DESIGN REFLECTIONS ON THE CROSS-CULTURAL MIRROR
Some Bulgarian Design perspectives between marketing and art at the beginning of 21st century.
Bulgarian Graphic Design & Education: Looking For Own Frame
The history of design education in Bulgaria exists on the specific way. With long tradition of the fine and applied art education, we could remark various historical periods (See below by some keywords). There are the flashes of remarkable achievements and the time of silence by usage of 'Ezop's metaphor language' under the pressure of political circumstances.
1891-1937: World Art Influence, first Higher Institute of fine Arts, Sofia, Bulgaria, 1st and 2nd World Wars
1945-1987:
Political (socialism) influence; State economy; Political Myths;
Portfolio a broad educational programs, National Academy of Arts
1989 2007: New Europe, New Bulgarian University, New World, New Design Goals, New Design Tools, New Myths,
2007
New Marketing and Political Situation, New social and cultural needs,
New Design Responsibilities, X-Cultural Design, New Horizon
Until
nowadays, we can mention many efforts of Bulgarian professional
designers, educators, researchers and lecturers to define the large
wide-open area of design activities and to clarify the terminology
about Graphic Design. First, it was 'Applied Arts' (National academy of Arts 1955), soon after that 'Applied Graphic' directly translation from germane term 'Gebrausgrafik' (or 'commercial art'- Heller, Steven); following by 'Poster and Applied Arts' and 'Graphic Art'.(2)
Nowadays we can notice once more efforts across the World well organized about the clarification of term Graphic Design: Visual Communication, Communication Design, Communication Arts
and so on. Russell Kennedy, Vice-President Icograda said in November
2004: '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.' (Encuadre, Volume 2, Number 5, October 2004, p. 50-55).
I
think it is a very positive sign that the designers become pro-active
especially on this stage of misty terminology. If it does not the
Graphic Design will be rest only as an important but specific (limited)
part of Global Communications. It will be a real risk the Graphic
Design may to loose and lose its natural and specific system of values
creation and interpretation, to change its human and artistic
resources. Until the end of 20th century the focus of communication
levels was: (corporate) identity,(corporate) design, and (corporate) image.
Admittedly, from marketing (IMC) point of view. I remember lots client
in this period who insisted from ad agencies for new image, a little
change of design and all of that without well-built identity.(3)
In
Bulgarian 'mode d'emploi', it means generally that all art directions
(incl. Design process and achievements) are under IMC model of
evaluation forms. So, from the initial brief till the production the
system of evaluation is focused on communication integration very often
via advertising control systems of evaluation. The rest are sporadic
artistic manifestations (depending of Client) mainly on the field of
poster design (stage, cinema or sport). From another side, we can mark
off some depletion into the system of integrated marketing
communications (IMC) and the beginning of creating the new conceptual
points of view the disruption. The disruption of the marketing
point of view changes 'a method, a way of thinking, and a state of
mind'. Jean-Mari Dru: 'The foundation of Disruption is a three-step
reasoning process: Convention, Disruption and Vision' (Dru, Jean-Marie, Disruptions).
The
contemporary Graphic Designer works in team and he has to using the new
strategic tools not only on the conceptual level but also during the
all process of communications. The designer takes a part not only to
visualize creative and communication idea but also to analyze the 'semantic fields' (Kaftandjief, Christo, Harmony in Advertising Communications)
into communication process in advance and establish a new perspectives
way of thinking. Ergo the Design could be one of the more efficient
creative strategic tools in disruption's model.
If we consider the relations global local on the small communication stage like Bulgarian we can find the next opposite positions:
Global creative standards versus local conceptual clich s;
Local creative 'disruption' versus global communication clich s.
All
of these circumstances actually are significant and they make seriously
influence on the Bulgarian design situation and reflect on the present
and on the future of education. What will be the guideline(s) the next
5-10 years for Bulgarian Graphic Design education? Does the Bulgarian
Graphic Design must follow the victors or will find his proper way of
development? Finally, is it important and why?
Quo vadis Bulgarian education of graphic design?
