure activity

Design and popular media

questions

approach

answers

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Design businesses

Design professions



questions

approach

answers

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Design businesses: questions

How many businesses in Flanders are active in design?

How large are these companies: revenues, profit, employment?

How do these design businesses fall into the different types of design?

How many orders did these businesses receive during the past 12 months?

Is there an evolution in comparison to 5 years ago?

What are the distribution channels of these businesses?

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Defining the scope of this study: operationalisation of design, designer,

design business (based on previous reseaurch and literature)

Defining the subject of this study: who (what businesses) will be considered,

starting off with all Flemish businesses.

Getting the answers: datacollection and analysis, through telephone and

written questioning of the sample.

3

2

1

Design businesses: approach

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OPERATIONALISATIONOF DESIGN, DESIGNER, DESIGN BUSINESS

DESIGN =

Development of new PRODUCTS or improvement of existing products

Development of new PACKAGES or improvement of existing packages. It

concerns different ways of wrapping, as well as packing materials or the

look of wrappings

Design of a companys VISUALPRESENTATION: logos, letter heads,

websites, dress code...

Design of PROMOTION and advertisement, mailings, leaflets, etc.

INTERIOR design (of shops, offices, houses...) Distribution and SALE of design products

1


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DESIGNER =

Each person (self-employed or as employee) whose job is the development,

rethinking, designing. It is not important whether or not this person has

followed a relevant training/education for these tasks.

DESIGN BUSINESS =

Each business of which one of the 6 design domains is the main activity.

1


OPERATIONALISATIONOF DESIGN, DESIGNER, DESIGN BUSINESS

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2 DEFINING THE UNIVERSE

TOTAL UNIVERSE: all Flemish businesses, with the exception of farming, hunting,

fishing, forestry, extraction of natural resources and education, health care,

households, extraterritorial organisations

industry (exclusive of fashion industry) 33 825

production and distribution of electricity, gas and water 188

building industry 58 144

wholesale and retail, reparation of consumer products 133 881

hotels, restaurants and catering 39 626

transport, storage and communication 19 440

financial institutions 2 899

real estate, leasing and company services 111 099

other municipal facilities, socio-cultural and personal services 44 600

TOTAAL 443 702


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2

All Flemish

businesses (TOTAL

UNIVERSE): all remaining

businesses

(BROAD UNIVERSE):

all businesses belonging

to the typical design industries

(CORE UNIVERSEUM):

443.702

23.931 419.771

Defining 2 potentional groups of business within this total universe: design businesses in

the narrow sense and design businesses in a broader sense.

CORE UNIVERSE = those businesses in Flanders that belong to the typical design industries

BROAD UNIVERSE = those businesses in Flanders that dont belong to typical design

industries


DEFINING THE UNIVERSE

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2

CORE UNIVERSE

All Flemish businesses belonging to the typical design industries.

technical and engineering activities (NACE-74.203) 4 288

design of textile patterns, juwelry, furniture, decoration (NACE-74.877) 500

interior architects (NACE

-74.874) 1 723window dressing activities (NACE-74.403) 559

printing businesses (NACE-22.220) 1 698

activities related to the printing business (NACE-22.250) 1 210

photo studios and photographers (NACE-74.811) 2 200

advertising agencies (NACE-74.401) 5 544

self-employed artists (NACE-92.311) 3 634

services concering art (NACE-92.313) 2 575

TOTAL 23 931


DEFINING THE UNIVERSE

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Total sample of Flemish

businesses (TOTAL):

sample from the

remaining businesses

(BROAD):

sample from the

design-businesses

(CORE):

n=1.101

weighted representatively

n=498 n=603


2 DEFINING THESAMPLES

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3 DATACOLLECTION

Samples were subjected to the following questionnaires:

DESIGN CHECK (total sample)

economic activity?

turnover?

number of fulltime jobs?

number of fulltime design related jobs?

(per design domain) in-house designers?

(per design domain) main activity?

(per design domain) cooperation with external party?

DESIGN FILES (core sample) number of design orders?

number of vacancies for designers?

distribution channels?

percentage purchase from suppliers?

profit margin?


