The Theoretical Foundation for the Graphic Design - Assignment Example

Introduction The Graphic Design theory in general talks about technical themes and terminology involving the line, form, typology, layout, juxtaposition and other aspects of a good design. However, there is very little research undertaken into understanding how the conception of ‘idea’ takes place and shape for graphic design. This paper discusses the topic ‘where does the idea come from’ in detail using the various constructs of thinking deployed in the graphic design theory. It is hypothesised in this paper that the modern day graphic designing has reached a trans-modern consciousness where the sources of ideas are generated from a multitude of avenues ranging from history, race, folk, culture, traditions politics, and contemporary lifestyles (Tunstall, 2010) Some of the topics therefore discussed include studying history, folk art, culture, and contemporary life as a source of creative ideas for graphic designers. History as a source of ideas for Graphic Design History offers a rich source of design ideas that are often seem to be reproduced in the modern arts and designs. The historical significance of events for a country or a region, lends a rich source of ideas for the modern day graphic designers. For example, in the case of Latin America, the region has a complex history of revolutions and nationalism which can be seen reflected in many graphic design ideas. Similarly, the Chinese history of imperialism and civil wars is reflected in many themes used by the modern designers. In the Middle East, themes like Bedouin, gold and spirituality are shown in their designs. The historical ethnic markers in the Mexican society are often utilized by advertisers to target the Latin American audiences. Fork Art and Tradition as a source of ideas for Graphic Design For example, African folk art forms inspired the Western impressionism and cubism, and yet these very art forms are not utilized in the modern day graphic designs originating from the continent (). However, there is also substantial evidence showing the use of historical geometric patterns, art forms, themes, motifs that inspire the development of ideas for the modern artists. For example, the Egyptian art forms in the The folk art and the distinct patterns and styling used in the Chinese traditional arts is still visible in the modern graphic designs from the country. There is extensive use of calligraphy and typology and line and form and other design elements that were used in the traditional arts of China. In the Middle East, the repetitive patterns used in the folk arts are adopted by the modern designers and used with innovative shapes and colours. In India, there is a rich tradition of folk art and culture that in itself is extensively diverse and varied across the different parts of this country. There are motifs of folk dances, rituals, mythological stories, and an array of lucky charms and symbols that give an immense cornucopia of ideas for the modern day graphic designers in the country (). In addition, the folk art is not just an art form; instead it is the outcome of the way people feel, think and express themselves. This, in effect, is the pure form of art and hence it provides a rich source of original ideas for the modern graphic design. Culture as a source of ideas for Graphic Design The rich cultural heritage of diverse countries and regions is often the source of the creative ideas for graphic designs. The reason for the influence of culture on designing is simply that culture is something that embraces the society so pervasively that all aspects of life are touched by it (). Culture provides the acceptable norms of behaviours as well as furnishes the values and the beliefs that are shared by a people and which have meaning for them. The pervasive influence of culture is therefore evidenced in the way art develops and it provides a rich cornucopia of ideas to draw upon. For example, in the case of China, the influence of the culturally relevant symbols, concepts, patterns and themes are still evident in the modern graphic designs. Many designers use culturally relevant themes of “beauty”, “truth” and “happiness” when they develop logos or other marketing and promotional paraphernalia. This is evident in the motifs of lions used expressively in logos to show strength and respect for traditional wisdom; similarly the drawings of phoenix indicate an enduring and sustainable spirit to continue the good work. The Chinese graphic art also represents symbolism from its rich traditions of Confucianism and Fens Shui. Similarly in the Middle Eastern culture, Islamic traditions and scriptures have a central role to play and these are again reflected in the calligraphic styles used in the designs. In India, the cultural ideals of love, forgiveness, seeking nirvana and peace form the inspiration of many modern artistic designs. The values of patience, working together and taking care of others are imbibed in numerous corporate logos. Africa/Egypt Latin America In the case of Latin America, the culture reflects a mix of feistiness, love for colours and happiness, and this gets reflected in the graphic designers’ choice of palette and patterns. However, the culture is also conservative and traditionalists when it comes to religion, and as such, many logos and themes for graphic designs are arranged around the religious motifs and Roman Catholic symbols. Culture and tradition is used as a source of idea because culture contains elements and symbols that have a shared meaning for the given society. The core beliefs and values of the region are traditionally expressed through the rich symbolism, motifs, patterns and forms. These are taken up by the graphic designers to give a visual representation in their designs. It is therefore seen that the local culture and traditions can provide a rich source of basic ideas and concepts that can be integrated with the graphic design theory to create new and innovative ideas. Contemporary Life as a source of ideas for Graphic designs The daily life as reflected by the people’s family and other social interactions too is used as a source of ideas for graphic designs. Africa India Middle Eastern Egypt Latin America The Latin American’s love for party and life and their boisterousness is a continuous source of vibrant and vivacious graphic designs. The designs also use a mix of bright contrast and light colours to reflect the way of life in Latin America – which is both living a carefree and happy life and also fearing god and being religious. It is also reflected in the street art and graffiti that has come to be a part of the Latin cities (). In the case of China, the Chinese people, though moving toward a global awareness and integration with the outside world, are nevertheless still much repressed when it comes to political freedom and freedom of expression. This struggle to be politically active and have an independent voice is characterized by stealth and craft to avoid censure and punishment from the government. However, this distinct and inherent aspiration of the people of China is often seen expressed in the form of graphic designs that carry hidden political dissensions and symbols of rebellion (). However, when it comes to the Japanese graphic designs, the inspirations are more from the urban lifestyle which is chic, stylish and futuristic. These elements are used in the graphic designing to create themes and designs that are cute and whaky and yet futuristic and minimalistic (). The nightlife in modern Japan too gives a rich source of inspiration to the designs which heavily use neon and flashy colours for illustrating the graphic themes. Discussion The above discussion and examples have highlighted the significance of diverse sources of creative ideas for graphic designs. It reflects the changes in the way design theory is complemented by the real environment and the influences provided by the historical, cultural and traditional heritage of the people. For a long time the focus of the graphic design education has been restricted to getting it right on the aesthetic and cognitive level, and much of the courses on designing have imbibed the Western scholars opinion on how this can be done. Even during the post-modernist era, where the conceptualization of the other externalities and multiculturalism has taken firm roots, much of the graphic designing discourse has been trapped in the Western perspective. References Chinese Traditional Folk Pattern and Modern Graphic Design Gong Jun Asian Social Science, 2008, vol 4, no. 2. ; DOI:http://www.doaj.org/doaj?func=openurl&genre=article&issn=19112017&date=2009&volume=4&issue=2&spage= Source: DOAJ Li, Yanzu. 2005. Graphic Design Art. Lo Ying, Chinese People University Press. Liu, Lin and Zhao, Quanyai. 2005. Auspicious New Visual Design . Wu Han University Press. Tang, Jialu. 2004. Auspicious Decorations. Lei Sun, Guangxi Art Publishers, China Yang, Xueqin. 2005. An Introduction to Fork Art. Chinese People University Press Adrian Shaughnessy Kyoorius Designyatra Festival 2011 The design observer group. http://observatory.designobserver.com/feature/kyoorius-designyatra-festival-2011/30368/ Tunstall, Elizabeth, Tori. 2010. Trans-modern consciousness: Mapping value systems and models for graphic design education Read More