Annotated Bibliography Final Draft
Graphic Design Careers
Annotated Bibliography
The career field of graphic design has advanced in many ways through the years and gone through many changes. It has become increasingly conceptual and less graphic-based as it has evolved from the traditional ideas of logo and product design to artistic and multimedia representations of wider issues in society and differing communities. There are still original ideas of the field that are important for designers and employers to realize as well. Students, clients, and teachers need to be aware of what is happening in the field and what they need to do to keep up with this industry that is constantly changing.
People in the field of graphic design are increasingly concerned about the development the field has been taking in recent years. Some are excited for the outlook of graphic design while others feel it is becoming too broad and branching away from its roots. This issue affects all people in the industry because it defines them and their career. New people are coming into the field with differing ideas of the goals in the community of graphic design. Whether already in the community or newly entering, it is important for graphic designers to understand the path graphic design is taking as a career in order to best work in the industry and serve the needs of clients who might have varying ideas of what they expect out of the field. Clients need to be able to know what direction the field is going towards in order to make decisions about hiring designers and businesses for graphic design purposes. And students are constantly struggling to adapt to changes within the field as expectations of graphic design education are constantly changing. By the time the educational community starts adapting to changes in the field, new changes are already on their way. The issue of how best to prepare design students for professional careers and pleasing clients is increasingly difficult and many are trying to find solutions to these problems.
In the included sources designers and other experts in the design field discuss the increasingly broad ideas associated with graphic design as an industry. Some of the articles discuss the divergence from the original idea of graphic design that is taking place and the importance of returning to the original idea of the field; while others discuss the benefits to the field created by these developments in graphic design. Examples include experiences of graphic design that branch outside traditional ideals in the field for more modern approaches dealing less with graphics and how this affects the industry. Some other sources discuss problems and solutions in graphic design education to help prepare students for the professional design industry. While all these changes occur within the field it can be difficult for students and teachers to keep up and provide the educational experiences that are needed.
This collection includes mostly academic articles and journals geared toward professionals in the field as well as students preparing to enter. All the articles are fairly recent, coming mostly from the 1990’s through today. This way they are more up to date with changes currently occurring in the career field. The scholarly aspect gives further quality to the expressed ideas since often designers are not focused on literacy in writing but more in artistic mediums. The fact that some experts have taken the time to formally address these issues, expresses their qualifications as professionals in the field. It is most useful for other such experts as well as students in graphic design to understand the conversations at hand since it directly impacts their career or career choice when changes are occurring in the industry, whether negative or positive. Professionals need to know what kinds of people and ideas are being brought into the industry in order to better understand the kinds of people they will be working with or competing against. And students need to have an idea what direction the fields might be going in so they can choose how best to prepare to enter the industry.
Banu, Bulduk. "WCES-2010: The Relationship Of The Traditional Drawing Education With Technology And Graphic Design." Procedia - Social And Behavioral Sciences 2.Innovation and Creativity in Education (n.d.): 2019-2023. ScienceDirect. Web. 21 Oct. 2012.
Graphic designer and illustrator Banu Bilduk argues the case for recognition of the importance of drawing to artists in the graphic design field. As technology becomes more and more relied upon in the design industry, Bulduk reminds her fellow graphic designers that drawing is the root of design and should not be overlooked. In order for one to be successful as a designer they must be successful in drawing as well. Drawing improves many skills that are vital to designers, from perception and sensitivity to observation and analysis of a subject. Drawing can help artists to interpret a subject for themselves and learn to create it in their unique expression. It also helps build artists’ visual memories. The skills learned through drawing are especially useful in aspects of graphic design that might include illustration and animation.
Many students going into computer based art forms such as graphic design want to dismiss the vital importance of a good drawing foundation. The truth is that they could accomplish so much more in their design skills if they incorporate drawing into their practice and work. Even if a project does not specifically call for the use of drawing, the skills learned from practice can still be applied. Students, designers and teachers should be aware of the importance of drawing for designers so they can incorporate it further and hone their abilities to become the best designers they can.
Blair-Early, Adream. "Beyond Borders: Participatory Design Research And The Changing Role Of Design." Visible Language 44.2 (2010): 207-218. OmniFile Full Text Mega (H.W. Wilson). Web. 21 Oct. 2012.
In the article written by Adream Blair-Early, Assistant Professor of Design at the University of Wisconsin-Milwaukee, Blair-Early discusses the changes to graphic design education that are requiring more from design students. As the industry of graphic design continues to globalize and cross cultures, students are facing more opportunities where it becomes essential to be able to interact internationally. Social networking and other tools of the internet these days makes it easier to communicate and collaborate across countries, and the graphic design industry has taken advantage of this, working with designers and clients from many different backgrounds. Students must learn to overcome new bearers associated with this cross-cultural work. Another issue with newer students is that there have been many changes in the focus and goals of graphic designers. Now designers need to develop knowledge of a changing world view, using influences from globalization, education, consumption, and environmental issues.