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designBROAD:design CORE:

(out of a total 23.931) (out of a total 419.771)

16%has design as

main economic activity

67.000 businesses

49%has design as

main economic activity

12.000 businesses

The figures show, after extrapolation, that Flanders disposes of 12.OOO core design businesses

(businesses that are part of the core-design industries and see design as their main activity). One

could consider an additional 67.000 Flemish businesses active in design, but not in the design industriesas such.

Flemish businesses

Design businesses: answers

IMPORTANCEOF DESIGNIN FLEMISH BUSINESSES

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33%

24%

57%

58%

32%

90%

23%

21%

44%


product

design

graphic

design

interiordesign

SPECIFIC DESIGNACTIVITY WITHINTHE CORE DESIGNINDUSTRY

Design is main activity

Design is side activity

BASE: core design businesses

A cluster analysis on the 5 design domains resulted in 3 clusters (graphic, interior and product design).

The graphic design cluster contains design of packages, visual presentation and promotion.

+ 9% distribution and sale

of design products asmain activity

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The core design businesses have a avarage of 3,15 jobs per business. Almost one third

of these jobs are design related. This results, after extrapolation in almost11.000 core

design jobs.

In a broader sense: the average Flemish business stands for 5,8 fulltime jobs, of these

jobs 9% are design related. Extrapolation results in a total of approximately 220 000

broadly design related jobs in Flanders.

designjobs other jobs

BASIS: representative sample of Flemish businesse

91%

9%

29%

71%

BASIS: core design businesses


JOBSAND DESIGNJOBS

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VACANCIES WITHINTHE CORE DESIGNINDUSTRY

Less than one out of five design businesses pur sang had a design related vacancyduring the past 12 months. In the majority of the cases these vacancies could be filled.

80%

16%

2%2%

No vacancies

One vacancy

Several vacancies

No answer

18% at least one vacancy

0,93 of these have been filled

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43,3%

lessthan

100.000EURO

16,9%

100.000 -250.000EURO

6,4%

250.000 -500.000EURO

1,1%

500.000 -750.000EURO

3,0%

750.000 -1 millionEURO

3,2%

1-5million

EURO

25,2%

morethan

5million

EURO

1%


Turnover when extrapolated:almost16 billion EUROS


no

answer

TURNOVER WITHINTHE CORE DESIGNINDUSTRY

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TURNOVERIN GENERAL

159 milliard

67.000 businesses

16 milliard

12.000 businesses


designBROAD:design CORE:

Flemish businesses

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ORDERS WITHINTHE CORE DESIGNINDUSTRY

an average of 53 projects commissioned by clients

an average of 12 projects as subcontractor

an average of 5 projects for internal purposes

39%44%

12%6%

21%

50%

21%

8%

32%

54%

5%9%

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

Noticed increase Status quo Noticed decrease No answer

Orders commissioned by clients

As subcontractor

Projects for internal purposes


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8%

11%

18%

65%


DISTRIBUTION CHANNELS WITHINTHE CORE DESIGNINDUSTRY

art galleries

wholesale and retailers

fairs, internet, other channels

company only

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Design businesses

Design professions



questions

approach

answers

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Design profession: questions

How many persons with a design related job are there in Flanders?

What is the degree/education of these persons?

Do they attend design related extra training courses?

How many students graduated in design related disciplines (school year

2004-2005)?

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Design profession: approach

by means of education statistics of the Flemish government (StatisticalYearbook of Flemish Education Schoolyear 2004-2005, January 2006).

distinction between design minded courses that do not necessarily result in

a profession as designer, and pure design disciplines.

by means of a consumer survey (by phone), included in a multiclient

omnibus ( n= 1.708 active Flemish population)

short questionnaire (self reporting) on respondents profession, specific

training, extra design-related training courses.

OVERVIEW NUMBEROF STUDENTS

IMPORTANCEOF THE DESIGNSECTORONEMPLOYMENT

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Design profession: answers

STUDENTSINSECONDARY EDUCATION

number of senior year students in design minded education:

secondary education, Arts (KSO): 1 052

secondary education, Technical (TSO): 326

REMARK: secondary education, general: not one curriculum can be

considered as design minded

secondary education, Professional (BSO): 865

the total number of senior year students in secondary education is 59 269.

