On 25 March 2009, I had the chance to hear the futurologist Ian Pearson at the Royal Signals Institution in London. In his lecture "A Trip to the Future", Pearson stated that the number of new life-changing technologies increases exponentially every five years. For example,in the ten years between 1990- 2000 we became more accustomed to PCs, office networks, MS Office, satellite TV, Filofax, Gameboy, Mobile phones, home PCs, office internet, e-mail, laptops, Play Station, camcorders, and Amazon.com.
In the ten years, 2000-2010, it seems to be the turn of home internet, digital cameras, wireless LANs, PDAs, chat rooms, search engines, e-commerce, Expedia, SMS, instant messaging SatNav, Blackberry, broadband, iPods, memory stick, HD video recording, eBay, home shopping, Skype, online multi-player games, virtual environments, Google maps, blogs, hard drive recorders, music downloads.
In the next five years, 2010-2015, we can predict HDTV, RFID, augmented reality, virtual reality, dual appearance, electronic jewellery, digital bubbles, smart make-up, smart clothes, smart buildings, digital paper, life-on-a-stick, personal black box, robotics, voice recognition, active skin.
The Web is picking up speed; its growth is exponential. Because we have reached critical mass, 30-50 percent of the population goes online every day. Which means functional decomposition of industries and commerce using the Internet? Nineteen years ago, it was the convergence of telecoms and computers. Today we find that convergence is between four new technologies - nano, bio, info, and finally cognitive with the ability to link to our nervous system. Convergence means a lot of new green fields; very big markets are at the boundaries where convergent industries intersect; new business models/new kinds of businesses where completely new trading conditions apply. For example
- Blurred boundaries
- Porous companies (semi-permeable membranes instead of walls)
- Highly distributed companies
- Individual knowledge workers using the web to group together into virtual enterprises.
Once people can do everything, they will have to re-evaluate what they really want to do. Ian Pearson suggests a different reading of Maslow's hierarchy of needs, saying that the value is now in the top layers (self-actualisation, esteem, social ). He affirmed that technology helps people to do more, interact more, have more fun, be more, and feel better about themselves.
With the rate of technology development faster than ever, and the web fully integrated into our everyday lives, the next big convergence is between cyberspace and the real world. Video visors and eventually active contact lenses will allow overlays of computer games and anything from the web to be overlaid onto our field of view everywhere we go.
People will even be able to customise how they appear to different strangers in the street, which will also be inhabited by computer game characters and avatars. Electronic jewellery will replace the mobile gadgets we use today, making it possible to have the highest technology while making little environmental impact. And as it becomes easier for ordinary people to make Information Technology do what they want, it will also be much easier to mobilise political power from the grass roots.
Friday, 3 April 2009
Designers at work
Working circumstances and places of employment are different. Designers employed by large advertising, publishing, or design firms generally work regular hours. Designers in smaller design consulting firms and those who freelance generally work on a contract, or job-basis. They mostly fit their workday to suit their clients’ schedules and deadlines. A number of designers make a choice for work that pays high salaries, with more worries, overtime and long working hours. Others decide to work in a place that pays less but with less stress. Some work as freelancers so as to be able to manage their own time but also taking the risk of not getting enough work.
When designers love their work, this will be reflected in their daily life. When they enjoy what they do, and start to think of it as more than a job, but with desire; as fulfilling, interesting, and worthy, they will feel the change, and their job will not be a mixture of stress, tiredness, frustration, and worry.
The designer must ask himself a question; am I at the right place? Do I need to work hard? Designers may work in their own offices or studios. Designers who are paid by the assignment are under pressure to please existing clients and to find new ones to maintain a steady income.
No matter where you are, the best way forward for all designers is to manage their time and cut the hours they work. It might be a hard choice and a tough decision, but designers must make sure that they are in the right place of work. Examining what they do for the sake of their living requirements and examining the relationship between their job and their time, their impact on community, their joy and finally fulfilment.
They must judge where their job will lead them and what they should do best.
Most designers neglect the fact that recording many hours of work and a good portfolio will do nothing if their personal life is getting worse or falling apart. The importance for them is to look after work practices. They should look after practices that help them to integrate them into their job. It is the way they manage their days and working hours. What is important for them is to develop their working life at the expense of their personal life. Their priorities should be to manage their time carefully so that it benefits their careers without wasting time on peripheral activities with no benefit.
