[Abstract] In this paper, based on a detailed analysis of visual communication designers' various creative stages, from the non-digital creation period and the digital creation period of visual communication designers, the period of totally independent, collaborative creation and leading Comparing the creative periods, it is concluded that the independence of creativity is not a simple history of linear development, but an event that continues to evolve with the times. The article concludes with a discussion of the practical significance of understanding the independence of creation for our planning of the future.
[Key words] visual communication designer change creation independent cooperation master
In the 1920s, the book designer Wiggins created the name "visual communication designer", describing the "personal activity that enables prints to convey structured and visual forms." Its significance largely predicts the independence of visual communication designers. From the creative method of communicating the work of a person who started designing to working independently, to the creation method that now determines the concept of creation and works with others, the creative status of designers has changed a lot. How to face this change and correctly recognize the status of our own creative independence, and thus help us to develop better, is worth our attention and thinking.
An independent visual communication designer
1.1 Visual Communication Designers in the Non-Digital Era Before the digital design was highly developed, each designer was basically a person from beginning to end when designing and creating. They go through a single person to explore the programmatic nature of the subject, master the technical ability to paint with paint and not allow mistakes, and perform personal creation until the work is completed. Their independent creative status is very similar to the visual status of the visual communicators who are currently in the learning stage. As we know, the history of visual communication design is not long, and many designers are still engaged in design work. For example, Japan’s Tanaka Ikko, Fukuda Tonoo, Toda Masayuki, Southern Jun’an, Poland’s Wieslaw Walkuski, and others. While admiring their works, it is not difficult to find that although they did not create at the same time and place, they all had the same characteristics, namely, a solid hand-painted foundation and designs that were interpreted from their unique personal perspective. As Toda Masaru said: “How many years ago, when designing and creating, I was basically a person from the beginning to the end.†2 They are in a universal state of visual communication designers in the non-digital era. , that is, in the creative concept, the production process has independent control of the state of creation. Relative to them, there are restrictions on the independence of the creators of the digital age, but there are still some people who have the independence of creation. The visual communication learners and independent designers make up the vast majority of the creative independent people. .
1.2 The visual communication in the digital age The continuous development of the learner society has enabled more and more people to learn digital communication software such as Photoshop, FreeHand, Illustrator, and Coreldraw by learning about visual communication. The world of visual communication design. Most of them learn by doing fake design projects or participating in non-commercial design competitions. In this state of being out of the market, they also have conceptual control of the creation. The most common example is the graphic design students who are studying at school, and of course those who like to visually convey this activity. Of the 16 shows in the contest fax 3 of the China Graphic Design Online Design Gallery, the designers are not only designers but also more people who are in the learning stage. For the same game proposition, it is precisely because of the author's mastery of the creative concept that this colorful design is available. If you want to continue to maintain your creative independence after you finish your studies, you need to set your own goals, whether to collaborate with others or to create your own. It is best to observe the creation and operation methods of independent creators in the digital era, and develop with their own strength.
1.3 The difference between the independent creators of the digital age and the visual communication learners is that the independent creators in the digital age are mostly the founders of personal studios that were born with market demands and personal wishes, or the design directors of large design companies. Artistic guidance designer. Under the two-way selection of the market, these creators are designing and creating according to the customer's requirements. They also have conceptual control of the design creation, and sometimes they are not only that. Toshi Masaoka believes that “as an art director, the first work to be done is to determine the concept of creation. After the concept has been established, it is necessary to select the right creative staff. The most important and crucial thing in selecting the creative staff is that it must be suitable for the creation. Conceptually, otherwise, even if that person is good again, it is not necessary to be good.†2 From his point of view, it is not difficult to see that the creative independence of this group of people has changed, and it is more about independent thinking on key issues. And its monopoly and mastery have been reflected in this. However, this does not mean that they do not need to cooperate. There is no design that separates from society.
Although the above three types of visual communication designers differ in their creative methods, designers in the digital and non-digital era have essentially the same point, that is, they are independent creators. But just as the development of history is not static, the independence of designers cannot be distinguished by whether they are digitized or not. It is always a development event. The change of independence and the trend of development are the analysis of the events of this spiral movement.
Second Visual Communication Designers Create Change in Independence
Being a visual communication designer is just like other professional people. There is a learning process. Therefore, from the historical generality, most of them have had the following periods: technical study, independent intellectual creation. State → technical cooperation, ideological cooperation, technical cooperation, ideologically independent creative status. It is not difficult to find that there is a cyclical change in this. But the cycle of designer's this type of linear link is quite different from that of normal time. It is not only the designer's personal differences, but the bigger difference is that the trend of modern society's integration makes designers' independent creation state. , In the continuous and complex infiltration, it is different from the initial independence.
