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As for the future, we must first look back to the past. The division of labor that
separated the specialized graphic designer from the technologies of reproduction
may come to an abrupt end, thanks to the computer revolution’s impact on design,
reproduction processes, media, and distribution channels. Professional boundaries
are blurring between client, author, designer, reproduction specialist, and audience.
Writing, designing, and publishing are converging; many designers are publishing,
many clients are relying on nonprofessional desktop publishing and many audiences
members are building personal Web sites.
Just as the graphic design has reached some consensus on the parameters of our
profession, technology is transforming visual communications. A postindustrial
information economy, the successor to the industrial revolution’s belching
smokestacks, has new enlarged design requirements that go far beyond the printbased
commercial communications of manufacturing-based economies. Interactive
information and communication technologies require substantial, new visual
communication strategies and theory. The incredibly rapid technological advance in
the past fifteen years of computer-related design is severely challenging educators to
respond and to incorporate these new dimensions into graphic design curricula.
A profession specializing in visual communication would seem to be centrally
located in this communications revolution. In the explosion of information breaking
over us, there are tremendous quantities of data in need of processing. Computer
technologies can fulfill the role of modernist Swiss school objective systems design,
as we have seen in desktop publishing. The question posed is, How can all this data
be turned into information, and the information into communication and
meaningful messages? How can design assist our audiences to turn knowledge into
wisdom? It may be that within an environment of abstracted technologically
generated data, the designer’s personal viewpoint and interpretive forms may be the
humanizing element essential to make the vast quantities of abstract data
meaningful, useful, comprehensible, and compelling to our audiences.
But we need highly trained designers to apply visual communications
expertise to the entire range of communications technologies, especially in time-based
interactive media, computer interfaces, and software that incorporate new
dimensions of sound, motion, time, and virtual space. We need graphic designers
who are literate in computer science, and we need far more designers literate in
cognitive theory and perceptual processes who can give comprehensible form to
electronic virtual environments. Design for interactive communications may not be
a subset of graphic design, but may, in fact, be a sister discipline. While the design for
new media originates in many of the same visual communications history, theory,
and method, it must also reach far beyond. This expanded knowledge base points
to the possibility that four-year degree programs may not provide a sufficient
grounding for this incredibly wide and complex field. Educators are beginning to
consider a new model based on a four-year redesign program followed by a two or
three-year professional degree, similar to law or medicine.
Our schools must contribute the training, theory, and research required for
this revolutionary dimension of design—and very quickly too, because a number of
other fields are moving into this domain very aggressively, in a number of other
university programs including computer science, journalism, communications,
technical writing, film, and photography. As educators respond, we must retain and
enhance graphic design’s core value as a cultural activity. Designers can offer a
compensating balance to the coolness and the abstractions of technology. Educators
puzzle over the best relation of new media design curricula to current visual
communications curricula.deer hunting games