It is important for students going into graphic design to understand what will be expected of them. As the industry evolves so do those expectations. More and more designers are expected to be able to collaborate with people oversees or across borders. Employers also expect designers to understand current global topics and issues to apply to their work, such as the environmental trends many companies have been attempting to incorporate. If students want to be successful in the design industry they need to know how to address these issues and incorporate them into their work.
Bonsiepe, Gui. "A Step Toward the Reinvention of Graphic Design." Design Issues 10.1 (1994): 47-52. Print.
In this article, Gui Bonsiepe, a well-known designer and writer, explains his belief on what graphic design should evolve into. Graphic design was primarily about print medium, but as computerization started to take more of a role on graphic design Bonsiepe felt it time to reinvent the term “graphic designer.” He says that graphic design should be more about information management, rather than about marketing and advertising. New mediums should be incorporated, such as multimedia, audio, and visual. Therefore a shift needs to occur in the role of the graphic designer. His term for this new idea of graphic designers is “info-designer.” These designers would deal more with rhetoric, psychology, environment, and so on, rather than strictly artistic design of products, logos, and advertising.
Bonsiepe’s new idea of the role of graphic designers as “info-designers” is an important development in the design field. This article was first written in 1993. Since then the area of graphic design has formed in some areas to resemble his idea. Now in some sectors of graphic design the focus is more on the concept, psychology or rhetoric of the project than on the commercial use. Also, Bonsiepe emphasized the need to make better use out of computerized methods, which has in fact evolved quite a lot in the field. These ideas of Bonsiepe’s are important in the field of graphic design as they are concepts that have been and continue to shape the realm of graphic design; influencing the ideas and actions of everyone in the field.
Carliner, Saul. "Emerging Skills in Technical Communication: The Information Designer’s Place in a New Career Path for Technical Communicators." Technical Communication. 2nd ed. Vol. 48. N.p.: Society for Technical Communication, 2001. 156-75. Print.
Author and professor at Concordia University, Saul Carliner is very knowledgeable about the subject of the graphic design career field. Being a designer himself, his perspectives on the differing aspects of the industry are relevant to anyone going into graphic design and the employers. In this article Carliner discusses the concept of information designers/developers. Graphic design is not as completely focused on the artistic aspects as it used to be. Information designers are needed to understand more than the visual appeal of a project. How projects (such as website designs) are created need to be not just about how well it looks but also at how well it functions. This is the role of the information designer; to use their knowledge of technical communication, information, writing, and formatting to create a better functioning design. Information designers have vast knowledge about the effects the design should have when crossing boundaries of technology, ethics, culture, and gender. They do not always create the actual design, rather they create the “blueprint” or outline of what the visual designer should include.
It is important for those in the graphic design field to understand the effects of information designers. Often graphic designers will end up working with information designers to create the best project. The role of information designers in the industry can also impact what graphic designers choose to study. They may find it beneficial to become familiar with the knowledge held by information designers so that they can broaden their range of abilities, assuming the role of both information designer and graphic designer. Employers and clients should also be familiar with the role of information designers, as it may be beneficial for them to hire an information designer along with a graphic designer on projects to improve the functionality of the design. They may even want to look for designers experienced in both areas so as to save money by hiring just one person rather than two.
Heller, Steven. “What Do We Call Ourselves Now?.” Eye (Croydon, England) 16.63 (2007): 77. OmniFile Full Text Mege (H.W. Wilson). Web. 1 Oct. 2012.
In his article, art director and critic Steven Heller addresses the identity crisis faced by graphic designers today. Because graphic design is not a licensed field, they can call themselves whatever they want, and anyone can call themselves a graphic designer. There is much confusion within the field about who actually is considered a graphic designer, and what to call everyone else who thinks they are graphic designers. Part of the problem is the range of professions being called graphic design, from illustrating, to branding, to advertising. Also, innovations in technology have led to less “graphics” in “graphic design.”
In the area currently known as graphic design, it seems clear that there need to be clearer terms applied within the different specialties. But since no such titles have been clearly assigned, the term graphic design is still applied to all of them. For anyone going into the field or currently in it this is very important as obviously, there is a huge difference between a graphic designer who illustrates book covers, one that does typography, and one that edits photography in Photoshop. Technically they are all graphic designers, but it would be helpful to identify more specifically in order to better communicate with those in the field as well as clients and students.
Poynor, Rick. "A Report From The Place Formerly Known As Graphic Design." Print Magazine (New York, N.Y.) 65.5 (2011): 30-32. OmniFile Full Text Mega (H.W. Wilson). Web. 30 Sept. 2012.
