Should Form Follow Function (or Vice Versa) in Visual Communication - Essay Example

?Should Form Follow Function (Or Vice Versa) in Visual Communication? Aims of the Study Visual communication is one technique used to construct images using visual elements and symbols aimed at conveying a specific message to a target audience. Within this sphere, the design issue of ‘form follows function’ invites various interpretations related to how certain products or services should be designed and packaged in order to capture the attention and interest of its target audience. This is essential to advertising, as the design should be able to describe the product or service, (this may be considered the form) and convey the idea behind the ad (which, in itself, can be considered as function). This study discusses possible interpretations of the relationship between form and function in relation to graphic design aims and processes. Although there are many functions that can be applicable to various forms, this paper will be geared towards messages conveyed by still graphic designs in signs and advertisements. Why The Interest on Form and Function in Graphic Design and Visual Communication? The reason behind choosing advertising was based on the fact that the advertising sector can be viewed as the most competitive area where an object of design has to capture audience’s attention and inform effectively in the shortest possible time through correct application of elements of visual communication. I believe that role of visual communication is vital in modern advertising culture where people are bombarded with visual information through various media channels. It is possible that at this stage the balance between ‘form follows function’ becomes shifted more towards emphasis on ‘form’ as a factor that will secure audience’s attention and response. This may lead to exaggerated and imaginative design efforts aimed at describing an item with simple straightforward function. This overemphasis can be observed in many modern TV commercials where the entire story line and acting and special effects can be deployed to promote something as trivial as new variety of a morning cereal. However, the question now is if such efforts towards the production of form serve the function of selling the product. Review of Literature Graphic design is defined as “the ‘art’ of communication – to inform, educate, influence, persuade, and provide a visual experience”(Resnick, 2003, p. 15). Lawrie (2008) claims that the visual communication of ideas or concepts is the primary function of graphic design while evoking feelings, either emotional or kinaesthetic ones, are considered its secondary function. Graphic designers intend their designs to effectively carry out its meaning and that its target audience clearly understand it. For this to be effective, the designer should know how his target audience ascribes meaning to the design, so he is required to adopt to their perceptual views and share their experiences (Lawrie, 2008). A simple example would be the separate icons for toilets for men and women. The most basic icon of a woman with a flared skirt posted at the door of a toilet can be easily identified by anyone so women know it is the toilet for them and men will not enter that door because it is clearly not for them. This basic example shows the effectiveness of the relationship between form (simple icon for gender) and function (to identify which toilet is for women and which one is for men). However, going a step beyond the basic design such as putting in more feminine details for the female icon and masculine details for the male icon may trigger a stronger emotional or kinaesthetic response. An example would be giving the effect of feeling like royalty when they enter the toilet with the icon of either a king or a queen at the door. These two kinds of icons have different forms, and the function of identifying which toilet to use is the same, however, the second example may evoke a more personal meaning and experience. The previous examples illustrate Hollein’s (1976) contention that design can be experienced because it is familiar to the lived world of the individual. He says, ‘Whether on a primitive level or on a highly sophisticated one, design – and designs – evolve very often in a self-generating way, instigated by demand or desire’ (p. 12). Thus, if one’s desire is to be treated like royalty, the second design for the gender icons would somewhat fulfil his or her desire. In advertising, graphic designs should go beyond being visually attractive. It should captivate the attention of people and engage them into a certain mood or receptiveness to experience the message it conveys. More effective designs make people think deeper than the surface message. Lawrie (2008) adds that the sensory perception of graphic designs in advertisements should engage the audience bodily with the work before they can even conceptualize any interpretation of the message. This pre-conceptual experience is the one that would make the audience hold their attention for more to come. Abram (1996) puts it more eloquently: The disclosure that preverbal perception is already an exchange, and the recognition that this exchange has its own coherence and articulation, together (suggest) that