Dissertation draft 1

Dissertation

Question How can the aesthetics of simplicity be used to communicate complexity?

Chapter: Introduction

This essay aims to explore the idea of simplicity as a tool for better understanding and communication of complex ideas- with a specific focus on design aesthetics.

Studies in readability have shown that simple verbal language is critical for effective communication. The same can be said for visual language (Bergström, 2008, p.

137). According to Colin Ware- in his text ‘Information Visualization: Perception for Design’- 'Visualization provides an ability to comprehend huge amounts of data.’

(Ware, 1999, p. 9). The aim of this essay is to explore how the organisation and aesthetics of this ‘data’- through a process of simplification- can offer clarity as well as visual satisfaction.

With regards to design, and in accordance with the idea that visuals provide easier understanding, the use of signs and symbols has increased substantially as a means of communicating information (Munari, 1966, p. 41) and has since been increasing.

The purpose of these graphic signs is to communicate in a concise and effective way to ensure that the wrong interpretation or idea is not received (Krampen, 1965, p. 4).

This therefore suggests a need for concise and effective design- which lends itself to the aesthetics of simplicity.

In his book ‘The Laws of Simplicity’ (2006) designer and technologist John Maeda states the many ‘laws’ of the idea. These ‘laws’ show the importance of simplicity and how it can be achieved in daily life- but more importantly for this essay, in terms of design. His ideas will be explored in detail throughout this text and applied to existing examples of art and design as a means of evaluation and analysis.

Furthermore, the exploration of the writing of Steven Heller and Annie Fink in ‘Less is More’ (1999) outlines and celebrates simplicity in all its forms but also provides 1 Shelly Kaur

counter-arguments that will help to discover a balanced answer to the given question. Along with this, ‘The Essentials of Visual Communication’ (2008) written by Bo Bergström and other texts, shall be explored to discover whether simple design is the best way forward or whether contradictorily, this can complicate the overall communication of an image.

Chapter 2 – Context & Themes

Graphic design centres around the idea of visual communication and has changed tremendously over the years in terms of aesthetics. According to Heller and Fink ‘Graphic design originated as complexity and over time was reduced down to fundamental… or elementary, form.’ (Heller and Fink, 1999, p. 12). This suggests that design now relies on using the very basics- or more fittingly, the simplest of designs. A cause of this was that similarly to fashion, complexity became the standard and thus, designers began to seek out an alternative. In the process of this, they discovered the very opposite in simplicity (p. 8). Heller and Fink also believed that this decision enabled designers to communicate ideas better – ‘Rational, objective and reductive design… allows for clear communication.’ (p. 18). This is also supported by many others including the likes of John Maeda- ‘great design makes things clear.’ (Maeda, 2006, p. 70) and Krampen (when speaking with regards to mass audiences of low literacy)- ‘This study therefore recommends bold and clear designs containing only the necessary details and a minimum of artistic interpretation.' (Krampen, 1965, p. 70). What is interesting in this statement is the suggestion that ‘artistic interpretation’- as Krampen has put it- is undesirable within the realms of superior design. This poses the question, why is this? Can design not be simple yet aesthetically pleasing? Heller and Fink encourage this notion when they say, ‘Sometimes messages are made more enjoyable, and are better remembered.’ (Heller and Fink, 1999, p. 12).

One way that attractive design can be achieved is through the use of metaphor.

Although metaphor is a linguistic term, it can also be used within pictures- commonly known as visual or pictorial metaphor. This is where designers substitute an image, or part of an image for another in order to imbue a particular property or 2 Shelly Kaur

characteristic that it is not commonly associated with (Crow, 2010, p. 43). For this reason, Maeda proposes that 'Metaphors are useful platforms for transferring a large body of existing knowledge from one context to another with minimal, often imperceptible, effort on the part of the person crossing the conceptual bridge.’

(Maeda, 2006, p. 41). Here suggesting that it can be a useful tool in communicating something complex in a simple manner that also allows for clear understanding (as discussed earlier), with little effort. This is also supported by artist and designer Bruno Munari who says- ‘This business of two or more images in one must be taken into account by the graphic designer when he is trying to achieve really concentrated visual communication.’ (Munari, 1966, p. 72). Munari goes on to say that metaphors ‘have a more lasting effect, for it seems to the viewer to be a private acquisition, a personal discovery that he has made inside or beyond what was obvious to everyone else.’ (p. 72). This adds an element of pleasure and therefore partly answers the shortly aforementioned question as to whether ‘good’ graphic design can be aesthetically pleasing as well as simple. This further supports Heller and Fink’s allegation that enjoyable messages are better remembered. However, there are arguments against the use of metaphor, or perhaps a wrong use of it. In contrast to these ideas, Bergström articulates that ‘Metaphors make great demands of the receiver’ and that if they fail to see or understand the connection, the design has failed in achieving the element of clear communication (Bergström, 2008, p.132).