According to respected author on design Rick Poynor, the field of graphic design no longer holds the same image and definition that it used to. It has evolved from its original classification into something much broader and harder to define. He witnessed some people involved in this new idea of graphic design at a graduation show for future designers. Among these “graphic designers” Poynor realized that their designs seemed to no longer incorporate the “graphic” aspect of the track. They were more theatrical and lacked physical medium, which concepts and writing being at the forefront. Poynor has come to find that design does not go hand in hand with art anymore in the graphic design field, and the people going into the field are no longer the kinds of people you would expect to see going into “packaging or branding.” It seems that Poynor is calling for graphic designers to return to the way they used to be; designing products and logos for commercial use.
The changing ideas in the field of graphic design greatly impact those going into the field as well as those who are veterans in graphic design. The definition of graphic design is changing and so are the people coming into it. Graphic design is no longer solely about marketing, product design, or advertising. It is now much more difficult to define. No longer are the motives purely commercial but they now blend into the conceptual and message geared realm. It is important to be aware of these things whether a member in the original idea of the field or the emerging idea. If you call yourself a graphic designer and want to go into the field, it is important to know what other conceptions are out there in order for you to make the greatest impact in your field.
Rosenquist, Christina. "Visual Form, Ethics, And A Typology Of Purpose: Teaching Effective Information Design." Business Communication Quarterly 75.1 (2012): 45-60. Business Source Premier. Web. 21 Oct. 2012.
Christina Rosenquist, professor at Brigham Young University, discuses what should be taught to students pursuing information design for a career. She talks about the importance of choosing the correct visual elements for an effective design. Communication in the field is done through visual elements, so it is important for those in the business of visual design choose to use visuals that convey the correct meaning and reaction from a piece. The pictures used in a design should both relate to what is being advertised, sold, or used, as well as evoke a certain response from the viewer or buyer. If the designer wants the viewer to buy the product, they probably want to make the buyer feel a positive emotional reaction to the product. Other elements besides the picture associated with the object also play a key role in the communication of the design. Designers need to be aware of elements such as type, color, and layout as well in order to communicate properly with the viewer. Rosenquist argues that there are not enough teachers emphasizing the importance of understanding how a visual element creates a response from the viewer. Students must be taught how to work this form of communication to best suit the goal the client wishes to achieve by incorporating design elements.
Any students going into the graphic design field need to be aware of how to create an effective design. Whether they are going into more traditional or modern tracks within the field the will still be creating ideas and visuals that elicit responses from viewers, and in order to achieve the most out of the career, designers should work to best mold visuals to meet their needs as well as the needs of the clients.
Sanchez, Yojairy. "Graphic Designer." Careers & Colleges 21.3 (2001): 33. OmniFile Full Text Mega (H.W. Wilson). Web. 22 Oct. 2012.
In this short guide Yojairy Sanchez lists details about the career of a graphic designer. Sanchez includes a description of what a graphic designer is and what they do. He covers what the workplace is like, what education designers need to go through, what they can expect to make, and what the outlook is for the career. The language is easy for anyone to understand so that those not yet in the field can gain knowledge about it.
This guide is clearly meant for students who have not yet made the decision to pursue graphic design, but who are interested in learning more about it. As simple as the article is, it still is important to people in the industry. Anyone interested in the career of graphic design have to get their basic knowledge of the industry from somewhere. This lays out what they can expect so they know if it is something they care to look into further. It provides new students the knowledge they need to decide whether to enter the field and become designers themselves.
Shaughnessy, Adrian. "From Here To Here." Creative Review 24.4 (2004): 54-55. OmniFile Full Text Mega (H.W. Wilson). Web. 21 Oct. 2012.
Adrian Shaughnessy, renowned graphic designer and writer, discusses the two approaches that have become evident in the industry of graphic design. On one side is the commercial, mainstream idea of graphic design that is mostly driven by large scale companies or commissioners making designs for products, companies, and advertising. The other idea of graphic design that has been gaining new followers is that is usually done on smaller scales and is more radical in its approach. This idea sometimes seems to have little to no purpose, while the first idea is clearer in its goals to persuade, advertise, and attract viewers and buyers. Shaughnessy argues though that despite the major differences between the two approaches, they are more similar than many realize. They both are in the business of making money. He says that the one thing that truly makes them different is that the newer, more culture related approach no longer relies on the professional designer. Graphic design used to be focused on the professional aspect and rarely was attempted by inexperienced designers. Now those lacking professional status had been invited to get into the business as well by making and selling things like t-shirts, posters and other homemade design objects. The result though is that more students are being encouraged to pursue a career in graphic design when there just are not enough jobs out there for all these new designers. Graphic design went from a secretive industry to one that many artists wanted to get in on.