2.243 (3,78%) of these are in a design minded discipline. The majority is

situated in secondary education in arts.

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STUDENTSENROLLED INHIGHEREDUCATIONALPROGRAMSNOTPROVIDED BY UNIVERSITIES (1)

In 2004 2005, 20 067 students were enrolled in programs in which design of products

and services forms part of the educational curriculum.

They represent 18,40% of the total number of students enrolled in the programs of

higher education.

78,29% of the students in higher educational programs with focus on design, aremales. We must, however, stress that a large part of these students are enrolled in

engineering and information technology programs. But, also the program industrial

design counts 2/3 of male students.

2.877 students are enrolled in educational programs with a strong focus on design

activities (they form 3% of the total population of students enrolled in higher education

outside universities).

17.190 students are enrolled in educational programs that may lead to a profession in

which design plays a major role (they form 17% of the total population of students

enrolled in higher education outside universities)


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STUDENTSENROLLED INHIGHEREDUCATIONALPROGRAMSNOTPROVIDED BY UNIVERSITIES (2)

Designer programs

Programs that may lead to a profession as

designer

Interior design 1.227 Plastic arts 77

Interior architecture 314 Multi-Media arts 788

Plastic design 83 Visual arts 2.676

Product design 64 Audio-Visual technologies 781

Graphic and digital media 312 Electro-mechanics 3.511

Industrial graphics 276 Electronics (ICT) 1.539

Engineering and design technologies 126 Electrical engineering 162

Textile: design, applications technologies 19Multi-media & communicationtechnologies 988

Industrial design 99 Industrial sciences 3.124

Product development 357 Informatics / Computer sciences 157

Applied informatics/computer sciences 3.387

Total 2.877 Total 17.190


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In 2004 2005, 3.959 students were enrolled in the senior year of programs in

which design of products and services forms part of the educational

curriculum.

They form 17% of all senior year students enrolled in higher education

outside universities.

509 senior year students are enrolled in pure designer programs (i.e., 2,5% of

all senior year students enrolled in higher education outside universities)

3.450 senior year students are enrolled in programs which may lead to

designer professions (i.e., 14% of all senior year students enrolled in higher

education outside universities).

STUDENTSENROLLED INTHESENIORYEAROF HIGHEREDUCATIONAL

PROGRAMSNOTPROV

IDED BY UNIV

ERSITIES (1)


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STUDENTSENROLLED INTHESENIORYEAROF HIGHEREDUCATIONAL

PROGRAMSNOTPROV

IDED BY UNIV

ERSITIES (2)

Designer programs

Programs that may lead to a profession as

designer

Interior design 316 Plastic arts 41

Interior architecture 33 Multi-media arts 142

Product design 17 Visual arts 454

Industrial graphics 19 Audio-visual technologies 147

Textile design, applications

technologies 11 Electro-mechanics 1.080

Industrial design 27 Electronics (ICT) 400

Product development 86

Multimedia and communication

technologies 210

Informatics / Computer sciences 39

Applied informatics/computer sciences 937

Total 509 Total 3.450


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STUDENTSENROLLED IN UNIVERSITYPROGRAMS

Programs that may lead to a profession as designer

In 2004-2005, 3.396 students were enrolled in a university program in which

design of products and services forms part of the educational curriculum.

They form 5,96% of all students enrolled in universities.

74,29% of these students are males. We must, however, stress that a large part of

these students are enrolled in engineering and information technology programs.

Total 3.396

Electro-technology 336

Engineering 869

Material Studies 52

Sciences of the arts andArcheology 817

Informatics 1.041

Applied informatics 55

Computer sciences 226


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SENIORYEARSTUDENTSENROLLED IN UNIVERSITYPROGRAMS

In 2004-2005, 625 senior year students were enrolled in a university program

in which design of products and services forms part of the educational

curriculum.

They form 6,13% of all senior year university students.

Sciences of the arts andarcheology 173

Informatics 217

Applied informatics 36


Totaal 625

Computer sciences 78

Electrical engineering 101

Material studies 20


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SPECIALIZED COURSESAFTERHIGHEREDUCATION(1)

Programs with a strong focus on designer skills:

Integrale productontwikkeling (product development): 7 students enrolled

in 2004-2005 (KatholiekeUniversiteitLeuven i.s.m Hogeschool West-Vlaanderen)

Beeldende Vorming: 6 students enrolled in 2004-2005

(KatholiekeHogeschool Zuid-West-Vlaanderen).