perception is the very soil and support of that more conscious exchange we call language (p. 74). This implies that the perception of the audience about the message conveyed by the design will determine the meaning they will interpret from it. Hence, the form of the design should be customized to send the right message and not confuse the audience with different messages. With regards to form, a design should follow all the elements necessary to make it stand out. Baker (2006) advises that in creating a design, the information that needs to be communicated should first be solidified. Next, composition of the design (text, graphics, layout, colours, etc,) should be customized to the preferences and needs of the target audience. For example, since people naturally read from top to bottom of the page, the design should have the chunk of information near the top, so this chunk serves as the “front door” to the design that will open up to the customer to the whole message intended for him to receive. Baker recommends that the overall layout and design follow five principles and techniques namely: balance, space, contrast, repetition and alignment in order to effectively catch and retain the attention of the target audience. On the other hand, function may either be dependent on the audience’s response to form, or stand alone on its own with minimal form. An example was given by Dickson (2006) wherein designing a label for a wine bottle with a similar design for a soda pop bottle.. just will not work. Although both are beverages and their common function is for people to drink them, the design for each should be distinct because they also have different sub-functions and most likely, different target markets. Hence, form should follow function, meaning the design for a product should suit its function as perceived by the target audience. On the other hand, it may also work the other way wherein function follows form. If a consumer sees distinct labels for the beverages, it communicates to him or her the varied function of each product. So a child may recognize the soda pop bottle label and pick it up while her dad may pick up the wine bottle with a distinct label for himself. Hence, it is essential that form and function work well together. This argument is echoed in the web article from Quinnipiac Interactive Media (2012) wherein the author claims that both form and function are symbiotic. One is reminded to know beforehand what the function is before it can be designed, while at the same time, the design should be attractive enough to bring about people’s attention to the function of the product. Dickson (2006) also brings up the issue of client requirements for the design of their product and the designer’s own style. Both client and designer should agree on the balance of form and function. He says it is not enough for one to like the design, even if approving of the design is considered a function. In advertising, people should go beyond the appeal of the design and onto the effectiveness of its visual communication and if it brings about its main function (ex. target audience really go and buy the product). Lawrie (2008) stresses the intention of graphic designers to meaningfully communicate with their designs and that these meanings be well understood. In order to do so, designers should have a wealth of experiences and some of these should have intersected with the common experiences of the audience they communicate with. This means they should be able to adopt the audience’s perceptual stance and that graphic designers should be “experts in shared experience” (p. 206). Links To My Own Practice Applying what I have learned here to my own personal experience and practice, I often wondered how some TV commercials featured a whole fictional family all agog with the product being endorsed. The commercial is set up in such a way that there are actors hired, locations rented out, a whole crew hired to shoot and creative staff to handle editing and special effects – all this grand production to promote a new variety of cereal! In this way, form is played up to bring about function. On the other hand, I also thought, within product design, if all form was to follow function, then all car manufacturers should stick to the basic ‘form’ of four wheels and a metal frame, a design that does not differentiate one make and model from another. If such was the case, then advertising could be oh-so-boring! Understanding the value of both form and function is crucial to designers in order to be effective in visual communication. I need to keep in mind that having the skill in composing attractive designs is not enough to be successful in advertising. It takes studying the target audience – their general profile, their preferences, shared experiences as well as the common trends that prevail at the time when the advertisement is created. Designers need to be familiar with various genres that are popular at certain points in time and in certain cultures. Todorov (1990) defines genre as “the codification of discursive properties” (p. 18). These discourses are based on the dominant ideology at a particular time. For example, the fashion in the eighties era may be teased hair, chunky fashion accessories, heavily shoulder padded blouses and vests for women. These