ULOGA GRAFIČKOG DIZAJNERA U KREIRANJU IDENTITETA PODUZEĆA
ROLE OF THE GRAPHIC DESIGNER IN CORPORATE IDENTITY CREATION
Jesenka Pibernik1 , Marina Vujnović2
1 Grafički fakultet Sveučilišta u Zagrebu, Getaldićeva 2, Zagreb, Hrvatska
2 University of Iowa, School of Journalism and Mass Communication, Adler’s Journalism Building, Iowa City, Iowa
Abstract
This paper will explore the influence of John Dewey's philosophical pragmatism and the Chicago School of Social Thought, in the work of graphic designer Paul Rand - the creator of famous IBM logo. Based on an historical approach to science, Dewey saw philosophical problems as a reflection of real practical problems that have emerged through social and scientific change. Dewey's theory of esthetics, in his own words «is concerned with discovering the nature of production of works of art and of their enjoyment in perception. « (Dewey, 1934). In the field of graphic design, the same theory can be used to answer questions as: «How much do graphic designers contribute to the social construction of reality? Does the designer construct new meanings, or does he just reorganize and communicate in creative manner already existing meanings?»
Key words
Experience, Aesthetic perception, Graphic design
1. Introduction
In his book, “Art as Experience” published in 1934, John Dewey analyzes theory of aesthetics and asks following question: How can our everyday creation of the subject become creative form that we can call art? How can our everyday enjoyment in scenes and situations become pleasure of experience that we can call emphatically aesthetic? In another words, how do people through their own experiences and perception construct reality and give meaning to their activities? Dewey’s theory of aesthetics in his own words “deals with discovery of nature of art production and enjoyment in their perception.” (Dewey, 1934)
These questions, although philosophical in nature are in fact reflections of practical problems which are result of societal and scientific changes. In this “information society”, marked by overflow of information, the problem of the construction of the reality and meaning becomes extremely important. Dewey’s pragmatic philosophy belongs to the Chicago School of Social for which Kruckeberg (1985) argues was devoted to historical approach to science and research in communication as primary mean of understanding of the social problems.
Dewey’s philosophical pragmatism had an immense influence on the work of Paul Rand (1914 – 1996), American graphic designer who was among first to use European Avangard approach to combine typography and photograph for better expression of the design. Rand belongs to “modernist” stream of graphic design and epoch for which creation of the universal language of corporate capitalism, with aim to compete efficiently in globally image dominated world, was very characteristic. This paper deals with influence of Dewey’s pragmatic philosophy on work of Paul Rand. It also aims to analyze influence of graphic design in deconstruction and redefinition of the cultural values and corporate identity through logo design.
2. Design as a mean of communication
Commenting on whether graphic design makes up art, science, job, apprenticeship or language; graphic designer Paul Rand (1985) said: “Words like design, form, beauty, plasticity, esthetics, artistically, creatively and graphically is very hard to define. Each one of these words has more than one meaning and includes subjective interpretation. Expression graphic design is reach with meaning and therefore hard to give a unified definition…”
When we ask questions such as “What is graphic design?” and “What graphic designers do?” at the same time we attempt to answer following question: “How do graphic designers contribute to social construction of the society?” For Dewey (1934) design is a result of the esthetic experience, and the roots of understanding esthetics lie in naturalism. Art is a result of the interaction between living organism and its environment, interaction that includes reorganization of energies, actions and materials. The key word here is reorganization. What does graphic designer do? Does he/she creates new meaning or just reorganizes and communicates in creative way already existing meanings? Or, on the other hand in deconstruction of the existing values and reorganization of the objective reality creates new meanings and identities? If the latest rings true, graphic designer holds huge responsibility for any social change.
Behrens (1984) defines design as organization. He claims: “When something is designed it is ‘constructed’ with a purpose. Everything that is not accidental is to some degree designed.” He furthers specifies design by defining the term “design of the visual aesthetics” as “that type of matter whose purpose is to be looked at.”
Dewey (1988) researches experience and believes that experience is “fulfillment of the organism in its battle for achievement in the world of things. Even in its rudimentary form, it is constituted with a promise of enjoyment in perception which precedes esthetic experience.” He believes that art is qualitative measure of every society and “experience that make the whole being alive.”
To better understand esthetic experience, we can rethink difference between esthetics and aesthetics, to which Behrens devote some discussion in his book “Design in visual art”. For Behrens esthetics is opposite to aesthetics. He claims: “When we give anesthetic to a person than we artificially cause unconscious state and decrease of sensibility. Esthetics on the other hand includes advancement of sensibility.”
