The Most Challenging Aspects of Graphics Design

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Table of Contents

Abstract
Introduction
Discussion
Recommendations
Conclusion
Reference List

Abstract

Evidence of improved learning outcomes when incorporating creative problem solving in the learning process can actually be seen in graphical design students who incorporate proper message delivery, research, conceptualization and understanding the audience.

It is based on this that this section explores the personal and professional impact of the study and helps to reveal what processes need to be changed in order to create a better practices in teaching graphics design students.

Introduction

This chapter discusses the findings of the research regarding the most challenging aspects of graphics design at the present.

It delves into the findings of the literature review wherein it was revealed that message delivery, research, conceptualization and an understanding of a particular target audience are the main challenge that students of graphical design encounter on a daily basis.

As such, this section will delve into the personal impact of the study results, its impact on the practice of graphical design in general as well as makes recommendations related to what processes could possibly be implemented in order to resolve the identified issues.

Discussion

The reason behind the creation of this study was to develop a means of understand what problems students of graphical design encounter on a daily basis when it comes to creativity.

Through a comprehensive examination of the various facts presented within the literature review, this has subsequently changed the views of the researcher regarding graphics design.

Personal Impact of the Study

Based on the study, I have come to realize the following factors regarding creativity:

When it comes to the application of creativity, it is important to note that there are three essential elements that are present which result in the creative process. These elements are composed of the following concepts:

Copy – the element of copying within creativity is actually a manifestation of the learning process wherein people “copy” the relevant information they need and internalize it for later use.This internalization is an essential aspect of the process of creativity since it in effect acts as the initial blueprint from where all future ideas stem from.
Transform – the element of transformation occurs when information that was initially copied and internalized is examined and thought of in new ways.While it has yet to be applied into anything specific, the information is no longer the same as it once was since it has been modified based on other perspectives and internalized concepts (Staresinic, 2009).
Combine – the process of combination involves utilizing the transformed knowledge within a real life situation which in effect creates a new solution as compared to merely utilizing the knowledge in the same way in order to create the same solution.

It is based on this that I have come to realize that when it comes to message delivery, research, conceptualization and understanding the audience, it is important to not only copy ideas that are given during class but to transform and combine them with new ideas in order to create something unique.

It is not adequate enough that ideas and techniques taught in class are to be utilized, rather, it is necessary to develop a more personal approach to graphical design wherein you utilize your own methods that suit your style in order to create truly original artwork (Steven, 2007).

Impact on Practice

Based on the work of Kirby Ferguson, it can be stated that the concept of creativity arises not out of nothingness; rather, it is the result of applying ordinary mental tools within the mind onto existing materials in order to produce new results (Vogel et al., 2011).

In order to better understand such a concept and how it impacts graphical design, it is important to first know what the various elements of creativity are and how they impact the creative process.

The Elements of Creativity Are Composed of the Following

Cognitive

Cognitive elements within the creative process refer to an individual’s basic knowledge regarding particular processes (whether generalized or specializing in a specific field), their attraction towards complexity (e.g. their innate ability to analyze and combine ideas into new areas or dimensions), their general open-mindedness towards new discoveries and finally their awareness of the creative process itself.

Such a process in inherently connected to the concept of research wherein the ability of a graphics artist to create a particular type of design to suit the needs of a population is inherently connected to their understanding of the likes and dislikes of the consumer segment that is being targeted (Boutelle, 2000).

It is through such an insight that it has been revealed that graphics design schools should not focus merely on developing the artistic talents of their students, rather, they should also help them in developing the necessary research skills in order to better understand that populations they are targeting with particular designs.

Affective

Affective elements on the other hand refer to an individual’s intrinsic level of curiosity, willingness to explore, their ability to take risks and their general independence towards following generally accepted processes and procedures in order to attempt something new (Small space, big ideas, 2006).

Combined with the cognitive elements of creativity this in effect enables an individual to examine current processes from multiple angles and actually desire to implement new methods which could potentially improve such processes.

Based on the study of De Miranda, Aranha & Zardo (2009) which examines the development of creativity within individuals over time, it can be stated that as an individual’s cognitive and affective elements grow so too does their ability to explore and become more creative (De Miranda, Aranha & Zardo, 2009).

When it comes to affective elements and message delivery it should be noted that being able to deliver a particular message through graphics design alone is a skill that is necessary if one is to succeed in this particular field.

The problem with message delivery, as indicated with the research literature, is that it must combine a creative output that is both visually appealing while the same time able to deliver the messages that the designer wants to deliver (Behrens, 1998).

