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Design as craft
As a craft, graphic design is an integral part of the print production process that involves preparing text, image and other content for publication. As such, a graphic designer occupies a key role in the process by liaising with the client and other professionals such as printers, typographers, photographers and finishing houses. This view of graphic design as part of the print process sees graphic design as a craft. Some elements of design work, such as the addition or subtraction of space between letters to create well-typeset and attractive text, can be considered as a designer crafting the type in a similar way that a carpenter works a piece of wood or a letterpress printer adjusts the bed pressure to create the correct type impression on the stock. This view sees the designer as having a relationship with a client as part of a commissioned process, with the designer facilitating what needs to be done to produce the job.
Design as art
As an art, graphic design creates striking images and layouts to communicate ideas and information to different audiences. The discipline is at the forefront of creative thought, advancing theory on how to communicate effectively through visual media by using a wide range of intellectual tools to establish meaningful connections between different design elements. This view of design sees the designer as a separate entity who is preoccupied with personal expression rather than being led by a brief or a commission. Many designers undertake personal experimentation projects and produce self-published work whereby their intentions can be closely linked to those of an artist. However, the two views on design are not mutually exclusive. Many designers are commissioned for their unique styles, while other designers adapt their style to suit a specific commission.
The brief
The brief is the outline of what a client wants to achieve by commissioning a design. Armed with creative thinking tools, personal influences and source material, a designer can respond to a brief and generate creative solutions for it. However, it must be noted that there are two distinct kinds of brief.
Formal
A formal brief is a written document provided to a designer together with supporting reference material detailing a clear set of objectives that are to be met by the design. These criteria can relate to creative aspirations, aesthetic values, brand development, or more tangible goals, such as redesigning a website to convert more hits into sales. The objective could also be less tangible and harder to measure, such as raising a company’s profile. Whatever the aim, having a formal brief allows all parties involved to understand what is intended. It can be referred to during the project to ensure that it is ‘on brief’, meaning the design is being produced according to the brief’s requirements.
Informal
The second type of brief is informal and is often little more than a fleeting conversation or telephone call. In such instances, it is important for the designer to take notes and ask questions in order to get a clear understanding of what is required and why. It is good practice to follow an informal conversation with a letter or email which can be sent to the client to confirm that there is a shared understanding regarding the brief. This also formalises and solidifies the aims and objectives of the project. This briefing method allows the designer to tap into the enthusiasm of the client, which may spark ideas during the conversation.
Colour calibration
Calibration is a process whereby the colour space of a monitor or other piece of equipment is adjusted to be equal to that of a given standard. For example, sRGB (standard RGB) is a device independent, calibrated colour space defined by Hewlett Packard and Microsoft in the 1990s to provide a consistent way to display colour Internet images on computer screens.
Pantone system
The Pantone PMS colour system is one that covers a wide range of different hues, including special, metallic and pastel colours. The Pantone system allocates a unique reference number to each hue and shade to facilitate communication between designers and printers, and to ensure that specific colours are used in a design. Monitors can be calibrated to the Pantone system so that on-screen colours match those in the swatch books.
Monitor
A monitor or screen is a device used to produce images using red, green and blue light. However, monitors need to be calibrated so that they display colours as they would print on an output device.
Printer Different printing devices use different inks, which means that a job will print with slightly different colours depending on the device it is output on. An inkjet will produce different results to a four-colour litho press, which will again differ in result from a six-colour litho press. For this reason, it is necessary to consider how a design will be output so that the colours reproduce as intended.
Websafe colours
Websafe colours are a group of 216 colours considered to be safe for use in the design of web pages. This palette came into being when computer monitors were only able to display 256 colours and were chosen to match the colour palettes of leading web browsers of the time. The websafe colour palette allows for the production of six shades of red, green and blue. This palette has the highest number of distinct colours within which each colour group can be distinguished individually.
Main file formats
There are four main digital image file formats: TIFF (Tagged Image File Format), JPEG (Joint Photographic Experts Group), GIF (Graphic Interchange Format) and EPS (Encapsulated PostScript). TIFFs are mainly used for print. The JPEG file format is used for print as well for screen applications, such as websites. GIFs are for screen use, including animation. Lastly, the EPS file format is used to save multi-channel images from Photoshop, such as duotones and clipping paths (which are not scalable) and for vector graphics that are scalable. Vector files must be saved as EPS to retain their scalability. This format is used for corporate logos as they are easily portable and self-contained, which means they cannot be altered from within desktop publishing programs.
Naming a brand
Naming a brand involves many crucial considerations. What does the name mean? What type of spirit or personality should it convey? How will people react to it? What does the name mean in a specific language across cultures?