This would suggest poor graphic design, when looked at against the ideas explored in this essay so far. A proposed suggestion to avoid this, is not to use familiar, ‘bizarre’ or too advanced metaphors. (p. 132). Quite simply, if these concerns are avoided and metaphor has been used well and correctly, it can be the one of the most beneficial tools to use when trying to communicate something visually, in Bergström’s opinion. (p. 133).

According to Bergström, ‘In the vast majority of cases, one can take out an image or part of a text without disturbing a message.’ (Bergström, 2008, p.161). Going back to Maeda’s ‘Laws of Simplicity’, and in conjunction with this statement, he believed that ‘The simplest way to achieve simplicity is through thoughtful reduction.’ (Maeda, 2006, p. 1). Here we are brought upon another process that can be used to achieve minimalist design. This is further preached and adopted by designers, who continually ask themselves ‘is this element necessary or superfluous?’ (Bergström, 3 Shelly Kaur

2008, p.161). An example of this is presented in Maeda’s writing when he explains a realisation he had after sitting through the same introductory lecture conducted by graphic designer Wolfgang Weingart every summer. The difference however, was that each time, this lecture became more and more simple. Maeda explains why this was- ‘Through focusing on the basics of the basics, he was able to reduce everything that he knew to the concentrated essence of what he wished to convey.’

(Maeda, 2006, p. 36). This allowed Weingart to communicate in a more effective and concise way through having used reduction to eliminate any surplus information.

Although Krampen also supports the use of reduction when he says that designers should look to follow the rule of ‘simplified realism’- the idea that unnecessary detail should be removed (Krampen, 1965, p.18)- he also believed that this process can easily be taken too far- ‘deletion of important detail - reduces comprehension.’ (p.

18). Here suggesting that there is a fine line between what information is needed and what is not, and this must be carefully considered.

An additional device that can be used to achieve simpler design is the approach of organisation. This is another law of Maeda’s. He expresses that ‘Organization makes a system of many appear fewer’ (Maeda, 2006, p. 12). This means therefore, that even if the approach of taking out information is not favoured (as this can have consequences to the overall communication of that image) things can instead or additionally be organised in a more clear and understandable manner. Furthermore, complicated layout can sometimes make something difficult to read. ‘Well-organized design is easy to read, and muddled design is difficult.’ (Bergström, 2008, p. 166).

Maeda encourages this theory when he states that ‘Complexity implies the feeling of being lost’ and that as a result of this, ‘simplicity implies the feeling of being found.’

(Maeda, 2006, p. 61). To feel lost is not a particularly pleasant feeling, however, to be found has more positive connotations. As previously mentioned, the aim of this essay is to find out whether design can be enjoyable to look at- as well as functionalwithout affecting communication. Consequently, viewing design that is both simple and organised is likely to be pleasurable, due to providing you with a similar feeling to being found.

There are multiple other ways in which simplicity can be achieved, and each have their pros and cons. However, is it also important to clearly outline why simplicity is more effective- in terms of design- than complexity is or whether in fact, this is not 4 Shelly Kaur

true. According to Maeda (and in contrast to his favour of simplicity) he believes that ‘Simplicity and complexity need each other.’ (p. 45). This is partly due to the fact that without complexity, simplicity would not be recognised (p.45). However, though complexity allows for the existence of simplicity, this does not mean that it is just as or more effective with regards to design. When talking about logos (a key example of graphic design) Heller and Fink expressed that 'While the reductive logo has not disappeared, more complex marks have reemerged- and some work very well.

But, ultimately, complexity offers diminishing return when the memorability is the goal. Simplicity continues to be the root of a logo's mnemonic power.’ (Heller and Fink, 1999, p. 21). Here we are provided with a clear benefit- simple is easier to remember. In addition to this, it is evident throughout the findings previously explored that simple design is easier to understand. Likewise, briefly mentioned when speaking with regards to feeling found, it is possible to say that some believe that simple design is more aesthetically pleasing. However, others disagree with this.

This is further discussed in the next paragraph.

