Literature review, 2nd draft: Function vs Aesthetic
'Graphic design', the broadly reaching term currently used to describe a vast array of work was first coined in 1922 by 'William Addison Dwiggins'. His view of the role played by the graphic designer was somewhat constricted in comparison to our modern understanding. 'Super-printing' was an alternative term he occasionally used. "The printing designers whole duty is to make clear presentation of the message - to get the important statements forward and the minor parts placed so that they will not be overlooked." (Quentin Newark (2002))
He is describing the specific discipline of layout. The main aims of this, in his view, was to get the message across in the most efficient and effective way.
His approach, developed through a career of commercial messages, contrasted that of Francis Meynell, a poet and printer who dealt with literature including Shakespeare. In a piece entitled 'With twenty-six soldiers of lead I have conquered the world' Meynells aesthetic leaning is reflected.
"All the heights and depths and breadths of tangible and natural things - landscapes, sunsets, the scent of hay, the hum of bees, the beauty of which belongs to eyelids (and is falsely ascribed to eyes); all the immeasurable emotions and motions of the human mind, to which there seems no bound; ugly and terrible and mysterious thoughts and things, as well as beautiful - are all compassed, restrained, ordered in a trifling jumble of letters. Twenty-six signs!" (Quentin Newark (2002))
The opinions of these two men represent "the poles between which the graphic designer must choose a position." (Quentin Newark (2002)). Function versus Aesthetic, an opposition of design philosophies which applies universally to any kind of creative endeavour. This conflict has generated the more recognisable phrase, now an overused cliché; 'form follows function', derived from Louis Sullivans statement in 1896 of "form ever follows function".
This effectively became a motto of modernist architecture in the 20th century alongside 'less is more' as decorative design saw its demise in the face of Bauhaus philosophy. After a time modernism gave way to postmodernism, a reaction against impersonal blandness in favour of personal expression and variety. Now, in the wake of globalisation, the tide is turning again with a 'modern' take on 'modernism'. Currently the most visible and influential force is Apple with a design philosophy being driven by Jonathan Ives and his aim to refine until there can be no more refinements.
This ebb and flow of trends between form and function is felt across everything touched by design but does not dictate the choices made by every designer. If these movements could dictate choice they would have no opposition and therefor no development. In design there is always a choice and therefor an issue to be dealt with, assuming the creative is aware of, and considering, his or her design philosophies.
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