Could you plan your day and keep a daily diary of activity?
Could you identify your progress and any wasted time?
This will help you in knowing the best working methods, and how many hours you can work and still make progress, (how to do a work at a time not many) what interruptions or distractions you allow yourself at work (chatting, looking at Facebook, replying to mobile calls), how to complete your task and how to be free from stress and uneasiness or apprehension.
This will be obtained by organising your diary (personal diary), if you do not have it create one and make it clear, and stick to your daily agenda. Organise your environment at work, by not allowing clutter to exist around you. Clear it or organise it. Write short reports daily. It is tempting to ‘get going’ first thing in the morning, so feel like you are getting things done, where it takes you 10 minutes or less to review your diary and decide how you plan to tackle commitments.
Practice self-brainstorming, allow yourself to focus on the priorities, your needs and consider important things and pick up on all those loose ends. This way you will be able to plan your diary.
You will find that you love yourself the way you love your work. It will be reflected in the way you produce work; work which shows your joy, desire, interest - and you will find your working life fulfilled. Everything will change by controlling your time, effectiveness, distraction rate and your work flexibility.
When designers love their work, this will be reflected in their daily life. When they enjoy what they do, and start to think of it as more than a job, but with desire; as fulfilling, interesting, and worthy, they will feel the change, and their job will not be a mixture of stress, tiredness, frustration, and worry.
The designer must ask himself a question; am I at the right place? Do I need to work hard? Designers may work in their own offices or studios. Designers who are paid by the assignment are under pressure to please existing clients and to find new ones to maintain a steady income.
No matter where you are, the best way forward for all designers is to manage their time and cut the hours they work. It might be a hard choice and a tough decision, but designers must make sure that they are in the right place of work. Examining what they do for the sake of their living requirements and examining the relationship between their job and their time, their impact on community, their joy and finally fulfilment.
They must judge where their job will lead them and what they should do best.
Most designers neglect the fact that recording many hours of work and a good portfolio will do nothing if their personal life is getting worse or falling apart. The importance for them is to look after work practices. They should look after practices that help them to integrate them into their job. It is the way they manage their days and working hours. What is important for them is to develop their working life at the expense of their personal life. Their priorities should be to manage their time carefully so that it benefits their careers without wasting time on peripheral activities with no benefit.
Could you plan your day and keep a daily diary of activity?
Could you identify your progress and any wasted time?
This will help you in knowing the best working methods, and how many hours you can work and still make progress, (how to do a work at a time not many) what interruptions or distractions you allow yourself at work (chatting, looking at Facebook, replying to mobile calls), how to complete your task and how to be free from stress and uneasiness or apprehension.
This will be obtained by organising your diary (personal diary), if you do not have it create one and make it clear, and stick to your daily agenda. Organise your environment at work, by not allowing clutter to exist around you. Clear it or organise it. Write short reports daily. It is tempting to ‘get going’ first thing in the morning, so feel like you are getting things done, where it takes you 10 minutes or less to review your diary and decide how you plan to tackle commitments.
Practice self-brainstorming, allow yourself to focus on the priorities, your needs and consider important things and pick up on all those loose ends. This way you will be able to plan your diary.
You will find that you love yourself the way you love your work. It will be reflected in the way you produce work; work which shows your joy, desire, interest - and you will find your working life fulfilled. Everything will change by controlling your time, effectiveness, distraction rate and your work flexibility.
Monday, 3 November 2008
I will act always as a designer!
It is my daily nightmare. No, it is not a true nightmare, let us say, a visitor. It is not only a night visitor; it is a visitor of every time. I am a designer, and as a designer cares for everything, I frequently find myself thinking like a designer. I ask questions that a designer asks. I attempt to find functional design solutions to a design problem I have uncovered while being a designer. I think of design brief, design proposal and design principles to guide me through the process. I rely on design thinking.
This is does not concern how much experience I have, no matter who am I, a great designer or not, it is normal to find something missing when I forget myself as a designer, or I do not consider my self as one of the audience, a user, a consumer or an audience. If I do not act as so, I will not be able to solve a problem.
