The Future of Graphic Arts I. Introduction The role of a graphic designer can be seen as wide ranging and adaptable
The Future of Graphic Arts
I. Introduction
The role of a graphic designer can be seen as wide ranging and adaptable, the influence can extend from that on the direct client, to in some cases, society in general. Graphic design is not a new art form. We can argue that as long as there has been art there has been graphic design. However, for many decades, and even centuries, the term graphic designer was not applied to the practices if this art form.
The term graphic designer was first used at the beginning of the twentieth century, and it is this era that can be seen to mark the beginning of the modern era of graphic design. It was in 1922 that first printed reference to this term can be found (WebCT, 2002). Since that time there have been many changes, social, political and technological, all of which have effected the perception of graphic design and the way it is both created and perceived.
To understand where the art form may go in the future and how it could develop we need to look at the past. This is form this we will get a 'feel' of the sector and see how patterns emerge that reflect and art reflected by the different broader environmental aspects of modern life.
II. The Early Twentieth Century
This is not the beginning of graphic art, indeed there is a plethora of advertisements form the Victorian era that ay be seen as accomplished graphic art, with a history stretching back much further. However, in any paper we have to use some form of starting point, and the art that take prior to the beginning of the twentieth century is the art of another ear where there were nit the same modern influences, such as ,multiculturalism, communication and the same facilities as well as the increased technology that made it more possible for the same piece of art to be seen by many more people, such as through bill board advertising and the use of the printed medium.
It is at the beginning of the twentieth century that we see the start of the avant-garde movement. The ability of the art form to move foreword was propelled by the increased availability of the printed media. This also demonstrated a movement in style, looking away form the past and towards the future (WebCT, 2002). This can be traced to 1909, with the beginning being seen in Italy, when a futurist movement began.
This was an age where there were many changes, there were new forms of transport, automobiles were becoming popular, there was also increased technology being used to develop warfare capabilities in response to the rising trend if nationalism. This was becoming the age of machines, with their popularity effecting the very fabric of society, making it more mobile. The use of aircraft also heralded the future, making possible what was though to be impossible. This sis all reflected in the avant-garde movement. We can argue that this was the foundation for many graphic art forms that were to develop later in the century, form advertising of implements to the creation of comic books and super heroes (Daniel and Kidd, 1998).
An example pf this type of art was Dada. This art form started out in Zurich, where, in 1916, the art work could be seen as a reflection of these hopes for a new order and they sociality was changing. The art was focused on the changing of perceptions, amending the status quo. It then subsequently spread to more cosmopolitan centres, such as New York and Paris, where his art was used as a reaction to the horrors of war when the First World War was in progress (WebCT, 2002, Meggs, 1998).
The art was not only in graphic form, but was also seen in writing such as poetry, where the art forms could be seen as supporting each other. It was in Russia that there was to be another development, where there was the constructivist approach. Here there was a combining of different ideas, with the use of poetry as the word combined with different typography, using different type face on the printed page in order to give more meaning and effect to the word by increasing their visual effect (Meggs, 1998).
It is argued that these moves created a " new language of public address" (WebCT, 2002). There are many examples of the way that we see the form of art change, increasing the integration, sand also as a tool for the support and creation of political change. An example of this from Russia can be seen in the work of Liubov' Popova such as his work entitled 'The Magnanimous Cuckold'. In this there was the inclusion of the red square that was to become so politically recognised later in the century. This was on both the costumes as a function element as well as a social and political comment (WebCT, 2002).
It was also though the experimentation of these avant-garde artists that we see the beginnings of the graphic form of advertising we know today. The increased nationalism also saw these development used for political ends, not on in terms of support, but also in terms of the way that the political statements were portrayed and present to the general public. In the Soviet Union this was used to promote state goods as well as to promote the party using artists such as Vladimir Maiakovskii and Aleksandr Rodchenko (WebCT, 2002). The artists used advisements that made use of large or different type faces as well as the use of symbols or motifs that could be used to make a visual association (WebCT, 2002).]
A book was published in Berlin aimed at developing this market, The New Typography, written and published by Jan Tschichold showed the way that the Dada and Futurists artists had used typography to change the presentation of their poetry (WebCT, 2002). This book also demonstrate how these experiments had lead to a new art form that could be used for both pleasure or leisure as well as for valuable commercial applications (WebCT, 2002).
The use of the art form was spreading, with greater emphasis on posters, not only in the form of political rallies and those already seen, but in more normal commercial advertising, such as Cassandre who used a style that was both flattened and stylised, typified by a 1935 poster that was designed as an advertisement for Nicholas, a wine merchant, where there is a strong cubist impression. The idea here was not to inform, but to overwhelm the audience with the spread of different forms that are present in a single presentation (WebCT, 2002).
