Now I understand that the basic constitution of the game, to be filled with its spirit—the spirit of buoyancy, freedom and the joy of success—and to fulfill him who is playing, is structurally related to the constitution of the dialogue in which language is a reality. When one enters into a dialogue with another person and then is carried further by the dialogue, it is no longer the will of the individual person, holding itself back or exposing itself, that is determinative. Rather, the law of the subject matter is at issue in the dialogue and elicits statement and counterstatement and in the end plays them into each other.
--Hans-Georg Gadamer, Philosophical Hermeneutics,
The term “graphics” comes from the Greek word “Graphikos,” or γραφικός which means the ability to draw or write. The job title “graphic designer” was created by an American named William Addison Dwiggens in 1922. It’s now a common name for artists who work in communication or advertising. In Europe, this title became popular in the 1960s, even though the job had been around for 60 years by then.
ٰIn different languages, there are various terms for graphic designers:
- In French, it’s “graphisme,” and a designer is called “un graphiste” or “un maquettiste.” But nowadays, they often use “concepteur,” which means someone who comes up with concepts.
- In Germany, graphic designers were originally called “Künstler” (artists) or “Zeichner” (someone who draws). Before “graphic designer” became the standard term, they used “Gebrauchsgraphiker” (commercial artist) or just “Graphiker.” Also, in Germany, the term “Angewandte Künstler” means “applied artists,” which is related to “Angewandte Kunst” or “applied art.” These terms describe artists who create practical and functional art.
- In Persian, “انگاره آفرینی” (Engareh Afarini) means “the creation of perception,” which is a poetic way to describe graphic design. Some Persian designers use the term “طراحی گرافیک” (Tarrahi Graphic), which directly translates to “Graphic Design.” However, “انگاره آفرین” (Engareh Afarin), meaning “the creator of perception,” is preferred by some because it captures the essence of what graphic designers do: they create new ways of seeing and understanding the world, or “engareh,” which leads to new ideas or “Logos.”
Graphic Design is Everywhere
Graphic design is all around us, much like the air we breathe. It’s present in everything we interact with daily. For example:
- In the bathroom, the design of faucets and toilet bowls is a form of industrial design, which is essentially three-dimensional (3D) graphic design.
- The design of everyday objects like coffee machines, teapots, glasses, stoves, and refrigerators are also examples of 3D graphic design.
- When you look at a newspaper, the layout, the design of the page grid, the fonts used, and the covers of magazines and books are all examples of two-dimensional (2D) graphic design.
- Online video clips also involve graphic design. The screen’s length and width are two dimensions, and time is the third dimension. In the future, we might even experience these clips in four-dimensional (4D) space-time structure.
- When you step outside, the architecture of buildings and the latest fashion trends are other forms of graphic design.
Graphic design is not just about creating pretty pictures; it’s about shaping how we perceive and interact with the world around us. It’s a blend of art and function that touches every part of our lives.
Jill Deleuze (1925-1995) was a thinker who believed that everything in life faces problems. Whether it's living creatures, machines, or even things like light waves, they all encounter challenges.
Life's natural instinct is to deal with these problems by reacting and adapting. This process isn't just for animals or people—it happens with anything that exists.
Deleuze thought that the questions we ask in philosophy, art, and science are all part of this natural urge to understand and solve problems. Whether we're thinking about existence, creating art, or exploring the universe, we're driven by a desire to make sense of things.
In graphic design, which is all about creating visual communication, this idea is particularly relevant. Graphic designers solve problems by making logos, posters, and websites that communicate effectively. Just like ancient Greek philosophers talked about "Logos" as the underlying order of the universe, graphic design uses principles of clarity and communication to solve problems visually.
So, Deleuze's thinking reminds us that life is about facing challenges and finding meaning. And in graphic design, we see this idea in action as designers use visuals to solve problems and convey messages.
Understanding “Logos”:
The term "Logos" has been a puzzle for centuries. The Romans described it as a mix of "reason and speech," but its Greek root suggests it's about gathering ideas and words.
