Beyond1984 How Changing Technologies Transformed Modern Design
Kelsey Scherer
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Beyond 1984: How Changing Technologies Transformed Modern Design Kelsey Scherer
Introduction Technological advances have shaped graphic design. With the invention of the Macintosh, graphic design was introduced to an entire new visual language.Today we have different mobile devices, tablets, and other interactive screens. Designers aren’t focusing on creating a new visual language; they’re trying to understand their changing role in the process of design.
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Personal Computer Upon its arrival, the 1984 Macintosh did just
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The invention of the computer drastically
that: it changed everything. Not only the method
changed the way designers made images.
that produced work, but also the type of work.
They took advantage of new technologies and
“[The Macintosh] 128K was the first to feature a graphical user interface that could be called
created with computers.The Macintosh 128K came equipped with “MacPaint, a drawing
user-friendly” (Long).The user interface was
program turning the mouse into a paintbrush”
revolutionary, and made it easier for a larger
(Raveia). By turning the mouse into something
amount of people to use. Because the computer
that resembled a paste tool, developers made
was more usable, people began utilizing it as a
the technology easily accessible.The transition
tool to create work.
from brush to computer was smooth because the mouse functioned like a brush in the application.The computer wasn’t only a new tool, however. It allowed designers to make all new types of imagery. “The t-square and paste pot have literally disappeared from many graphic design studios, and the truly venturesome have created new image vocabularies that reflect the processes through which they are created” (Cooper 3). Designers began to consider typefaces rendered for the computer, as well as the effects of pixelation on imagery.
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April Greiman One artist on the forefront of the Macintosh was
is immersed in the printed poster because of its
April Greiman. She produced a nude self portrait
size as well as the layered imagery. She shows
on a Macintosh computer only two years after its
space by placing images directly on top of one
invention. At the time, the computer was a new
another.The piece also deals with depicting the
tool for designers (Blauvelt/Lupton 6). Greiman
imagery in a pixelated manner. Instead of trying
seized the opportunity to take a new technology
to hide the pixels and make a smooth image,
and create work with it, using all new tools to
Greiman celebrates the fact that the technology
complete the foldout poster for Design Quarterly.
she’s using is pixel-based.
“[Does It Make Sense?] was composed and assembled in a single document in MacDraw and
Greiman also uses typography in order to show
printed as it was designed on screen” (Heller
different themes within her self portrait.There
354). MacDraw allowed for text and image to be
are different units of measurement written out,
composed on the same screen (Heller 354).
strings of letters, and labels near the diagrams
In Greiman’s self portrait, “Does It Make
she shows. Upon further inspection she includes
April Greiman
Sense?”, she questions the traditional layout
phrases such as “don’t worry be happy” and “we
of a publication. Instead of designing different
don’t control machines, machines control us”.
spreads, she takes advantage of the computer
She also writes “live where you can” but it is
and composes a life-size fold out. The audience
written backwards.
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April Greiman. Does It Make Sense?. 1986.
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The typography doesn’t simply function
“Does It Make Sense?” is not the only piece
as a compositional element, it makes the
Greiman created exploring new forms of
viewer consider various elements of the new
technology and what they can accomplish. “Iris
technological age. April Greiman was particularly
Light” was a piece that used video imagery. She
interested in “experimenting with ways to alter
integrated a still video image into her work. “Iris
the two-dimensional space of the page and re-
Light” came before her self portrait, and it was
imagine it as more three- and four-dimensional
the first piece she felt was a successful union
continuum of time and space” (“April Greiman”).
of incorporating digital technology into a work
This fascination with turning two-dimensional
(e.g. see fig. 1). By successfully recontextualizing
space into a three- or four-dimensional space
a video piece into a piece of design, Greiman
is particularly visible in “Does It Make Sense?”.
uses technology to accomplish her goal. She
Greiman is taking the two-dimensional space
proves it is possible to utilize technology within
of the paper and trying to convey it as a three-
design work, and she is one of the designers who
dimensional space by placing images and texts
was on the forefront of creating work using the
on top of one another.
technologies of her time.
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April Greiman. Iris Light. 1984.
