Modern methodology of graphic design in advertising in the field of economics

Размещено на http://www.allbest.ru/

Modern methodology of graphic design in advertising in the field of economics

Almnshdawy Hussain Abdualee, University Of The - Qar

Анотація

Now there is a need for more thorough development of graphic design methodological issues by expanding its application scope. As an advertising tool, it must consider many additional factors from different fields of knowledge, which requires forming a new modern methodology. The article aims to determine the needs and nature of the development of graphic design methodology in advertising given the current state of society. The practical component of graphic design in advertising should be based on sound theoretical products that will provide visual messages' required and expected effect.

The author emphasizes the need for a comprehensive solution for methodological issues, which involves a wide range of particular disciplines in management and advertising business. They should be used at the level of concept formation of an advertising image to consider all factors influencing further effective implementation. Artistic and compositional means and methods of graphic design in the general design methodology are responsible for the aesthetics of the visual message.

In conclusion, the author claims that the basis of project activities in graphic design in advertising should include theoretical developments in the form of the methodology of the design process, which will act as a certain guarantor of the advertising development effectiveness. Defining strict norms, in this case, is considered inappropriate, as a significant part of the project process is a creative activity. However, certain restrictions in recommendation will allow correcting the artistic “chaos” of visual advertising messages, which will protect consumers from visual information overload, nevertheless allowing advertising to perform its tasks effectively.

Keywords: methodology, graphic design, advertising image, project activity, visual message, advertising product.

Introduction

Graphic design in the sphere of advertising is actively developing. It has led to an everyday emergence of a significant number of visual advertising messages, which are no longer perceived by potential clients and may, conversely, cause rejection. Oversaturation of our living space with a variety of advertising images creates a constant visual "noise," which does not allow advertising graphics to perform their tasks fully. Therefore, the question arises of determining specific rules for forming the visual image of advertising content with the involvement of a theoretical basis. Since print advertising uses graphic design tools, it is necessary to develop a methodology in this area enabling to address a range of practical problems in the right direction, with the achievement of projected results.

Now the most relevant works on the development of the selected topic are ones written by S.V. Pryshchenko [11, p.392; 12, р.56]. They analyze in detail “...the existing methodological approaches to art culture, design activities and advertising for further effective advertising products design, increasing its positive value orientations and aesthetic level.” [11, p.382]. S.V. Pryshchenko emphasizes that only some authors recognize advertising as a cultural phenomenon, for example, R. Sapenko [13]. It is positioned most frequently as a means of communication, and visualization of ideas [3].

Advertising is almost not regarded as a component of design, so information about the development of graphic design means in advertising is not presented, with a few exceptions, provided by online reviews of the latest trends in advertising.

Yu.V. Bogoslovska and T.V. Malik presented grounds for implementing visual images in the form of graphic models in polygraphic advertising [2, р.137]. The authors considered in detail the basic categories of graphic design in advertising and generalized theoretical approaches to understanding the nature and content of the visual design of an advertising product. The result of the work has been expressed in the following statement: the practical application of interdisciplinary knowledge, skills, and features of figurative expression is identified as a basis for graphic design in advertising. The authors also emphasize that the implementation of means of verbal and nonverbal information visualization is essential in the creative advertising concept.

O. Hlynska emphasizes the determination of stylistic trends in advertising in the study of graphic design. She states: “... knowledge of stylistic trends expands the tool base of a designer, raises the general cultural level, forms aesthetic taste and other professional competencies.” [5, p. 160]

The work of Yu.M. Zadorozhna is dedicated to the design of print advertising. The nature of relationships, the content of project ideas, and the forms of their implementation in print advertising by means of graphic design are determined [6, p.5].

Many experts consider advertising ideas, forms, and methods of their implementation from the standpoint of marketing. We can name the following authors - R. Batru, F. Jeffkins, L. Percy, J. Russell, and others. Others, including K. Beauvais, A. Crompton, C. Goodrum, and other researchers, focus on the styles, historical context, and creative handwriting/style of certain masters. They view text and images as interrelated elements.