Plato thought ordinary language was unreliable because it could easily lead to confusion. He believed we needed a more precise system of signs to represent reality accurately.
In today's world, we call graphic design "Communication Design" to highlight its broader role in conveying messages.
Plato admired mathematics as a perfect language because it's precise like numbers. Similarly, graphic design has its own grammar and rules for clear communication.
Aristotle, Plato's student, agreed that language could be tricky. He believed humans have a unique ability to understand and communicate, especially through visual communication.
Jean-François Lyotard, a philosopher, described graphic designers as juggling various roles like artists, persuaders, and historians. They aim to create visually appealing work that also communicates effectively.
Graphic designers face challenges in balancing artistic expression with the need to get their message across clearly. They must adapt to changing tastes and trends.
In simple terms, "Logos" is about gathering ideas, words, and images. Plato was skeptical of everyday language, but graphic design continues to evolve as a powerful means of expression and communication.
Plato's skepticism about ordinary language stemmed from its inherent ambiguity and subjectivity. He believed that words, or logos, were arbitrarily assigned to things, leading to confusion and misunderstanding. For instance, what one culture may call an "apple," another might refer to with a different word, requiring translation and interpretation.
Graphic design, on the other hand, has a unique advantage in its ability to visually represent concepts, bypassing the limitations of language. A picture of an apple, for example, can be universally understood regardless of linguistic barriers because of its direct connection to nature.
However, the Belgian surrealist artist René Magritte famously challenged the notion of representation with his painting of a pipe accompanied by the text "This is not a pipe." Magritte's work raises thought-provoking questions about the nature of representation and the relationship between images and reality.
In the context of visual communication design, Magritte's enigmatic statement serves as a reminder of the inherent complexity and subjectivity of perception. It suggests that visual representations, while powerful, are not necessarily straightforward or transparent. Designers must remain skeptical and critically engage with the nuances of meaning and interpretation inherent in their work, recognizing that the line between representation and reality is often blurred. This highlights the importance of visual communication design as a discipline that navigates the intricate interplay between perception, interpretation, and meaning, acknowledging the inherent subjectivity of human experience.
Picture Theory of Language
Wittgenstein's Picture Theory of Language, as outlined in the Tractatus Logico-Philosophicus, proposes that thoughts can be likened to pictures reflecting the state of affairs in the world. In simpler terms, he suggests that language functions like a picture: it represents reality by presenting situations in a logical space, showing both the existence and nonexistence of states of affairs.
To grasp Wittgenstein's theory, consider the analogy he drew from painting. While a painting is distinct from a natural landscape, a skilled artist can faithfully represent reality by carefully arranging strokes or patches to correspond to the features of the landscape. Similarly, language, according to Wittgenstein, communicates conceptual "reality" by aligning with it like a measuring tool. In this framework, a picture is deemed "true" or "false" based on its agreement or disagreement with the intended message, which must somehow mirror the logical structure of reality.
So, what gives a picture its specific meaning? Wittgenstein proposes that a picture holds the potential to represent the situation it portrays. This notion is akin to the way language operates, as we construct sentences to mirror the logical structure of our ideas about the world. The "logical form" here refers to the internal relationships within both visual and oral representations, enabling painters to depict natural landscapes accurately and speakers to articulate their ideas effectively. Thus, visual communication design aligns with the observable facts about the world, reflecting our understanding of reality.
Understanding Reality in Visual Communication
Since ancient times, philosophers have grappled with the intricate connection between language and reality. Heraclitus, a prominent figure from Ephesus around 500 B.C., was among the first to delve into this discourse. He introduced the concept of the Logos, referring to it as the universal principle that governs the world. For Heraclitus, the Logos was not merely a term but an essence, a fundamental element shaping our understanding of reality.
