Graphic Design Paper

INTR0DUCTION: THE GRAPHIC DESIGN

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A graphic design solution can persuade, inform, identify, motivate, enhance, organize, brand, rouse, locate, engage, and carry or convey many levels of meaning. A design solu- tion can be so effective that it influences behavior: You may choose a particular brand because you are attracted to the design of its package, or you may donate blood after viewing a public service advertisement. "Graphic design is the language that creates belief in an object, idea, message," states Brockett Horne, professor and co-chair, Maryland Institute College of Art, Baltimore.

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We don't haae to go to a museum or gdllery to see graphic d,esign- it surrounds us. Euerythingfrom a website to a poster to a mobile adoertisement is aisual communication-ideas, messages, and. inforrnation conueyed through uisual form aimed. at a mass aud.i- ence. Graphic ilesign and adaertising are both communication design disciplines and are integral parts ofcontemporary popular aisual culture.

Since communication itesign plays a key role in the appearance of almost all print, film, and screen-based med.ia, graphic designers and adaertising art directors are the primary makers ofthe uisual artifocts of our enuironment and, popular culture. Imagine a wodd with no prouocatioe posters. Imagine cities without wayfinding or sigtage systems. And imagine the chaos of a newspaper or website that uasn't d.esigneil by a professional graphic designer. That would. be a uorld without graphic design.

WHAT 15 GRAPHIC BESIGN? Graphic design is a form of visual com.munication used to con- vey a message or information to an audience. It is a visual rep- resentation of an idea relying on the creation, selection, and organization of visual elements. "Design is the intermediary between information and understanding," explains Richard Gref6, executive director, AIGA (http:rz/www.aiga.org).

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BRANDING: TAUBMAN

CARBONE SMOLAN AGENCY, NEW YORK

. CreatiaeDirector: Ken Carbone

. Designers: Anna Crider, Channing Ross, Amy Wang

. Project Manager: RacheL Crawford

"Taubman, one of the nation's top retaiI mat[

deveLopers with a growing internationaL presence, Looked to Carbone Smo[an Agency

to update its 50-year-oLd Logo and identity'

Appeating to Taubman's fashion-forward

cLienteLe, CSA s new designs incLude a refined

toqotype, fresh coLor patette and boLd approach

to imagery."

-.._CSA Carbone Smolan AgertcY

GRAPI{IC DESIGN DISCIPLINES Designers solve a wide range of visual communication prob-

lems working with a variety of clients-from a nonprofit orga-

nization attempting to reach families in need, to a brand promoting a new Product, to a corPoration that wants to go

green, to a revitalized city's transPortation secretary who needs a wayfinding system. Graphic design is categorized into

disciples and formats. Some formats, such as posters and web-

sites, cross disciPlines'

The broad categories ofdisciplines are:

Branding and identity design involve the creation of a sys-

tematic visual and verbal program intended to establish a

F.2 / ch.l / Introduction: The Graphic Design Profession

consistent visual appearance and personality-a coordinated

overarching identity-for a brand or group (group refers to

both commercial entities and nonprolit organizations) Iclen-

tity design fbrmats include logos, business card, letterhead'

visual identitY program, sisnage, environmental design' pack-

age design, websites, mobile 'lveb, as well as other formats

ac.oss media. Some other Primary brandi'ng proiects include

brancl naming, brand conception, brand stratcgy, brand revi

talization (see Figure l-1), rebrancling, brand launch' cligital

branding, global branding, and political branding'

Corporate communication design involves any comnrltni-

cation design formats usecl to communicate internalh with

employees, create materials for a sales force or other ernploy-

ees, as well as formats used by a corPoration or organization to

communicate extentally with the public, other businesses, and

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l'm a "graphic designer." I draw things. I direct things. I plan things. I organize things. I reorganize things. I think of things. I invent thinfs. I build things. I name things. , vvrest/e with large, complex things. I struggle with picky, little things. I ftnd new opportunities for things. I develop programs.

I develop systems. / write rnission statements. I write policy documents. I clarify corporate structures. I facilitate. I teach. I write. / give speeches. I give people advice. I answer /ots of questions.