The social developments of the globe were also a force that was changing the way that graphic art was presented. The increased technology saw the introduction of more photomontages, and it is interesting to see that way the Soviet Union jumped on graphic cart as an effective form of propaganda, not only internally, but in the international arena. El Lissitzky's work was used in order to promote the idea of the Soviet Union the rest of Europe. Exhibitions were arranged so that Europe would see how productive the political system was, and try to show the fitness of the way the country was operating (WebCT, 2002).
Poster to this end appeared in many countries, such as Germany and France. In other parts of the worlds the posters were also used by the government for other forms of propaganda or information spreading. This idea of fitness was used in Germany, and the role of domestic cleanliness gained emphasis. It was this later idea of cleanliness that was to be used against the Jews in propaganda that created an environment where the holocaust could take place (WebCT, 2002). This is not to argue that graphic art facilitated the holocaust, but that it was a tool used by the politicians to support the actions they were taking by whether justification of cover up (WebCT, 2002).
Over the Atlantic Ocean their was a similar pattern, showing that the ideas and use of this form or art as an advertising medium was also recognised. Public works projects were promoted by Lester Beall during the 1930's. The depiction of this project is describes as "this poster for the Rural Electrification Administration juxtaposes a photograph of two young people against an abstracted American flag to express optimism for a technologically enhanced future" (WebCT, 2002).
This is also a political manifestation in the way that there is a presentation of an image designed to give hope in a time where there are different social problems. However, this was not a new move, as in 1917 there was the use of graphic art in the form of posters as a reaction against the social condition, and supporting the revolution (WebCT, 2002). In the country there was support given to the Russian Telegraph Agency (ROSTA) (WebCT, 2002).
If we look at the way these posters were made we can see why thy were so limited, with poster printed by hand, or attentively only with the use of rough stencils (WebCT, 2002). This limited the amount of poster's but still the work of artists such as Gustav Klutsis and Mikhail Razulevich development and used more mechanical methods of reproductions (WebCT, 2002).
Nearby in Germany politics was also the subject of John Heartfield where he was against the rise of the Nazi part though this use of graphic arts, however, this time the images were more direct with the use if graphic art as a political advertising using photomontages as well as slogans on a single poster (WebCT, 2002). This was a demonstration of how graphic art could be used to develop emotional feeling regarding public issues and to change the opinions of those watching (WebCT, 2002). This has been used again and against throughout history, with the different message against the status quo being depicted in images relevant to the contemporary society (McQuiston and Greer, 1997).
Here we have seen the beginnings of the development, how society and politics have influenced the way that the art has been developed. If we want to look to what the future may hold we need to take a leap and consider how the more recent past has developed with the use of graphic art. Here we can then see the way that the foundations were built upon.
To undertake this there are many approaches that can be developed. The way in which graphic art has development may be seen in many mediums in many countries., However , in keeping with the theme of looking to the future we will look at an artist of the past that was both prolific, and seen as looking ahead of his time to what the future would hold. To this end we will consider the role of one of the most influential graphic artists of the twentieth century; Paul Rand.
III. Paul Rand
In considering a specific work of a well known designer we can understand how the work influence the customer as well as influenced the wider environment of that of graphic design and the way that the influences that are felt in the short term and the long term. In looking at Paul Rand's work we can conclude that he influenced not only his clients, but also appreciate the wider influence he has had ion the graphic design industry in general as well as appreciating the uniqueness of his own style, as was demonstrated by the design of many logo's including that of IBM.
There are many graphic designers that have had a long lasting impact on the way we see the world and interpret its meaning. Some designers have been subtle in the influence and the range of designs that have made a difference have been anything from typefaces to landmarks, but one of the best known, if not by name then by his work must be that of Paul Rand, also known as Papa logo (Lange 1998).
Paul Rand has a wide range of styles and worked in the field of advertising, and can be seen to have ...
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There are many graphic designers that have had a long lasting impact on the way we see the world and interpret its meaning. Some designers have been subtle in the influence and the range of designs that have made a difference have been anything from typefaces to landmarks, but one of the best known, if not by name then by his work must be that of Paul Rand, also known as Papa logo (Lange 1998).
Paul Rand has a wide range of styles and worked in the field of advertising, and can be seen to have made a great impact, his specially was branding, and the specific work we will be considering here will be the well known IBM logo (Hurlbert, 1979).