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“Using the newly-released type design program Fontographer, Licko’s early typefaces can be seen as a celebration of the limitation of the software of the time”
Zuzana Licko
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Zuzana Licko is another designer who
Zuzana Licko’s typeface design for Oakland is a
successfully took advantage of technology
perfect example of designers creating works that
in order to push forward her designs, using
were driven by technology and therefore created
software to create new typefaces for the
a new visual language. Before the computer, the
computer. Licko realized early that with the
idea of pixel-based imagery wasn’t a concept in
use of the Macintosh for design, there was going
design. The separation of pixels that is visible in
to be a need for typefaces that worked well
Oakland is a direct result of the technologies that
with the technology. Oakland utilized the bitmap
created it. Licko designed for technologies in her
vernacular of the computer. It was made
time, and she recognized that the visual standard
simply for the aesthetic of the early computer,
would change with newer technology.
and Licko herself recognized that the typeface would become obsolete once hi-res computers entered the world of public use (Oakland).
After Zuzana Licko’s Lo-Res Type Specimen Book.
Emigre Magazine Covers. From Left to Right Top to Botton: Emigre 30. 1994, Emigre 9. 1988, Emigre 53. 2000, Emigre 23. 1992, Emigre 1. 1984, Emigre 21. 1992, Emigre 36. 1995, Emigre 69. 2005.
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Zuzana Licko is also responsible for a design
The main point of Emigre was to showcase the
magazine by the name of Emigre. She and
design and typography. The article mentions “At
her husband, Rudy Vanderlans published the
a time when most type designers were put off by
magazine. “Typeset with a Macintosh computer
the limitations of the computer and its inability to
in types that Licko designed so they would
exactly replicate existing technology, Zuzana was
‘look good on a coarse resolution printer,’ the
intrigued and inspired by the digital environment,
magazine published all kinds of design” (Hollis
working within limitations as if they were assets”
213). In the article, “Graphic designers probably
(Keedy). Licko was fascinated with testing the
won’t read this . . . but,” it’s mentioned that
capabilities of the computer. The fact that those
Emigre served mainly an aesthetic function.
capabilities were so limited gave her a challenge
Designers simply observed the layouts and
to create something useful. Oakland functions
typography rather than take the time to read
well as a readable font in addition to one that can
the essays (Keedy).
be used to enhance a layout as a display font.
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Emigre Magazine Covers. From Left to Right Top to Botton: Emigre 2. 1985, Emigre 3. 1985, Emigre 4. 1986, Emigre 8. 1987, Emigre 31. 1994, Emigre 10. 1988, Emigre 13. 1989, Emigre 27. 1993, Emigre 28. 1993, Emigre 29. 1994, Emigre 25. 1993, Emigre 26. 1993, Emigre 32. 1994, Emigre 33. 1995, Emigre 34. 1995, Emigre 35. 1995, Emigre 37. 1996.
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A screen from the Talmud project. The three texts are all on the display, but only the Talmud (Makkoth 10a) is in focus.
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Rethinking the Book
David Smalls. Rethinking the Book. 1999.
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Rethinking the Book “[David Small’s] thesis, Rethinking the Book,
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“Rethinking the Book” contains actual text from a
examined how digital media, in particular the
book that can be experienced by a user. Focusing
use of three-dimensional and dynamic
on typography as content rather than an abstract
typography, will change the way designers
image, he allows the viewer to consume it in
approach large bodies of information” (About Us).
a nontraditional way. “Rethinking the Book” is
“Rethinking the Book” is an examination of the
very much about the three dimensional space.
visualization of information in a digital setting.
Layering and setting type back in space shows
Completed in 1999 as his doctoral work, Small
the user depth. Scale in typography shows
investigated the technology of digital media and
hierarchy. This project uses cross fades to
its capacity to render large bodies of information.
transition between information. As the type
Small takes texts from books and visualizes
moves through the screen the perception
them in a new context utilizing the computer as
of typeface and color change based on size
a new technology. In his paper, Small explains
changes and perspective shifts. The design is
that designers of the time are still treating the
asymmetrical and shows depth and perspective.
computer as a sheet of two dimensional paper
Color categorizes and highlights different types
and he wishes to change the way information is
of information. The colors are light on a dark
presented to the user (Small 3).
background. Without the perspective shifts in the typography, the black background would appear flat and two dimensional. There is no image, the only information is presented in a sans serif typeface using scale in order to depict a level of hierarchy. By creating clear hierarchies, he translates large bodies of text into something that is organized. He experiments with the way people interact with large amounts of information.
