INTERVIEW WITH RUSSELL KENNEDY, VICE-PRESIDENT ICOGRADA

1. In the global era, considering all its potential benefits and
inconveniences, what do you think is the future of Design, especially
Graphic Design?
Global networking, self-analysis
and the renaming of graphic design are emerging as the issues facing
the practitioners and educators of our profession. A shrinking world
combined with the merging of creative disciplines encourages us to both
redefine our industry and internationalise our approach to education.
The
borders between graphic design and its associated creative disciplines
have been blurring for some time. The discipline is in a state of flux.
This is due partly to the computer revolution and the multimedia
phenomenon, but also to a changing attitude towards design itself.
Design is now referred to holistically. Multidisciplinary and
cross-disciplinary practice is growing. More and more graphic designers
are working in the new media areas of web, video, animation and sound
design. Multimedia, however, is not the only influence of change. A
growing number of graphic designers are now practising and exhibiting
within a visual art context. The role of the graphic designer has
extended far beyond the areas of visual identity, typography and design
for print. The rapid and continual evolution of 'graphic design' has
prompted international discussion regarding the appropriateness of the
term itself.
2. What do you think are the new practices or the emerging ways of exercising Graphic Design nowadays?
Icograda
recently opened discussion on a name change for the profession. We
acknowledged that there seemed to be a move away from the term 'graphic
design'. Many educational institutions around the world - including my
institution, Monash University - have already made the change to visual
communication. The term 'visual communication' or 'communication
design' appears to be the preferred replacement to graphic design. The
impact of a new name for our profession will be minimal because it is a
reaction to a change, which has already occurred. The graphic design
industry will continue to adjust and accommodate change as it has
always done. Graphic design education will continue to respond to the
changing demands of the profession while also challenging its
conventions and pushing its boundaries even wider. It is not only the
boundaries of the disciplines that are blurring, but also the borders
between countries and cultures.
3. How can Graphic
Designers successfully deal with their professional tasks while being
respectful of environment and cultural diversity?
As
designers we must be aware of our environmental and cultural
responsibilities. Graphic design has an important role to play in
promoting sustainability and responding to the negative impacts of
globalisation such as the erosion of cultural diversity. Respecting our
differences is just as important as highlighting our similarities. It
is important that we focus on diversity and take care not to
involuntarily promote the homogenising of international design through
the well-intended pursuit of common ground. On the other hand, the
value of graphic design will increase as the world moves closer
together because communication design is emerging as the new
international language.
4. How would you describe the
difference between doing Graphic Design in a developed country and
doing it in an underdeveloped or developing country?
Like
most professions graphic design relies on a healthy economy. Commercial
activity is the major stimulus of graphic design in developed
countries. This is the primary reason why graphic design suffers in the
underdeveloped or developing countries. Poor economies, low pay rates
and working conditions and a lack of respect for design are major
issues in these countries. Icograda recently compiled a report titled
'The State of Design in Latin America'. Eight countries participated in
a supporting survey: Argentina, Brazil, Chile, Colombia, Cuba, El
Salvador, Mexico and Venezuela. The findings highlighted a number of
common issues:
- The general public does not recognise the
value or definition of design, but there is slow and steady progress in
some countries as clients see the need to make themselves stand out in
the commercial domain.
- Digital technology is very necessary and
widely used in the profession, but has led to underqualified people
marketing themselves as 'designers,' undermining the value of
professionally trained designers.
- Many Latin American designers
struggle to maintain national cultural identity, while absorbing
international design trends.
- The design profession needs to be further developed in the cultural and tourism industries.
- Design needs to be promoted as a strategic tool in the economic and social development of Latin America.
-
Design schools tend to be technical and basic, and many do not
adequately prepare students for the realities of the job market.
5. How does Australia see Latin American and especially Mexican Design?
In
the past, Mexican design has had a low profile outside of Latin America
but this is changing. The Australian design community has recently
become aware of names like Gabriela Rodriguez Valencia and Yolanda
Patricia Munoz due to their appearance at Melbourne's AGIdeas design
conference in 2003. In Australia, the historical reference point for
Mexican design remains the post revolution mural painting and political
posters of the 30's, 40's and 50's. My first introduction to
contemporary Mexican graphic design was at eight years old when I
purchased a 1968 Mexico Olympics stamp for my collection. The op-art
and Huichole Indian inspired designs by American graphic designer Lance
Wyman in collaboration with Mexican Architect Pedro Ramirez Vazquez
left a lasting impression on me.
Australia rates Latin
American design very highly. In March 2004, I attended the Icograda
Design Week in Sao Paulo, Brazil, which included regional meetings with
designers and educators from the South American region. The standard of
work showcased over the week was excellent. The Brazilian Graphic
Design Biennial, in particular, was outstanding, as was the Letras
Latinas regional typography exhibition. A memorable Mexican piece from
that exhibition was a font inspired by Aztec letterforms.
