A CONDENSED INTRODUCTION TO GRAPHIC DESIGN
'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." (Newark (2002)) He is describing the specific discipline of layout. The main aim of this, in his view, was to get the message across in the most efficient and effective way. This aim holds true to this day and is especially important in the development of motion graphics. Every element designed for broadcast must come from a consideration of the target audience and how they will perceive the message.
Dwiggins 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 alongside an indication of the importance typography has within design.
"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!" (Newark (2002))
The opinions of these two men represent "the poles between which the graphic designer must choose a position." (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". Today we can see an interesting implication of function against aesthetic in the design of two types of networks. On one hand larger generic channels like 'BBC One' and 'Channel 4' have no defined audience or content. They aim to please all with a wide range of excellence. The result is an array of abstract almost vague graphics forming their visual language. With such diversity of function the form has no clear target or starting point. On the other hand are specialist channels catering for very specific audiences with tightly controlled content. A clear form generates a clear message as seen in the graphics of those like 'Reelzchannel' and 'FuelTV'.
Throughout the twentieth century an ebb and flow between form and function characterised design movements. The decorative design of Art Nouveau preceded 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. Finally, there are those that believe the future lies with more evolved and complex design that shall reflect the increasing awareness and education of audiences. Which ever direction is taken by the development of graphic design, it seems, the progression of motion graphics will be so tightly interlinked through today's 'convergence of media' as to be almost one and the same.
Promo Sessão Kids from BEELD.motion on Vimeo.