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Web Typography When web design first started and the Internet
Christopher Clark uses cutting edge interactive
was still new, interesting typefaces were only
web technology in order to show the possibilities
available by first making an image in Photoshop
of typography on the web. He uses recognizable
(or some other program) and then uploading that
letter forms but allows them to have an
image to the web. Today, designers streamline
interactive touch. For example, in Figure 5, you
their websites infinitely by hosting their typefaces
can see bubbles rising from the “s”. This only
on the web. Live typography on the web is a
happens when the user mouses over different
standard now, most custom faces are live type
bubbles within the larger word. Christopher
rather than imagery. One major way this is
Clark states on his website “Web Typography
possible is through the use of @font-face.
for the Lonely is an ongoing collection of
“@font-face is a css rule which allows you to
experiments and writings on web typography
download a particular font from your server
and the possibilities of standards-based web
to render a webpage if the user hasn’t got
design. It aims to inspire the web community by
that font installed.
pushing the boundries of what is both possible and practical in web standards in a manner that is compelling and exciting to the visually-minded creative” (Web Typography for the Lonely). On various pages he demonstrates examples of how to use each different interactive typography. Clark is a designer who actively uses the technology at hand to create interesting and exciting new products for users to interact with on the web.
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“Apple is the first company that designed finger-friendly hardware and software from scratch rather than stuffing a PC into a keyboardless case.”
Contemporary Technologies
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As technology progressed, computers changed
“The iPad was seen by many publishers as an
shape. Personal computers are far more
ideal vehicle to adapt their printed content into
streamlined than the 1984 Macintosh. Not only
digital form” (Blauvelt and Lipton 90). Because
are the outside aesthetics different, but the
it is easy to use and take places the computer
computer itself is much more powerful and there
couldn’t be taken, it makes perfect sense that
are many more widely available tools for people
the iPad became the digital format for what were
to use. Even though the iPad seems like a logical
once printed publications. “Adobe, makers of the
progression from the other computers available
primary page layout software, InDesign, quickly
on the market, “Apple is the first company that
developed a set of add-on tools, Adobe Publishing
designed finger-friendly hardware and software
Suite, which bypassed the need for specialist
from scratch rather than stuffing a PC into a
coding skills” (Blauvelt/Lipton 90). Not only is the
keyboardless case” (McCracken). In addition to
final device that people interact with easy to use,
tablets (apple or otherwise), users are also able
the publishing tools are now user-friendly and
to access a huge amount of information on their
easy to learn.
phones (apple, android, or other).
Flickr User By Noora Bint Abdulrahman. 2010, Ipad Advertisement, Ipad Advertisement, iPhone advertisement, iPhone advertisement, Flickr User bytegirl24. 2011.
Our Choice. 2009.
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Because of the interactive nature of the device, designers rethink classic printed materials in new forms. For example, “Our Choice”, Al Gore’s sequel to “An Inconvenient Truth”, is the first fully interactive book avaliable on the iPad. Not only can a reader read a traditional book, they now get a fully immersive multimedia experience. The book contains videos, interactive infographics, and scalable images. Designers fully utilized the available technology in order to create a new experience for readers.
Change in Designers’ Role
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Graphic design is entering into a new era.
It has always seemed that designers were
Designers are moving away from creating
catching up to technology. Today, designers
things solely because the technology allows it
can conceptualize ideas and then create the
and toward a future where the concepts drive
technology to implement those ideas. Technology
technology to be pushed. When asked about the
is catching up with ideas focused around user
changing role of graphic designers James Early,
experience (Sassoon 52).
