Design
Teaching Practice Portfolio
Interview with Yawar Abbas
Toward a History of Graphic Design
By Sadia Abid for Design Magazine - Foundation University
1. What is graphic design?
Graphic Design is an umbrella term which covers all aspect of problem solving design including communication design, info graphics,
advertising design and persuasive design. All these problem solving paths have a common thread of stylizing space using typography
and image. When we want to convey our thoughts to someone we use language and words as a mean of verbal communication.
Graphic Design is a process through which we convert ‘verbal’ into ‘visual’. That why graphic design is also referred as ‘Visual Communication’.
2. What makes current graphic design different from that of earlier times?
The influence of technology is surely evident on today’s graphic design practice. Contemporary designers have to learn many tools along with the design education to cope with the market demand. E – environment is pushing the boundaries of past graphic design practice, still the rich tradition is providing the foundation for today’s new media.
3. When did graphic design first make itself known?
Graphic Design practice as we know today was always present, almost thousands of years back. People used emblems, heraldic marks, pictorial symbols to sell, distinguish and for visual recognition. Lettering is an old tradition same as typography which flourish in 15th century after the invention of movable type in Germany. Few of the typefaces still in common use were designed or cut by typographers in 16th and 17th century. Still the exact term ‘ Graphic Design’ was coined by William Addison Dwiggins in 1922. This was the same time when Graphic Design as a profession was widely accepted.
4. How far back does the desire to preserve the history of graphic design go?
As far as we can go. Preservation of graphic design work process is very important especially for design students. In Europe many universities and museums have recognized this importance and have developed a substantial archive of design work from designers working drawings to printed samples. This rich collection is a source of inspiration for the young designers.
5. What makes it difficult to maintain the history of graphic design?
Lack of awareness regarding the value of graphic design history and its preservation. Most of the art institute have designed their curriculum keeping in mind the market demand. So the emphasis is more towards the practical aspect of design. Students are more interested in learning skills rather than critical theory of design. The need is to recognize the importance of history and to invest financially in developing libraries, museums and archives.
6. Do you consider the history of graphic design to be an integral part of the history of art?
The nature, demand and motivation of fine art and graphic design are different. Although we can debate on the parallels between these two aspects as there are many similarities and commonalities between fine arts and graphic design but in totality both are different so do the history.
7. What makes the history of graphic design different from the history of painting?
Context makes the history of graphic design different from history of painting. The context is different as mostly graphic design is produced to satisfy client’s brief. While artists do paintings for self-satisfaction. Graphic design is produced mostly to convey a single message to a vast audience while fine art has no such influence. Artists work in isolation to make a personal statement regarding anything while graphic design is used to sell, persuade, educate and to inform.
8. How do your account for the scarcity of publications which cover the history of graphic design?
One of the reason is unavailability of research scholars who are really interested in graphic design history. Actually graphic design is more concerned with the practical aspect than the theory. This approach has developed a void between theory and practice. During the last 20 years people have recognized the importance of critical writing in graphic design and people like Phil Meggs, Richard Hollis and Rick Poynor have wrote comprehensive books on graphic design history and theory.
9. What tendency do you consider most adequate in evaluating the history of graphic design?
History of any subject needs an investigation of socio-cultural context. Without context history would be a compilation of events. Similar is with graphic design history. We have to understand cultural background, political factors and designers circumstances in which he has produced any particular design work.
10. How can the effects of graphic design be best evaluated in social circles?
There is a need to bring awareness regarding the role and influence of graphic design on society. We all are heavily influenced by the persuasive nature of advertising design as it has a strong impact on our sub-conscious world. More design courses at university level can make design practice an integral part of our society.
Interview with Yawar Abbas
Communication Designer / Design Educator Fellow of Higher Education Academy UK
By Shazia Ahmed for Design Magazine - Foundation University
1. Tell us a little bit about yourself?
For the last 13 years I am working as Communication Designer and Design Educator. I hold Masters in Design from Kingston University and also PG certification in Learning & Teaching in Higher Education, UK. This qualification gives me the fellowship of Higher Education Academy, UK. My body of work is based on the philosophy of 'Form Follows Function' and 'Medium is the Message'. I feel blessed to be an admirer of Modernism and Post Modernism equally. My major area of interest is Design Pedagogy and typography. I am keenly interested in applying and experimenting post modernist and new typographic theories within my native script of urdu and arabic.
