New Steps: Ideas in a Different Space, Problem Swap, Cultural and Paradigm Shift – Part 1
Graphic Design has evolved immensely over the last hundred years. In the beginning of the 20th century, there was a level of craftsmanship involved. Looking back at its roots and the works of William Morris, one can appreciate the extent artists and designers went in order to achieve the desired result and perfect their creations. However, as the years progressed, design movements such as the Bauhaus recognised the value of technology and how they can utilise it for their own benefit, other than just use it as a means for mass production.
With that said, as we are nearing the end of this first module, I have realised that I made constant references to technological advancements and how it is affecting our lives. As a designer, technology is a tool just like pen and paper. However, I have an underlying fear that one day technology will take over, just like I disdain as how superficiality is dominating our lives. I really enjoyed watching this week’s lecture, as they shed light on various points that I often ponder upon, but never really discussed openly with other designers.
Part 1 – Case Study 1: What are the potential future definitions of design practice?
The first point discussed in the lecture was about brand design becoming broader and more abstracted. As well described by Simon Manchipp from SomeOne, brands have moved beyond a simple logo and a few colours. The consumer is now seeking a stimulus, hence brands have to be designed to convey a mood. An experience of sorts. It is a very valid point, as if one looks at the most successful brands of today, they do not simply promote products. They present lifestyles. Successful brands such as Apple, Coca Cola and Emirates all communicate experiences relevant to their consumer. This above point also reminded me of a TedTalk held by Simon Sinek were he explains his concept of the Golden Circle.
The idea behind the Golden Circle concept is to ask yourself three fundamental questions: Why?, How?, What? – but rather than starting off with ‘what do I do?’, start off with ‘why am I doing this?’. By showing the motif behind what you do, it makes whatever you do more substantial, more ‘real’.
Another interesting point that was recurring in all the interviews is how technology impacts the creative world. It has become both a tool and a medium. As Sarah Boris mentioned in her interview, whereas clients used to ask for a just a logo printed stationery, now they would expect the design to be animated. Therefore, the graphic designers of today need to be skilled in multiple areas in order to succeed. In return this has resulted in a shift of the meaning of what it is to be a graphic designer. In addition, due to the internet, there is a tendency of recycling of ideas. This point was brought up by Tom Finn from Regular Practice, where he described it as the ‘churning of ideas’. However, he continues by saying that this can be a good thing, for this can stimulate us as designers to be more innovative and challenge ourselves more often.
On a different note, Sam Winston links to the future definitions of design practice to cultural progression. He brings about the concept of the ‘Attention Economy’. We are living in a world where that feeds off attention from various channels and as we are constantly exposed to information from all over the world, everyone seeks their five minutes of fame and gratification. This can be relatively superficial, for the sense of rush and ‘chasing time’, as far as creative work is concerned, can result in designs that are either recycled or of little value. Which is why he continues by saying that “as students, you are the future” – it is what we make out of we have at the moment and take it to the next level.
Part 1 – Case Study 2: What are the sectors that might change or need to change?
In this day and age, change is ever present. Just like any other industry, the creative industry evolves constantly. The second case study starts off once more with Simon Manchipp, where he says that the main change in the creative world is the communication channel. However, he also claims that the most important thing is that the main ideas are always aimed towards the people. For a design to be ‘successful’, there needs to be a connection between the designer and the audience.
Sam Winston looks at how the careers in the creative world tend to function. He describes them as ‘silos’ that are not easy to bounce from one to the other. Which is very true. Unfortunately, as multi-discipled as graphic designers are these days, employers often want to see a certain volume of work in relation to a particular skill as a form of proof. Winston states that we should move away from that, but then again, he iterates that it is in our nature as humans to categorise everything and put tabs on things.
Another interesting point was that of collaborative work. As communication is facilitated through technology and also graphic designers are mastering multiple branches of this creative field, mergers are occurring worldwide. Such collaborations are proving to be affecting the industry very positively, for innovation is reaching a new level. Having five brains working together are better than one.
Some personal thoughts…
As already mentioned, the creative industry is constantly evolving and changing. As new technologies come in and there are cultural shifts, one’s way of thinking also changes, which in our case, it would reflect in our work. In an age of consumerism and unlimited access for information, I think that we should be aware of what is substantial and what is frivolous.
Also, access for creative software is very easy, meaning that there will be people who would pose as “creatives”, however they are just really computer users who put together a couple of ideas found on Pinterest and stitch them together. However, there will be little substance in the end product. Which is why, us as creatives should move beyond the trends and first identify the purpose of what we are doing. As mentioned in the interviews, putting the audience first is better than deciding on the typeface on the colour palette from the get-go. After all, communication should take place between people, not between colour swatches.