See
[image at the top of the page] on of the near future model of Bulgarian
Graphic design Education 2009 - 2012(St. Serezliev, DETM Conference,
India, 2005)
Till nowadays the education of Graphic
Design is dedicated to serve in general the goals of business and
marketing communications (actually via advertising and visual
communications). Milton Glaser said in the 90-ies: 'The design
process has now been integrated a client's into control system, so that
instead of going outside for people who had more understanding about
how to communicate effectively, they now make their determinations from
a marketing point of view and then, more often that not, go outside to
implement those ideas... Clients now have a much greater preconception
of what they want. The briefings are very different. The determinations
of what is appropriate are very often those of a marketing department
as opposed to the somewhat casual and random solutions that occurred
when people didn't know better.' (Glaser, Milton, Eye Magazine).
We can make a comment about the links between cultural diversities and Graphic Design evaluation. For example, 'the cultural diversities reflect on the visual structure of messages into visual communications; the economic diversities reflect priority on the control (evaluation) systems of design
and integrated communications in general. When we are looking for
meaning and influence of intercultural differences into communications
we have to consider of relations between both of links above' (Stefan
Serezliev, DETM Conference, NID India, 2005).
The Bulgarian education of Graphic design now is between the 'Two Myths about Design Education':
'Myth
#1: That school should avoid their own 'look' and provide a broad
education and Myth #2: That practicing designers are the best design
educators'. (Salchow, Gordon, MK Graphic Design). In Bulgarian practice 'a broad education' means 'to cover all professional area' after school graduating.
Myth
#2 linked with understanding of Client's way of thinking and guiding
the 'real world'. It is logically that Gordon Salchow concludes: 'By
the way, I have never met an intelligent design educator who is not
also a fine (if slow because of his deliberateness) designer and
unwilling to abandon practice. My stance, then, is that good designers
are not always good teachers but good teachers are always good
designers. This is because extended intimacy with higher education
rigorously clarifies and nourishes individual professional insight.' (G. Salchow, MK Graphic Design).
The Bulgarian perspectives into higher graphic design education for now are based on the four elephants:
1) art traditions and practice (the first Bulgarian high school of art -1891)
2) fast moving marketing situation (open and free market after socialism)
3) x-cultural design influence
4) process of establishment of the professionals design standards and terms
The Bulgarian Graphic Design under Advertising Discourse
What is the stage of Graphic Design in Bulgaria?
Recognition: good statement, art and creative traditions.
Achievements:
expositions, local and international awards, two annual advertising
festivals (Graphic Design and visual communication sections),
international biennale of stage poster
Professional fees: not professional standards yet; agency fee, negotiation fee, agency for professional fees and copyright.
Professional developments:
fast-moving higher education, developing of press and print Medias,
Graphic Design into new Medias and new communication platform.
Difficulties:
Client's press, Marketing press, unclear professional fee, ambiguous
role of the Graphic Design as a conceptual tool and speculations of it.
Problems: 'interruption' of the graphic design process by
non-professional computer freelancers, conceptual problems, design
piece up, chaotic aggressive advertising visual ambience.
Challenges:
open market (competitions), big Clients ('Big Brothers') and marketing
and communication challenges, new social and cultural needs, more
socialized challenges. (Serezliev, Stefan, Icograda Design Week, Istanbul, 2004).
We
can also mention the Client's extension of creative evaluation into
advertising and communication agencies - via Client Service Department
(by the Agency Brief and Control System) into the core of Creative
Department where the creative people are Art directors, Graphic
Designers, and Illustrators, etc. It is true that the contemporary
Graphic Designer usually works in team and he has to know the all
principles of hard team working at the communication structures. In the
same time, he must to keeping his own creative potential, capacity and
art competency. The last ten years in Bulgarian professional space it
was generated various contradictions on the base of communication
versus art priorities.(4)
The
first steps onto this area of pressing on the Graphic Design process
are the different types of control systems in advertising and
communication structures concerning Creative strategic planning
in general and Art direction. like configurations of Client and
Creative Brief, Design Brief, different workflow diagram, organization
of creative teams, checklists, and evaluation systems (BSB Dorland,
London). We can imagine how the professional situation like this can
influence and manipulate the principles of Higher education of Art and
design.
I think the idolizing of control systems like
above provoke the myths in education of graphic design by the
emphasizing of conceptual and technical criteria from marketing point
of view.
Bulgarian Audience: global values and local preferences
What
is the situation on the Bulgarian field of Design and which are the
expectations of Bulgarian audience? You can see some figures below (GfK
research 'Five most liked elements per country, 2001). In Europe
Omnibus is available in Bulgaria and others 31 countries. There is
simple question to illustrate the differences in audience preferences:
what is liked in advertising: 'When thinking about TV commercials in general, what are the elements you like most?'