One commonly known theory within the realms of design is that ‘less is more’. This theory was coined by German architect Ludwig Mies van der Rohe and is a key expression that many designers live by to this day. The phrase refers to ‘the absence of unnecessary complexity, while retaining design elements that further effective communication.’ (Heller and Fink, 1999, p. 8), which directly sums up the some of the most important findings within this essay. In conflict to this, Heller and Fink point out the contradictory phrase that ‘less is a bore’- first suggested by architect Robert Venturi in his text ‘Complexity and Contradiction in Architecture’ (1984). He says ‘Blatant simplification means bland architecture. Less is a bore’. (Venturi, 2014, p.

14). Concerning architecture, this may be true. Perhaps intricate design is more interesting when it comes to the design of buildings. Having said this, they are not used to communicate. When speaking in terms of visual communication, intricacy complicates things. It is therefore difficult to say whether simplicity is more pleasing to the eye as this relies sometimes on the type of design. It remains a matter of opinion.

Something that adds value to the idea of reductive visual design is its ability to communicate across linguistic and cultural boundaries. Krampen suggested that pictures were the only form of communication that could be used when working with 5 Shelly Kaur

the restriction of there being a language barrier, unless there were some means of translation available (Krampen, 1965, p. 17). Munari states that ‘If a visual message is going to get across to people of different languages and backgrounds it is essential that the message does not lend itself to wrong interpretations.’ This would suggest that the design should be simple but accurate. Theorist Roland Barthes concept of motivation is briefly mentioned in Crow’s ‘Visible Signs: An Introduction to Semiotics in the Visual Arts’ (2010). Motivation is used to determine how closely an image represents what is being signified. A photograph, for example, is highly motivated whereas a drawing is less motivated. Barthes states that ‘The less a sign is motivated, the more important it is that the reader has learnt the conventions that help to decode the image’. (Crow, 2010, p. 56). This statement argues that an extremely simplified image may therefore be more difficult to understand for someone less familiar to the thing it represents. For this reason, there must be a balance. It must be simple enough to understand but still contain enough information to be easily recognised. When this is successfully achieved, communication across diverse cultures and languages becomes much easier and consequently, value is added to the use of visual material.

Chapter 3- Case Studies of Practice

Warja Lavater is a Swiss artist and illustrator who creates abstract re-tellings of fairy tales that use symbols instead of words. The illustrations within her books are accompanied by a key that helps the reader to understand what is what and consequently 'read' the book. What is great about these books is their ability to be universally understood due to the fact that each page of illustration has been created using only simple shapes, of different colours and sizes. Warja’s works provide an excellent example of how simplicity can communicate something as complex as narrative, and represents many of the theories and concepts mentioned within this essay.

In Figure 1, the symbol used to depict the character of Snow White in Lavater's edition of the story- ‘Blanche Neige’ produced in 1974, consists of the three main colours used to describe the protagonist- these being white, black and red. The 6 Shelly Kaur

placement and ratio of these colours within the circle symbol has been determined by what the colours describe - her skin, her hair and her lips- allowing us to instantly understand that this is Snow White. Coincidentally, this symbol also has similarities to that of a target, which we know is essentially what Snow is in this tale- she is being targeted by the Evil Queen. The fact that this is a universally known and understood story has meant that the symbols used can afford not to be in the slightest bit motivated. Each element of the story is now represented by a simple shape, meaning the story can be followed with minimal effort, by people of most ages, backgrounds and cultures.

The use of simple shapes uses the concept of reduction discussed earlier. The artist has carefully selected what she believes to be the most important information- in this scene, the protagonist and the forest. In this example, the green dots (trees) are overlapped and extremely close to Snow White, creating the illusion that the forest is closing in on her. Furthermore, the forest is littered with black dots that have a triangle shape cut out. These appear to look like creatures with open mouths, especially because most of them are facing Snow White. Once all of this information is put together in the readers mind and processed as a whole image, it is clear that it represents the commonly-known scene in the story after which Snow White has run into the woods in an attempt to escape the huntsman who was sent to kill her. She is let go and then finds herself within the forest where she is lost and frightened by her surroundings. Warja has also demonstrated here the use of organisation. Though this image may seem somewhat disorientated, the placement of the trees (green dots) has been carefully considered and the page has been organised in this manner to create a feeling of panic, tension and claustrophobia. The use of colours is also limited, creating a simpler aesthetic.

‘Since the industrial revolution, the necessity to communicate across language barriers has constantly increased… international gatherings like the World’s Fairs and Olympic Games pose special communication problems.’ (Krampen, 1965, p.