The idea of a logo that was innovative and had meaning as well as a message may have been new and groundbreaking in the days of Rand, but it is partly due to his wide ranging influence that we can see the wide practice of branding has taken the current route. It is also a shame that in this modern world where the forte of Rand's talents lay there has been a common practice of branding which has become homogenised and bland (Hurlbert, 1979). This is not a criticism that can be seen to have been levelled at Rand, who not only designed this innovative and still used logo. Rand was also responsible for logo's such as the carriers UPS, Cummins Engines, Yale University and Next Computers (Lange 1998).
This logo is unique and the style is recognised widely, even if the actual company name cannot be read the distinction is very clear. It was Rand's intention to design logo's and other works which were not only recognisable and identifiable very easily, but also one that can be seen as having a real meaning, which is demonstrated very clearly by the logo designed for IBM. The brief of any designer in looking to brand an organisation will often be rather vague, there will be a requirement for the Logo to be suited to the corporate culture, but this in itself is an intangible, and as such it very difficult to describe, it will also need to indicate the sphere of operation or characteristics that the client wants the logo to bring to mind when it is viewed by the clients own customers.
The IBM logo has become well known for its blocked design that appear to indicate a clean cut image with is both technological and simple, with colours that are seen as safe but also bold an innovative without threat.
If we look for the way in which the design was inspired then we may be looking for a very difficult element, in other designs this may be more apparent, such as his advert for El Producto poster in 1953 we can see that there was a message of merry Christmas (Rand, 1953). The actual content of the design can be seen as imitating Christmas as the cigars which are depicted in them are cigar shaped but lot a great deal more interesting due to the fact they appear in Christmas designs such as we might expect to see on Christmas wrapping paper or decorations for the seen. The inspiration here is more easily observed, but this inspiration for IBM must has existed, yet describing his talent and style has been described by some as "trying to catch lightening in a bottle", but we can see inspiration in the way that the logo was used once it had been designed (Hurlbert, 1979). His style was simplistic, and he took the inspiration form may sources, but the need for something that was not elaborate but served as functional is very clear in this design.
In the way that posters were later designed to advertise IBM we start to see the inspiration of his humour and the way in which he would play ion words. This can be seen as making a great deal of sense as if we look at the way in which other Logo's were also designed there was always an innovative way of the company initials being used to convey and communicate the idea of the company and to build up associations regarding the company. Therefore it is fair to assume that the play on words and the way in which the letters were all used were not only effective but also consciously used in such a way.
With IBM the design is one that appears to be of technical specifications, but the humour was to come out later. In an advertisement where the logo was to be used there was a change which emphasised the way on which the logo could be immediately recognised, but would still gain attention rather than be brushed off due to its familiarity, in this Rand left the 'M', from IBM and replaced the 'I' with and eye, and the 'B' with a bee (Lange 1998). A play on words, but also on the perception of the product and brand as well as inspiration derived from the everyday world around us, but filled will psychological meaning, putting into place the quote from the beginning of this paper. However, the management of IBM prevented it ever seeing the light of day and being subjected to the customers critique as they did not believe if conveyed the IBM message "It was not IBM" (Lange 1998).
The role he had on the industry as a result of successes like this was not kept to himself but communicated in the same medium as that of his work, through the printed word in many many manuals on how to design logo's and polish their appearance (Lange 1998). In his own words "the trademark should embody in the simplest form the essential characteristics of the product or institution being advertised" (Rand, 2000).
However, if also saw it as the designers job to be able to bring the formality down on occasion, and the way in which he is described as "an idealist and a realist using the language of the poet and the businessman. He thinks in terms of need and function. He is able to analyse his problems, but his fantasy is boundless "appears to embody the form and function where they both appear to be of importance, but the realism and the poetry are also very apparent (Hurlbert, 1979).
If we try and see if there are any autobiographic aspects to this work this is a more difficult perspective simply du to the simplicity of the work, however the work in print can be seen as an aspect of his very early work when he was hired by Esquire magazine (Hurlbert, 1979). The humour that is apparent in the rejected IBM advertisement is also autobiographical as the way in which he sees the world was seen by many who met him as one which encompasses a large degree of humour as well as common sense (Hurlbert, 1979). In his early days there was a need for succinct design produced at a rapid rate for use in mails shoot advertising and magazine copy, but the need for the inclusion of artistic style was also recognised as many of his works were seen on a regular basis as the 'Art Directors Club' (Hurlbert, 1979).
If we compare this grounding with the IBM logo, there is both the simplistic that comes with the need for speed, but also the style and grace which can be seen as an aspect of art and design. The impression we get of the IBM logo is that it has always just been there, associated wit the company on such as basic level that we are apt to forget its origin for a man who started he career in the 1930's (Hurlbert, 1979).