E-design: 30 students enrolled in 2005-2006

(Hogeschool Gent)

Design and architecture : 50 students enrolled (KatholiekeHogeschoolMechelen,

Faydherbe Academie)

Meubelontwerp (furniture design): 20 students enrolled in 2005-2006 (= max.)(Katholieke Hogeschool Mechelen)

Product Innovation & Entrepreneurship: starts in 2006 (Universiteit Antwerpen

Management School)

Antwerp Design Seminar and Lectures (number of subscribers unknown).

(AssociatieUniversiteit en Hogescholen Antwerpen).


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SPECIALIZED COURSESAFTERHIGHEREDUCATION(2)


Artistieke en kunstzinnige vorming: 10 students enrolled in 04-06 (program

spread over 2 years) (Hogeschool Antwerpen)

AutoCAD (BASICS): 15 students enrolled in 2005

(Hogeschool Gent)

AutoCAD (3D): 15 students enrolled in 2005

(Hogeschool Gent)


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In 2005, 2 788 persons enrolled for SYNTRA courses with a strong focus on

design.Participants who complete the course receive a certification.

SCHOOLING OFFERED BYSYNTRA (Flemish Government)(1)

Candle maker 12

Glassblower (show objects and user objects) 32

Glassworker 39

Stained-glass artist 80

Juweler goldsmith 187

Manufacturer of ceramics 78

Ornamental metal worker 48

Designer of juwelery 37

Pottery making 90

restorer of ceramics 11

Plastic worker (manufacture of objects, devices, tubes, ) 2

Polyester worker (manufacture of objects, devices, tubes, ) 86

Ornamental painter 23


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DESIGNMINDED EDUCATIONSORGANIZED BYSYNTRA(2)

Interior designer 294

Stage designer 27

Window-dresser 158

Visual merchandiser 32

Woodcarver-ornamentworker 20Wood turner 10

Furniture maker 137

Upholsterer 367

Desktop publisher 472

Digital photography 22

Photographer 332

Graphic designer 61

Web designer 131

Total 2.788


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SPECIALADULTEDUCATIONALPROGRAMSAIMING ATSOCIALADVANCEMENT (education of adults)(1)

In 2004, 7.112 adults were enrolled in secundary education programs in

which design of products and services forms part of the educational

curriculum.

They form 2,44% of all adults enrolled in programs that lead to a certificate

of secundary education.

In 2004, 3.132 adults were enrolled in higher education programs in which

design of products and services forms part of the educational curriculum.

They form 11,45% of all adults enrolled in programs that lead to a certificate

of higher education.


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SPECIALADULTEDUCATIONALPROGRAMSAIMING ATSOCIALADVANCEMENT(education of adults) (2)

Diamond works 32

Photography 394

Desktop-publishing 17

Digital communication 70

Printing 64

Printing techniques 13

Electronic page layout &multimedia 5.126

Photografic printing & processing

techniques 279

Multimedia 36

Design and illustration 58

typographer - offset printing 68

Applied graphic techniques 73

Woodworking 454

Furniture and interior design 6

Cabinet making 160

Furniture makin 151

Precious stone setting 39

Goldsmiths art 30

Decorative forging 42Total 7.112

Programs in secundary education


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SPECIALADULTEDUCATIONALPROGRAMSAIMING ATSOCIALADVANCEMENT(education of adults) (2)

Programs in higher eduction

Computer science 2.101

Informatics 330

CAD-CAM for the clothing and textile industries 18

Electro mechanics 202

Electronics 369

Industrial electronics 26

Industrial informatics and computer science 58

Textile design 28

Total 3.132


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WORKING POPULATIONAND DESIGN

BASE: n=1 708 fulltime or parttime working Flemish

92%

8%

Design related job

Job is not design related

The Flemish working population consists of 2.700.000 persons, which means that

approximately 200.000 of the fulltime or parttime working Flemish has a design

related profession.


