Some contradictions – Masters Degree, practice as research (…some thoughts)
In an earlier post I briefly stated that I had begun to come to the conclusion that perhaps some of my design solutions would need to look at the separation of medium, stylistic approach AND especially the “example content” from the visualisation methodology and evidenced efficacy of the work.
i.e. I am not interested in other peoples interest in George yet, just the efficacy of the method of delivery of the message.
Including its individual and disected elements (whatever form it/they took) and their lack of ambiguity and margin for interpretation by the client, or (perhaps more accurately) the target audience.
What weighting or importance does the pyramid represent? Can the volume of each segment be read as information as well as just its height?
“I want everything we [he and his design studio] do to be beautiful. I don’t give a damn whether the client understands that that’s worth anything, or that the client thinks it’s worth anything, or whether it is worth anything. It’s worth it to me. It’s the way I want to live my life. I want to make beautiful things, even if nobody cares.”
A brave point of view.
Especially when seen through the lens of much contemporary design thinking (which for the most part sees that design as transient and disposable, with built in obsolescence, ready for the next rebranding exercise and associated invoices) such as that discussed in the advertising documentary Art & Copy by designer Lee Clow …those designers who (through whatever deficiency in self worth or fundamental missunderstanding of the real role of the designer in the “creative/client transaction) touch their forelock, think of the money and say “How big do you want your Logo sir?”
The above Saul Bass quote is without doubt the stance of a mature creative secure in his ability to create not only a work that appears beautiful on a purely aesthetic level, but one who is convinced of the efficacy of his design solutions (much of Saul Bass’ work has had a long lifespan, in particular his branding, most prior to the use of the term) and logo design, some of which has had an average longevity of around 35-39 years; and even when reworked, still adheres for the most part to the designers original vision.
As much as I might lean towards this viewpoint in my purely personal projects; when it comes to the development of the core visualisation and solutions related to my Masters studies I feel that in this case the target audience (art school students), has to be taken into account at every step.
Even if this means (and it is not a given that it should) that the final working image/design solution function takes president over its beauty or simple aesthetic conceit.