‘ Do graphic designers…’ Post Script

Fellow ‘mature’ designer, davidthedesigner, has made an interesting critique on my ‘Do graphic designers…” post.  He says he is  ‘... not entirely certain that I understand his argument’.

So, for David, and anyone else who needs clarification, here goes… The point of showing the work of Studio Dunbar, 8vo and Wolfgang Weingart (and I could add to that April Greiman, David Carson, Tomato...

April Greiman

David Carson's Ray Gun magazine

Tomato

and umpteen other followers of the stylistic genre), is its disregard for the copywriter and ultimate reader. 

The interesting thing about Studio Dunbar’s work, when I first encountered it, was that it was all in Dutch. I along with many others was utterly seduced by the ‘look’.  Throughout the 80s and 90s, replicas popped up everywhere. The words used could (or should) have been in ipsum lorem, it would have saved the writer slog and money too. Just as many architects often don’t consider the people who have to use their buildings, being far too hung up on their ‘visual expression’, so too are some graphic designers in their neglect the basic rules of communication. 

If you are going to work with a writer then please respect their work. They are creative, feeling beings too. And sometimes words are far more powerful that a lot of visual alphabbetti spaghetti for no apparent reason.

Interestingly David mentions Why Not Associates and their clear connection...

with Studio Dunbar’s early work. He goes on to mention their most recent and excellent piece (in collaboration with artist Gordon Young), The Comedy Carpet in Blackpool…

Ironically this work takes its inspiration from the wood blocked musical hall playbills of the late 19th century. If ever there was a clear, direct form of communication, with an economy of words, it is in this era. 

And if you'd like to see more of these click here.

So the clue to which I was rabbiting on about in my blog post is in the title.  My therory is that few do. Most like to look.

Comments

[James Hoxley]

Mike, I understand your argument and I agree with you. Interestingly I’m not sure I would have agreed while I was at St Martins in the early 90s. I too was seduced by the aesthetic of the designers and agencies you have mentioned. However as my career has progressed and I've grown older I appreciate copy and the graphic treatment of copy more and more. I've always read books; I truly can’t remember a time when I wasn’t reading a book, I finish one and pick up the next straight away. I feel this passion has increased my realisation of the importance and power of words. Once again your blog has made me question my own work and point of view. Thank you.

[Richard]

Thanks for that clarification Mike. I probably don't need to say that I'm a graphic designer that reads. This all reminds me of what, as a young designer (around the time you're talking about) became the foundation stone of everything I've wanted to do since: Tschichold's maxim that "we must uphold the principle of identity between content and expression".

That's stayed with me over the years. And while I've enjoyed the stylistic indulgence of most of the designers you mention, it's also annoyed the hell out of me.

But I think our "industry" is in a state of constant flux and evolution. The discipline of graphic design operates in diverse applications. One size will never fit all.

There are times when an audience is ready to be challenged and stretched and there are times when elegance, beauty, balance and clarity are king. I would tend to lean towards the latter though. I'd agree that those are values that reflect a greater respect for both the wordsmith and the reader.