The symbolic content can also be recognised by the colours as well as the lines./ They appear to be very geometrically spaced, with a great deal of precision not only in the distance between each line, but also in the way that the letter line up. The white ion the blue background serves to emphasis this contrast and therefore gives an impression of precision that we now associate with the company.
If we consider the way that he may have been influenced by others at the same time there is a little difficulty as he was seen as a leader rather than a follower, but the simplistic design can also be seen as functional for the reproduction as well as recognition. If we consider the work in relation to Rand's other work then it is neither relatively significant or insignificant, it is a typical example of the way in which function and form were combined. From the advertising campaigns for bill boards and magazine cover designs as well as the logo's there are some common characteristics, such as the idea of the simple being better than the complex, the ability of the design being something that the client as well as the customers can relate to.
When we look at the other Logo's this common thread is very well illustrated. However, we can argue that this one logo may also be significant as it is probably one of the best known examples of his work, recognised throughout the globe and still used today. The UPS insignia must also come a close second, but this also consists of the same characteristics, the simple designee, although a little more complex, is immediately identifiable, but in this case the symbolism is also more openly apparent. Other logo's such as the Yale University one can be seen to have exactly the same style of simplistic function, where form is an art, and as such we can argue that the piece of work studied in this paper could have been substituted for any of his other works and the conclusions would be the same.
Although he dies in 1996 the influence he has left on the art of graphic design has not reduced, his work is still studied and admired, and perhaps the best and most significant legacy is the continued use of the works from the man also known as 'papa logo'.
In many ways his work can still be seen as relevant, yet it was still as a result of the technology changes that he was able to form these images, and the effective nature of many may be seen as a result of the increased art of typography. Therefore, to understand the development of this we also need to consider the development of typography.
IV. Typography
Typography is seen in everyday life, from the newspapers we read, the television programmes we watch to the numbers on buses and the advertisements on the bill boards. To what typography consists of we need to look at the characteristics that are present in the lettering. There are many typefaces and different ways for those typefaces to be presented. It is in this development of typography we can argue that the computer has been great influence, allowing for more type faces to be developed and for the uses of these typefaces to be manipulated more easily. This has been a boon to the graphic artist, and in understanding the ability to develop an image as simple as a letter using the computer then we can appreciate the way that larger images many also be manipulated. These are used in practically all manifestations of graphical arts. The use of a type face creates an image, and even in an item as simple as a menu it has been proven to have a discernable effect on customer perceptions and resulting purchases that are made (Heimann, 1998).
When we consider the purpose of typography it has to be seen as more than simply a communication of words, however if we break it down into its smallest component of typography can be seen in the following way " The basic unit of all type design is the individual letter. Letters come together to form words, and words come together to form stories "(Anonymous, 2000). This is the role of the graphic artist, to present an image that communicates, this may be story, a feeling a perception or just an image that will be recalled for a later association. It is in this last section off the quote that we can see that way the typography is used can convey a great deal about a story. For example if we see a film being advertised with typography that is jagged and looks like it is dripping with blood then we can automatically assume that it will be a horror movies of some sort. This is the message that is conveyed in the layout and design of the typography. The typography will be different on a romance than on a science fiction film, due to the different perceptions they create.
The advances in the use of the computer here can be seen in the aiding of the design by trying out and manipulating designs without the need to keep making mock up posters and by trying out changes speedily at the click of a button. This can be seen as very useful in a number of ways, it reduces the materials used so that there are greater ranges of possibility's at a lower cost. The time element is also much shorter, and as such the costs can be seen as proportionately lower.
The need for an expert can also be seen as reduced, with the computer there is no longer the need for specific training as the range of programmes that can be used allow almost anyone with a typing skills can take on the task of a typographer. Therefore, the range of uses of these type faces and the extent of the styles can be seen as no long only the realms of the professional. Small businesses are able to produce their own business stationary and develop their own advertisements and literature, even a local parish or community magazine that used to be hand types can look like a professionally produced publication.
However, when these are used there are still some very basic rules that are followed the advantage with the computer and the ability to see the layout before a publication is printed on a large scale can be to see that in the main even those without training or specific knowledge will follow them naturally.
The ability to keep the readers attention is a combination of factors. The first will be the content of the text, and if we are looking at this from a purely typographical or graphical art perspective then this is not in the control of the typesetter (Anonymous, 2000).
The design of the text and the size of the text are important as illegible text or test that is uncomfortable to read will loose the interest of the reader just as easily as boring content (Anonymous, 2000).