All design solutions are considered as conjecture. Ok, that is fine, but this requires me using design thinking and principles; and how good to solve problems, and simply be not only a designer. How important for me to know whether the design works in a positive sense or not. Am I able to answer the question. I think that the answer can be achieved best by incorporate user feedback in the design process, by allowing myself playing a double role, a designer and a consumer, or one of the audience.
It is simply to act on behalf of others by allowing myself to get into their world, better than inquiring what they have in mind, and living their role not investigating it.
This way, I will always act as a designer.
This is does not concern how much experience I have, no matter who am I, a great designer or not, it is normal to find something missing when I forget myself as a designer, or I do not consider my self as one of the audience, a user, a consumer or an audience. If I do not act as so, I will not be able to solve a problem.
All design solutions are considered as conjecture. Ok, that is fine, but this requires me using design thinking and principles; and how good to solve problems, and simply be not only a designer. How important for me to know whether the design works in a positive sense or not. Am I able to answer the question. I think that the answer can be achieved best by incorporate user feedback in the design process, by allowing myself playing a double role, a designer and a consumer, or one of the audience.
It is simply to act on behalf of others by allowing myself to get into their world, better than inquiring what they have in mind, and living their role not investigating it.
This way, I will always act as a designer.
Sunday, 27 July 2008
Hello, Amman Designers! Hello, Design Education Sector.
Do you know that we all need to teach ourselves a lesson, not only professionals, but colleges and universities, from the school to vocational training to career developments:
Students and designers must be equipped with the right skills to meet design and business needs.
Can you identify skills gaps?
Obviously, Amman has more than its fair share of design skills! Isn't it?
If that is true, what about the country?
Improving designers' skills is a huge task, it is like creating a new era in which the right mix of design skills can be found in the right places.
Note that design is a way of thinking, not a way of making things look pretty.
Students and designers must be equipped with the right skills to meet design and business needs.
Can you identify skills gaps?
Obviously, Amman has more than its fair share of design skills! Isn't it?
If that is true, what about the country?
Improving designers' skills is a huge task, it is like creating a new era in which the right mix of design skills can be found in the right places.
Note that design is a way of thinking, not a way of making things look pretty.
Friday, 25 July 2008
A whisper in the ears Jordanian Designers !
Never mind, and no matter what type of classification we have,
Why do we consider ourselves and others designers?
How do we perceive our task, culture, identity and our future?
Where we are? What do we innovate, alter and create?
We are what we are! Designers.
We are the designers of Jordan. We came here to make a practical and substantial difference to our Country, people and ourselves.
Let each one of you ask him/her self these questions:
Have you ever thought of taking part in the development and well- being of Jordan, of course by using the design?
Have you been up to the challenges that face you in developing and promoting sustainable design solutions in all fields serving our country?
It is not an easy task! But it could be easy if we design and import our own ideas and styles, and at the same time, we preserve our identity and character and shy away from imitation.
I should be genuine. To be so, I should answer these questions to identify and define my objectives:
- What is a designer, who is he, and what is his\her role?
- What are the characteristics that should mark the Design?
- What should our design academics plan and how they embark on teaching Design?
- What public services that need Designs?
- What type of design business should exist in Jordan?
Amman, as many other Arab cities, is proud of its design status\identity.
But, does Amman promote design in other cities of Jordan?
Does Jordan raise the awareness of design among the public?
Do Jordanians demand products and services that meet their needs?
These questions need an answer, for the future!
Why do we consider ourselves and others designers?
How do we perceive our task, culture, identity and our future?
Where we are? What do we innovate, alter and create?
We are what we are! Designers.
We are the designers of Jordan. We came here to make a practical and substantial difference to our Country, people and ourselves.
Let each one of you ask him/her self these questions:
Have you ever thought of taking part in the development and well- being of Jordan, of course by using the design?
Have you been up to the challenges that face you in developing and promoting sustainable design solutions in all fields serving our country?
It is not an easy task! But it could be easy if we design and import our own ideas and styles, and at the same time, we preserve our identity and character and shy away from imitation.
I should be genuine. To be so, I should answer these questions to identify and define my objectives:
- What is a designer, who is he, and what is his\her role?
- What are the characteristics that should mark the Design?
- What should our design academics plan and how they embark on teaching Design?
- What public services that need Designs?
- What type of design business should exist in Jordan?
Amman, as many other Arab cities, is proud of its design status\identity.
