RESEARCH AND ANALYSIS
What is the scope and what are the boundaries of graphic design today, current and future?
In early history, an artisan focused on a single, specialized skillset. For example, typesetters spent years refining and perfecting their craft (RAEIN, Edwards. 2020). Industrialization of the 18th century reshaped economies as well as cultural and political orders. Graphic Design as a profession was born in response to emerging technology, mass production, international trade, and middle-class consumption (Globalization and Design: Midterm Reflections | ico-D, 2020).
Every new technology creates a unique environment (Mccluhan, Marshall. 1967). Globalization is a by-product of the speed and evolution of 21st-century modern technology. In response, graphic designs' reach, scale, and influence have grown exponentially alongside the cultural, social, and ethical responsibilities (Globalisation and Design: Midterm Reflections | ico-D, 2020). The ease of communication, access to information, and inspiration, as well as a treasure trove of global talent, diverse opinions, and perspectives, has shattered boundaries and broadened the graphic design umbrella to encompass all means of visual creation and communication. We can now fundamentally influence the future on a grander scale.
Graphic design is not one singular thing. It is a fluid state, adapting to new contexts and technologies. Design today is less about what you do and more about how you express yourself and what you create along the way (What is the scope, and what are graphic design boundaries today? Current and future? – J Fidler, 2020). You can no longer be typecast into a box. For example, Laurence Weiner is an artist who creates exhibits out of typography but defines himself as an artist instead of a typographer. It is not the process that matters but the outcome (Tom Finn & Kristoffer Selling, n.d.).
Ease of communication allows designers to build a remote company that functions as well if not better than a traditional business. Tom Finn and Kristoffer Selling have grown their business through more extensive access to a global clientele. The company, Non-Format, was founded by John Forss and Kjell Ekhorn. Each resides on a different continent and yet have built an incredibly successful company (Walker Art Centre, 2010). By contrast, Julian House and Adrian Talbot attribute their design success to face to face client interaction and strong, lasting relationships.
A designer's reach and the audience has now also expanded. Sarah Boris now exhibits her work on an international stage due to her exposure to more clients and a bigger audience. The rise of social media means there's a greater chance of being discovered (Contemporary Practice and Categorisation, 2020).
Forced innovation is a result of Globalisation; without it, you get left behind. Non-Format's approach to design throughout their careers embodies forward-thinking in this regard. Continuously experimenting with new techniques, influence, and style, they never allow themselves to stagnate (Walker Art Centre, 2010).
Fig. 9: Hypefortype, 2014.
Global collaboration and access to skill sets worldwide have given rise to competition. You can get a print quote from around the world now, which is both cost-effective and allows you access to quality and specialized skills (Globalisation, 2020). People who never had the means to market their skills can directly sell them globally, earn, and give back to their communities. The downside to this is the creation of a market for cheap design labour. People can sell their skills for well below market value leading to a compromise in the quality and what clients are willing to pay.
Anyone with access to a computer or YouTube tutorial today can learn to design. As such, creatives are now a jack-of-all-trades. A single designer is expected to create the art direction, identities, illustrations, typography, website, photography, and marketing for their brands at little cost. With so many cookie-cutter designs out there, clients want more for less and faster turnaround time. Even though a client may value the craft and unique thought, they are now willing to pay for it. They want it now and at a fraction of the cost.
Collaboration also allows us to use the skills, insight, varied perspectives, and cultural differences to create unique, authentic, innovative, and original designs. With everyone having access to the same information and reference, the system becomes monotonous. People want to be surprised and delighted. Honest chocolate use art commissioned from artists throughout Africa to create their unique artist's range of chocolate products (Honest Chocolate Products | Honest Chocolate, Cape Town, South Africa, 2020). This can be given as a gift or repurposed, turning the packaging into a framed artwork. Taylors of Harrogate's range of tea and coffee use Japanese illustrator Izutso Hiroyuki, and Colorado illustrator David Bates to craft unique painted designs that adorn their boxes. It's something unique in comparison to a shelf decorated with the same design executions.
Fig. 10: Eat Out Magazine, 2018.
Fig. 11: Pearlfisher London, 2017.
Fig. 12: Pearlfisher London, 2017.
Fig. 13: Pearlfisher London, 2017.