In his writings, Heraclitus emphasized the significance of language in conveying meaning. He observed that people often fail to grasp the true essence of discourse, even after hearing or seeing it. This suggests that the Logos exists independently of linguistic or visual representation, underscoring a deeper, inherent truth waiting to be revealed. Whether conveyed through words or images, the tension between language and reality serves as a conduit for uncovering deeper truths.
The role of a visual communication designer is to navigate this tension skillfully, employing the grammar of design to facilitate understanding. Heraclitus believed that the Logos transcends time, existing both before and after its expression. It is eternal, permeating all aspects of existence, from the material to the spiritual. Aligning oneself with the Logos is akin to harmonizing with the natural order of the universe.
Building upon Heraclitus's ideas, Zeno, founder of the Stoic school, embraced the notion of the Logos as divine reason. He saw it as the guiding force behind the cosmos, blurring the lines between the divine and the worldly. Similarly, Philo emphasized the transcendental nature of the Logos, positioning it within the realm of divine revelation.
In more contemporary times, Ferdinand de Saussure challenged traditional views on linguistic meaning. He argued that the relationship between signifiers and signifieds is arbitrary, shaped by conventions and historical context. Rather than directly referencing reality, signs derive meaning from their position within a larger system of language.
In essence, understanding reality in visual communication entails navigating the complex interplay between language, imagery, and truth. Whether through ancient philosophical insights or modern linguistic theory, the pursuit of meaning remains a timeless endeavor, shaping our understanding of the world around us.
The truth in a picture
In the 20th century, thinkers like Edmund Husserl and Martin Heidegger delved into the study of life as it appears, emphasizing the importance of understanding phenomena. Heidegger, particularly in his essay on the work of art, explored the profound truth embedded within artworks. Take Van Gogh's painting of 'a pair of peasant shoes,' for instance. Heidegger argued that the painting itself speaks truth, with its essence revealed in its proximity to the viewer.
Heidegger introduced the concept of 'nearness of the work,' suggesting that the closer one engages with the artwork, the deeper its truth is unveiled. He emphasized that merely conceptualizing or glancing at the depicted shoes won't lead to understanding their true essence. It's only through the artwork's immersive experience that the 'equipmental being' of the shoes is comprehended.
Heidegger contended that the artwork serves as a conduit for revealing the truth of objects depicted within it. In the case of Van Gogh's painting, it discloses the true nature of the peasant shoes, bringing forth their 'equipmentality.' This unveiling, Heidegger explained, represents the 'unconcealment of Being,' known as 'alētheia' in Greek philosophy. He urged readers to rethink the notion of truth, suggesting that when a work of art reveals the essence of a being, it signifies the occurrence of truth in action.
Drawing from these phenomenological insights, a graphic designer must establish a robust foundation for the meaning of their designs. They should prioritize crafting experiences that resonate with viewers, independent of the viewer's identity or perspective. By anchoring design decisions in lived experiences, designers can create meaningful and authentic connections with their audience, echoing Heidegger's call for truth to manifest through the engagement with art.
Exploring the Depths: Understanding Structuralism in Visual Design
Structuralism, championed by figures such as Ferdinand de Saussure, Claude Levi-Strauss, and Jacques Lacan, delves into the hidden frameworks beneath the surface of phenomena. Rather than deriving meaning solely from firsthand experiences, structuralists argue for an examination of the underlying structures that shape our experiences—be they conceptual, linguistic, or symbolic. In the realm of graphic design, this pursuit involves uncovering meaning through the organization of sign systems.
Saussure envisioned a science of signs, or semiology, which would dissect the nature of signs and the laws governing them within social life. He posited that such a discipline, though not yet realized, had a rightful place within psychology. Saussure's notion laid the groundwork for understanding how signs function within societies.
Hans-Georg Gadamer, in his seminal work "Truth and Method," offers insights into the nature of representation. He suggests that pictures occupy a space between pure indication and pure substitution. A picture both indicates what it represents and substitutes for it, straddling the line between sign and symbol. Gadamer emphasizes that while signs draw attention to themselves, pictures should serve to bring absent realities to mind without lingering on their own visual allure.