According to Dewey (1888) advancement of senses is the most important consequence of the art. He believes that art is not only tool for creation of the artistic experience, art modifies and advances perception and communication: it inspires and gives new energy because esthetic experience is always integrated in our activities, it deepens and enriches us: “Always when circumstances are such that in the process of production we are constrained to be living beings that experience their life through enjoyment, the product will lack something to be esthetic. No matter how useful that product is, it is not useful for the final cause – direct and free contribution and enrichment of the life.”
Based on what is being said we can conclude that Dewey’s pragmatic philosophy of esthetics deals with art as a unity of form and function. Paul Rand (1984) used Dewey’s conclusion for better elaboration of the definition of the graphic design:” Visual communication of any kind, whether promotional or informative, should be understood as integration of form and function: the presentation of beautiful and useful…because, as it has been confirmed many times, separation of form from the function of the concept and production will not result in artifact of the esthetic value.” For Rand, enrichment of life as a primary function of the art and visual communication comes from its environment. Environment of the graphic design is two-dimensional world derived from the multi-dimensional reality.
3. Corporate identity and the logo experience
In his book “Designer art” Rand asks: “Corporate world can function even without esthetic contribution. But should it? What is corporate identity without the art? Do graphic designers report on corporate identity or they are creating it - give new values, meanings and feelings to the corporate world and society at large?
Rand’s work on logos is anthological. Commenting on the work on his logo for IBM he writes: “Horizontal lines on IBM logo serve exclusively to get attention. They divide usual letters from its environment of usualness. They get attention, suggest efficacy and speed.” (Sl. 1). The idea on context was a large part of is work on logo and he worked on research on adaptability of the logo for different purposes to adjust it to the environment: “Environment in which logo is displayed as equally important as logo itself. The care for detail, understanding and acceptance is necessary for success of the logo. It’s long lasting qualities are a part of excellence and adaptability of its design.”
Rand doing this has in fact anticipated poststructuralism claiming that artistic work is not completely fixed, self sufficient and untouchable. His is also the idea of context and meaning creation in design of logos: “Logos do not illustrate, they indicate…they do not represent, they suggest.” Therefore, creation or the effect of the design, as opposed to the science, is not measurable or predictable, nor the results are necessarily repeatable. If there is any sort of assurance, besides belief, which business man should have, than that’s the choice of talented and competent designer with experience.” Good graphic designer informs, constructs and deconstructs reality, ideas, values and identities of the corporate world in the deepest sense. That constant “political game” between corporate world and graphic art is a game of “experience evocation”, communication provocation and definition of the modern philosophy of the way of life (Sl. 2). Both Dewey and Rand believe that historical approach to design is a navigation key for the future. In design of the corporate logos this is of the outmost importance. Corporate identity is recreated and reconstructed in logo design by bringing tradition alive and by displaying it to the audiences with goal to create mutual artistic experience and mutual significance of the reality.
Sl. 1. IBM monogramSl. 2. APPLE pictogram
4. Conclusion
It is obvious that Rand, although building its communicative power of the logo on the modernist premise of the Dewey’s pragmatic philosophy joining aesthetics in function together, preceded the poststructuralist understanding of the world in which everything, including art form is being deconstructed in numerous attempts to create and reinterpret meaning. We can without doubt claim that graphic designers create and deconstruct meanings and identities. In the world in which images dominate our everyday experiences this is a huge obligation and responsibility for current and future graphic designers. Besides the creative function of the graphic designer for the society, graphic designer has ultimate communicative function. The way corporate identity is communicated will finalize the way diverse audiences will interpret this particular identity. Therefore, it is understandable the emphasis both Dewey and Rand put on the communicative aspects of art or logo.
Rethinking the role and meaning of the graphic design and graphic designer in the contemporary society has become of outmost importance for understanding how corporate politics permeate our everyday life. Corporate logos as corporate identities have become the artistic display of the power of the global capitalism. What is the role of the graphic designer in creating these identities and shaping our understanding of the world deserves constant pondering.
Literature:
Silver, L. (2001), Logo design that works, Rockport Publishers Inc., Gloucester, MA.
Behrens, R. (1984), Design in the visual arts, Englewood Cliffs, NJ: Prentice-Hall, Inc.
Dewey, J. (1934), Art as experience, Rahway, NJ: The Barnes Foundation Press.
Dewey, J. (1988), The live creatura, in L.A. Hickman and T. M. Alexander (Eds.), The essential Dewey (PP. 391-401), Bloomington and Indianapolis: Indiana University Press.
Rand, P. (1984), A designer's art. New Haven and London: YaleUniversity Press.