The next items that need to be considered are not so obvious unless you look at a piece of typesetting where they are wrong, and then it becomes obvious. There are the line lengths and the spacing between the words and letters. It is these spacing between letters that can make a publications look professional. Until the computer was in many homes and small businesses the typing would be on a conventional type writer where the space between each letter is the same with no sense of proportion as seen in the 'courier' and the 'courier new' type faces (Anonymous, 2000).
This fixed spacing has become associated with the home produced leaflets that were duplicated with duplicating machine or by the use of photocopiers has become less apparent as proportional fonts have been used, examples may be seen as the popular times new roman that is a well used font. The difference here is that the proportional basis of a font means that smaller letters, such as a i or an l will take up less rook than a w or an m, similar to the way handwriting takes place and the pattern is easier in the eye as apparent gaps between letters in the same word will all be the same (Will-Harris, 2000).
In addition there will also be the element of the actual line spacing. If the lines are too close together the typeface, whatever it is will be difficult to read and there will be a crowding effect (Will-Harris, 2000). Again the use of the computer enable this to be seen and adjusted before any documents are even printed so out rarely becomes an issue (Will-Harris, 2000).
There will also be issues such as the actual form of the entire setting as well as the quality of the reproduction, which may or may not be issues the typesetter will be involved in. However he how of the typesetting comes together to form a message and communicate an issue or an idea so in this way we can see that the typesetting can be as important as the content, get it wrong and people will not read it whatever it says (Will-Harris, 2000).
However, if we are going to consider how the computer has influence the development of typography we can also look to the actual type fonts that are used. There are even programmes able now that can scan a persons handwriting and then code it into the computer as a type face or font so that it will be reproduced when typing. In a broader sense, there have been other wide scale developments directly due to the computer.
The use of computers and the advent if they Internet have seen the development of a collection of new typefaces or fonts to cope with the individual situations and specific needs of this medium. Two fonts have been developed by Microsoft with this in mind. Mathew Carter was responsible for the development of Verdana which is a sans serif named after the verdant Seattle region (Will-Harris, 2000). The second is Georgia, a bright serif labelled due to a tabloid headline concerning alien heads allegedly found in the area of Georgia (Will-Harris, 2000).
Verdana is easier to read on a screen as the x height is higher than normal giving the type face a larger appearance without the need for more space (Will-Harris, 2000). There is also special attention taken with the letters that are sometimes easily confused on screen such as i, l and j and I where the formations of the letters is slightly different, with slightly different height to distinguish them more easily (Will-Harris, 2000).
Georgian is similar as it still has a higher x point, but not has high as Verdana, but is still retains an almost times new roam feel about it so it can be used in traditional circumstances, and again can be seen as easier to read simply because it has been designed specifically for the screen, yet they also reproduce well in print (Will-Harris, 2000).
Therefore we can see how the computer has impacted on the development of typography, in the way it is used, developed and put together to the actual design of the fonts. It has come a long way in a short period of time, and is likely to go further, especially in the hands of the graphic artists, both in the design as well as in the use.
There are also computer aided design packages that will develop new fonts, even for an amateur, such as handwriting fonts of an individual that are scanned in. Here we can see that there is a development with a cross over of the many different art forms and the way in which inspiration impacts on the art.
To look to the future we have seen how there has been inspiration in the past, and how this has impacted on graphic art, The next stage must be to consider the way in which inspiration may be gained in the future.
V. Inspiration
The first factor we need to consider here is that the cross over of the different art forms is increasing, a graphic artist may use a camera or paints, a typographer may also be a graphic artist.
Expression in the arts has always looked for new and innovative ways to be presented. This have often used newer and more radical as the forum for ideas and inspiration in the search for the ways in which to be inspired and find the spark required for creativity to take place. Just as in any other art form graphic design can be inspired or developed from what is seen around us and the every day mediums which we all come across. For example, we can consider the art of contemporary photography.
The argument for the adoption and acceptance of contemporary photography techniques in graphic design can be that in contemporary photographs we may find more contrasts and forms which are suitable for graphic design. The way in which the pictures are framed and made up with different contents and contrasts in colours may also be more suitable to be adapted and changed rather than a traditional countryside view. They may be developed more appropriately.
The best way to demonstrate this is to take two contemporary photographs and examine what may be gained from them by a graphic designer. The way in which they add to an idea or be developed to a specific outcome by providing a concept or a form from which the designer can work. Alternatively the way in which the photography may demonstrate to the graphic designer ways of working.