As stated earlier, a brand name is the verbal identity—a proprietary name—and coupled with a tagline or descriptor, it becomes the verbal signature. Without question, the brand name is the main point of reference to any brand and is the main verbal marketing tool.
Types of Names
There are several categories of name types that are more or less appropriate for any brand.
› Founder’s name: named for the company’s founder(s), such as Levi’s named for founder Levi Strauss; and Martha Stewart for the brands created by Martha Stewart.
› Explanatory: named to best explain or describe the product or service, such as Toys “R” Us, China Mobile, Burger King, Coca-Cola.
› Expressive or Invented: names that are constructed to have a certain panache or sound, such as Google, Bing, Xerox, Def Jam recordings, Earth Share, Timex, and Intel.
› Allegorical or Symbolic: names that express their nature through an allusion to an allegory or a symbol to represent a brand, such as Nike (named for the Greek goddess of victory), Sirius (named for the sky’s brightest star), Nintendo, Vanguard, and Apple Computers.
› Acronym: a brand name formed from the initials or other parts of several names or words; for example, GE for General Electric, BMW for Bayerische Motoren Werke, KFC for Kentucky Fried Chicken, IBM for International Business Machines.
Name Efficacy
There are many ways to make a brand name effective.
› Distinction: a name that characterizes, distinguishes, and differentiates the brand among its competitors.
› Memorable: a name should be worth remembering and sufficiently engaging. Most say a brand name should be easy to pronounce and spell; however, one could make a case for interest over ease.
› Purposeful: a brand name can be meaningful, adding significance, purpose, or cachet to a product, service, or group. A brand name should communicate the personality of the brand and address its target audience.
› Extendable: a name should be capable of growing and changing with the company and possible brand extensions.
› Long-lasting: a name that endures will be viable for a long time.
› Legally owned: the name or domain should be available to be legally registered, owned, and trademarked. It should not legally infringe on any other trademarked name.
EXERCISE INVENTING A NAME
1. Choose a product or service and invent a brand name for it.
2. The name should be appropriate and communicate the brand’s personality.
3. The name should be memorable.
4. The name could convey the brand’s or group’s functional benefit. Functional benefits are the practical or useful characteristics of a product or service that aid in distinguishing a brand from its competition, such as nutritional, economical, or convenient advantages.
5. The name should have a long life span.
6. If the company is international, the name should reflect its global status.
7. If the brand is international, the name should work for each country in which it is sold.
Resume
This document is crucial. The difficult part about creating one is knowing what to include and what to highlight.
When writing your resume, have in mind that the people who will evaluate it have at least a dozen more to look through in that afternoon. So make it clear, short, and succinct. A handwritten description on a mess of colored papers complete with colorful collages of rainbows and unicorns is unacceptable from professional creative people. No, no, no.
Ideally your CV should not exceed one A4 page, and should clearly represent information about your life (age, place of birth/residence), education (stick to the important bits-no need to get into the details of the paper mache workshop you attended in high school), previous work experience (again, stick to the relevant- think about what will be interesting to the person/ company that receives it), skills (if you have a good hand for drawing or an eye for photography, don't be shy to add them to the usual photoshop/illustrator skill set) and, finally, think about what extra skills you possess.
If you have previous work experience and you're still talking to your ex-boss ask him to write you a letter of recommendation, which you should attach to your resume. This letter outlines briefly what position you held within the company as well as how satisfied they were with your performance and what you contributed to the team, the company, or to overall performance.
Portfolio
You are your first client. Make your portfolio look great. Make it attractive, bursting with genius that spans all the areas in which you are comfortable working. Use it as a visual communication tool (of which you are supposed to be a master). Today, portfolios come in two major formats-an online portfolio and a "classic" physical one filled with tangible examples of your work.
Your portfolio is a marketing tool intended to sell the most valued product you have- you. It is proof of your education and testament to your experience, talent, and ability to resolve visual communication problems.
Be prepared to describe the client, their brief, and how your design worked for them. This allows for a better sales pitch, showing your prospective client more than just an aesthetic quality, but also your ability to negotiate practical aspects of a project, too. You've chosen to apply to a particular company for some reason-you like their work, you think you can grow there- and whatever the reason, now you will need to communicate this to your potential employer.
Customize your portfolio for each studio/agency, if you can. Ask yourself, what type of work does this agency or company do? What projects can I show that best illustrate how I would help their business? Remember, your prospective employer is looking at you as someone who would be working within their existing team, culture, and practices. Which brings us to the importance of personal presentation. Most of the time, if you have been called in, clients are already familiar with your work, so what they are really interested in is you! They want to be able to evaluate your enthusiasm, intelligence, energy and passion, as well as your skills. Be able to tell a story about your work. Be honestly critical about it, as your ability to evaluate work objectively is to your advantage.