But, does Amman promote design in other cities of Jordan?
Does Jordan raise the awareness of design among the public?
Do Jordanians demand products and services that meet their needs?
These questions need an answer, for the future!
Saturday, 12 July 2008
Design characteristics for the Future
Is it possible for us to perceive the future? Is it possible for us to understand the design characteristics of the future?
Of course we can!
We can do that if we change the way in which we perceive the present and future. To do this, we will need to transform ourselves from being mere observers to being initiators who fully use our creative potential to anticipate future needs and to develop solutions.
We may already know that the answer lies within ourselves, specifically, within our way of thinking about and evaluating the world. But theoretically, bridging the gap between theory and practice is difficult since our thinking is affected by traditionalism, dependency and waiting to adopt the results of others' experiments, rather than developing our own.
The real situation in professional design is quite different, for example in the fields of visual communication, multimedia, architecture, interior and industrial design. Similarly, all academic and professional institutions are responsible for their own production.
Any designer will be unable to produce adequate work if he/she is not essentially a creative being. A designer's productivity is also related to the environment in which they are working which must support the creative process at all stages of the product's design and manufacture. It is so important that the designer works within an environment that supports their vision, allowing them to anticipate and design for future needs on projects which are also supported with financial input and the necessary craftsmanship.
Politicians observe and analyse the world and then produce strategies to solve the problems they find. In design, we employ observation, analysis and strategic problem-solving as well. Our present, past and future are interconnected. Transformation of our present involves both observation of our current situation and extending our eyes towards the future and towards the vision we wish to achieve. Even if no-one has succeeded with these ideas before, we may still aim towards them. It is also necessary to be well-prepared, to have the correct tools, knowledge and learning in order to work towards our goals.
Confusion is caused by the amount of information that we deal with when observing the future and its constant changes: geographical information, economics, environmental issues, etc. For example, worldwide differences in climate, global warming, CO2 pollution, overcrowded cities, increased motor-traffic, air pollution, the increasing growth of the human population and it's needs. Life itself involves constant development in all fields! Yet, it seems that we ourselves are the source of these crises! Yes indeed we are and this is primarily because of our carelessness in failing to think positively about our future needs. So often we deal only with our immediate daily responsibilities and requirements, without anticipating the need to provide for the future.
The question is then: what type of role must the designer adopt to face these changes in our lives and our future requirements? The answer is simply: that the designer must allow his creative potential to interact with the environment to anticipate product needs and to create the best design for the future. The designer should not overload himself and his concepts with concern for the near past and the present. If we think about it, the distance between ourselves and source of our creative inspiration, our history and the present environment, is very small.
We should permit ourselves to positively create, understand and learn about the future language. This will be achieved through developing ourselves, our potential and expanding our knowledge. As designers, we need to be able to be innovative and creative, to think deeply about the present issues and relate these endeavours to the future. Creativity is not the place for fear, and we should not allow the fear to stop us being innovative and creative. Further, the aim of our design must be to produce a product that is useful with relation to it's intended function.
What we need is called Optimistic Futurism, it is the way towards confidence, transformation and creativity, Optimistic futurism will enable us to develop our technical potentials, skills, and enable us to deal with digital softwares and new technologies.
Optimistic Futurism is an attitude that will serve our creativity, as it is a logical solution and will not affect our ability to create and innovate. Indeed, a designer equipped with knowledge and experience will be a source of power, having the ability to control his production in a positive and useful way.
As much as our task is to deal with the future, we will be able to increase our creatively and innovation to achieve this end by adding self-belief and a desire to be forward-looking to the mix.
Of course we can!
We can do that if we change the way in which we perceive the present and future. To do this, we will need to transform ourselves from being mere observers to being initiators who fully use our creative potential to anticipate future needs and to develop solutions.
We may already know that the answer lies within ourselves, specifically, within our way of thinking about and evaluating the world. But theoretically, bridging the gap between theory and practice is difficult since our thinking is affected by traditionalism, dependency and waiting to adopt the results of others' experiments, rather than developing our own.
The real situation in professional design is quite different, for example in the fields of visual communication, multimedia, architecture, interior and industrial design. Similarly, all academic and professional institutions are responsible for their own production.