2. Did you join any particular school? have you attended any design and art school or you a self-learned designer?
Yes, I have an extensive art & design school training and qualification under my belt. I started my design education by joining Karachi School of Art in 1993. I passed my Diploma in Communication Design securing first class first position in board exams in 1997. Then I went to Bolton University UK in 1999 for my BA (Hons) in Art & Design with graphic design as my majors and video & photography as minor. I attended London College of Communication for MA – Typographic Studies & Research in 2004 and after a gap of 6 years I did my Masters in Design from Kingston University along with PG certification in Learning & Teaching in Higher Education, UK. This qualification gives me the fellowship of Higher Education Academy, UK. Along with this academic training, self and peer learning is also a vital source and contributor in my personal development as a designer and educator.
3. How long have you been a designer?
From 1997 I am working as an advertising creative and design educator. Design Education in my preference and most of my working experience comes from this area.
4. Which designing tool do you prefer?
5. What kind of Software, equipment or plugin you use?
6. How important is Photoshop in your final image making?
For me it’s always about design process. The best tool for a designer is his sketch book and pencil. I also prefer doodling and then finishing my initial layout on digital tools such as Photoshop and illustrator. I am strong advocator of reviving traditional tools in design studios.No doubt computer is a must for us as designers. But it’s role in creative process is debatable. One can’t say that through computers any designers can produce creative work but surely computer has fastened the design process. For an intelligent and trained designer computer is a great help but in the hands of an un-trained designer who only have software knowledge it’s a disaster.
7. What was your most memorable and inspiring assignment/design for you and why?
My thesis Research project which I did for my Masters in Design at Kingston University, UK is the most memorable project for me. I developed a pedagogical resource for Design Creatives and Students to explore Nature of Expressive Typography. For this project I explored studio methods other than digital / computer tool to create fascinating typography. My project will be published in book form by Kalidas Publishers in two years time.
8. What would be your dream position in designing?
Commercial Status or position is never been my priority. I only prefer recognition as a designeducator, researcher and critic at any level.
9. What is your favorite recent design recently? Can you describe your thoughts/creationwhen creating the design and what it means to you?
I seldom do commercial work. Even if I do I don’t keep much of my commercial designs in my portfolio as mostly these design doesn’t represent me. At the end of day all those designs turned out to be Client-centric. I can answer the second part of your question regarding the breakdown of my workflow. It goes as follows:a. Data collection for the task in hand by doing primary research. I also read a lot about the subject to get the essence. During this research phase I also start making notes of selected points which may help in finding the ‘Big Idea’.b. Concept Development is the next step in which I start by making a ‘mind map’ around the key words. I also do small thumb nails/doodles and explore suitable typographic choices. Till this step I don’t use digital environment. Instead I use pencils, color markers and sketch pad. c. Digital Execution is the 3rdinitial sketches. This is also the phase in which do the art direction and make critical decisions about final layout, typography and color palette.
10. We know that each of us has someone or something, which inspires our life and work. Can you tell us what inspired you a lot?
Reading always inspires me. I have developed a routine in which reading about design is a must. I have a strong connection and interest in rich design history. Whole design history is inter connected so are the styles. One should not ignore any of the previous styles/movements before ‘Post Modernism’ as today’s graphic language is shaped and developed on the foundation of rich design history. So I will advise all the new designers to get inspiration with the rich history of graphic design. Without understanding the fundamentals of every design style you can’t just follow any particular and last step in which I use computers to execute digital parallels of my style successfully.
11. Is there anything you would have done differently during your career, And what was that?
I am quite content and satisfied with my life patterns still I if have a choice I would like to be born as a contemporary of modernist designers of 1920s.
12. Something special which you think you need to achieve?
My PhD in Typography.
13. What are your career goals?
I have no such career goals but there are unlimited academic goals which I would like to achieve for my personal satisfaction.15. Where do you see yourself in next 5 years?On a more peaceful and tolerant planet earth.