The first photograph we will consider is Sandy Trails, was taken in 1999 by Tony Chumak and can be seen at http://tonychumakstudios.com/GallerySeries8/Tcs_Image_144-24X-A-L.asp. This is only on the boarders of contemporary photography. It is a landscape with a difference, in the centre of the landscape is a pattern in the sand which would normally be avoided by the photographer.
This photograph demonstrates the way in which contemporary photography can capture texture and image, which is only available through this one medium. It is often said that art should convey a social message (Rich, 1998). This is true whether it is fine are or graphic design and whether the purpose of the work ids art or even advertising (Rich, 1998). The use of a photograph such as this can be used to convey many different types of message depending on the context n which the graphic designer is working
By looking at this picture aspects suitable for graphic use can be seen. The contrast of the shades of sand caused by the lighting cast shadows which can almost appear alive and stark. Natural forms and shapes can lead to very pleasing and easy to use or interpret ideas for a designer. A shape formed by the wind of the sea flows and the graphic designer can take this line and simplicity and translate it to all manner of variable uses.
Curves flow through the medium which is devoid of life forming shapes which approximately can be seen as more than waves, but of forms in the sand which can be placed together with a little imagination and thought. The adaptation of what is normally straight or fixed into a flowing contemporary shape has long been used in design. This has been strongly represented in furniture and other contemporary art forms such as sculpture. The simplification of design using these lines can be incorporated in numerous ways so that the curves and flows are repeated and represented in different sand unusual ways.
The way in which contemporary photographs can be used as inspiration is seen in the advertising world as much as anywhere else (Rich, 1998). Oliviero Toscani also abides by the thoughts that even advertising art should convey a social message in some form. It is this man who was the inspiration between the Benetton adverts which have been so successful and controversial (Rich, 1998). The social message it carries may not always be recognised, but this is the way in which contemporary photography will work. The message may not always be immediately apparent.
If we look to the Sandy Trails photograph them message can be seen at many levels. The first may be than in a dead and dry medium we can see the influence of life, waves or dunes which have been formed by natural forces. To the graphic designer this can then be developed even when inspiration does not strike.
The use of the strange and unusual shapes formed by the sand dunes and the way in which they undulate with such restricted colours lends itself to exploitation by a designer. The graphic designer themselves may use different mediums with which to develop ideas. A picture such as this will lend itself very well to computer manipulation and enhancement or dissection (Macko, 1997).
A computer is a common tool for a graphic designer even if it not the primary art work form. This does not take away from the artistic talent of the designer, but it moves the way in which it can be expressed (Macko, 1997).. The co-ordination between the hand and the eye alone with the keyboard and mouse become important. Image manipulation skills and the ability to develop small sections of a picture or change the content become important (Macko, 1997).
To believe that all artist work on inspiration only would be erroneous. Art it has been said in 'ten percent inspiration and ninety percent perspiration`. For a graphic designer this is as true as any other art form. Any form of work which can provide a starting point is useful, and many others do not.
Contemporary photography may also be of use as many other form's of art work are more likely to be covered by copyright, contemporary photography can be undertaken by the graphic designer themselves. This makes it accessible and affordable along with the ability to gain without copyright problems if this is the source.
This is not the only form of contemporary photography, there are other ways of taking photographs which can be see as contemporary, or modern. If we look at a photograph from 1978 we can see that the contemporary style was around at this time, and as such there is already an ability of a new form of inspiration to be seen as established.
To show this we will look at another photograph. This second photograph is over twenty years old, but can still be inspirational. Taken in black and white the photograph is a subtle contrast of light and dark with life and danger all in a single frame.
Black and white has often been seen as more emotional and expressive. The attention is drawn to the contents and make op of what is in the photography rather than the eye being distracted by colour and confusion. This can be seen at http://www.photo-graphs.com/sum01.html.
As we have already stated one of the advantages photography as is the capturing of forms which may be difficult to see due to location or due to the time taken in their passing. Sandy trails was one of the former, its location and access to the view seen was difficult, but in the Human Sparkler the event is momentary and passes quickly, arguably the forms seen and caught by the camera may be unobtainable in any other way as the eye may not capture its full intensity.
The forms are very different and capture energy in addition to contrasting a high existence to ordinariness. As seen with the Bennetton advert the contrast can be seen between ordinariness and the unusual through the medium of photography (Rich, 1998).
Whatever the photograph this can be used as a starting point for a designer. For example the image of the 'dome' the strands which constitute the dome with a human form behind them, either alive or trapped.
The study of the theories of contemporary photography are of great importance when viewing the photograph and using it. The way in which it may fit in with a collection or can represent more than appear within the image should not be undervalued. The picture may be part of a set which should be viewed together or in isolation. The theories of the representation within the contemporary photography art form themselves can then be adapted and adopted by the graphic designer.