The inherent problem though when it comes to the teaching of graphical design is that there is little in the way of sufficient classes in helping students understand affective elements when it comes to message delivery (Shlyk, 2007).

This results in students that are brilliant when it comes to the execution of a design but lacking when it comes to the design phase of the message that the design is intended to deliver (Clark, 2008).

As such, when it comes to the impact the study has had on practice, it can be stated that it has helped to show the deficiencies inherent in properly teaching affective practices and, as such, reveals an area that graphics design schools need to improve upon in order to create better students (Clark, 2008).

Personal

The personal aspect of creativity is slightly different in that it refers to an individual’s innate talent with a particular type of skill set as compared to something that was acquired over time.

When it comes to an individual’s personal perspective on creativity, this often takes the form of new concepts being applied to new experiences in order to create new outputs as compared to situations without sufficient creativity wherein new concepts/ideas are actually made to fit onto old theories which often results in inefficient or ineffective practices (Vogel et al., 2011).

In the case of conceptualization, this refers to the ability of a graphics design to create their own unique design based on their own innate talent and perception regarding what a design must look like in order to appeal to the general public (Moszkowicz, 2011).

Unfortunately, based on the results of the study, it can be seen that graphics design schools superimpose their own version of proper design elements onto their students thereby crimping that individual’s personal creativity (Moszkowicz, 2011).

The impact this revelation has on the current practice of graphics design is that it reveals a severe flaw in the way in which graphics design students are being taught at the present. Such practices need to be changed in order to help students develop their own unique perspectives and create a certain level of originality in graphics design work (Poynor, 2001).

It is only when this is accomplished that the sheer level of repetition seen in many of today’s designs can be avoided.

Motivational

The motivational aspect of the creative process is related to an individual’s drive towards a particular type of project, assignment, job or piece of work that they are currently working on.

The desire to design, create and enhance in this particular case is not due to external influences but rather as a direct result of an internal desire which manifests itself as an aspect of the creative process. What must be understood is that creativity is not something that can be forced, rather, it is an internal process that develops as a direct result of the desire of a person to develop or enhance something they are working on (Shapiro, 2004).

Thus, the motivational aspect of creativity is one of the most important elements since it acts as the spark which lights the fire of creativity in the first place. When it comes to the concept of understanding a particular audience, the motivational aspect of the creative process needs to be taken into consideration.

The reason behind this is quite simple; designers that are motivated in learning about a particular audience are more likely to create work that is in line with appeals to that particular market segment.

As such, this impact on current practices reveals the necessity of individual designers developing their own motivational methods in order

Recommendations

Based on the results of the study, it is recommended that graphics design schools adjust their curriculums to accommodate lessons that encompass not only the graphical aspect of graphics design but the creative aspect as well.

This involves lessons that focus on enabling students to understand what it means to proficiently develop graphical designs that correctly target the consumer demographics that they are meant to target.

Conclusion

Based on what has been presented in this paper so far, it can be stated that creativity is an essential part of the learning process due to the way in which it examines and tries to improve upon knowledge that has already been internalized.

Reference List

Behrens, R. R. (1998). Improvise! Improvise!. Print, 52(1), 26.

Boutelle, M. (2000). Graphic design touches everything we do, everything we buy, and everything we see. Enterprise/Salt Lake City, 30(22), 4.

Clark, B. (2008). Inspired. Design Week, 23(31), 10.

De Miranda, P. C., Aranha, J. S., & Zardo, J. (2009). Creativity: people, environment and culture, the key elements in its understanding and interpretation. Science & Public Policy (SPP), 36(7), 523-535.

Moszkowicz, J. (2011). Gestalt and Graphic Design: An Exploration of the Humanistic and Therapeutic Effects of Visual Organization. Design Issues, 27(4), 56-67.

Vogel, T., Villegas, J., Barry, I., Hurni, R., Ortega, T., & Griffin, G. (2011). Creativity as a strategic resource. American Academy Of Advertising Conference Proceedings, 132-133.

Poynor, R. (2001). Nay Say. Print, 55(3), 40B.

Shapiro, E. (2004). Design Schools 101. Print, 58(2), 41.

Shlyk, V. A. (2007). Fractal Graphic Designer Anton Stankowski. Leonardo, 40(4), 382-387.

Small space, big ideas. (2006). Australian House & Garden, (5), 78.

Staresinic, D. (2009). Collaboration modernized. Packaging Digest, 46(10), 51-53.

Steven, H. (2007). VISUALS; Words Into Type. New York Times Book Review, 18.

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