In the context of graphic design, structuralism finds resonance among practitioners who view visual language as possessing its own grammar and vocabulary. Visual elements, ranging from abstract shapes to concrete objects, form the building blocks of this language. Concrete objects, perceived within defined contours, can be manipulated in various dimensions such as direction, tone, color, and texture to create visual structures.
Central to the structuralist perspective is the notion that meaning emerges from the interplay of elements within a system. Nothing exists in isolation; rather, meaning is contingent upon relationships within the visual grammar. Structuralists reject the idea that art merely reflects reality or expresses subjective intentions. Instead, they assert that subjects are constructed by pre-existing artistic structures, which shape both the production and interpretation of art.
In conclusion, structuralism offers a lens through which to understand the underlying frameworks of visual communication. By recognizing the intricate interplay of elements within a visual language, designers can create meaningful compositions that resonate with audiences on multiple levels.
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| Sun Symbols |
The Importance of Social Interaction in Visual Communication Design
The traditional structuralist perspective on communication came under fire from post-structuralist thinkers like Jacques Derrida, Michel Foucault, Gilles Deleuze, and Jean-François Lyotard. They critiqued structuralism for its narrow focus on systematic structures, which ignored the subjective ways individuals engage with others and society. Post-structuralists highlighted the limitations of accessing meaning solely through either pure experience or systematic structures.
Unlike the straightforward approach of structuralism, post-structuralism adopts a skeptical and ironic stance towards claims of mastering the realm of signs. Even Ferdinand de Saussure, a key figure in structuralism, acknowledged the lack of inherent connection between signifier and signified in language. For example, the word 'sheep' in English refers to both the animal and its meat, while French uses 'mouton' for both concepts. Saussure famously stated that a linguistic system consists of differences in sound paired with differences in ideas. This observation applies equally to visual signs.
Consider the concept of 'sun symbols,' where the arbitrary nature of signifiers and signifieds becomes apparent. This idea is eloquently captured in a simple poem by Rumi. Using paronomastic words ('Sheer' meaning both lion and milk, and 'Badieh' meaning both desert and bowl in Persian), Rumi constructs double-entendre statements. For instance, the verse could be interpreted as 'That is a lion in a desert and this is milk in a bowl,' or vice versa. Similarly, 'that is the lion that feeds on man, and this is the milk that man feeds on,' or vice versa. Despite its simplicity, the identical statements make it impossible for the reader to determine which verse corresponds to which meaning.
This ambiguity presents both a challenge and an opportunity for graphic designers in visual communication. They must navigate the intricate relationship between signifiers and signifieds, recognizing the subjective interpretations that arise from social interactions. By embracing this complexity, designers can create visually compelling and meaningful communication that resonates with diverse audiences.
Exploring the Depths of Visual Communication through Discourse
Rene Magritte (1898-1967), a figure who preferred to be seen as a thinker rather than simply an artist, used painting as a means of communication. His iconic work, "Ceci n'est pas une pipe" (This is not a pipe), which first appeared in 1968 in the journal Les Cahiers du chemin, presents a profound commentary on the complexities of communication within a post-structuralist framework.
In Magritte's painting, the pipe serves as a sign that challenges traditional notions of representation. It does not merely function as a straightforward object with a fixed meaning, but rather exists within a dynamic interplay of signifiers and signifieds. As Michel Foucault elucidates, the simplicity of Magritte's imagery, resembling a page from a botanical manual, belies the deeper complexity of its meaning. The apparent contradiction between the image of the pipe and the accompanying text highlights the inherent ambiguity of language and representation. The drawing of the pipe, while not the pipe itself, still evokes a convention of recognition, inviting the viewer to engage with its symbolic significance.