20). An additional example of the use of simplicity to communicate complexity can be seen in the works of graphic designer Lance Wyman and his ‘Mexico 68 Olympic Sports Icons & Signs’ (1966)- see Fig. 2. The reason these symbols are considered complex is because they communicate action verbs and therefore movement.

Although there is no indication of movement, in the given context- the Olympics and 7 Shelly Kaur

alongside each other- they are easy to understand or decipher, which shows a skillful use of reduction. What is interesting about a few of these icons is that a more considered use of the frame is evident. For example, the symbols for; hockey, fencing and weightlifting are simple, but more stimulatingly composed within their given frame. These communicate their sports as effectively as their accompanying symbols, which goes to show that visual communication can be aesthetically pleasing without affecting its purpose. Rather than promoting the common concept ‘function over form’, he has used both in conjunction with each other, supporting the statement that ‘The best designers marry function with form to create intuitive experiences that we understand immediately’ (Maeda, 2006, p. 39).

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Compare & contrast with 1965 Olympics in Tokyo - 'evident in the design is a lack of concern about whether or not the object depicted is part of the common experience of all visitors and whether there is too much or too little detail for optimal comprehensibility. In general, the pictographs departed from "simplified realism" in the direction of "oversimplified stylization."' - p.24 – counter-argument

Chapter 4- Reflective Practice •

Untranslatable words – across cultures and languages

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12 symbols, book, animations

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Talk about reduction, organisation, metaphor

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Compare to Olympics – similar concept, frame

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Talk about the addition of text

Chapter 5- Conclusion •

Summarise findings

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Question answered throughout essay

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Answer sub-question- can be aesthetically pleasing without affecting communication

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Images:

Fig. 1. Lavater, W (1974) Extract from: Blanche Neige [image] Available at: http://archivelikeyou.com/brigitteweiss/warja_lavater.html

Fig. 2. Wyman, L (1966) Mexico 68 Olympics Sports Icons & Signs [image] Available at: http://www.lancewyman.com/projects?id=82

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Bibliography

Books: Baird, R., Turnbull, A., McDonald, D. and Turnbull, A. (1987). The Graphics of Communication. New York: Holt, Rinehart, and Winston.

Bergstrรถm, B. (2008). Essentials of Visual Communication. London: Laurence King.

Crow, D. (2010). Visible Signs: An Introduction to Semiotics in the Visual Arts.

Worthing: AVA Publishing.

Eriksen, T. and Nielsen, F. (2013). A History of Anthropology. Pluto Press.

Forceville, C. (2006). Pictorial metaphor in advertising. London: Routledge.

Heller, S. and Fink, A. (1999). Less is More. Cincinnati, Ohio: North Light Books.

Maeda, J. (2006). The Laws of Simplicity. Cambridge, Mass.: MIT Press.

Media, S. (2016). Infinite Icon. Berkeley: Gingko Press.

Munari, B. (2008). Design as Art. London: Penguin Books.

Venturi, R. (2014). Complexity and Contradiction in Architecture. New York, NY: Museum of Modern Art. Ware, C. (2013). Information Visualization: Perception for Design. Amsterdam: Morgan Kaufmann.

Journals: Dilworth, J. (1979). A Representational Approach to Metaphor. The Journal of Aesthetics and Art Criticism, [online] 37(4). Available at: http://www.jstor.org/stable/430690 [Accessed 14 Nov. 2017].

Krampen, M. (1965). Signs and Symbols in Graphic Communication. Design Quarterly, [online] (62). Available at: http://www.jstor.org/stable/4047303 [Accessed 20 Nov. 2017].

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Zangwill, N. (1991). Metaphor and Realism in Aesthetics. The Journal of Aesthetics and Art Criticism, [online] 49(1). Available at: http://www.jstor.org/stable/431649 [Accessed 14 Nov. 2017].

Websites: Butler, A. (2017). interview with graphic designer lance wyman. [online] designboom | architecture & design magazine. Available at: https://www.designboom.com/design/lance-wyman-interview-10-14-2014-2/ [Accessed 7 Oct. 2017].

Review, C. (2017). Lance Wyman and the Mexico City Metro. [online] Creative Review. Available at: https://www.creativereview.co.uk/lance-wyman-and-themexico-city-metro/ [Accessed 7 Oct. 2017].

TV/ Films: Abstract: The Art of Design. (2017). [film] Directed by R. Press. Netflix.

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