2.1 Individual creation - that is, a state of complete independence This is a state of creation that follows the individual's ideas and desires. The creation of students and the creation of some designers' ideas, as well as some of the creative status for their own personal promotion, fall into this category. Pursuit and performance of their own unique concepts and understandings, and the creation of works that can effectively reflect design ideas, are the root causes of this state of creation. The designer of Vienna, Zhuo Si Le, believes: “Design must have a personal style and transmit artistic information. Personal interpretation is the most important.†4 His words are to a large extent the descriptions of the designers who are in the state of personal creation. miss you. If this state of development is extreme, it will cause the designer's ideal to be separated from the market, but if it develops well, it will be a great success. I found in the statistics of 54 designers listed in the World Designers of Art Resources Network that only Dan Reisinger, Tappan Altom, Kojima Ryohei, Jose M. Teria, and Matsunaga True five designers worked in the design company or advertising department, and the remaining 49 designers either worked in schools or established their own studios or associations when they graduated. Most of them show themselves by participating in various international exhibitions, and their works are mostly collected by museums and art galleries. This can be said to be a concrete example of the successful way of personal creation. Of course, we cannot ignore the backside of things. With the development of society, the design has been placed in a very high position. As a result, some designers have developed a “savior†mentality. It seems that all problems can be solved by design. They often think that their own ideas are before the average consumer, and consumers do not understand the design at all and therefore do not bother to understand it. Instead of blaming the consumer's thinking, consumers do not know how to appreciate their designs, just like a "modern artist". In 1922, Walter Gropius realized this: "We are all very clear. Everything around us is not isolated, but is backed by our developing philosophy." 5 Bauhaus It was also aware of this – “As soon as Bauhaus loses its connection with the work of the outside world and its working methods, it will become a refuge for eccentrics. The school is obliged to train those who clearly understand the nature of the world in which they live. People and those who have the ability to use their comprehensive knowledge and imagination to create people who can symbolize the typical form of the world." 5 Therefore, we should try to avoid entering such blind individuals. It should be remembered that the design is ultimately to convey information, disseminate information, and cooperate with customers, technicians, and more related personnel to better achieve the ultimate goal of the design. As for how to maintain creative independence and achieve optimal communication, there are detailed explanations in the analysis of collaborative creation and leading creation.
2.2 Collaborative creation - participation in creation but obedience to the production of creative concepts Collaborative creation is talking about cooperation and cooperation with customers; working with design colleagues; working with people who need us. It has a relationship with personal creation. Of course, the idea of ​​"how do I think and how do I decide to design?" is absolutely not applicable here. With the refinement of the social division of labor, most of the designers who have entered the company are engaged in local design and adjustment, and they are in a passive position to decide on the concept of creation. Only when the designer is doing self-promotion is it restored to the individual state of independent creation. When the learners of personal creative status begin to melt into the society, they will face such a time when they need to change their attitudes.
Automatic devices (a product of postgraduate visual communication courses at the Royal College of Art in London) believe that: "Design must work with customers, and dialogue and growth must be encouraged to create tributaries that attract people's attention and attention. Each design is treated in an equal manner. Each solution is a natural product of an evolving dialogue.†6 “Ride Studios†always regards communication with customers as an important aspect of their creative process. In the 42 studios listed in "Extra Design - World-famous Studio Work", there are five studios that clearly define the importance of working with customers. The biggest change on the basis of cooperation with customers is the shift in the mastery of creative concepts. Most designers who do not have experience in social practices were only part of the entire design process when they first entered the company. From copywriting ideas to design artists, designers, and art directors are all subject to creative concepts. If we say that a design is divided into: the process of conceiving - the consciousness of creating things (or products), and the ideas and ideas that develop and extend from this consciousness. The process of behavior--makes the above ideas and ideas a reality, and finally forms the process of the feasibility and formation of the guest reality (or product). Implementation process - with the goal of the most suitable, practical and economic value throughout the entire design activities. And to complete the things (or products) to achieve its comprehensive value. Most of the designers in the cooperation period are merely executors of the behavioral process.
This period may have depressed many of the designer's personal language, but we still have space to show ourselves. Taiwan has a design competition titled “The Idea in the Trash Can.†All you need to think is a good design. Whether it is a master or a teacher, you can participate in the design. Its broad qualification for participation (as long as it is of interest to creative work, whether it is for people or students, black show members or non-members can participate. 7) is to promote the importance of personal creativity at any time, and this is It is a reflection of the lack of time difference in the pursuit of mastery of the concept of creation. It is precisely because of the designer's pursuit of the independence of the concept of creation. This period of creation that involves the creation but obeys the concept of creation is generally used as a buffer period for the development of leading works.
2.3 Dominant Creation - Conception of the Status of Independent Production In today's society that emphasizes the importance of design, more and more designers have established their own studios. They are independent in creative ideas and cooperate in production. This is how designers create