Creative Director at Threespot, said “being a successful designer is more about being able to
Designers are responsible as members of
develop the right idea as well as the visual tone
much larger teams than they use to be a part of.
and experience that supports that idea and less
No longer is it a copywriter and other creatives,
about how that idea is distributed from platform
graphic designers are working on teams that
to platform” (Early).
consist of people with various backgrounds (Sassoon 65). This is particularly important
The most important aspect of designing
because designers are not only working with
something is considering who the end user will
other people who share the same creative goal,
be and whether or not their interaction with
but people in fields that will be interacting with
the product is going to be positive. Designers
the end user. There is much more input from
observe people’s actions in order to design better
outside professions now when designers have to
for the users (Sassoon). The end user plays an
think about completing a project. In addition to
important role throughout the entire process of
extra team members, designers now work with
creating a product. Previously, the designer was
test subjects to make sure their products are
responsible for simply creating a product and
useful. The designer first meets the customer’s
distributing it to an audience. Now, designers
needs, tests the outcomes, and follows through
must consider the user’s experience because
with the solutions (Sassoon 13).
feedback is instant. Incorporating user feedback into revisions of any design helps to make better products (Sassoon 53).
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F-i Process Sketches. 2013.
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Conclusion The role of the designer has evolved dramatically
By pushing the boundaries of technology and
since the days of the first personal computer.
forcing technologies to keep up with designs
In today’s instantaneous user feedback world,
that can better serve the public, everyone wins.
it is absolutely necessary for a designer to
The designers are successful, and the users are
consider information from team members of all
happy with new and innovative products.
backgrounds, and not just astethic backgrounds. By incorporating users from all different types
“We need multi-disciplinary designers who
of backgrounds, graphic designers are able
recognize that giving a physical shape to an
to expand not only their personal knowledge,
object is a small part of the design process”
but also the effectiveness of their product.
(Sassoon 13). Design education must reflect the
Once they receive input from users in the field
changing role of the designer. Because the end-
they’re designing in, they can design things that
product is no longer the goal, the concept must
will ultimately be more useful for their target
be heavily stressed and given importance on any
audience. Focusing on the user also raises the
design project. Teaching new designers that the
chances that the end product will be successful
concept is the most important aspect of a project
and well received by an audience.
will be necessary for the world of graphic design to move forward.
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F-i Process Sketches. 2013.
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Interview
Questions
Rosemary Sassoon is an author with a PhD
How, in your opinion, did the introduction of
from the University of Reading. Most of her work
tablets and smartphones change the way
focuses on lettering and handwriting. She’s also
designers handle projects?
written about technology and it’s relationship to typography.
What is the purpose of designers using iconography that is based on old technology(cut/
December of 2012 through February 2013 I
paste/etc)? Why hasn’t there been a new
was in contact with Rosemary Sassoon, author
introduction of imagery into graphic design?
of “The Designer: Half a Century of Change in Image, Training, and Technique”. This particular
How has the role of the designer changed in
book discusses the changing role of the graphic
the past decade? In your book “The Designer:
designer, and it helped me come to conclusions
Half a Century of Change in Image” you note
about the designers role in order to complete
that the end product is only a small part of the
my thesis. Rosemary was eager to help with
design process, is there a certain number of
my thesis, and below are the questions I asked
revisions after feedback you feel is necessary for
her as well as her responses.
a sucessful product? How does the idea of artist collaboration apply to designers today? How often is collaboration necessary for successful projects?
Responses
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Personally I believe that a really competent
I am writing a new book on how letterforms
and well informed designer who understands
affect us all and will probably use this cartoon
both design and production processes would do a
and would love to hear your views on the subject.
better job digging deep rather than collaborating with a committee. I do understand this is
I, along with many of my contemporaries,
common practise today but luckily I did not
believe that access to so many fonts and so
have to experience it.
much illustrative matter on line is, inevitably, stifling the imagination of young designers. It
In my scrap books from the 1950s I have a
is all too easy and increasingly material risks
wonderful cartoon starting with an art directors
becoming more uniform and repetitive. Even
wonderful idea – he created a picture of a blue
when it is original, a design on screen gives the
blooded stallion. ‘A conference was called to
impression of being more perfect and finished
inspect the masterpiece. The sales manager
than on paper so it risks a designer stopping
declared he trots too lightly – so he was given
before that final push that might make a good
feet of an elephant. Someone else piped up I
design out standing. As for new terminology
think his range of vision is too limited and the
that is for you to invent!
stallion was given a giraffes neck. And so it goes on. A bit of an exaggeration but all the same its rather how I would feel. I think it would be unsatisfying for a designer, somehow looking like lack of confidence in his or her skill but the world is changing!.
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