Design today has the potential to destroy a brand and divide society. Therefore, when designing for a global brand one has a cultural, social and moral responsibility to craft a design that can comfortably live in its intended location. For example, red in Africa represents violence, and yet in China, it is a symbol of good luck and happiness (Globalization, 2020. As such, designers need to be aware of the different cultural contexts when designing and how their creations can positively or negatively impact a global audience.
The cultural implications and sensitivities of design became evident recently in South Africa, when Clicks retailer created outrage with a TRESmmé advert, depicting a white woman's hair as "fine, flat and normal." In contrast, a black woman's hair was described as "dry, damaged, frizzy, and dull." The offensive advert quickly went viral with African woman and men voicing their pain and anger. Political parties moved to shut down Clicks stores across the country demanding that the team who'd carelessly created a marketing campaign that viewed black hair as something less be fired. After a period of turmoil, the brand was removed from Clicks shelves and replaced with locally produced natural hair products (Shoba, 2020). Dischem and other retailers closely followed suit. This has not only financial implicated TRESmmé, but also reputationally where the brand has been labelled racist.
Fig. 14: Opera News, 2020.
With global awareness comes social and ethical responsibilities. In a disinformation world and one size fits all design, consumers thirst for authentic, original, sustainable, and genuine design with clean, honest, and uncomplicated messaging. Karma Cola embodies these values with its sound design, taste, and good intentions. An element of craft is brought to the system with its hand-drawn execution; the message is engaging and refreshing (Globalization, 2020). Plastic is not used, and the brand gives back to farmers in developing countries. This is important because, as a society, we are now more environmentally conscious. We feel the need to protect the future for our children and their children. We feel a responsibility for recycling or more green living.
Fig. 15: Designers Institute of New Zealand, n.d.
Design will never stagnate; it's ever-changing and continuously evolving alongside technological growth and global reach. The fast pace of life and connectivity is making the world smaller and yet full of excess. When you have access to everything, you start to value that which is authentic and crafted. I see a return to our roots, where specialist artisans are commodities, and the simple, unique design is praised.
WORKSHOP CHALLENGE - PRINT EDITORIAL
Explore the categories of the D&AD 2019 award winners and how they impact your views of design terminology.
Global participation in the awards illustrates how far-reaching the influence of the competition runs from Nanjing Han Quing Tang Design in China to B&B Studio's in the UK and as far afield as Google Brand Studios in the United States.
With 40 categories, the sheer scope available to entrants shows an ever-expanding concept of design with submitted work eligible for entry in numerous categories. Dentsu Inc. Pocky Sticks won across branding, packaging and photography but could also have been included in illustration, art direction and digital execution. The United Kingdoms, Swim Studio's, Swim Magazine Issue 03 won in magazine and newspaper design but could easily have entered the photography, art and book design categories.
Designing for a global audience instead of isolated markets is illustrated by BETC Sãu Paulo's cleverly conceptualized The 9'58 Biography of Jamaican, Usain Bolt. The biography pays tribute to the fastest man on earth, a house-hold name to a world audience by functioning as a flipbook, with an animation that lasts 9.58 seconds, recreating the iconic race that rose Usain Bolt to stardom.
The awards show that design is no longer about exploring a concept and executing it flawlessly but rather the effect, influence and positive impact it has on society as a whole. Australia's Garbett Design's winning Who Gives A Crap Play Edition's environmentally friendly toilet paper packaging gives back 50% of their profits to those in need.
Volkswagen in the Netherlands produced a location-based, illustrated audiobook Volkswagen Road Tales, that transformed the Dutch highways into magical getaways for kids. The collaboration of innovative storybook writing, handcrafted illustrations, smart tech systems and digital design created something that has changed the social fabric of Dutch society. Children are no longer knee-deep in mind-numbing social media, but instead engaging in the landscape.
Diverse cultures and collaborations showcase unique and different perspectives. Open Studio created Positano, an Italian style bar located in Stockholm. The name originates from a small lemon-cutting village in the Amalfi coast known to be the happiest and weirdest place on earth. What makes this noteworthy is that a Swedish company's showed in-depth research and understanding of Italian culture, enabling the creation and execution of the brand.
VMLY&R in the United Arab Emirates, a reasonably conservative country created Mothers Smile Strong, a Colgate advert with photography more at home in Western Culture, but the advert works on a global scale. It captures and celebrates a very private moment in a country who culturally tend to hide woman from view. It's forward-thinking and seeks to influence society with a more progressive viewpoint (D&AD Awards 2020, 2020).