Any designer will be unable to produce adequate work if he/she is not essentially a creative being. A designer's productivity is also related to the environment in which they are working which must support the creative process at all stages of the product's design and manufacture. It is so important that the designer works within an environment that supports their vision, allowing them to anticipate and design for future needs on projects which are also supported with financial input and the necessary craftsmanship.
Politicians observe and analyse the world and then produce strategies to solve the problems they find. In design, we employ observation, analysis and strategic problem-solving as well. Our present, past and future are interconnected. Transformation of our present involves both observation of our current situation and extending our eyes towards the future and towards the vision we wish to achieve. Even if no-one has succeeded with these ideas before, we may still aim towards them. It is also necessary to be well-prepared, to have the correct tools, knowledge and learning in order to work towards our goals.
Confusion is caused by the amount of information that we deal with when observing the future and its constant changes: geographical information, economics, environmental issues, etc. For example, worldwide differences in climate, global warming, CO2 pollution, overcrowded cities, increased motor-traffic, air pollution, the increasing growth of the human population and it's needs. Life itself involves constant development in all fields! Yet, it seems that we ourselves are the source of these crises! Yes indeed we are and this is primarily because of our carelessness in failing to think positively about our future needs. So often we deal only with our immediate daily responsibilities and requirements, without anticipating the need to provide for the future.
The question is then: what type of role must the designer adopt to face these changes in our lives and our future requirements? The answer is simply: that the designer must allow his creative potential to interact with the environment to anticipate product needs and to create the best design for the future. The designer should not overload himself and his concepts with concern for the near past and the present. If we think about it, the distance between ourselves and source of our creative inspiration, our history and the present environment, is very small.
We should permit ourselves to positively create, understand and learn about the future language. This will be achieved through developing ourselves, our potential and expanding our knowledge. As designers, we need to be able to be innovative and creative, to think deeply about the present issues and relate these endeavours to the future. Creativity is not the place for fear, and we should not allow the fear to stop us being innovative and creative. Further, the aim of our design must be to produce a product that is useful with relation to it's intended function.
What we need is called Optimistic Futurism, it is the way towards confidence, transformation and creativity, Optimistic futurism will enable us to develop our technical potentials, skills, and enable us to deal with digital softwares and new technologies.
Optimistic Futurism is an attitude that will serve our creativity, as it is a logical solution and will not affect our ability to create and innovate. Indeed, a designer equipped with knowledge and experience will be a source of power, having the ability to control his production in a positive and useful way.
As much as our task is to deal with the future, we will be able to increase our creatively and innovation to achieve this end by adding self-belief and a desire to be forward-looking to the mix.
Thursday, 26 June 2008
* An eye on Graphic Design in the Arab world
We find it mandatory to say that graphic design, this late specialty, quick in its development, related to all walks and activities of life, this only comprehensive technical specialty due to its relation with a piece of information and technology, we know it by its many names besides graphic design, for it is a design of a piece of information and design of communication means. All of these names refer to the extent of its development as an independent science, the task of which in to find solution to problems in the field of promotion, presentation or communication. Therefore, it is the language of time, a language that is not stationery or static, but developing and keeping pace with the changes of time thus, we find that graphic design is in need for a qualified and developing cadre able to deal with modern life requirements in a language that has a brief, simple and direct message, we acknowledge also the relationship of graphic design with writing, printing and publishing since its origin and it is an innovative work that couples word with shape using art and technology as a means of communication which begins with a message innovated by a designer that develops to become a means of visual communication beyond words and excels them with control of color, letter, picture and ideas through the designer's imagination and production of media through which he can convey the desired message to the crowd.
Hence, its importance emerged to play an important role in modern life and to be a critical factor in promotion, media and other means in fast conveying a piece of information to community dominated by speed that excels the speed of light, therefore, it becomes fast in changing due to its relation with community. We find ourselves in front of the fact of graphic design origin and its development stages. Through reading its history, we have been able to know the stages it had gone through since its beginning at the early of 19th century and how Europe was its first home and the role played by some of the pioneer designers, each in his specialty, through developing its tools and techniques besides knowing its means which developed and multiplied after the first poster and book. Further, we know the factors that made it an independent science in addition to its influence by the late artistic trends.