One of the most useful theories of contemporary photography is the obvious one. Inspiration can be found any where, from a neighbourhood street corner to the life of a dog. Daido Moriyama a contemporary photographer says;
"When I go out into the city I have no plan, I walk down one street,
and when I am drawn to turn the corner into another, I do. Really I am
like a dog: I decide where to go by the smell of things, and when I am tired,
I stop"
(quoted in Rubinfien, 1998).
A graphic designer can take lessons from this approach and follow the example. Inspiration can be sought in many places, not simply the tradition design books and magazines kept for these reasons.
The often harsh realism of contemporary work can be very useful to the graphic designer in the form of the lines, shapes and contracts it produces and the inspiration of different materials which may emulate this.
The problem of integrating the modern works in a world of machines and technology with the fine world of design and art is difficult one. It can be argued that the photographers lead the way in this endeavour because their subject necessarily changed over a period of time to be the world that the photographs represent. The photographer must capture the images he can see and manipulate those which are available. The graphic designer does not have this limitation. The imagination and the minds eye can make up for the inadequacies of the real images and then correct them in order to make what is desired real. In this the designer has the advantage over the photographer.
The angle used by contemporary photographers can be utilised to the same effects with graphic designers. Images requiring perspective can be adapted and developed from photographic images in order to gain the correct perspective for the desired result.
The ideas of theories such as the pure representation of art and the pure depiction of simplicity and form can also be taken up by the graphic designer and adapted to be used as the designer wishes.
Even the lessons of simplicity and choice of colouring used in photography can be translated to graphic design. The obvious example of this is the medium of black and white photography. A design in limited colours will give emphasis to the designs form and shape rather than there ease on the eye of the colours. Unlike the contemporary photographer it can be argued that this may be of more use to a graphic designer as it will allow the design to be appreciated and the colour to be projected by the mind onto the design by the observer making it more adaptable and flexible to different interpretations.
The way in which artists gain inspiration is always a matter of interest, if only for other artist or designers who do not find inspiration so easy to capture. However, the nature of design is not always one of inspiration. If it were many graphic designers would be sitting tapping their desks or walking the streets. It is also one of development and evolution of relevant ideas and interpretations which can be gained from other mediums such as contemporary photography.
The photograph Sandy Trails has demonstrated the way in which for and contrast can be used. The ideas of flowing or curved lines and the contrasts of the different sides of the lines can be adapted by the graphic designer and used in not only the design, but the search for the medium of the design.
The photograph can also illustrate the way in which photography is useful. This is a sight which may not be readily accessible, even if the designer lives by a sandy area. Taken from above the view is different from the usual scene ands is unspoilt by man.
The second photograph also demonstrated this use by capturing a scene which would normally only have been available for a few seconds and showing the make up and constituent parts which would never have been visible in the event to the human eye. This can be used by the designer to put together similar illusions which are formed by different shapes and forms.
The uses of contemporary photography by the graphic designer are not limited, they can be expand and manipulated just as the ideas of the designer can forever grow (Heller, 1996). This is the way it should be in any art, the design limited only by the ideas and imagination of the designer. When we consider the increasing proliferation of digital cameras and the increased ability I believe that this will be one of the ways graphic arts will move forward, by using technology as the source of inspiration, just as seen in the beginning of the century when technology was first available.
However, technology is more than a facilitator, in term of the internet it is also a medium for the development and publishing of art and advisements in the form of graphical art. Therefore, the last aspect of the future of graphical art we will consider is the influence and development that may occur on the internet.
VI. Graphic Design and the Internet; One Vision of the Future (including the role of the graphic designer).
The internet has supported, initiated and expanded more businesses than perhaps any other media. This has meant that the use of the web has increased the number of graphic designers which are required to help design an attractive web site that will achieve its goals. When considering what the market it we must recognise that it needs to be split into sections. Firstly there are commercial web sites from profit making organisations, such as local or international companies, there are sites which belong to non profit making organisations these may include sites such as government information sites or charities, and there are personal sites.
From the graphic design perspective the market place will be the former two categories as most personal sites will be self designed. However, in the future there may well be a market in the design and hosting of personal sites, especially when it comes to self promotion and the submission of CV's on the web.
The sites purpose will also be important when considering the role of graphic design, the site may be designed to inform, or to produce income. It is much easier to produce a good looking site that gains visitors than it is to produce a site that also helps people spend their money. As such the income producing sites may need the higher levels of expertise, but it is also possible that many companies may need to learn from experience.