Graphic design is not one singular thing. It is a fluid state, adapting to new contexts and technologies. It's less about the item created and more about the expression, influence and impact that results from the creation (What is the scope, and what are graphic design boundaries today? Current and future? – J Fidler, 2020).
10 Types of graphic design practice today.
1) Packaging Design
2) Illustration
3) Typography
4) Website Design
5) Publishing – Magazine, Book, Newspaper and Editorial Design
6) Interior and Store Design
7) Branding and Identity Design
8) Art Direction
9) Photography
10) Styling – Food, fashion and interiors
Graphic design is not one singular thing. It is a fluid state, adapting to new contexts and technologies. (What is the scope, and what are graphic design boundaries today? Current and future. J Fidler, 2020.) Design is no longer a defined subject but encompasses all forms of visual creation and communication.
It’s Not Made In China is a South African bottled water company that breaks from using designers and agencies to create their designed labels. Instead they involve consumers in the conceptualization and creation of their labels, updating these every three to six months. Artists, illustrators, anyone really can create and submit possible designs. If chosen, your artwork is printed on the bottle (It's Not Made In China, 2020). For South Africans, this creates a sense of community, pride and brand loyalty. They’re establishing a tribe of raving fans who feel invested in the brand and its success. As a result, the brand is gaining popularity and proving that personalization is key to winning in marketing and packaging.
REFLECTION
Participation in this course has thus far been a humbling experience. I expected to fly through the course and material with ease, but the fields of study, writing and referencing are a new learning experience that is taking time to master. I have streamlined my note-taking process, which has organized my thoughts in a more structure manner and cut down my writing time considerably. I am hoping to better my approach as the week's progress.
I have to date been fearful of the rise of technology. Design feels like a skill that is changing faster than I can assimilate, and connectivity has brought a competitive global market to my doorstep. This week brought the concept of Globalisation into perspective. It made me realize that my fears were unfounded and the benefits to my skills and business out way the negatives.
I have benefited from a wider reach and exposure to foreign clients who now patron my business due to the quality of work and competitive rand prices. The ease of communication allows me to collaborate with freelancers far and wide. The majority of my clients are now printing their packaging abroad due to superior print technology and competitive pricing, which doesn't restrict me to mediocre design simply because it cannot be executed in my country.
The greatest asset, however, would be access to a world of knowledge and creative talent which inspires and motivates me to compete on a global scale and excel alongside the best the design world has to offer. I feel like the world is at my fingertips.
Reference: RAEIN, Maziar. EDWARDS, Susanna. 'How did we get here?' [lecture]. GDE710 for MA Graphic Design: Falmouth University, September 2020.Â
Reference: Oxford Reference. 2020. Globalization. [online] Available at: <https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095855259> [Accessed 9 October 2020].
Reference: Ico-d.org. 2020. Globalisation And Design: Midterm Reflections | Ico-D. [online] Available at: <https://www.ico-d.org/2017/01/10/globalisation-and-design-mid-term-reflections.php> [Accessed 9 October 2020].
Reference: Schokotrunk.com. 2020. What Is The Scope, And What Are The Boundaries Of Graphic Design Today? Current And Future? – J Fidler. [online] Available at: <http://schokotrunk.com/2019/02/14/what-is-the-scope-and-what-are-the-boundaries-of-graphic-design-today-current-and-future/> [Accessed 9 October 2020].
Reference: Mccluhan, M. (1967). The Invisible Environment: The Future of an Erosion. Perspecta, 11, 162-166.