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WORKING POPULATIONAND DESIGN: design domains

Development of new/improvement of existing products 54%

Advertising and promotion 33%

Design of companies visual presentation 31%

Packaging design 23%

Interior design 21%

Distribution/sale of design products 6%

BASE: n=130, having a design related job


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WORKING POPULATIONAND DESIGN: degree

(electro-)mechanics 12%

Engineering (civil, industrial, other) 10%

Informatics 9%

Graphic design 7%Electricity/electronics 5%

Cabinetmaker/furniture maker 4%

Baker/confectioner 4%

Photography 2%

Industrial designer 2%Other degree university or equivalent 6%

Other degree higher education 11%

Other degree (no further specification) 20%

No answer 5%



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WORKING POPULATIONAND DESIGN: extra training courses


92%

Attended a design related extra training course during past 12 months

Did not attend a design related training course during past 12 months

The majority of extra training courses dealt with new software applications, and was

commissioned by/organised within the company.

80%

20%


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Design businesses

Design professions



questions

approach

answers

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Design as leisure activity: questions

Which are the exisiting design related trainings, events and leisure time

activities?

What is the degree of participation in these events, activities and trainings?

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CATI Consumer survey, inserted in multiclient omnibus, representative

sample of n= 1024 Flemish of 20 years and older: questionnaire on active andpassive participation in design related leisure time activities.

Education Statistics Flemish Government (Yearbook of Flemish Education,

2006): number of participants in parttime arts education, department visual

arts.

Collection of information (via phone and face-to-face interviews with

initiatiors and organisers of design related leisure events and activities :

exhibitions/musea, fairs, arts and crafts workshops...

Design as leisure activity: approach

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Design as leisure activity : answers

10% of the Flemish (20 years or older) have design or craft related leisuretime activities (n=101 respondents on a total sample of n=1 024).

When extrapolated: almost 550000 Flemish (female, middle-aged profile)

has a design or craft related leisure time activity.

Within this group of hobbyists, the following subgroups can be distinguished:

45-55ers: 65% of the total hobbyist group, 55 or older: 40%

the majority of design and crafts hobbyists are women: 63% versus 37%

ACTIVEPARTICIPATION

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the following leisure time activities are considered as design or crafts related:

on top drawing and painting, sewing, knitting, embroidery, crocheting, etc.(practiced by women, mostly 55+); flower arrangement/ikebana (mostly

women); photography (mostly men). But there is a large remaining category:

web design, handicraft (furniture, accessories), webdesign, ceramics,

sculpting...

3%

4%

4%

5%

6%

8%

18%

18%

22%

22%

0% 5% 10% 15% 20% 25%

sculpting

Handicraft - accessories

Pottery and ceramics

Web design

Handicraft - furniturehandicraft

photography

Flower arrangement/ikebana

Sewing, knitting, embroidery, crocheting...

Drawing and painting


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In 2005 40% of these design hobbyists attended at least one training

A wide range of organisers: parttime education in arts, private and partly

subsidized initiatives, workshops organised by craftsmen...

What parttime education in arts is concerned:

a total number of 157 712 students, of which 55 511 (35,2%) in the visual

arts department (schoolyear 2004-2005)

majority of these students are youngsters (65%), but this discipline is the

most popular one amongst adults as well (49,7% of adults in parttime

education in arts are in visual arts).


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In 2005 15% of the Flemish (20 years or older) - so about800000 persons -

have attended a design or crafts related event, activity or fair.

PASSIVEPARTICIPATION: the consumer

65% attended an interior design fair

25% visited a museum or exhibition (arts included)

10% attended hobby fairs


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PASSIVEPARTICIPATION: a number of initiators/organisers

DESIGNMUSEUM GHENT

collections focus on furniture and industrial design.

in 2005 this museum had approximately 2 000 visitors per week, which means

104 000 visitors per year. The number of visitors had an increase of 25%,

compared to 2002.

SILVERMUSEUMSTERCKSHOF DEURNE

a varied silver collection, organises exhibitions and expertise days on precious

metals.

received a total number of 38 765 visitors in 2003, which means a status quo

compared to 2002.