I "design" (amonE other things) . . . brand identities, annual reports, clothing, srgn systems,

trucks, products,

type,

interiors, furniture, books,

news,etters, videos,

websites,

exhibits,

retail displays, packages,

event venues, conferences, advertising, presentations,

manuals, magazines, greeting cards, point-of-sale.

I use (among other things) . . . my brain, my hands, rny sense of humor, my vocabulary, my voice,

my pencils,

my Pentel Rolling writer, my computer, lllustrator, Photoshop, lnDesign, my Xacto knife, magic markers, copy machine, corrugated board, tape and scissors, Plaka paint, and ink, projectors,

email, walls, floors,

the lnternet.

I also run a business.

-Bart Crosby President

Crosby Assoc iates, Chicago

For more, go to GDSOn/ine.@

stockholders. Emphasis is on maintaining a consistent corpo- rate voice throughout any and all applications. Corporate com- munication formats include annual reports, brochures, sales kits, marketing collateral, corporate publications, business-to- business materials and applications, corporate websites and intranet, and new product offerings riraterials.

Editorial design involves the design of editorial content for print or screen; it is also called publication design. The edito- rial designer makes content accessible, interprets content to improve communication, enhances the reader's experience, creates visual interest, and establishes a voice, character, and structure for a publication. Editorial design formats across media include book design, magazine design, newspaper design, newsletters, and booklets; on screen, in addition they include vlogs, mologs, and blogs.

Graphic Design Disciptines / P.3

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HORNALL ANDERSON, SEATTLE

. ArtDirectors: James Tee, Mark Popich

. Designers:fhad Donat, Andrew Wett, Jon Graeff, Ethan Ketter, Javas Lehn, Ka[ani Gregoire, Brenna Pierce

. Prod,ucers: RacheI Lancaster, Peg Johnson, _Judy Dixon, Chris Nietson, Ryan Hickner, Jordan Lee

. Client:f-Mobile

Environmental design can be promotion, information, or identity design in constructed or natural environments and defining and marking interior and exterior commercial, edu- cational, cultural, residential, and natural environments. For Figure 1-2, Hornall Anderson comments:

'As the 0fficiat Wiretess Telecommunications partner of the NBA, T-Mobile approached us to help them create a sptash at the Alt-Star weekend and launch their tatest T-MobiLe Sidekick, a Dwyane Wade Limited Edition-on which we consutted with him.

"The overatt focus of the weekend was to position T-Mo6ite in the hearts and minds of the NBA fans as their preferred mobite communications provider- ln support of this strategy, we designed opportunities for fans to connect with the spirit of the game on muttiple levels.

"At Jam Session, the focus of the fan experience, was a totat Sidekick brand immersion. Based on the concept of stepping inside the mind of Dwyane Wade, our booth gave fans an interactive three-dimensionat experience, al,towing a peek inside his wortd, both on and off the court, Elements of the Limited Edition Sidekick design, such as crisp white and tan leather, transformed the space into a representation of Wade,s personat styte."

Experimentaland/or self-initiated design covers a range of proj- ects from designers's self-initiated projects to collaborations with dancers, fine artists, musicians, and writers. For exam- ple, "Orphan One," in Figure 1-3, "is an ongoing side project for Tangent. Typically we set each other a design brief on a common theme, and aim to develop new techniques and consider unusual materials in our solutions. The goal is to explore new territory as designers, developing experimental visual styles and ways of working that reach beyond tradi- tional methods."

Illustration is .a handmade unique image that accompanies or complements printed, digital, or spok..r text. It clarifies, enhances, illuminates, or demonstrates the message of the text. Professional illustrators work in a variety of media and most often have uniquely identifiable styles. The AIGA notes, "Each illustrator brings a different perspective, vision and idea to play that, when married with great design, becomes an origi- nal art form." Some graphic. designers are also illustrators.