Foucault, in his work "Les Mots et les choses" (The Order of Things), delves further into the perplexities of representation and meaning. He introduces the concept of heterotopias, spaces where multiple orders coexist in a state of disorder, challenging conventional modes of classification and language. These heterotopias disrupt the syntactical structures that underpin our understanding of the world, revealing the fragility of linguistic frameworks in capturing the complexity of experience.
Saussure's linguistic theories provide additional insight into the nature of signification. By positing the signifier and the signified as separate yet interconnected systems, Saussure laid the groundwork for understanding the arbitrariness of language and the construction of meaning within linguistic frameworks. Words, as James Harkness notes, derive their significance not from a direct correspondence to reality, but from their position within the larger network of language, defined by relational differences rather than inherent essences.
Post-structuralist thought challenges the notion of objective meaning derived from empirical observation. Instead, it emphasizes the role of discourse in shaping our understanding of the world. Meanings emerge from dialogues between artists and viewers, existing within a web of preexisting discourses that transcend individual subjectivities. The artist, far from being a solitary creator, is enmeshed in a continual process of negotiation and reinterpretation, blurring the boundaries between subject and object, creator and audience.
In conclusion, the exploration of visual communication through discourse reveals the intricacies of meaning-making in art and language. From Magritte's enigmatic paintings to Foucault's philosophical inquiries, each perspective offers a unique lens through which to contemplate the complexities of representation and interpretation. By embracing the fluidity of discourse and the multiplicity of perspectives, we gain a deeper appreciation for the richness of human expression.
Unveiling the Transformative Power of Visual Communication Design: Embracing Post-Structuralist Notions"
In the realm of post-structuralist thought, luminaries like Foucault and Deleuze advocate for a paradigm shift towards embracing openness, indeterminism, and uncertainty. Contrary to conventional wisdom, they view the inability to confine life within rigid structures not as a setback, but as an invitation to innovate and liberate. This essay delves into how their ideas intersect with the world of visual communication design, revealing it as a potent force in shaping cultural narratives and societal consciousness.
Drawing parallels with Wittgenstein's concept of language games, the essay underscores how engaging in acts of visual representation is akin to participating in dynamic games with ever-changing rules. These representation games not only influence our perceptions but also mold our understanding of the world according to socially constructed norms. Thus, visual communication design emerges as a pivotal player in disseminating cultural values, historical memories, and ethical judgments.
Through the lens of Marshall McLuhan's seminal work, "Understanding Media," the essay explores the profound impact of visual design beyond its explicit content. McLuhan's assertion that "the medium is the message" encapsulates the idea that visual design, independent of its literal message, exerts a significant influence on viewers' perceptions and societal dynamics. By shaping the form and presentation of information, graphic design becomes a catalyst for sociological, aesthetic, and philosophical change, fundamentally altering our experience of the world.
The essay also delves into the backstory of McLuhan's provocative book title, "The Medium is the Massage," shedding light on its serendipitous typo and McLuhan's embrace of the unexpected. While McLuhan's original aphorism may have become cliché, the essay contends that the essence of his message remains pertinent: the medium holds transformative power. However, it cautions against reducing the medium to a mere massage, emphasizing the ongoing vitality of artistic expression in reshaping societal discourse and perception.
In essence, this essay advocates for a deeper understanding of visual communication design as a catalyst for cultural evolution and societal reflection. By embracing post-structuralist principles and recognizing the intrinsic power of the medium, we can unlock new avenues for creativity, expression, and social change.
Communication Design is a multifaceted field that blends artistry, intellect, technical skill, and creativity to tackle communication challenges through visual means. Rather than simply pushing agendas like propaganda, Communication Design seeks to engage viewers by exploring novel visual approaches that capture attention and spark thought.
French philosopher Lyotard likened the work of graphic designers to street artists, using color, shape, and composition on flat surfaces to communicate messages. He emphasized that effective graphic design goes beyond selling products; it reflects the circumstances of its time and often has an ephemeral quality.