BROELMUSEUM MUSEUMOF FINEARTS, CERAMICSAND DESIGN KORTRIJK

exhibits the work of artists who lived and worked in the region

a unique, international ceramics collection

received a total of 18 500 visitors in 2004, a status quo compared to 2002


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BIENNALEONINTERIOR DESIGN INTERIEUR KORTRIJK

a 10 day interior design event, organised every 2 years

95 354 visitors in 2004, more than 250 exhibitors (a record number), which means

an increase of 18% compared to 2002

SFEER GHENT

an annual, 10 day lifestylehappening/fair on interior design, garden and

swimming pool

received 40 000 visitors in 2004, 47 000 visitors in 2005 (with 200 exhibitors). This is an

increase of almost 20%.

COCOON/DESIGN BRUSSELS BRUSSELS

a 10 day interior design fair

received 99 092 visitors in 2005 (with 275 exhibitors), which means a small increase

of 2% compared to 2004.



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These musea and events receive a total number of almost400000 visitors

on a yearly basis. However, we have to notice thatthese visits are not

exclusive. On top of the ranking we find the 2 interior design fairs

Cocoon (& Design Brussels) and Interieur, (both10 days), followed by

the 2 initiatives organised in Ghent: the Design Museum and the interior

design fair Sfeer.



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Design businesses

Design professions



questions

approach

answers

i i i

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Design and popular media: questions

How much attention do popular media pay to design?

What is the impact of this media attention?

D i d l di h

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Flair

Standaard Magazine

De Morgen Magazine (Het vrije Leven)

De Tijd Magazine (Beste Dingen / Bestedingen)

for each magazine: 1 issue per season, 4 issues in 2000 and 4 in 2004.

analysis for each issue of all articles, by keeping a tally of following parameters:

subject: design or not?

length: what is the length of the article?

domain: which type of design is the article about?

tone of voice: what is the articles purpose (inspiring, informing, instigating

purchase, prize-draw with a design product )

7 titles, representative for Flemish lifestyle magazines, were analysed:

Analysis :

Feeling Wonen

Weekend Knack

Zone 09

WRITTENPRESS

Design and popular media: approach

D i d l di h

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In-depth interviews with people responsible for programming and content of 8

radio- and tv-channels:

AUDIOVISUALPRESS

Kanaal Z, newsjournalist

Jim TV, Station Manager

Vitaya, Administrative Director

Focus TV/WTV, Head editor

Studio Brussel, Coordinator Word

Klara, Assistant to the Netmanager

En, Content & creative manager

VTM, ManagerInteractivity

Analysis:

Direct design: attention for design in content (program items on design or a

design program in general)

Indirect design: time and energy spent on design in general, without taking

into account content (i.e. logos, house style, stagesetting of studios, etc...)

Design and popular media: approach

D i d l di

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Attention for design

2 out of 5 content pages in 7 leading Flemish magazines to a certain extent deal

with design (36% in 2000 and 41% in 2004).

WRITTENPRESS

2000

2004

The attention either remained stable or has increased throughout the years, only

Feeling Wonen paid 8% less attention to design in 2004 when compared to 2000.

13%

26%23%

21%

28%

50%

91%

16%

22% 23%26%

37%

82% 83%

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

Flair Zone 09 De Morgen Standaard WeekendKnack

De Tijd FeelingWonen

Design and popular media: answers

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Design domains

Most attention goes to product design, followed by interior design and media

(articles about design channels such as fairs & conferences, books, etc...)

percentage spent on different design domains, in 2000 and 2004,year averages based on all 7 magazines.

49%

20%

12%

3%

7%4%

1% 0%3%

43,7%

19,8%

16,1%

5,2% 4,7% 4,0%1,7% 2,3% 0,7%

0%

25%

50%

75%

product Interiordesign

media Advertising Infrastructuredesign

Processinnovation

Packagingdesign

Sale/distribution

visual/Graphicdesign

2000

2004


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On average articles on interior design are longer than articles on product design(use of pictures). This means that interior design and product design were in fact

equally important in 2004.