It should be noted that the theory of advertising is currently better developed than the methodological aspects of graphic design in advertising.

Given the chosen topic, K.M. Cantor's opinion is rather interesting. He emphasizes that it is “design theory that paves the way” for existing design practices [4,p.30].

The aim of the article: define the need and nature of methodology development of graphic design in advertising, considering the current state of society's development. The practical element of graphic design should be based on the substantiation of theoretical development, which will ensure the required and expected effect from visual messages.

Results

It should be noted that certain designers-practitioners have a point of view in which rationalist reconstructions in the field of graphic design are associated with creativity by authors. Absolutizing the role of the subject as a carrier of creative basis in design, they believe that compliance with specific rules and any method in the design process indicates an inability to innovate. Advocating for the creativity of design decisions and opposing the introduction of “stamps” in the design process, they follow the rule of “anything goes”: everything that contributes to success is suitable. This outdated approach is due to the historical context.

As a new type of artistic activity and as a separate profession, domestic graphic design began its forming in the 1960s. In any way, it does not preclude the graphic design groundworks in the first half of the twentieth century in the field of campaign posters, books, advertising graphics, etc. At that time, all practices in graphic design were carried out without the specialization of designers. In the 1980s, domestic graphic design became the most popular form of design activity. Such successes were mainly due to the emergence of modern technologies that allow visual communication in various areas of everyday life [8, p.269].

Today the field of activity of graphic designers covers the sphere of consumer goods promotion, cultural and mass shows, tourism, ceremonies, advertising projects, private events, etc. Confirmation of the effectiveness of design practices is empirical developments in the field of graphic design related to design and layout. The experience of working with three-dimensional designs, font, color, light, space, etc. has also expanded. However, the current stage in the development of graphic design in advertising is considered as “a turning point and even a crisis one.” [4, p.8].

Today graphic design has become a significant issue because of active advertising development. Due to its recognition as a valuable industry, the attitude has changed - from the project sphere to scientific knowledge. It, in turn, requires the creation of a methodological framework. The development of theoretical aspects of graphic design of advertising is becoming topical.

To define graphic design as a separate theory, we should cite the position of V.L. Glazychev. In design theory, he distinguishes two main aspects:

- firstly, the presence of “designer's self-reflection” - methods of designer's understanding of his/her design results;

- secondly, the theory is a study that presents an objective study of the design process [4, p.221].

The ideas and practice of systems methodology allow us to present private theory as a system: in graphic design, the creative, research, and projective components are an indivisible whole; they are different aspects of the same thing (Fig. 1).

Fig. 1. Features of design thinking

The importance of intuition's subjective component in the design process is vast. The active and operating nature of artistic creativity is the basis for the emergence of different options for solving the project problem. You can create several fundamentally different concepts based on one set of source data. This is the basis for the emergence of pluralism in methodology. Thus, the creative ideas of modern graphic design reflect all the processes of humanitarian culture.

Now graphic design covers a wide range of project activities - almost all graphical components of visual communication: constants and corporate media identity, industrial graphics, infographics, interfaces, information boards, web resources, various advertising products, and others.

In general, design can be considered a complex, synthetic discipline. Thus, advertising design (or communicative), as an area of graphic design, is even more specific in its nature. It primarily involves the following related disciplines: cultural studies, sociology, marketing, psychology of advertising, and others. Therefore, the integration of graphic design, advertising, and marketing as a standard set in the methodology of project activities in the field under study should be updated (Fig. 2).

Fig. 2. Functions of graphic design in advertising

In the modern world, advertising design requires sociological and marketing components, apart from graphic skills. Any advertising idea depends on the product and a set of social, economic, and cultural factors, i.e. its positioning in the market. The stated above is reflected in the creation of an advertising image.

The effectiveness of advertising graphic design is determined by the psychological qualities of people (potential consumers), which are always evident. Designers little consider individual features of an advertising consumer in the development process.