I talked about the relationship of graphic design with special techniques confined with printing which developed to visual media and become conclusive of multi phenomena that get developed by the development of modern technology, therefore, graphic design changes into a knowledgeable science with a constant developing concept. This reflects the limits of the classical concept of graphic design and the development in what is called net vacuum which brings back to the mind the necessity of assessing the individual skills and characteristics of cadres in this field in addition to limiting the classical concept of the term graphic design as being fictitious and imaginary though organizing theoretical or imaginative factors to produce them by the use of different techniques that suit the production mechanism, so, production may be one of the media contained in graphic design.
The close relationship of graphic design with printing can not be ignored; therefore, I would rather clarify a misunderstanding that confuses between graphic design and graphic art and the role of each of them. Relying on this definition, we were able to clarify the role played by the graphic designer who uses design factors in an idea and prepares a special design for each media depending on its end i.e., what printing style he will use, keeping in mind that the success of printing depend first on the designer.
All of this makes us ask, is graphic design philosophy able to, through imagination and fiction, face the challenges of the information time in an effective way? For sure, the answer is determined by the fact that a designer should have absorbed the product of his time concerning information in on effective way and he has to develop his fictitious impression of the piece of information in order to produce it in a form that suits his time and his requirements. I also talked about how graphic design deals with given material and information and how to manage each of them to realize the required message.
We can not talk about technology without talking about computer which since its beginning has an important influence on the development of performance of graphic design since 1970 outside the Arab World and at late 1980's in the Arab World. By nature, the availability of computer makes available many programs that serve graphic design at all levels besides the innovation of the internet. The computer has helped a lot in developing the abilities of designers as well as introducing the attribute of speed performance through a group of solutions special to picture, letter, shape and color.
We can not deny the importance of developing means and curricula of graphic design besides diversifying them in order to cope with the speed of its development and not to forget the requirements and the development of the market. The academic process should depend on time requirements determined by the constant developing technology and the requirements of time. Therefore, the goals of innovative work combined with designer's competency and qualification are the basis on which planning strategy depends to prepare study plans that motivate and activate creative thinking and relate it to information technology relying on the different levels of human knowledge and scientific programs supporting the principle of how to understand and apply comprehensively graphic design program in order to protect it from short term programming relying in this respect on the designer's material cognitive theory, the language, how to talk and his ability to know how to deal with time changes, technologies, training and qualification for what is in the future concerning the stages of human knowledge developments, developed curricula and programs that are subject to constant development.
Thus, the nature of graphic designer work is different from other professions not only because it is the most innovative field through the approach of dealing with a piece of information and visual communication means but also through the different standards constituting the work scene which follow a special innovation and an advanced approach to realize the goals of this innovative work as well as the competence and qualification of the designer. Graphic designer is not only an artist but also a technician who is able to make use of the available programs and their techniques in order to fulfill the task he is charged with. As a result, he is a designer who, through his imagination, reaches the crowd, promotes his imagination, reaches the crowd, promotes and presents through effective implementation with little technical exaggeration to realize successful work.
The fact is that graphic design is firm in its core, developing in its tools which needs close follow- up and cadre distinguished with a lot of knowledge in the field of arts, psychology, marketing, knowledge and information techniques. It is considered the assistant partner of technical development in terms of computer, the internet or programming and its systems. We find it developing in the ways of presenting its different media which come in the form of stationery, poster, brochure, flyer, catalogue, directed post, pamphlet, website and other large group of media.
The core of graphic design is the design foundation factors and their theories and philosophy which are constant any whereas the variable is the style of implementing the design, the form of the medium and the tools of implementation which have moved to the practical side of using computer and a large group of programs that deal with picture, hand writing and color. The development of the ways of promotion, presentation and communication besides the diversity of their developed forms, all depend on digital media.
We conclude, after studying these factors and phenomenon in which and with which graphic design plays an important role that graphic design is constantly developing.
* THE FUTURE OF GRAPHIC DESIGN IN THE ARAB WORLD
www.ezinearticles.com
Hence, its importance emerged to play an important role in modern life and to be a critical factor in promotion, media and other means in fast conveying a piece of information to community dominated by speed that excels the speed of light, therefore, it becomes fast in changing due to its relation with community. We find ourselves in front of the fact of graphic design origin and its development stages. Through reading its history, we have been able to know the stages it had gone through since its beginning at the early of 19th century and how Europe was its first home and the role played by some of the pioneer designers, each in his specialty, through developing its tools and techniques besides knowing its means which developed and multiplied after the first poster and book. Further, we know the factors that made it an independent science in addition to its influence by the late artistic trends.