Information design is a "highly specialized area of design that involves making large amounts of complex information clear and accessible to audiences of one to several hundred thou- sand" (definition by the AIGA). Whether it is an exhibition, chart, website, pictogram, subway map, instruction booklet, or a poster illustrating the Heimlich maneuver, the graphic designer's task is to clearly communicate, make information easily accessible, and clarify and enrich any type of infor- mation (from data to listings) for the user's understanding. Information design includes form design (Figure 1-4), charts, graphs, pictograms, symbol signs, icons, sign systems, widgets, and informational or instructional digital and print formats such as websites, apps, brochures, and posters.

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"The approach we take to 0rphan 0ne projects can often [ater inform our ctient work."

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. Designers: Drew Davies, Joe Sparano, Adam Torpin

"There's nothing aesthetic or gimmicky about form design-it's exclusivety centered around creating the easiest experience for the user. For the design of this form, we threw out the previous [ayout and started over with a ctean state. 0ur process invo[ved determining how a user goes about completing the form, and then facititating that activity. The primary objective is to maximize the number of users that fitt out the form comptete[y and accurate[y, without conf ugion or trepidation."

-Oxide Design Co.

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HORNALL ANDERSON, SEATTLE

. Desi,gner: Hans Krebs

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. Dcuelofers:frevor Hartman, Adrien Lo, Matt Fricketton

. I)roducet.s: Erica Gotdsmith, Hatti Thiet ''What happens when two giobal heavyweights team up in a joint promotion of their products? HornatI Anderson discovered this firsthand when we were engaged in a cot[aborative cobranding project with Amazon, the wortd's Largest online consumer retaiI destination, and PepsiCo, the wortd's number-two carbonated soft-drink maker, to deveIop a website supportrng their cobranded Pepsi Siuff campaign. ln addition to this being an rnteresting fifty-fifty branding cha[[enge, the prolect atso required a high tevel of integration with Amazon's deve[opment team and delivery of the site in a short time f rame.

''We created a website that offers visitors a muLti-drmensionaL, sensory experience and captivates users without inundating them with inlor mation. The experience gives consumers a clear, simpIe way to shop for digitatand physicaI goods. Branded cues direct user behavior that is supported by key messages and succinct content, which attows for a truly immersive experience re[ying heavily on key visuaI eIe- ments to communicate the brand and inventive navigation for keeping the user engaged at every levet. Amazon was abte to integrate our work seam[essty into their on[ine infrastructure, and the ensuing design was welcomed by both sides. The program has had severaI thousand participants, with the sa[es metrics exceeding atl expectations.'

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_ffiffiffiffirmry Interactive or experience design is graphic design and adver- tising for screen-based inedia, including web, mobile, tablet, kiosks, digital public screens, or DVDs, in which the user interacts with the design. Whether for commerce (Figure 1-5), education, government, nonprofit, or any kind of website or platform or app, interactive media are primary experiences for today's person who consumes much of his or her time on screen. Interactive design formats include websites, platforms, widgets, social media, video and image sharing media, installa- tions, public screens, blogs, vlogs, games and other entertain- ment, and mobile apps.

Motion graphics is screen-based communication design mov- ing (sequentially) in duration, including film title design, TV graphics design, feature film and video openers, feature film end titling (Figure 1-6), e-mail videos, mobile motion graph- ics, motion for video-sharing platforms, and promotional motion presentations for any screen.

Package design involves the complete strategic planning and design of the form, structure, and appearance of a product's package, which functions as casing, promotes a brand, presents information, and becomes a brand experience. Package design includes structural packaging, packaging and visual identity systems, packaging graphics, new brand development, and self- promotion. Formats range from consumer packaged goods (Figure 1-7) to audio packaging to shopping bags and more.

p.6 / ch.l / Introduction: The Graphic Design Profession

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.,? l-6 fff ,o*o,rorRAVEL HUSH, NEWYORK

Animation Director: H U S H

Creatiue Directors.. Manny Bernardez, Erik Karasyk, David Schwarz

Postproduction Superuisor: J . M. Lo ga n

Designers: Manny Bernardez, Erik Karasyk, David Sc hwarz

Animators:Emmett Dzeiza, Erik Karasyk, David Schwarz, Manny Bernardez

Photographl: Emmett Dzeiza

Photo Retoucher: Robbie Johnstone

Produetion Co mpanl : pa ra iso pictu res

Director: Simon Brand

Executiae Producers..Jonathan Sanger, Ed Etbert, Sarah Black, Jorge Perez, Santiago Diaz, Atex pereira, Juan Rendon, lsaac Lee

