Visual Design, coming under the broader umbrella of visual art or visual aesthetics, has the limitation of finding common accepted grounds considering a design being design-worthy or not, because aesthetics is very subjective; and each one has one’s own standards of beauty and elegancy. It is difficult to categorically pinpoint why a design looks great or why a design looks ordinary.
Comparative study between designs might help us cut the clutter. I place on table two cover designs I have made with the same brief for the Together magazine. I would like to clarify why I went with the option that finally sent to the publication; that might tell the difference also between a good visual design and a better visual design. |
| Understanding Layered Designs |
The design process begins when the designer receives the
oral or writer brief from the publication. Then begins the rigorous non-linear
process of understanding the idea/brief (empathising), outlining the idea in
clear categories and boundaries (defining the problem), and contemplating for
insights (ideate). It goes on as a back and forth process.
Brief from the Publisher
The brief has come in. It is a serious political notion. I begin to search for signs/images to communicate melting. I know that there is an accompanying copy; so the meaning is reinforced by the text too; or the meaning and impact is created together.
What would represent melting, ice-cream? A piece of
ice? A piece of cheese? A candle? Though
an overused sign I went ahead with a candle. Should I draw it, or should I use
a photograph? I found an apt photograph in the photography collection of one of
my students, Srinija. Got the necessary permissions and began making a more or
less model (prototype), just to see whether it works. Showed a few people (testing). They
got the idea. Then made a final design, enhancing background; and with better
design fonts.
From Good Design to a Great Design
Is it a good design? Yes, it is. It surely is a good
signifier to communicate the idea (signified). Easy to catch it; appreciate it,
because it is an icon. But taking designing to the next level, icon are not the
best signifiers in design. That makes you think again.
The brief had said that ‘melting public memory’ is a
repeated infamous phenomenon. That made me go back, do a little research, when
was public worst hit by amnesia. I travelled back to the 1930s. Parts of Europe was getting under the ugly grip of
fascist Nazi regime. Public did not want to see things, hear things,
remember things. And the cost Europe paid was the Holocaust. That is a strong
historical, cultural reference. But how will I make people travel back in time
to be reminded of those times? Look at famous art works of that time. I hit
upon Salvador Dali’s melting timepieces, which is so popular that people can
recognise and relate to (Meme making also uses this method).
Surrealist artist Salvador Dali’s Persistence of Memory (1931) has three melting clocks. Historically, Dali was caught between two World Wars. The painting reflected strongly the political climate between the two World Wars as well as the unrest leading to the Spanish Civil War in Dali’s native country; and definitely a foreshadowing of parts of Europe getting under the ugly grip of fascist Nazi regime. Doesn’t this century old painting speak a million words about the era we are living through? I found a culture reference/artistic reference that can lead people to another layer of thought and comprehension.
The melting clock of Salvador Dali adds another layer to the Design. That raises the design from being good to being great. There is more hidden in the second design. Would all viewers spot it? May or may not. Still make effort to make better designs. Better designs force people to be better viewers.
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