I talked about the relationship of graphic design with special techniques confined with printing which developed to visual media and become conclusive of multi phenomena that get developed by the development of modern technology, therefore, graphic design changes into a knowledgeable science with a constant developing concept. This reflects the limits of the classical concept of graphic design and the development in what is called net vacuum which brings back to the mind the necessity of assessing the individual skills and characteristics of cadres in this field in addition to limiting the classical concept of the term graphic design as being fictitious and imaginary though organizing theoretical or imaginative factors to produce them by the use of different techniques that suit the production mechanism, so, production may be one of the media contained in graphic design.
The close relationship of graphic design with printing can not be ignored; therefore, I would rather clarify a misunderstanding that confuses between graphic design and graphic art and the role of each of them. Relying on this definition, we were able to clarify the role played by the graphic designer who uses design factors in an idea and prepares a special design for each media depending on its end i.e., what printing style he will use, keeping in mind that the success of printing depend first on the designer.
All of this makes us ask, is graphic design philosophy able to, through imagination and fiction, face the challenges of the information time in an effective way? For sure, the answer is determined by the fact that a designer should have absorbed the product of his time concerning information in on effective way and he has to develop his fictitious impression of the piece of information in order to produce it in a form that suits his time and his requirements. I also talked about how graphic design deals with given material and information and how to manage each of them to realize the required message.
We can not talk about technology without talking about computer which since its beginning has an important influence on the development of performance of graphic design since 1970 outside the Arab World and at late 1980's in the Arab World. By nature, the availability of computer makes available many programs that serve graphic design at all levels besides the innovation of the internet. The computer has helped a lot in developing the abilities of designers as well as introducing the attribute of speed performance through a group of solutions special to picture, letter, shape and color.
We can not deny the importance of developing means and curricula of graphic design besides diversifying them in order to cope with the speed of its development and not to forget the requirements and the development of the market. The academic process should depend on time requirements determined by the constant developing technology and the requirements of time. Therefore, the goals of innovative work combined with designer's competency and qualification are the basis on which planning strategy depends to prepare study plans that motivate and activate creative thinking and relate it to information technology relying on the different levels of human knowledge and scientific programs supporting the principle of how to understand and apply comprehensively graphic design program in order to protect it from short term programming relying in this respect on the designer's material cognitive theory, the language, how to talk and his ability to know how to deal with time changes, technologies, training and qualification for what is in the future concerning the stages of human knowledge developments, developed curricula and programs that are subject to constant development.
Thus, the nature of graphic designer work is different from other professions not only because it is the most innovative field through the approach of dealing with a piece of information and visual communication means but also through the different standards constituting the work scene which follow a special innovation and an advanced approach to realize the goals of this innovative work as well as the competence and qualification of the designer. Graphic designer is not only an artist but also a technician who is able to make use of the available programs and their techniques in order to fulfill the task he is charged with. As a result, he is a designer who, through his imagination, reaches the crowd, promotes his imagination, reaches the crowd, promotes and presents through effective implementation with little technical exaggeration to realize successful work.
The fact is that graphic design is firm in its core, developing in its tools which needs close follow- up and cadre distinguished with a lot of knowledge in the field of arts, psychology, marketing, knowledge and information techniques. It is considered the assistant partner of technical development in terms of computer, the internet or programming and its systems. We find it developing in the ways of presenting its different media which come in the form of stationery, poster, brochure, flyer, catalogue, directed post, pamphlet, website and other large group of media.
The core of graphic design is the design foundation factors and their theories and philosophy which are constant any whereas the variable is the style of implementing the design, the form of the medium and the tools of implementation which have moved to the practical side of using computer and a large group of programs that deal with picture, hand writing and color. The development of the ways of promotion, presentation and communication besides the diversity of their developed forms, all depend on digital media.
We conclude, after studying these factors and phenomenon in which and with which graphic design plays an important role that graphic design is constantly developing.
* THE FUTURE OF GRAPHIC DESIGN IN THE ARAB WORLD
www.ezinearticles.com
Subscribe to:
Posts (Atom)