''For the feature fi[m paraiso Iravel, HUSH worked intimatety with Cotombian director, Simon Brand, to create memorabte end titting that keeps vjewers entertained and in their seats untit the tast credit roIts. At the fitm's thematic core is love, travet, exp[oration, heartache and the distorted reatjties of the American Dream,for many newcomers tooking to make their way in New york City. HUSH.s concept revoLves around severaI main characters and iheir distinct personalities at the most criticaI moments in the fitm. The hi$hty stytized animated cottages seamlessty transition one character to the next. Each character's representationaL.journey parattets that of the f itm-both physicatLy and emotiona[ty..,

-HUSH

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eAcKAGTNG FOR OLIVE GREEN DOG

MODERN DOG DESIGN CO,, SEATTLE

. @ Mod,ern Dog Design Co.

. Client. OliveIM ''Modern Dog has worked on everything from website design to direct maiI to packaging for Austin based OliveTM, makers of'Green Goods for Modern Dogs., These are organic, handmade, aI naturaI Cookie Treats [no wheat, corn or soy_no artificiaI colors, no artificiat flavors and no preservatives of any kindl. We named the products, did alt the copy writinq and of course designed them as well. Scrummy for your best f riend s Tummy.

-Modern DogDesign Co.

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. Client: Honens lnternationaI Piano Competition

. Creatiue Director/ Designer: M o n i q u e Ga ma ch e

. I4'nl?r: Trent Burton

. Illustrator: fara Hardy ''Honens is Canada s leading presenter ol music for piano. The main communication cha[[enge was to raise the awareness of the trienniat Honens lnternationaI Piano Competition-one of the world's great music competitions. The Competition is subtitled 'The Search for the Complete Artist."'

-Jonathan Herman, Art Diredor/Desigrea WAX

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Promotional design and advertising involve generating and creating specific visual and verbal messages constructed to inform, persuade, promote, provoke, or motivate people on behalf of a brand or group. Promotional design and advertis- ing encompass a very wide range of formats across media. A project might be a single book cover or postet or it may be a book cover or poster series (Figure 1-8), an integrated media campaign, including television commercials, outdoor adver- tising, unconventional formats, mobile media, social media, e-mai1, direct mail, videos, websites, apps, platforms, and more.

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Typographic design is a highly specialized area of graphic design focusing on the creation and design of letterforms, typefaces, and type treatments (Figure 1-9). Some type design- ers own digital type foundries, which are firms that design, license, publish, and dispense fonts. Other typographers spe- cialize in handmade type and typefaces. Lettering is the draw- ing of letterforms by hand (as opposed to type generated on a computer). Typographic design includes custom and pro- prietary font design for digital type foundries, hand lettering, handmade type, and custom typography.

MENIA We see graphic design across media-print (printed matter in the form of books, magazines, newspapers, brochures, book-

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. Client: Urban 0utfitters

lets, posters, covers, corporate communication, sienage, out- door billboards, business cards, etc.), screen-based (desktop lveb, mobile r.eb, social media, tablet, public screens, instal- lations, motion, etc.), and environments (commercial, edu- cational, go\rernlnent, museums, public spaces, etc.). You can read a magazine irr the conventional print format or online. You can hold a printed business card in hand or view it as an e-mail attachment. You see advertising as television cornlner- cials, commercial trailers run in movie theaters, mobile ads, print advertisements in magazines zrnd newspapers, uncon- ventional formats such as chaik writing on a sidewalk, and motion-activated graphics projected on pavement. There are online ads in the form of websites, marketing that goes viral, web films and videos, banners, social media, and webisodes.

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Graphic Design Disciptines / P 9

WORKING IN THE FIELDS OF GRAPHIC DESIGN AND ADVERTISING The main places of employment for a communication.design . professional are design studios, branding firms, publishers, digital,/interactive agencies, advertising agencies, integrated communication firms, marketing companies, and companies, corporations, institutions, governments, schools, and organi- zations with in-house design departments.