The income produced may be by way of charitable donations or for the purchase of goods. The majority of sites will be for the profit making organisations and placed there to inform and support sales, or to produce sales. As such we can classify this as the current main target market for graphic design on the internet.
The potential of this market is great, although many companies are already on the internet there are still the majority who are not, or who do not utilise the medium to its fullest advantage (Hamilton, 2000). This means that the potential market increase is not just from new entrants and revamps of existing users but new business from expansions of the existing companies who have a presence in the web (Hamilton, 2000).
If we look to the blue chip companies most already have a web site to give out information. Many are not looking to utilise this medium to make sales as this would be politically wrong as they may end up competing with their own retailers. There are also the new retailers that have sprung up due to the ability to sell through the Internet with lower costs that traditionally associated with the retail sector. The potential of this market can be seen by looking at the market it in turn will serve as the laws of su0pply and demand apply to internet commerce as much as normal commerce.
With the culture change the acceptance of more new technology and its' uses more easily acceptable to both businesses and the public, When the Internet was first becoming popular it had the reputation of geeks in anoraks in darkened rooms. This perception has now changed, with a potential market of almost 200 million people connected to the Internet (Newsweek, 1999). 80 million of these are in the United States (Newsweek, 1999).
These numbers are a reflection of the growing importance of the internet, the internet is no longer seen as a novelty (Newsweek, 1999). As a part of everyday life it has also taken adaptations for the users to become used to the idea of shopping on the internet. Traditionally most transactions had taken place in face to face environments, or at least with a real voice on the phone. The Internet allowed commerce to trade in an efficient but impersonal way. The information is all on the internet, and so are the payment methods using credit or debit cards.
If we look at the growth of businesses and their utilisation The number of businesses choosing the trade in this manner is increasing daily. In a period of only 6 months In 1995 (April - October) a Dunn and Bradstreet survey reported that the number of top 1,000 companies conducting business on the internet increased by 70%, resulting in 132 ( Bottoms, 1995). This may seem still a small proportion at 13.2%, but it is the rate of increase that is so significant. Banks and finance companies have been showing an increased interest in trading in this way, and the increases in the finance sector appears to be following an identical trend.
There are also many threats to the use of graphic designers in the design of web pages. The advances in software have made it much easier for different non graphic design people to be involved in web design. There are now software programmes which make it easier by giving the 'designer' a basic start by providing 'prefabricated styles' (Rohan, 2000). The availability in this sector is limited and makes it more unlikely that there will be an increased market size in the design of small or personal web sites. These packages give the designers a choice of different basic styles and allow all the pages to match up styles' (Rohan, 2000). This can be vary useful for new web developers as it is a lot easier than learning html, but it is not likely to create a large threat for the graphic designers who are into creating commercial web sites as they are to manufactured and easily recognisable as prefabricated (Rohan, 2000). An example of this is the programme called fusion (Rohan, 2000).
Therefore the market remains as the small and medium sized businesses as the larger companies are likely to have their own in house web developers and not wish to contract the work out of house.
Due to the rapid growth of the market and the continual increase in numbers of business on the Internet the projection are all over the place, the growth is going to be far greater than the industry has the capability to cope with if some estimates are accepted (Rohan, 2000). If other perspectives are adopted then the increased demand may well be taken up by non graphic designers by way of design programmes and those who have learnt by experience and from their own computers at home.
The commissioning of web cites is likely to continue, and the recent structure appear to be not only commissioning the web site, but looking for a provider who can give a whole package, not only the web site design, but also the web hosting and maintenance. The pricing structure for this is usually a large one off fee for the design and then an on going smaller fee on a monthly or annual basis for the hosting and maintenance of the web site (CSG, 2000).
Costs appear to range from £1,000 for web design and £30 per month for maintenance with hosting an additional fee, with no upper limits (CSG, 2000). The costs may become more uniform as the industry becomes more competitive and the purchases have more choice from the increasing number of companies setting up to undertake web design.
VII. Conclusion
The student may like to draw their own conclusion., However it appears that thee had been a century of change. The uses of graphic arts remain the same but the increase in technology and communication mean that they are more proliferate than ever before. The development of the internet as well as many forms of artistic development have place an entirely new perspective on graphic arts and the role of the graphic artist, The future may be seen as both a great opportunity, with all the new facilities and chances to publish but also as a threat with the new computer publishing package and the increased public understanding,. The results of this remain to be seen, however two things are appear certain; The development will effect and be a reaction to the manner of society and the framework, either supporting , challenging or defying, and the role of graphical arts is here to stay!
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