In
Bulgaria as a small young but fast moving underdeveloped market, we
have to distinguish first: advertising images influence onto local visual stereotype and second: creative interpretation of the global Graphic Design principles.
The same time the audience preferences reflect on client control system
as a Design or Creative Brief, various checklist for creative artworks,
pre- or post-evaluation campaign etc. In the same time, there is a
worldwide tendency that 'all designers have a responsibility to
investigate the unique characteristics of their audience, including
ones that reflect cultural differences.' (AIGA, Cross-cultural Design Manifesto).
In another hand we have to analyze the complex influences of the global
brands on the local Bulgarian audience (or on the small markets in
generally) via transmitting of hard and strong systems of values. There
are usually strategic emotional and psychological values based on the
long-term of action.
The proposed elements on the GfK
research are various from digital computer images via animals, flowers,
urban set or local settings until humour and good looking people.(5)
It is very interesting the audience preferences across three countries: Bulgaria, Poland and UK:
A. Bulgaria: 1. Music 28%; 2. Beauty: 25%; 3. Demo: 24%; 4. Humour: 24%
B. Poland: 1. Humour 54%; 2. Music: 31%; 3. Demo: 27%; 4. Animals: 19%
C. UK: 1. Humour 63%; 2. Music: 32%; 3. Animals: 29%; 4. Children: 17%
Preferences (GfK):
- Preferences become more important in developed advertising environment (erg. visual communication S.S.)
- Emotional involvement effects perception of product attributes (erg. visual 'semantic fields' S.S.)
- Likes and Dislikes influence the commercials' persuasion score stronger if the commercial involves'mood' or emotional appeal
You
can imagine the Bulgarian visual ambiance in general, the tendencies of
design evaluation, and the way of conceptual and practical criteria.
However, I have a simple question: Normally (global) brands are planned
for global audience but what is happening when the local audience's
preferences are different? On of the possible answer is the famous Cognitive Dissonance and Visual Conflicts...
Design Reflections on the Cross-Cultural Mirror
Bulgarian outlooks: real or mythological
Concerning
Bulgarian outlook it is highly valued for the future activities on the
professional field of Graphic Design and higher education to
determinate and adapt the terms, second: to establish the standards of
practice. If it not the professional practice and educational programs
will go on the 'lost way' because of day-up to day changes of the
culture and economic needs. At the beginning of 2007(Bulgaria joint
EU), I think the role and influence of Integrated Marketing
Communications (IMC) will be increase on the Bulgarian economic,
culture and communication market. The Bulgarian way could be replicate
the same conceptual level of relations betweenGraphic Design and IMC (2007-2015) as was similar Applied Graphic (Gebrauhsgraphik) and Marketing (1960-1980).
It
is easy to understand why the future of Bulgarian Graphic Design and
Education is associated with sharp terminology and establishment of
standards: that a question of the conceptual level of domination into communication business and culture.
The new 'disruption' of IMC will try to acquire the conceptual
mechanism of design that mechanism can update itself independently (Serezliev, Stefan, Media World).
How designer does to reply of that intervention? Why not like David
Carson: 'But here they are, those mannerisms, those tricks and tics
that could be appropriated stylistically. Yours to pick'n'mix.
Changing type sizes and fonts
Unusual or custom fonts
Richly cluttered pages
Stripped-down pages
Mistakes
No grid
Big Ideas' (Blackwell, Lewis. The End of print: The Grafic Design of David Carson.)
There
were many examples of local art reactions of Bulgarian Art Directors ad
Graphic Designers into communication campaigns. The problem with
adequate post-evaluation system provoked some consumer's mood of
ambivalence concerning brand values and brand positioning. It was using
from IMC's adepts for critics about the professional competencies of
designers into communication process. Of course, design is not equal to
art. The main problem of discussions was the threats of replacing of
communication's focus and destructions of the brand re-positioning. But
to rest every time on the same model of communication with the same
wide-ranging system of values can damage seriously the visual ambience
and to create the emotional, rational and boring ambiguity for long
time. Bulgarian communication space is on the process of determinate
itself by intercultural fractal jumping. This fractal model is
organizing itself periodically by the subordination between the global
brand's waves versus local visual and semantic stereotypes. This
situation under influence of global IMC and postmodern visual
communication induces conflict doubts about sustainability of Bulgarian
outlooks between reality and mythology.