Other people's work is more available than ever and browsing through various portfolios involves a risk of (un)intentionally following a certain style or look that is trendy at the time. Your portfolio should display your true values as a designer and apart from flashy personal projects it should contain examples of technical skill as well as commercial work as those are the ones most clients go for.
The Job Interview
Job interviews are tough but they do get easier once you've gone through a few. You should make a point of attending them even if you have already secured another job, as it is a valuable experience that will improve your presentation skills and show you what are interviewers are looking for from you. If you do not get a job, be honest with yourself and examine why you didn't, and try to correct possible errors or improve your work to the level required. Maybe you just need to build your experience before moving on to your dream job?
After hiring around forty designers in the three studios he built, Mark Ury has quite a good idea about the qualities he wants in a designer: "You look for curiosity, language skills, and craftsmanship. Those are the three that matter, and in that order. If they aren't curious, they won't discover things others can't see. If they can't verbalize what they've seen or their ideas on why it's important, they can't sell the solution. And if they don't have the craft skills, they can't deliver what they promised."
Apart from these things you need to learn how to interact with other people, whether they are your colleagues, clients, bosses, or employees. Make sure you demonstrate those skills in the interview. Be polite but persistent and do some research before calling up your prospective employer, office, or agency. It's crucial to know the name of the person with whom you are hoping to get an interview, even if they are not hiring at the moment.
Once you establish contact, send your resume and arrange a meeting. Recheck the meeting schedule a day before, which serves as a reminder and a way to make sure it is still on.
Prior to the interview, organize some presentation materials that will show off your skill and ability to the interviewer. Create yourself a neat set of stationery, such as business cards and branded folders to hold your work. Business cards cost next to nothing, but they can get you places. Without them you will not even get freebies at trade shows. Extra effort put in your presentation materials will not go unnoticed. People have been employed simply for binding their portfolios into neat black little books instead of presenting dull CDs and normal pieces of paper.
Creative thinking
Creative thinking is the ability to stretch beyond the ordinary, to be original, innovative, and flexible in one’s thinking. For example, creating a mnemonic device (a memory aid) is one way to think creatively, connecting unrelated things with a single visual in a design context. For TheHive.com, a new online community of musicians and music fans, Visual Dialogue determined they needed a strong logo to serve as a mnemonic device for what they were about. Other aspects of creative thinking are:
› associative thinking (recognizing commonalities, common attributes)
› metaphorical thinking (identifying similarities between seemingly unrelated things)
› elaboration and modification (working out details and being able to propose alterations)
› imaginative thinking (forming images in one’s mind and imagining the unlikely
Certain characteristics are markers of creative thinking:
› Courage: Fear quashes creative risk taking and supports playing it safe. Courage coupled with intellectual curiosity fuels creativity.
› Receptiveness: Being open to different ways of thinking as well as constructive criticism allows you to embrace possibilities and new ideas.
› Flexibility: Not only do an agile mind and flexible personality allow you to keep up with the times, they allow you to bend with the path of a blossoming idea or let go of a path that is not fruitful.
› Being Sharp-eyed: Paying attention to what you see every day (shadows, juxtapositions, color combinations, textures, found compositions, peeling posters, etc.) allows you to see inherent creative possibilities in any given environment, to notice what others miss or do not think noteworthy.
› Seeking and Recognizing Connections: Creative people are able to bring two related or unrelated things together to form a new combination; they arrange associative hierarchies in ways that allow them to make connections that might elude others.
GLOSSARY
A
advertising: the generation and creation of specific visual and verbal messages constructed to inform, persuade, promote, provoke, or motivate people on behalf of a brand or group.
B
audience: any individual or group on the receiving end of a graphic design or advertising solution; the target audience is a specific targeted group of people.
balance: stability or equilibrium created by an even distribution of visual weight on each side of a central axis, as well as by an even distribution of weight among all the elements of the composition.
brand: the sum total of all functional (tangible) and emotional (intangible) assets that differentiate it among the competition.
brand name: the main verbal differentiator for a product, service, or group. brand strategy: the core tactical underpinning of branding, uniting all planning for every visual and verbal application.
branding: the entire development process of creating a brand, brand name, and visual identity, among other applications.
