The fallacy of content

We have a favorite definition of the word design: “to do or plan something with a specific purpose in mind.” It’s broad, sure, but it puts outcomes before aesthetics or functionality — and that’s exactly why we like it.

We bring it up to start a discussion about the often-overlooked relationship between design and writing. All too often, the specific purpose of a design is undermined by poor writing. As designers, we need to sharpen our eye for copy — and stop treating text as filler.

In recent years, all kinds of writing have been lumped together under the vague label of content. That might seem harmless, but it matters. The language we use shapes how we think — and content implies that writing merely fills space, rather than actively contributing to design.

The opposite is true: writing is design. It’s a powerful tool that defines voice, sets tone, and supports clarity. It should never be an afterthought.

When it comes to identity design, this is especially crucial. A strong verbal identity is central to how a brand is defined, communicated, and ultimately perceived. Projects that neglect this often feel inconsistent, age quickly, or — in the worst case — undermine the whole experience with copy that’s flat, clumsy, or forgettable.

If design is about guiding people through an experience, then writing is part of that guidance. Don’t rely on visuals alone. Consider how language can enhance usability, create atmosphere, or build trust.

The term content has also helped reinforce a false divide between design and writing — especially in the minds of clients. Designers are often brought in to create visuals, with the assumption that words will be added later. Meanwhile, writers are expected to fit text into finished designs they had no hand in shaping.

This rarely works well for anyone. It also doesn’t make sense if you think of design holistically.

Our own approach is influenced by the functional design mindset of the 60s and 70s: design as an interdisciplinary practice that works toward a clear, unified purpose.

In practice, that means breaking down the unnecessary silos between roles. Good design considers form, layout, typography, visuals — and writing. And while this broader approach may sound like more work, it’s actually in line with what designers are already meant to do: balancing visual, spatial, and (sometimes) interpersonal considerations.

Adding writing to that isn’t about becoming novelists — it’s about becoming strategic, intentional communicators.

In The Sense of Style, author Steven Pinker points out that writing feels unnatural for most of us. Babies are born to speak, he notes — not to write. But he also argues that with attention and practice, anyone can become a better writer.

That’s good news for designers, whose job already revolves around communication.

We think designers should take ownership of the words that go with their design work. Instead of dropping in placeholder text or deferring to a client down the line, we ask:

And when we're working with clients, we like to involve them early to find out what they want to say. Writing and design are both disciplines of clarity — and when they’re developed together, each can elevate the other.

Treating all writing as “content” diminishes its power — and does a disservice to design.

No matter if we’re writing copy ourselves or collaborating with a client, we make the content part of our design process. Clear language helps achieve clear outcomes — and that’s what good design is all about.

Want to make content a stronger part of your brand? Let’s talk about how to make visuals and language work together from the start. Get in touch!