In
2003, Monash University embarked on a design exchange project with
three design schools from different countries: Australia, New Zealand
and El Salvador. It was called The Connect Project. The outcomes were
fascinating. The aesthetic of the work from Monash University,
Australia, and Wanganui School of Design, New Zealand, was quite
similar but the work from Escuela de Comunicacion, El Salvador, was
very different. The work was hand crafted, raw, passionate and
powerful. It was refreshing to see such a rich expression of cultural
diversity from the Latin Americans. The Connect Project website is:
http://www.artdes.monash.edu.au/ConnectProject/home.htm
Monash
University Lecturer, Sarah Jones conceived and initiated The Connect
Project; the participants were approached through the Icograda
Education Network (IEN). The Connect Project is the type of educational
exchanges we are trying to encourage. Sarah is currently a Moderator
for the IEN Discussion List. The IEN will be announcing some similar
projects shortly. One of these upcoming projects is titled Creative
Waves. Check the Icograda web site for details:
6.
Are there important differences between what and how Design schools are
teaching and what the professional practices actually need? Do you
perceive the need of new education paradigms?
The
design industry needs intelligent designers with strong conceptual
ability. They also required graduates to have proficient technical and
production knowledge and skills. Graduates are expected to demonstrate
skills and knowledge in the areas of pre-press and design management.
Universities are now placing increased emphasis on teaching design
history, theory and research methods. The demand for postgraduate study
is increasing and cross-disciplinary activity is encouraged. The future
of graphic design is fluid, and it is moving into areas that are
outside the traditional vocational paths. In my opinion, education
should support the requirements of industry but we should also
encourage the evolutionary growth and redefinition of this dynamic
discipline.
7. Do you think there is a natural right
of all the people around the World to design their own spaces, objects,
messages, social interactions, etc, to have them designed or to take
profit of a Design respectful of their needs and tastes? How would you
assess, deny or justify the importance of Design if this right was to
be included in laws and constitutions?
In an
ideal world, people should have the right to design their own
environment but we also must also be aware that most of us live in
communities. We must consider our individual design needs but also
respect the needs of others around us. Regarding the question about
including design into laws and constitutions...hmm, that's a tough one;
I guess as long as we live in a country that promotes freedom of speech
we will have that right to express ourselves through design. Perhaps
the term needs to change from freedom of speech to freedom of communication. This would then embrace verbal, written and visual communication. Just a thought!
8.
Technological change has had as a bottom line the quest to make easier
for the users to produce their own images and designs. What do you
think is the real impact of technology in professional Design exercise
and education?
Information technology will
continue to have an impact on the evolution of our discipline. The
worldwide web along with trends in international trade and marketing
will accelerate issues relating to the shrinking world and its impact
on cultural diversity. Globalisation is poised to be the next defining
issue for graphic design. Design education itself is on the edge of an
international information revolution. It is an exciting time for
graphic design but as custodians we must all approach this new era
responsibly.
9. What do you think about UNESCO having classified Design as a subordinate of engineering?
It
is disappointing to hear either profession described as subordinate to
the other. I suspect the UNESCO classification refers mainly to the 3D
areas of design, architecture, interior and industrial design. The
concept of form following function may still be valid but truly
great design is often achieved when engineers are asked to respond to
the designer's challenge to create unconventional structural forms. The
works of Eero Sarinen, Oscar Niemeyer and Jorn Utzon come to mind.
Structural design should be described as a collaborative process
involving mutual respect between designers and engineers at a
conceptual level.
10. Please tell our readers a little about the main goals and plans of Icograda.
The
International Council of Graphic Design Associations (Icograda) is the
professional world body for graphic design and visual communication.
Founded in London in 1963, it is a voluntary coming together of
associations concerned with graphic design, design management, design
promotion, and design education. Icograda promotes graphic designers'
vital role in society and commerce. Icograda unifies the voice of
graphic designers and visual communication designers worldwide.
Icograda has developed the following networks, which have become important forums for cultural and professional exchange.
Friends of Icograda, a community of individual and corporate supporters.
Icograda Education Network, a network of design schools worldwide.
Icograda Design Media Network, a network of design publications worldwide.
It
is advisable to regularly check the Icograda website to stay up to date
with Icograda events and international design news. There are some
exiting events and initiatives planned over the next two years...stay
tuned.
About this article
Interview questions prepared by: Gerardo Kloss, Antonio Rivera and Alejandro Tapia.
The Publishing Committee of Encuadre graphic design education magazine interviews Russell Kennedy - Senior Lecturer at Monash University, Australia, and Vice President of Icograda - for his perspectives on the design profession, design education and the future of design. The interview was originally published in Spanish in Encuadre Volume 2, Number 5, October 2004 (p. 50-55). The interview was conducted and translated into Spanish by Gerardo Kloss.
About Russell Kennedy
Russell Kennedy is a Senior Lecturer & Course Coordinator of Visual
Communication at Monash University in Melbourne, Australia and Vice
President Icograda 2003-2005. Russell is an academic and practitioner
of both graphic design and filmmaking. Before joining Monash in 1994,
he was the principle of Russell Kennedy Design, a corporate identity
consultancy and Co-Director of Onset Productions, a motion picture and
documentary company. Russell is a member of the Australian Graphic
Design Association (AGDA) and actively promotes a network interface
between design education and industry. Russell is often invited to
assist educational institutions within the Oceania/Asian region.
About Encuadre Magazine
Encuadre graphic design education magazine is published in
Mexico City by Encuadre, the Mexican Association of Graphic Design
Schools. The October issue of the magazine was featured in the 15th
National Meeting of Graphic Design Schools, held on 6-9 October 2004 at
Universidad Autonoma de Aguascalientes, City and State of
Aguascalientes, Mexico.