may describe the genre for fashion that may be integrated in the design of a fashion product with an 80’s theme. Todorov explains that such genre may bring about the expectations of the audience on one level, and models of design on another level. That is why as a designer, I should be able to keep up with what is prevalent in various eras so that when a client consults me about a design for a product, then I would be able to more effectively supply both form and function in creating the design. Personally, I am always struck with the expression “all form, no substance” that I hear from some of my critical-thinking friends. This may refer to some people who look so good on the outside with all their fashionable gear and perfect hairstyles, but are boring when they start talking. It can also refer to a show they have seen and say that the effects and production are awesome, but there was no take-away message to them that they can discuss about the plot long after the show was over. I myself wouldn’t want to be described as “all form and no substance”, and it also goes for my own work. I would like to be known as a person who is deep and is not content with surface beauty and wisdom. That is why I strive to go beyond what is expected of me and push my limits to see how far I can go. Although I can come up with excellent designs, I should plan it out to be effective in visually communicating what it was meant to convey. For example, in designing a brand of detergent soap, I should keep in mind how consumers of this soap want to experience when they use the detergent. What are the sensorial experiences they go through? What ideal outcomes do they prefer after washing? How would they want to feel after using it? This may be a tall order for a simple graphic design, but this is how I want form and function should be balanced in my practice. Further Investigation This paper has served to be an introspective exercise for me apart from the research and critical analysis it involved. I learned that in order to be an effective visual communicator, I need to be attuned to the experiences of others so I can integrate it to my design. I would like to further investigate if my own experiences can be beneficial in designing graphics that can touch others even if they do not share the same experiences. If I am more attentive to my own direct experiences, would I be able to guide the direct experiences of my target audience? In doing so, would this be a good method to educate the public or would they need to have a certain familiarity with the experience? Such investigation taps into my own need to find more importance in the role of graphic designers in making a difference in the lives of others. References Abram, D. (1996), The Spell of the Sensuous, New York: Vintage Books. Baker, W.H. (2006) Visual communication: integrating Visual instruction into Business Communication courses, Business Communication Quarterly, December 2006 issue Dickson, G. (2006) Function is Dead – Long Live Function. Retrieved on July 20, 2012 from http://www.graphic- design.com/DTG/dickson/form_follows_function.html Hollein, H. (1976), ‘In the Cooper-Hewitt Museum’, Man transForms, New York: Smithsonian Institution. Lawrie, S. (2009) Graphic design: can it be something more?, Art, Design & Communication in Higher Education, Vol. 6, No. 3. Quinnipiac Interactive Media (2012) Does Form Follow Function?, Retrieved on July 20, 2012 from http://quinnipiac.interactivemedia.org/tag/form- follows-function/ Resnick, E. (2003). Design for communication: Conceptual graphic design basics. New York: Wiley & Sons. Todorov, T. (1990) Genres in discourse. New York: Cambridge University Press. Images: Male & Female Icon: http://images.search.yahoo.com/images/view;_ylt=A2KJkPeXrQ9QjX4AkkmJzbkF;_ylu=X3oDMTBlMTQ4cGxyBHNlYwNzcgRzbGsDaW1n?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dcolored%2Bicon%2Bfor%2Bmen%2Band%2Bwomen%26n%3D30%26ei%3Dutf-8%26y%3DSearch%26fr%3Dslv8-msgr%26tab%3Dorganic%26ri%3D75&w=1200&h=1200&imgurl=us.123rf.com%2F400wm%2F400%2F400%2Fstudiom1%2Fstudiom11004%2Fstudiom1100400062%2F6876904-men-and-women-icons-graphic-elements-set.jpg&rurl=http%3A%2F%2Fwww.123rf.com%2Fphoto_6876904_men-and-women-icons-graphic-elements-set.html&size=145.6+KB&name=Men+And+Women+Icons.+Graphic+Elements+Set.+Royalty+Free+Cliparts+...&p=colored+icon+for+men+and+women&oid=e57499b8fb5b16b8957bda4b24ff4950&fr2=&fr=slv8-msgr&tt=Men%2BAnd%2BWomen%2BIcons.%2BGraphic%2BElements%2BSet.%2BRoyalty%2BFree%2BCliparts%2B...&b=61&ni=64&no=75&ts=&tab=organic&sigr=12gspr8hr&sigb=143prmd99&sigi=13n0hvm43&.crumb=O8I08hLjz5l King and Queen: http://images.search.yahoo.com/images/view;_ylt=A2KJkK4HrQ9Q438Akc6JzbkF;_ylu=X3oDMTBlMTQ4cGxyBHNlYwNzcgRzbGsDaW1n?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dking%2Band%2Bqueen%26n%3D30%26ei%3Dutf-8%26y%3DSearch%26fr%3Dslv8-msgr%26tab%3Dorganic%26ri%3D20&w=397&h=373&imgurl=www.couplescostumeideas.com%2Fkingqueenhearts.jpg&rurl=http%3A%2F%2Fwww.couplescostumeideas.com%2Fking_queen_couples_costumes.html&size=29.3+KB&name=The+King+and+Queen+of+Hearts&p=king+and+queen&oid=409b3497458b9b0f461a75d9984f5706&fr2=&fr=slv8-msgr&tt=The%2BKing%2Band%2BQueen%2Bof%2BHearts&b=0&ni=64&no=20&ts=&tab=organic&sigr=1237kuq9r&sigb=13jarq6v2&sigi=11foghekb&.crumb=O8I08hLjz5l Read More