Reference: Tom Finn, Kristoffer Soelling, n.d. Module GDE710 Contemporary Practice. [podcast] Contemporary Practice and Categorization. Available at: <https://flex.falmouth.ac.uk/courses/685/pages/week-3-workshop-challenge-1?module_item_id=42715> [Accessed 9 October 2020].Â
Reference: Julian House & Adrian Talbot, n.d. Module GDE710 Contemporary Practice. [podcast] Globalisation. Available at: <https://flex.falmouth.ac.uk/courses/685/pages/week-3-lecture-1?module_item_id=42711> [Accessed 9 October 2020].Â
Reference: Julian House & Adrian Talbot, n.d. Module GDE710 Contemporary Practice. [podcast] Globalisation. Available at: <https://flex.falmouth.ac.uk/courses/685/pages/week-3-lecture-1?module_item_id=42711> [Accessed 9 October 2020].Â
Reference: Walker Art Centre, 2010. Drawn Here (And There): Non-Format. [video] Available at: <https://youtu.be/96R2vgcFg_Y> [Accessed 9 October 2020].Â
Reference: Honest Chocolate. 2020. Honest Chocolate Products | Honest Chocolate, Cape Town, South Africa. [online] Available at: <http://honestchocolate.co.za/honest-chocolate-products/> [Accessed 9 October 2020].Â
Reference: Falmouth University, n.d. The Effect Of Globalisation On Design. [podcast] Module GDE710 Contemporary Practice. Available at: <https://flex.falmouth.ac.uk/courses/685/pages/week-3-lecture-2?module_item_id=42712> [Accessed 9 October 2020].Â
Reference: Shoba, S., 2020. AD NAUSEAM: How Did Clicks – And So Many Other Brands – Get It So Wrong?. [online] Daily Maverick. Available at: <https://www.dailymaverick.co.za/article/2020-09-11-how-did-clicks-and-so-many-other-brands-get-it-so-wrong/> [Accessed 9 October 2020].
Reference: Schokotrunk.com. 2020. What Is The Scope, And What Are The Boundaries Of Graphic Design Today? Current And Future. J Fidler. [online] Available at: <http://schokotrunk.com/2019/02/14/what-is-the-scope-and-what-are-the-boundaries-of-graphic-design-today-current-and-future/> [Accessed 9 October 2020].
Reference: It's Not Made In China. 2020. It's Not Made In China. [online] Available at: <https://www.itsnotmadeinchina.co.za/about-us> [Accessed 10 October 2020]
Reference: D&AD. 2020. D&AD Awards 2020. [online] Available at: <https://www.dandad.org/en/d-ad-awards/> [Accessed 9 October 2020].
Reference: Schokotrunk.com. 2020. What Is The Scope, And What Are The Boundaries Of Graphic Design Today? Current And Future? – J Fidler. [online] Available at: <http://schokotrunk.com/2019/02/14/what-is-the-scope-and-what-are-the-boundaries-of-graphic-design-today-current-and-future/> [Accessed 9 October 2020].
Figure 1. British Council of Architecture, Design, Fashion, 2014. D&AD New Blood Award Winners. [image] Available at: <https://design.britishcouncil.org/blog/2014/jul/06/dad-new-blood-awards/> [Accessed 10 October 2020].
Figure 2, 3: D&AD Awards, 2020. Pocky The Gift. [image] Available at: <https://www.dandad.org/awards/professional/2020/233051/pocky-the-gift/> [Accessed 10 October 2020].
Figure 4: D&AD Awards, 2020. The Play Edition. [image] Available at: <https://www.dandad.org/awards/professional/2020/233042/the-play-edition/> [Accessed 10 October 2020].
Figure 5: D&AD Awards, 2020. Volkswagen Road Tales. [image] Available at: <https://www.dandad.org/awards/professional/2020/232685/volkswagen-road-tales/> [Accessed 10 October 2020].
Figure 6, 7, 8: D&AD Awards, 2020. Positano. [image] Available at: <https://www.dandad.org/awards/professional/2020/232880/positano-yes/> [Accessed 10 October 2020].
Figure 9. Â Hypefortype, 2014. An Interview With Non-Format. [image] Available at: <https://www.hypefortype.com/blog/non-format-interview/> [Accessed 11 October 2020].
Figure 10. Eat Out Magazine, 2018. Honest Chocolate Café. [image] Available at: <https://www.eatout.co.za/venue/honest-chocolate-cafe-cape-town/> [Accessed 11 October 2020].
Figure 11, 12, 13. Pearlfisher London, 2017. Taylors Of Harrogate. [image] Available at: <https://identitydesigned.com/taylors-of-harrogate/> [Accessed 11 October 2020].
Figure 14. OPERA NEWS, 2020. Clicks Labeled African Hair As Dull And Damaged: Customers Don't Buy The Apology. [image] Available at: <https://za.opera.news/za/en/entertainment/272680a15637d06450dca89fd4aa5972> [Accessed 11 October 2020].
Figure 15: Designers Institute of New Zealand, n.d. General Studios Karma Cola. [image] Available at: <https://bestawards.co.nz/digital/large-scale-websites/general-studios/karma-cola/> [Accessed 6 December 2020].
Figure 16. It's Not Made in China, n.d. It's Not Made In China Packaging. [image] Available at: <https://www.itsnotmadeinchina.co.za> [Accessed 10 October 2020].