Communication by design

This was in response to a few of the VPs I work with.

Because graphic design objectives/effectiveness are based on application
( placement/form ) first and then aesthetics ( broader visual language/function ),
we need to know what clients have all ready been predisposed to.
We need to know what that exposure entails.
( like the demos we target with there respective communications )
This helps translate the information into collateral design and campaign work.
While keeping designers from reiterating others' work or their own.

Campaign work ( any medium ) isn't dictated by photographs
( literal pictures of a subject or situation ) alone.
It's the overall graphic, shapes, colors, typographic elements that define it.
Against a backdrop of photos and situations that all appear the same
( ie. three different ads utilizing a beach image ), it becomes the graphic's
function to separate, identify and communicate their respective messages.

If you look at print ads peripherally, which is to say, "they get your attention," without
directly looking at them ( like street sign-age does ), it's their simplicity that engages
your eye first. Bright, vibrant etc, are not design functions, they are design emotions--Perceptual-end-results--we've left behind for the prospect.
Their application ( placement/form ) is inherently dependent on our prospect picking
it up and experiencing the communication based on their own initiative.
They are engaged--curios. Where as interactive and unique media communications
allow for more strategic placement ( like street sign-age ). They will,
no matter what, experience the communication.
Hopefully in a meaningful way. Irreverently ethical if at all possible.

There may be a photographic style, sure, but it becomes graphical because
the exposure is peripheral. Not directly. Shapes-colors–clarity-
Communication experienced.

If we where to place all the communication pieces of client "Q" next to each other,
print-interactive-untraditional-outdoor-TV, would we see a corresponding and
unifying look throughout all? Is it inviting? Beyond a consistent visual language ( function ),
does it utilize it’s place or space effectively ( form )? Is it in harmony with it's enviornment?
If interactive prospect "x" is accidentally exposed to outdoor prospect "y's," communication,
wouldn't we want to make sure there is a connection that resonates and transcends
one medium into one another? Visually and conceptually--it's a lost opportunity
if it didn't. Targeted does not parallel segregated.

This is where good design comes into play. It provides a simplistic form of communication
that will supersede our prospects individual points of interaction. Keeping in mind
simplistic when trying to understand, not simple in it’s conceptual thought
Simple communication does not mean simple thinking.

Unless we’re dealing with a different culture/society all together, design exceeds
all boundaries. And when faced with language barriers, a little research
will yield the symbolic logic necessary to generate effective communications.

Beyond, what's considered traditional media and the literal images that make it up,
*are visual components that reflect the attitudes
and personalities of the company and it's products;

*Stationery
*Corporate Literature
*Annual Reports
*Product Design
*Packaging
*Merchandising
*Advertising
*Transportation
*Corporate Headquarters
*Retail Outlets
*Wardrobe/uniforms
*Websites–and more

–all have a role to play but are only supported through the visual programs designers
( experienced solution providers ) have developed for business and industry.

A Trademark for example ( logos, text-mark, icon-based, logo-mark, character-based )
is the cornerstone of these systems, it has historically only reinforced the most
well-recognized reason for it's own existence, acting as a thumb print or instant identifier
for the corporation, organization or product.

However; the trademark has never provided a system that enables recognition prior
to or beyond the well-worn 'sign-off.' This is not enough. This is where strong graphic
design comes into play.
*( This portion sourced from Ken Kato's: Design by Thinking )

Design is driven by ideas, not guess work–that might be defined as art.
Art requires no explanation or direction. Which is where design fails.
Design has concise visual goals to meet. Designers are not decorators.
They're are full-time organizers of information.
Design must communicate accurately, effectively and above all,
represent the idea.

Advertising is the end result of effective design.
Design=form : Advertising=function
Advertising has no form.

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