That why on the
Bulgarian design reflections on x-cultural mirror will be possible to
observe the initial process of art and strategic clusterization. It is not only into system of visual communications but also into educational system.
Two potential groups of clusters are possible:
A. Group of Art Principles
B. Group of Strategic Communication Principles
Those
both groups will establish two generic directions of professional
Graphic Design process(respectively of higher education) in Bulgaria,
why not in the Worldwide. The first one is as an aesthetic and artistic reaction
in opposite of the marketing pressure the 'Pure Independent Design'.
The management needs will be cover by 'Management of Design' with
proper control systems. Ergo how to limit (to control) the Client's
activities into creative process and to develop the functionality of
Design on the communication level. We can spot the possible problems on
the coordination point, which are generated yet. For example, in
Bulgaria there are most of Design(Creative) Briefs with different
priorities and specific forms of evaluation criteria. Sometimes the
Briefs are oral (by the phone) that gives possibilities of trouble
speculations after (for ex. the principle of Client's approval 'Likes
and Dislikes'). From educational point of view (to be close to
practice), it means to focus onto creative inspirations just by Design
Brief and post-interpretation via art and computer skills. In other
words, the students must be involved into circle 'Problem-solving' a
mechanism of the advertising algorithm. Neville Brody said: 'What
college teaches you is design as problem-solving, in the sense of
design needing to please rather than to invent. You are taught to solve
a problem, which is to take the short-cut of satisfying expectations,
and this is note the same as meeting your public halfway. Design is no
different from art, or chairs for that matter. As a means of
communication, it cannot remain neutral.' (Wozencroft, Jon, The Graphic
Language of Neville Brody).
The both of two groups of art and strategic communication principles6 constitute the convention between reality and mythology
of the Bulgarian communication space. That why we notice the principle
of x-cultural jumping. Without of evolutional accumulation of original
practical precedents but within regular constitution of intercultural
achievements directly on the communication surface. Where is the new
role of Graphic Design in this case? I think it is on the communication
strategic polyvalence of Design as a new conceptual tool the new and
permanent needs of 'disruption' cultural, economic or whatever
communication or art phenomenon.
Douglas Holt said "...Here
we see a common property of iconic brands. Since these brands derive
their value from how well their myth responds to tensions in the
national culture, when there are tumultuous cultural shifts, the
brand's myth loses steam. I call these shifts cultural disruptions.
When
disruptions hit, iconic brands must reinvent their myth, or they fade in relevance..." (Douglas B. Holt, How Brands Become Icons, P.32)
Conclusion
X-cultural Universe or Intercultural Diversities?
For
the moment, the Bulgarian Designers are in face up to challenges of
globalization via x-cultural design. It means they have to re-thinking
directly about new perspectives under new global standards, hard
professional challenges and actual social needs. In the same time,
Bulgarian designers must to keep walking on their own way of their own
experience by the light of post-modern outlooks. They also have to face
facts of new relations: Graphic Design and (vs.) IMC on the social
spotlight. The cultural diversities are not the borders simply the new
perspectives.
- Bulgarian Designers must to rise to the challenges of its new enhanced social and professional responsibilities priorities
- In the same time to find and care for the balance between global and local communication priorities
-
The fist result of combine between creative and communications clusters
on the Graphic Design field will be establishment of new term and
methods: Integrated Visual Communications (IVC). The IVC can
incorporate the mechanism of management from Integrated Marketing
Communications (IMC) (ergo the initial post-modern phase Graphic Design vs. Marketing).
-
The initial post-modern phase 'Graphic Design vs. Marketing will be
based of global clusterization of x-cultural model of communications
and local visual stereotypes.
- Bulgarian design reflections on
the x-cultural mirror have a real and mythological mixture. These
reflections will define the future of professional practice and new
tendencies of higher education of Design.
- In 5-10-15 years, the
process of educational clusterization will replace the communication
focal point because of new segmentation of society.
Footnotes
(1)
Integrated Marketing Communications
(2)
Now the National Academy of Arts, Sofia, proposes following degree-level in the professional field of higher design education: Department of fine Arts: Graphic Art, Book and Print Graphics and Poster (B.A., M.A.); Department of Applied Arts: Space Design and Industrial Design (B.A., M.A.)