Many experienced designers are sellemployed. For a novice, it is advisable to work for someone else to gain design experi- ence and learn all the aspects of running a small business-for example, working with printers and other vendors, billing, and recruiting clients-before going out on one's own. It is highly beneficial to secure an internship or part-time employment in the design field while still in school. Attend the meetings oflocal art directors's clubs and professional design organiza- tions, such as the AIGA (American Institute of Graphic Arts) and art directors clubs around the world. Read design blogs, such as the AIGA "Design Envy" designed by Winfield & Co. (see Case Study: Website: AGIA Design Envy on page 14 of this chapter). Find a professional design organization or chapter of a national organization in your community. The purpose of these organizations is to advance design as a profession, edu- cate, help set professional standards, set agendas, and promote excellence. Attend as many professional conferences and lec- tures as possible.

You may begin to notice that you enjoy some areas of graphic design more than other areas. Which work attracts your inter- est? Which designers do you admire? Noticing which you like may help you decide on the direction of your design career.

GOLLABORATION Whether the client is a local business owner, a large corpora- tion, or a nonprofit organization, the graphic designer's role is to provide solutions to communication design problems. From developing strategy through design implementation, graphic designers often work in partnership with others. More than ever before, graphic design is collaborative. From working closely with their clients to collaborating with web developers, graphic designers team up with avariety ofother experts, such as creative directors, design directors, associate creative direc- tors, production experts, photographers, illustrators, copywrit- ers, art directors, interactive designers, motion experts, and type and hand-lettering specialists. They also work with archi- tects, film directors, producers, casting.directors, actors, musi- cians, models, music houses, tech professionals, psychologists,

social anthropologists, market researchers, and printers and their sales representatives. When working on television com- mercials, advertising art directors and creative directors col- laborate with directors, location scouts, and postproduction experts. They may also be involved in casting talent (actors, models, spokespeople, celebrities) and suggesting locations as well as selecting music. When working on products, exhibition design, interior graphics, or branded environments, graphic designers might collaborate with industrial designers. engi- neers, architects (as in Figure 1-10), or interior designers.

Collaboration might begin at the outset when different firms work together to solve a communication design problem. For example, from the start ofa large project, a branding firm and an advertising agency might work together. Or a design studio might collaborate with an interactive studio. At other times, the lead design studio or agency may hire freelancbrs. When a design concept is selected, graphic designers and art directors might select and hire illustrators and photographers.

p.10 / ch.1 / Introduction: The Gruphic Design Profession

F,& l-l0 f f f urrro*oLL FoR RENovAnoN oF nENN STATION, NEWYORK

PENTAGRAM, NEW YORK

"Part of a comprehensive interior graphics program, this 200-foot-Long prototype media waL[ witI inhabii the main concourse at New York s busiest train station. The architecturaI redevetopment was led by project architects at Skidmore 0wings Merrit[ LLP."

-Pentagram

WHY DESIGN MATTERS As designer Paula Scher wisely said, "l)esisn matters."

N{ost people know that graphic designers create solutions for brands and corporations. Communication design helps drive the economy, provide information to the public, and promote competition (which can result in the research and develop- ment of goods and services). There is another side of graphic design that is less well known but vital to socicty: designers use their expertise to inform people about important social and political issues and promote sood causes. For examplc, Gilda's Club is a special place where thc lbcus is on living with cancer. But to keep itself financially healthy, the not-fbr-profit Gilda's Club must consistently reach out to its many benefactors for funding and tell its story to the community at large. Brainfor- est designed "The Thread ThatJoins a Community," inspired by a hallmark of Gilda's Club-the Living Quilt (Figure 1-11). "These stories of various individuals touched by cancer were sewn together graphically with humanity and a life-affirming roice," comments Brai nlolest.

ETHICS IN GRAPHIC NESIGN Each designer is responsible for practicing in ethical ways. Any design problem can be solved in a great number ofways, and each solution has different economic and social benefits and consequences.