Neurologically, our brains process multiple visual inputs simultaneously, piecing together a coherent understanding of the world around us. Visual communication capitalizes on this process, aiming to efficiently convey messages so that many viewers arrive at a shared understanding.
The scope of Visual Communication has expanded to encompass a wide array of activities, from corporate branding to street art, thanks to the digital revolution and the internet. Design theory must evolve alongside contemporary practices, incorporating historical context to understand the field's trajectory.
Powerful images, such as those from significant historical events, leave a lasting impact on our memories and perceptions. Studies suggest that people recall visual information more readily than verbal or written content, highlighting the potency of images in communication.
Photographers and theorists debate the language of images, with some asserting that photography transcends linguistic barriers while others argue that photographs lack inherent language. However, a semiotic perspective views images as collections of signs governed by grammatical rules, requiring both creators and viewers to understand this visual language for effective communication.
In this paradigm, both designers and viewers play active roles in conveying and interpreting visual messages, with designers tasked not only with conveying information but also with addressing broader societal issues and engaging viewers on a human level.
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| Morteza Momayez, Mythological Antic I, 1961 |
Understanding the history of visual communication is crucial for several reasons, extending beyond the realm of academic discourse into the practicalities of modern design. While the discipline of art history has long been established and widely studied, the same cannot be said for communication design history, which has often been overlooked in educational curricula worldwide.
Despite occasional scholarly attention in academic conferences and publications like Design Issues and the Journal of Design History, research on visual communication remains sparse compared to other artistic fields like art, architecture, or film. This relative neglect is somewhat understandable, given that the academic recognition of graphic design history is a relatively recent development.
However, the question remains: why should we prioritize the study of visual communication history? One compelling argument is that such knowledge provides designers with a philosophical foundation, enriching their socio-ethical perspective and informing their decision-making processes. By delving into the historical context of design, practitioners gain insights that can lead to more authentic creations, imbued with deeper human values and sensitivity to the complexities of the human experience.
As Andrew Blauvelt suggests, design cannot be divorced from practice; it is through the act of designing that theory is formulated and tested. Therefore, embracing a concept of "critical making" is essential, encouraging designers to question assumptions and approaches. This approach transcends the mere quest for academic legitimacy, focusing instead on fostering a rigorous understanding of design principles and their real-world implications.
Moreover, the evolution and effectiveness of contemporary design practices are closely tied to an understanding of human factors. Dietmar Winkler highlights the importance of grounding design practitioners in the complexities of human psychology, social behavior, and cultural context. A comprehensive history of graphic design must take into account these factors, which play a crucial role in shaping communication dynamics and design outcomes.
Unfortunately, many existing histories of graphic design overlook these human dimensions, perpetuating a narrow vocational and technical focus. Winkler argues that this vocational approach to design education, stemming from Bauhaus traditions, hinders the field's intellectual maturity and perpetuates a cycle of anti-intellectualism.
In essence, studying the history of visual communication is not just an academic exercise but a practical necessity for designers. It equips them with the critical perspectives and cultural insights needed to navigate the complexities of contemporary design practice, ensuring that their creations resonate authentically and meaningfully with diverse audiences.
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Guity Novin, Celebrating People's Uprising in Tunisia, Egypt, Libya, Yemen , Jordan, and Algeria, 2011
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| Guity Novin, Poster and Catalog for First Tehran International Film Festival, April 16-25, 1972. |
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| Guity Novin, Negin Magazine Cover, 1971 |
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| Guity Novin, Negin Magazine Cover, 1972 |
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| Guity Novin, Logos, Poster, 2009 |
The current treatment of visual communication history often falls short of providing a comprehensive understanding, as it tends to focus on notable moments rather than delving into the rich tapestry of cultural interpretations. Umberto Eco astutely pointed out that in a democratic society, visual language should provoke critical reflection, not mere passive consumption. Embracing Eco's insight, a socio-cultural examination of visual design emerges as a pivotal avenue to meet this demand. By tracing the historical evolution of visual communication within its social context, we can unravel its intricate grammar and decode the underlying messages embedded within.