The New Bulgarian University (NBU) at the present offers: Basic Program 'Visual Arts', Bachelor Program 'Graphic Design', 'Artistic Design'; Master 'Graphic and Spatial Design' and 'Computer Technologies in Book and Poster Design' and Doctoral Program 'Computer System and Technologies in Graphic Design'. It is very significant to mention the System of quality and evaluation at NBU by credits.
(3)
The Author was happy to work in this period as an Art Director, Creative Director or Creative Strategic Planner at some local international Ad offices like McCANN Erickson Sofia, Euro RSCG Sofia New Europe, GGK Sofia, and Graffiti/BBDO.
(4)
Why the problems are so important and significant? Firs of all: if the graphic Design is in use only like tool for visual interpretation but not also as a conceptual method of thinking - the process of communication will be generally with the same face every time. Mostly all the systems of Creative Briefs at communication structures are based on the same principle. So how to get an insight inspiration?
(5)
At the moment (August 2005) in Sofia (the capital of BG 1 000,000 habitants) there is about 35 local and national radio stations.
(6)
Normally it has to combine the both tendencies above into one strategy and one philosophy of educational program. On the other hand, the main problem is not how many different courses are in one program but which are the references with the Bulgarian and international theory and practice. It is very easy to arrange one contemporary abroad structure of education but the real problems will come later in the practice but 'Do you consider design education in your country to be up-to-date?
Yes, absolutely 11%; In some segments 19%; Not at all 70% (Icograda eNews 20/02).
Acknowledgements:
This paper is the result of efforts of many specialists. Because of this, I would like to thank to:
Mtro. Jorge Meza Aguilar, Coord. Lic. en Diseo Interactivo Universidad Iberoamericana
And to all of review MX Design Conference committee members for their hard and efficient work;
Prof. Dr, Christo Kaftandjief (Sofia University) for his kind great recommendations;
Prof. Dr. Sophia Shishmanova (New Bulgarian University) for her kind and professional information
References:
Journal references:
Cross-Cultural Design Manifesto, American Institute of Graphic Arts, NY10010
GfK, Research ('Five most liked elements per country, 2001). Europe Omnibus
Glaser, Milton, Reputation: Interview with Milton Glaser by Steven Heller, Eye Magazine, 25, Summer 1997,
http://www.eyemagazine.com/feature.php?id=25&fid=165
Heller, Steven, 'Graphic Design Magazines: Das Plakat'; First published in U&lc, Vol. 25, No.4, spring 1999.(http://www.typotheque.com/articles/das_plakat.html)
Icograda eNews 20/02; 19 May 2002, /web/opinion
Kennedy,
Russell, Icograda eNews, November 2004, The interview was originally
published in Spanish in Encuadre Magazine, Volume 2, Number 5, October
2004 (p. 50-55).
Serezliev, Stefan, 'Design as a resources in Advertising', Media World, 12/2001, p.3
Book references:
Blackwell,
Lewis, The End of print: The Grafic Design of David Carson. Laurence
King Publishing, UK, 2000. Revised edition, p. non-remark
Dru, Jean-Marie, Disruption: overturning conventions and shaking market place, Library of Congress, 1996, p.vii
Douglas
B. Holt, How Brands Become Icons, Copyright 2004 Harvard Business
School Publishing Corporation, p.32 (Chapter 2: How Is Cultural
Branding Different?)
Gorb, Peter, Design Management, Papers from the London Business School, Architecture Design and Technology Press, 1990, p.2
Kaftandjief, Christo, Harmony in Advertising Communication, c/o Jusautor, Sofia, Bulgaria, 1995, p.174-175
Swann, Alan, Design & Marketing, Quarto Publishing plc, London, 1990, p.94
Wozencroft, Jon, The Graphic Language of Neville Brody, Thames and Hudson, London, 1995, p.10
For more information, contact:
Stefan Serezliev
Institut Sup rieur des beaux-arts de Sousse, Tunisie
Place de la Gare, 4000 Sousse, Tunisie
T: +00216 73 227 098 ; GSM: +00216 21 63 73 53
E: ; ;
About Stefan Serezliev
The author is a Graphic Designer, Researcher and Lecturer in Bulgaria.