C
composition: the form, the whole spatial property and structure resulting from the intentional visualization and arrangement of graphic elements—type and visuals—in relation to one another and to the format, meant to visually communicate and to be compelling and expressive.
construct: a quality or position a brand “owns” against the composition.
corporate communication design: involves any visual communication applications to communicate internally with employees, create materials for a sales force or other employees, as well as applications used by a corporation or organization to communicate externally with other businesses, the public, stockholders, and customers.
D
design concept: the creative thinking underpinning the design solution. The concept is expressed through the integration and manipulation of visual and verbal elements.
diagram: a graphic representation of information, statistical data, a structure, environment, or process (the workings of something).
point: the smallest unit of a line and one that is usually recognized as being circular; also called a dot.
E
emphasis: the arrangement of visual elements, stressing or giving importance to some visual elements, thereby allowing two actions: information to be easily gleaned and the graphic design to be easily received.
environmental design: promotion, information, or identity design in constructed or natural environments, defining and marking interior and exterior commercial, cultural, residential, and natural environments.
execution: the fulfillment of the concept through physical processes that include the selection and manipulation of materials and/ or software.
F
figure: a definite shape; also called a positive shape.
figure/ground: a basic principle of visual perception that refers to the relationship of shapes, of figure to ground, on a two dimensional surface: also called positive and negative space.
flow: elements arranged in a design so that the viewer’s eyes are led from one element to another, through the design; also called movement.
G
graphic design: a form of visual communication used to convey a message or information to an audience; a visual representation of an idea relying on the creation, selection, and organization of visual elements.
graphic design solution: a design that can persuade, inform, identify, motivate, enhance, organize, brand, rouse, locate, engage, and carry or convey many levels of meaning.
grid: a guide—a modular compositional structure made up of verticals and horizontals that divide a format into columns and margins. It may be used for single-page formats or multipage formats.
H
hue: the name of a color; that is, red or green, blue or yellow.
I
identity design: involves the creation of a systematic visual and verbal program intended to establish a consistent visual appearance and personality—a coordinated overarching identity—for a brand or group; also called brand identity.
L
layout: the visual organization of type and visuals on a printed or digital page; also called spatial arrangement.
lettering: the drawing of letterforms by hand (as opposed to type generated on a computer).
linear: line as the predominant element used to unify a composition or to describe shapes or forms in a design.
logo: a unique identifying symbol that represents and embodies everything a brand or group signifies. It provides immediate recognition; also called a brandmark, mark, identifier, logotype, or trademark.
logotype: a logo that is an identifying mark where the name is spelled out in unique typography; also called wordmark..
M
mock-up: a facsimile of a printed three-dimensional design piece; also called a dummy.
motion graphics: time-based visual communication that integrates visuals, typography, and audio; created using film, video, and computer software; including animation, television commercials, film titles, promotional, and informational applications for broadcast media and new media.
P
pace: the rhythm or speed that a publication has, which is achieved by the interaction and dispersion of text and images on a page and throughout its extent.
package design: the complete strategic planning and designing 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.
pattern: a consistent repetition of a single visual unit or element within a given area.
production: usually defined as preparing the electronic file, collecting and scanning all needed photographs and/or illustrations, then proofreading (with or without the client) and working with the printer.
promotional design: intended to introduce, promote, or sell brands (products and services), ideas, or events and to introduce or promote groups, not-for-profit organizations, and social causes.
publication design: involves the design of editorial content for print or screen; also called editorial design and book design.
R
repetition: occurs when one or a few visual elements are repeated a number times or with great or total consistency.
rhythm: a pattern that is created by repeating or varying elements, with consideration to the space between them, and by establishing a sense of movement from one element to another.
S
saturation: the brightness or dullness of a color; also called intensity or chroma.
scale: the size of an element or form seen in relation to other elements or forms within the format.
shape: the general outline of something.
sharpness: characterized by clarity of form, detail, clean and clear edges and boundaries, saturated color, readable and legible typography, proximate vision, hyperrealism, photorealism, closed compositions, and limited type alignment.
sign: a visual mark or a part of language that denotes another thing.
T
tactile texture: a quality that can be physically touched and felt; also called actual texture.
tagline: catchphrase that conveys the brand benefit or spirit and generally acts as an umbrella theme or strategy for a campaign or a series of campaigns; also called a claim, end line, strap line, or slogan.
text type: type that is 14 points and less is used for setting text; also called body copy.
texture: the tactile quality of a surface or the representation of such a surface quality.
thumbnail sketches: preliminary, small, quick, unrefined drawings of ideas, in black and white or color.
type font: a complete set of letterforms, numerals, and signs, in a particular face, size, and style, that is required for written communication.
typeface: the design of a single set of letterforms, numerals, and signs unified by consistent visual properties. These properties create the essential character, which remains recognizable even if the face is modified by design.