Susan Midalia underscores the inherent subjectivity of visual representation, emphasizing that images are not neutral reflections but interpretations of reality. This notion aligns with the Social Semiotic theory of communication proposed by Kress and Hodge. According to their framework, meaning is not static; rather, it is shaped by social dynamics, power structures, and the interplay between text and context. This perspective informs the seminal works of Kress and van Leeuwen, who explore the grammar of visual communication through this lens.
Baldwin advocates for a "history-less history" approach to design history, one that transcends the conventional narrative of heroic figures and instead scrutinizes the systems of production and consumption. Such a paradigm shift is imperative, as traditional historical accounts often overlook socio-political and cultural nuances, alienating practitioners seeking relevance in their studio practices.
In the contemporary landscape, digital technology has catalyzed a seismic shift in visual communication. The convergence of media platforms has rendered communication instantaneous and ubiquitous. Mitchell's assertion that visual culture extends beyond images to encompass everyday practices of seeing and showing resonates profoundly in this context. Indeed, visual culture has become synonymous with postmodern consumerism, where individuals actively participate in content creation and dissemination through digital platforms.
Grazia Neri's reflections on the subjective nature of interpretation underscore the importance of contextualizing visual communication within its socio-cultural milieu. Whether it be a propaganda poster in Stalinist Russia or a street art graffiti in New York, each visual artifact carries layers of meaning shaped by its historical context and audience reception. As such, a nuanced understanding of visual communication necessitates a holistic approach that acknowledges the dynamic interplay between image, context, and interpretation.
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Guity Novin, Rumi, Poster, 1982
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In this context "grammar" is not a set of rules for the correct use of language but rather a set of socially constructed resources for the assemblage of meaning. Kress and Van Leeuwen believe that visual design, like language and all semiotic modes, is a social construct, and thus they try to decipher what is encoded in images in order to arrive at coherent, meaningful, and focused messages, in much the same way that discourse analysts examine how words are combined into clauses, sentences and whole texts. In fact, both culture and ideology are important in both the verbal and visual grammars, a point which Kress and van Leeuwen highlight in quoting Halliday’s assertion that;
“grammar goes beyond formal rules of correctness. It is a means of representing patterns of experience … It enables human beings to present a mental picture of reality, to make sense of their experience of what goes on around them and inside them.
Thus a historian of visual design, instead of focusing on the designers, must concentrate on understanding of the visual culture. In such an inquiry, the researcher would focus on the socio-economical effects of design and on day-to-day impact of the visual communication on culture and on political power structure. Unfortunately, in many art schools, the history of visual communication remains essentially an dispensable or inconsequential ancillary to the design studio. Although the history courses are offered to enrich the information set of graphic designers, they are mostly seen as irrelevant, due to their lack of any socio-cultural vision and analytical depth. In fact, many of the instructors of the history of graphic design courses are not qualified researchers. They have been assigned to their tasks because the school administrators, in their infallible judgments , have inferred from the fact that somebody is already a visual art practitioner, therefore must be able to teach the history of his/her practice. Even in many of the European, and American art schools the visual design history is often taught by part-time instructors on hourly contracts, and many graphic designers see no relevance in design history for the practical side of their profession. Moreover, many instructors themselves are unaware of the socio-cultural significance of their tasks, and quite frequently undermine the importance of having a historical background as a prerequisite for studio works. For instance, Louis Danziger, has described his design history teaching, as neither academic nor scholarly , but something which is primarily concerned with helping students to enhance their performance as designers. He has asserted that practitioners cannot be good historians because their experience “inevitably introduces biases,” and they “cannot be objective.”