New students looking into the graphic design industry might benefit from the knowledge of the emergence of the cultural graphic design approach. There are more and more artists discovering the industry and increasingly filling the open opportunities for people to enter the field. More designers are going into the more freelance route, coming up with unique styles to attract clients to their personal design capabilities. Yet even though this individual route technically requires no degree, people still pursue graphic design degrees that would be better suited for those going into the mainstream area of graphic design, being hired by larger corporations.
Steiner, Vera. "How To Hire A Graphic Designer." Folio: The Magazine For Magazine Management 27.18 (1999): 171. OmniFile Full Text Mega (H.W. Wilson). Web. 21 Oct. 2012.
Vera Steiner, Presidential Professor of Linguistics & Education University of New Mexico Albuquerque, addresses some frustrations he has had with hiring an effective graphic designer. According to Steiner, there are many graphic designers, yet he has a difficult time finding a “good” one. He traces this problem to the ease of becoming a self-proclaimed graphic designer. The technology to be a designer is relatively cheap and easy to get, and there are many cheap classes available to just anyone. This ease of access for the average person leads to the thought in their minds that they are designers, even if they have had no formal training. And part of the problem is that employers inexperienced in art themselves don’t know how to tell an experienced designer from a self-named one. Steiner tries to help out his fellow clients by telling what they should look for in potential designers, including evidence of professional training, knowledge of programs and computers, professional portfolios, and so on.
This article takes a different look at the career field of graphic design, addressing the clients and employers specifically rather than the designers. This is also helpful to those in the industry as well since it can show them how to separate themselves from the competition. Many employers hire the cheaper designer, not realizing that this leads to more loss as they get less experience out of these self-proclaimed designers. Employers might understand after reading this that it is more beneficial to hire a designer with real training, and designers know how to express that they are fit to do a proper job.
Swanson, Gunnar. "Graphic Design Education as a Liberal Art: Design and Knowledge in the University and the "Real World"" Design Issues 10.1 (1994): 53-63. Print.
Design educator Gunnar Swanson discusses the efforts of graphic design to educate future designers and what preparations they should gain before entering the industry. Swanson argues that graphic design should be taught more as a liberal art, rather than as a trade. Currently those going into a future in graphic design only have to study courses directly relating to graphic design, but Swanson believes that students would be more prepared for the career path if they also study other areas of liberal arts, such as English, history, writing, and sociology. These studies could create more well-rounded and professional individuals. Unlike many other studies, design has the potential to connect to many different disciplines, yet most colleges, universities and art schools only encourage classes directly related to design. Students should be encouraged to gain broader knowledge to apply to their work. Plus the things learned in graphic design do not serve much of a function outside the specific industry, where as if other studies were included students would have more background knowledge to apply elsewhere.
Students pursuing higher education in the graphic arts need to have knowledge of what they are going to be getting out of their education and how it relates to the career field outside of school. They need to learn about what skills they should acquire for the real world, rather from teachers who are unaware where the field in progressing towards. Much of what is taught to graphic design students is aging and does not account for the fact that other areas of study are steadily weaving their way into the environment of graphic design. In order for students to best be able to get a job in the design field after college, they must become aware of what knowledge others in the industry expect from them, which often include areas of liberal arts.
Van Der Waarde, Karel, and Maurits Vroombout. "Communication Design Education: Could Nine Reflections Be Sufficient?." Visible Language 46.1/2 (2012): 20-35. OmniFile Full Text Mega (H.W. Wilson). Web. 21 Oct. 2012.
In this article, author and designer Karel Van Der Waarde addresses the issues evident in today’s graphic design education environment. She calls for a change in the way students are taught graphic design to make them more professional and make important changes to the industry altogether. She addresses factors that are increasingly influencing the way designers should think, such as globalization, economics, and technology. She also says that a development in the education of graphic design is the change in higher education itself, with changing requirements, funding, and organization. She further discusses five areas in graphic design education that should change to produce higher quality designers in the field. These areas include the course content and structure, assessment of criteria, research, theory, and teaching methods. In these areas she argues that there either is not enough of it going on (such as in research) or that there need to be changes in the way they are done. Van Der Waarde mentions that it seems strange that change and adaption are important in the graphic design industry, yet that is something that rarely is seen in design education.
For students learning graphic design, these issues in education can be of great importance. If students want to get the most out of their design education they should be aware of what types of areas they should be receiving education. If one institution does not offering education that has adapted to the current needs of the design field, students might find it best to find an institution that has addressed these issues. Employers and clients are going to want to hire designers that have received the best educations to prepare them for the field, so to continue in their professional careers students should take these issues seriously.