V
value: refers to the level of luminosity— lightness or darkness—of a color.
visual: a broad term encompassing many kinds of representational, abstract, or nonobjective depictions—photographs, illustrations, drawings, paintings, prints, graphic elements and marks, elemental images such as pictograms, signs, or symbols; also called images.
visual hierarchy: arranging graphic elements according to emphasis.
visual identity: the visual and verbal articulation of a brand or group, including all pertinent design applications, such as letterhead, business cards, and packaging, among many other possible applications; also called brand identity and corporate identity.
visual texture: the illusion of texture or the impression of texture created with line, value, and/or color.
visual weight: the illusion of physical weight on a two-dimensional surface.
RECOMMENDED READING
1. Albers Josef: Interaction of Color, reviewed and expanded edition, New Haven, Conn.,Yale University Press, 2006.
2. Dougher Sarah; Plazm: 100 Habits of Successful Graphic Designers, Gloucester, Mass., Rockport Publishers, 2005.
3. Hara Kenya: Designing Design, Baden, Lars Muller Publishers, 2007.
4. Heller Steven; Balance, Georgette: Graphic Design History, New York, Allworth Press, 2001.
5. Heller Steven: Design Literacy: Understanding Graphic Design, 2nd edition, New York, Allworth Press, 2004.
6. Lupton Ellen; Phillips Jennifer C: Graphic Design: The New Basics, New York, Princeton Architectural Press, 2008.
7. Mason Daniel: Materials, Process, Print: Creative Ideas for Graphic Design, London, Laurence King, 2007
8. Millman Debbie: How to Think Like a Great Graphic Designer, New York, Allworth Press: School of Visual Arts, 2007.
9. Muller-Brockmann Josef: Grid Systems in Graphic Design, 4th revised edition, Sulgen, Verlag Niggli, 1996.
10. Olins Wally: The Brand Handbook, London, Thames & Hudson, 2008.
11. Potter Norman: What is a Designer, 4th edition, London, Hyphen Press, 2002.
12. Print Work: An Exploration of Printing Techniques, Hong Kong, Victionary, 2008.
13. Robin Landa. Graphic Design Solutions. Fourth Edition. Cengage Learning. 2011.
14. Shaughnessy, Adrian: How to Be a Graphic Designer without Losing your Soul, New York, Princeton Architectural Press, 2005.
15. Sherin Aaris: SustainAble: A Handbook of Materials and Applications for Graphic Designers and their Clients, Beverly, Rockport Publishers, 2008.
BIBLIOGRAPHY
1. Касаткина Т.Ю. English for Design Students: учеб. пособие. Ижевск: Издво «Удмуртский университет», 2013. 145 c.
2. Виссон Л. Русские проблемы в английской речи. Слова и фразы в контексте двух культур. Пер. с англ. Изд. 3-e.Москва.: Р.Валент, 2005. 192 с.
3. Ana Labudovic, Nenad Vukusic. Field guide: how to be a graphic designer. Rockport Publishers. 2008. 190 p
4. Chris Redston, Gillie Cunningham. Face2Face. Pre-intermediate. CUP. 2000. 162 p.
5. Gavin Ambrose, Paul Harris. The Fundamentals of Graphic Design. AVA Publishing SA. 2003. 192p.
6. Gavin Ambrose, Paul Harris. The Visual Dictionary of Graphic Design. AVA Publishing SA. 2008. 288 p.
7. Matteo Cossu. 1000 Ideas by 100 Graphic Designers. Rockport. 2009. 321 p.
8. Lupton E. Graphic Design: The New Basics. Princeton Architectural Press, 2008. 247 p.
9. Robin Landa. Graphic Design Solutions. Fourth Edition. Cengage Learning. 2011. 480 p.
10. Stuart Redman. English Vocabulary in Use. Pre-intermediate and Intermediate. CUP. 1997. 269 p.
11. Lupton E. Graphic Design: The New Basics. Princeton Architectural Press, 2008. 247 p.
12. Virginia Evans, Jenny Dooley, Henrietta P. Rogers. Career Paths – Art and Design. Express Publishing.2014. 122 p.
13. Электронный ресурс: https://www.wbdg.org/design-disciplines
14. Электронный ресурс: https://www.youtube.com/user/TastyTuts
15. Электронный ресурс: https://www.youtube.com/user/DigitalTutors
16. Электронный ресурс: https://www.youtube.com/channel/UCd2J-PizcFDxWHBBfRkp38Q/featured
17. Электронный ресурс: https://www.designobserver.com
18. Электронный ресурс: https://www.aiga.org
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