It is clear that advertising tries to introduce new assumptions about the world that are in conflict with its reality. According to Berger:
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| Guity Novin, Charles Mingus Poster, 2009 |
In modern times, advertising is the most prominent conduit for the creation of graphic design. The transmission of commercial messages are enormously sophisticated and articulated through various studies incorporating such dimensions as psychological, demographic , economical, and ethnological issues, among others. Such communications are in relation to multinational corporations, global mass-media networks and a host of the alphabetic soups of international entities, such as the IMF, OECD, APAC, OPEC, EU, NAFTA, NATO and so on. The medium and the message both transcend frontiers and cultural divides. However, as John Berger in Ways of Seeing has argued:
... although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing. . . when an image is presented as a work of art, the way people look at it is affected by a whole series of learnt assumptions about art . . .Many of these assumptions no longer accord with the world as it is. (The world-as-it-is is more than pure objective fact, it includes consciousness.)
We only see what we look at. To look is an act of choice. As a result of this act, what we see is brought within our reach-though not necessarily within arm’s reach. To touch something is to situate oneself in relation to it.
Publicity turns consumption into a substitute for democracy. The choice of what one eats (or wears or drives) takes the place of significant political choice. Publicity helps to mask and compensate for all that is undemocratic within society. And it also masks what is happening in the rest of the world.
Advertising in modern times have become more and more centralized, globalized, generalized and, therefore, standardized — like the economic forces that produce it, and the products it deals with. Graphic design, on the other hand, as practiced by artists, continues to be created and to structure itself in a humanistic manner , which is in direct correlation with the specific social fabrics of different societies around the world. It is this humanism that provides the possibility for the development of graphic communications across the world in the future.In summary, there is a fundamental difference between commercial advertising and graphic art in today's world.
The rich variety and presence of multimodal texts, as Sharon Goodman has reminded us, are now a familiar feature in newspapers that contain photographs, diagrams and changes of typeface, and even in company letterheads that are carefully designed, with their choice of graphics and color of the paper to craft the company’s image. We now take it for granted that an electronic text, such as a page on the web, will use more than one of the language modes. In fact, in today's market place graphic designers are doing much more than the visual engineering of most printed matter, as they are engaged in a host of related activities that in part include; strategy and consulting, information and experience design, branding and broadcast design, and road- signage systems. Visual communicators are expected not only to acquire a certain classic set of skills including; drawing, photography, composition and typography -- the design and structural characteristics of letterforms, but also an ability to work with software programs such as Photoshops, Gimps, and so on. In doing all these tasks, it should not be forgotten that a graphic designer is an artist, and as an artist can act as a social critic, a historian, or a creator of pure beauty so long as he/she is honest and believes in the integrity of his/her creation; and businesses that respect the artistic integrity of their graphic designers are those that will thrive in the longer run.
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| Guity Novin, Life, 2011 |
The rich variety and presence of multimodal texts, as Sharon Goodman has reminded us, are now a familiar feature in newspapers that contain photographs, diagrams and changes of typeface, and even in company letterheads that are carefully designed, with their choice of graphics and color of the paper to craft the company’s image. We now take it for granted that an electronic text, such as a page on the web, will use more than one of the language modes. In fact, in today's market place graphic designers are doing much more than the visual engineering of most printed matter, as they are engaged in a host of related activities that in part include; strategy and consulting, information and experience design, branding and broadcast design, and road- signage systems. Visual communicators are expected not only to acquire a certain classic set of skills including; drawing, photography, composition and typography -- the design and structural characteristics of letterforms, but also an ability to work with software programs such as Photoshops, Gimps, and so on. In doing all these tasks, it should not be forgotten that a graphic designer is an artist, and as an artist can act as a social critic, a historian, or a creator of pure beauty so long as he/she is honest and believes in the integrity of his/her creation; and businesses that respect the artistic integrity of their graphic designers are those that will thrive in the longer run.
Go to the next chapter; Chapter 3 - A Symbiotic Relationship : Books
References
- ''The Cave of Lascaux'', by Mario Ruspoli, Harry N. Abrams (May 1, 19
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This work is licensed under a Creative Commons Attribution-No Derivative Works 3.0 Unported License.
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