48%

23%

8%

2%

7% 7%

0% 0%3%

32,9%

27,4%

18,5%

1,3%

9,0%

5,8%

1,2% 1,3% 1,1%0%

25%

50%

75%

Design domains

percentage spent in surface on different design domains, in 2000and 2004, year averages based on all 7 magazines.


product Interiordesignmedia Advertising Infrastructuredesign

Processinnovation

Packagingdesign

Sale/distribution

visual/Graphicdesign

2000

2004

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Information purposes

Magazines inform their readers, and this is also the case for articles on design

(65%). Also remarkable is that 1 out of 4 articles on design lure the reader into the

purchase of a design product, which underlines popularisation trend.

Inspiring and stimulating creativity with design as topic is clearly on the

increase compared to 4 years ago (5% in 2000 and 11% in 2004)

It looks like magazines are willing to contribute to the overall likeability orsensibility towards design in Flanders (or the other way around: readers expect

information and inspiration on design in their magazines)

percentage tone of voice , in 2000 and 2004, year averagesbased on all 7 magazines

66,9%

24,0%

5,5%3,7%

64,4%

19,8%

10,9%

5,0%

0,0%

10,0%

20,0%

30,0%

40,0%

50,0%

60,0%

70,0%

80,0%

Inform Purchase Inspire Win


2000

2004

Design and pop lar media: ans ers

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Impact of design: relationship between attention and circulation?

There is no clear evidence of a direct link between the attention spent ondesign and obtaining a higher circulation (i.e. more copies/readers).

Examples:

Standaard Magazine : attention increase of 5% in 4 years time, an increase

of circulation in the same period of 2,3%

Feeling Wonen: less attention to design (-13,3% ), circulation decreases (- 8%)

BUT:

De Morgen Magazine: same attention level as 4 years ago, circulation

increases (+2,3%)

Weekend Knack: increase of attention of 9% , but decrease of circulation(1,4%).

These findings have to be understood within the decline of reading

behaviour in general in Flanders. So design cannot single-handedly switch

this trend.



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ATTENTION FOR DESIGN: direct design Design is, according to the content managers, more presentthan 5 years ago in

their content and programs. When asked whetherin 2000 there were more or less

items in programs orprograms on design, all of them answered less.

On the one hand there is the emergence of new design programs and on theother hand there are more programs in which design is used as an interesting

item.

Design has become generic, it can be used anywhere (from the studio design

where the news is recorded, to the item in a human intrest program or an interview

with a designer in a radio talkshow). Design is, certainly in its broadest definition,

multi-usable and omnipresent.

AUDIOVISUALPRESS



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Illustration of this omnipresence: in one average week, taking all Flemish tv

channels into account, 43 programs deal with design or indirectly report on

design (according to channel and content managers)

Why this attention for design?

Design is ENTERTAINMENT: according to content managers design has anindisputable entertaining value. It is a popular and light theme which virtually

everybody can relate to.

Net omdat economie zon droge materie is zijn wij altijd vragende partij om in

ons nieuws iets over design als uitsmijter te brengen. Een luchtig item over

design wordt altijd gesmaakt. (Kanaal Z, about the use of design as a populartopic to lighten the dull and sometimes heavy economic information on

which the tv channel Kanaal Z focusses)



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Design LIVES in the viewers lives: design in programs emerges positive

reactions. Viewers or readers often contact the editorial offices of the

programs that brought them a design item in order to learn more about it

Mensen hebben meer en meer een oog voor wat mooi is, vandaar dat design

zo sterk leeft bij de kijkers (tv channel n about the fact that the attention

and feeling for the beautiful increases, hence the popularity of design)

50% van onze kijkers kijkt naar ons designprogramma TENDENS. Dat is heel veel

en duidt op een groeiende interesse (regional tv channel Focus/WTV about

the fact that 50% of their viewers watch the design program)



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Design is POPULARISED: design used to be regarded as something for the

lucky few, whereas, due to its omnipresence, it has become popularised and

accessible nowadays.

People are increasingly designing their surroundings, according to content

managers. Design has become incontournable, and mass media cannot

allow themselves to become un- or other-wordly because that would costviewers and/or readers.