BRAINFOREST, INC., CHICAGO

. ArlDirector: Ni[s Bunde

. Designers: Drew Larson, Jonathan Amen

. CoPtwri,ters: Marion Morgan, Christa Vetbet , Photograqhers: Kart Schtei, Mark Joseph . Client:Gilda's Ctub, Chicago

Ethics in Graphic Design / P.11

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Graphic designers respond to social need with projects. Many in the global design communiiy are actively voicing the need for entirely ethical practice and for limiting consumer work. The First Things First manifesto (originally written in 1964 and updated in 2000) is a call for designers to use problem- solving skills in pursuit of projects that would improve soci- ety. There are urgent concerns worldwide that would greatly benefit from the expert skills of designers, what the twenty- two original undersigned members of the manifesto would consider "cultural interventions." These include educational tools, health tools, information design, public service adver- tising campaigns-any design project that moves away from consumerism and toward a socially useful benefit.

Advertising matters, too. It drives the economy in a free mar- ket system and provides information and choices to the public. Ethical advertising is critical to competitive enterprise and to bringing better products and services to people. Globally, pub- lic service advertising campaigns have helped an enormous number of people. The Ad Council has endeavored to improve the lives ofAmericans since first creating the category of public service advertising in 1942.In 1983, the Ad Council launched one of its most successful campaigns, featuring the tagline "Friends Don't Let Friends Drive Drunk." The campaign has evolved and continues to motivate Americans to intervene to stop a friend from driving drunk.

'A recent poll revealed that 68 percent of Americans have acted to stop someone from driving drunk after being exposed to the advertising. I think that shows the impact of the strategy and

the creative ability to motivate change in attitudes and behav- ior," says Peggy Conlon, Ad Council CEO, about this campaign.r

Though the Friends Don't Let Friends Drive Drunk cam- paign was very successful, "it did not change the behavior of many potential impaired drivers. Many thought the messages to be targeted at overtly drunk drivers, and not them. When decision time came, they would consider themselves merely 'buzzed'and getbehind the wheel," according to the Ad Coun- cil (adcouncil.org). New PSAs were created to address this and to motivate people to stop driving buzzed (Figure 1-12).

In the early days of advertising, t\ere were no government regulations or watchdog groups. Concerned citizens united and government agencies formed to protect consumers from unethical manufacturers and fraudulent advertising claims. With or without watchdog groups or government regulations, every creative professional must assume responsibility for ethi- cal practice.

Communication design professionals are among the leading architects of mass communication and its artifacts, creating images that reflect, help delineate, and describe contemporary society. With that function comes responsibility. Professional organizations such as the AIGA are very helpful in creating a foundation for ethical practices. For more information, visit http://www.aiga.org.

I. Peggy Conlon, online interview in Adaertising by Design, 2nd ed., Robin Landa (Hoboken, NJ: Wiley,201i).

p.12 / ch.l / Introduction: The Graphic Design Profession

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. Sponsor Organization: U.S. Department of Transportation/Nationa[ Highway Traf f ic Saf ety Ad m in istration

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The overall campaign hopes to educate peopLe that consuming even a few drinks can impair driving and thal Buzzed Driving is Drunk Driving.

DEMANDS OF THE GRAPHIC DESIGN PROFESSION The graphic design profession demands critical thinking, creative thinking, and creative and technical skills. A broad liberal arts education (anthropology, art and design history, dance, economics, fine art, history, Iiterature, music, philos- ophy, psychology, sociology, and theater) would best equip a graphic designer to understand the context of design assign- ments and propose meaningful solutions, as well as to best understand the meaning of images. Both theory and skills are necessary for practice. One must have the ability to solve visual communication problems with a thorough knowledge of design principles, typography, visualization, composition, theories, and the ability to construct meaningful images.

For competencies expected from designers, see the AIGA sur- vey entitled Designer of 2015 Competencies. Go ro http:// www.aiga.org/content.cfm,/designer-oC201 5-competencies, or use our link from GDSOnline. @

A critical component to becoming more creative is developed through studying great design solutions, such as the ones in this book, so that you can discern the difference between the formulaic and the creative.

Every day, graphic designers have the opportunity to be cre- ative. How many professions can boast about that?

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Ethics in Graphic Design / p.1]

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