a service.” This ethos clearly resonates with the one expressed by the “First Things First” Manifesto. This ethos is further evidenced by Brigg’s program designs (Fig. 7, 8). On one hand, they maintain the cohesive brand style of the National Theatre through the limited color palate, simplicity of design, and consistent Fig 7. Misanthrope, The National Theater, 1973, Ken Briggs. Fig 8. Jumpers, The National Theater, 1972, Ken Briggs. typography. On the other hand, they provide a service beyond the merely informational. Briggs’s design was customizable, which let the general brand language remain but was transferrable to each program. The designs reflect on the production; they are artworks themselves to be taken home by audience members as a reminder of the play. To do so, the programs were thoughtfully sized to fit inside the jacket pockets of men and the purses of women. Ken Briggs’s programs transcended their commercial value, elevating a mass-produced informational pamphlet into an aesthetic object worth keeping. . . . “First Thing First” was committed to a design aesthetic that was responsive to context and environments. Inevitably, the manifesto would need to adjust to reflect the changing times. With Ken Garland’s blessing (and later his signature), a second version of the manifesto, rewritten by Adbusters Magazine and 91
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