Kijk maar eens naar steden als Gent, Hasselt en Brussel: op 5 jaar tijd is er echt

het n en ander veranderd. Er is meer design aanwezig in het straatbeeld:

meer winkels, meer cafs, meer restaurants, meer zaken gebruiken zorgvuldig

vormgegeven ruimtes (music channel JimTV on the fact that design has

gained field in Flemish cities: it has become a common street image)

Geen aandacht aan design schenken is gewoon de bal misslaan

(regional tv channel Focus/WTV on the implications of not paying attention to

design: it is quite simply ignoring what the viewer wants)



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Design as a SOURCE OF INSPIRATION for a better living standard: people

seek inspiration in mass media. They need advice to improve their life quality.

Design perfectly fits into this growing trend: it is a way to reach a higher

standard. Design also thrives in a society where individualisation is a massive

trend: people try to distinguish themselves by means of a unique look and

design

Mensen willen meer en meer dromen en dat is precies wat design hen

belooft. (tv channel VTM on the promise of design: it makes dreams come

true)

Door design aan onze kijkers te tonen stimuleren en inspireren wij ze om aan

design te doen, wat dan op zijn beurt leidt tot mensen die er meer mee

bezigzijn. Ultiem leidt dat tot een trouw kijkerspubliek en dt maakt het net zo

interessant (music channel JimTV informs about design and inspires the viewer

to implement design, which results in a more interested and hence more loyal

audience)



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ATTENTION FOR DESIGN: indirect design

In the search for a clear market position towards the target group, content

managers actively use and implement design as a main instigator for the

brands or channels image (logos, websites, look&feel of programs, studio

and stage design, trailers in between programs...). Every year more budget is

spent on this, which suggests the insight that design and media production are

inextricably linked.



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Why this attention for indirect design?

Design as a SOURCE of UNITY

Design is the best way for a broadcasting company to create a unity in

external and internal communication. Creative directors of Flemish tv & radio

channels all actively invest in design in order to communicate the same

feelings, the same look & feel and the same values towards all stakeholders, as

efficient and consistent as possible.Onze design moet verfrissend en consequent zijn: het moet ervoor zorgen dat in een

veranderend medialandschapwe steeds hetzelfde kunnen blijven betekenen. (tv

channel VTM on the use of a consistent and fresh design as a way to stay clear in an

ever changing media landscape)

Niemand bij ons mag een brief uitsturen zonder dat dat op ons officieel vormgegeven

briefpapier gebeurd. Dat is een voorbeeld van hoe je een consequent imago kanuitstralen (music channel JimTV on the importance of of image consistency through

design: even letters are clearly branded)

Je design is de uiting van je waarden. Het is de samenvatting van waar je als merk voor

staat (tv channel VRT on the fact that design is the summary of everything you stand for

as a tv channel)



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Design as a way to DISTINGUISH from competitors

In a digital world where new channels are born everyday and where the same

or similar programs can be viewed on different channels, design becomes the

ultimate way to distinguish from competitors.

Design is een herkenningspunt naar de consument toe (tv channel VTM on

the fact that design becomes the recognition point for the consumer)

Design as a driver of CHANGE

A regular change of logo and look&feel will result into a dynamic and active

image. Design apparently is the proof of evolution.

Mensen moeten voelen, zien en ondervinden dat er een dynamiek is, dat hun zender

aan het evolueren is. En dat maakt een vernieuwde vormgeving mogelijk (tv channel

Kanaal Z on the fact that viewers experience a change in design as an evolution process)

Regelmatig vormgeving aanwenden voor je huisstijl is een bewijs van je modernisering,

het zorgt ervoor dat je niet als ouderwets beschouwd wordt (radio channel Klara on the

fact a status quo in housestyle can result in an old- fashioned image)



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Design as a COMMUNICATOR in PROGRAMS

Design is also actively used in both fictional and non-fictional productions as a

means of providing the audience with implicit information. In fictional

programs for instance, design professionals will actively work on the look of

actors, their surroundings and their role, in order to provide viewers with

unspoken cues about the character, giving him or her extra depth.

Design is een parameter die mede verantwoordelijk is van het welslagen van

een bepaald programma. Uiteraard primeren het concept, de presentatie en

andere inhoudelijke elementen, maar vormgeving kan voor die extra sfeer en

afwerking zorgen dat het verschil maakt (tv channel n on the fact that

concept, presentation and content are certainly important, but next to these

aspects design can also make the difference for the viewer)


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