Sociological research determines the conditions for establishing an effective dialogue between a consumer and an advertising producer. The practical value of psychological methods is quite significant - the results obtained with their help can be successfully implemented in the development of advertising campaigns and the creation of direct advertising products.

When starting to work on an advertising model, it is worth remembering that the human brain is arranged in a certain way: one piece of information it perceives easily, the other may not be noticed at all. In terms of the market's saturation with the same type of goods, it should be noted that the primary, functional features and qualities of a product are no longer something individual, inherent in one object. So, they do not play a decisive role in consumer choice. To solve the uniformity problem of functional and qualitative features of goods, information on the psychological peculiarities of consumer perception of goods and their advertising becomes particularly necessary. This forms a separate branch of knowledge based on psychological, sociological, cultural, marketing, etc. research studies of consumer behavior, generalization of experimental and practical experience in the field of design and advertising, and development of basic rules for presenting goods to potential consumers (Fig. 3).

Peculiarities of consumer perception of the product visual image are based on stable psychological reactions. Objects of graphic design influence the consumer through irrational mechanisms of consciousness and build a graphic image of the product as a response to the consumer's needs, desires, expectations, and values. An image is actually a tool of merchandising (trade). With the help of expressive means of graphic design, a simple object focused on mass taste becomes an advertising image and acquires a symbolic meaning.

The content-related basis of the advertising image is a simulation (pretense), which determines the use of psychological techniques to create the impression of “individuality” of graphic design images. The visual form is deliberately created “false,” i.e. the product begins to represent something that it is not really [1, р. 189].

Fig. 3. Methodological aspects of graphic design work from a marketing standpoint

The language of the advertising image is a universal form of understanding reality. Its components are ideas, concepts, images, and other carriers of meaning. Language captures essential ideas for a person and his attitude to them. The main requirement for the sign is its informative nature: it must carry semantic information about the object. A sign of an advertising image is a material object (phenomenon, event) that performs the function of another object, property, or relationship and is used to receive, store, process, and transmit information. This is the material carrier of the image of the object limited by its functional purpose, characterized by intelligibility. The process of selecting individual characters in the image itself is conditional because the characters, in any case, are included in the system and interact.

The thematic outline is the basis for the image realization. The image is focused on the emotional and associative impact on the consumer, so the motives and values of the latter are decisive in the plotthematic structure. The plot is the aesthetic integrity of the work; it clearly embodies the unity of the formal and substantive basis. The plot is the unity of the image object and method.

The plot-thematic basis of the advertising image is characterized by a constant appeal to such aspects of life as family-child, love-erotic, historical-political, etc. Yet, a set of images is used to reveal the chosen topic according to the analyzed features.

Values and preferences of the mass consumer express his ideas about authority, fame, property, comfort, well-being, health, pleasure, rights, and freedoms. In this regard, the aesthetic preference of consumers will be inseparable from the symbolic meanings of the thing [8, р.262].

Thus, the development of advertising design graphics is the formation of an image stimulating consumer value through stable symbolic forms. In this case, graphic design is focused not so much on individuality as on particular types of consumers, characterized by a specific form of behavior and a standard set of human emotions and desires.

The similarity of consumers is expressed exclusively in their belonging to the consumption system. In the design process, the designer specifies the type of a consumer by age, gender, social status, place of residence, regional and national characteristics, etc., to determine the optimal impact mechanism on him.

Any advertising is a creative process, but it is necessary to formulate several rules, the implementation of which will achieve maximum efficiency of the advertising product created, i.e. a certain level and quality of graphic design.

1. Argumentation conciseness of the advertising message. When advertising a product, the arguments embedded in the graphic image (text, symbols, photo, and painted images) must be subject to one idea and express one opinion. The large flow of information is not perceived and recorded by the human brain in a short period, usually allocated for viewing advertising.

2. Literacy in choosing the style and size of the font. Such issues as what is advertised, who is the target audience, and where it will be placed should be considered.

3. Literacy in choosing colors. Here is an essential associative series with the advertised product, readability, the correct emphasis with the help of color, and no congestion of different colors.

4. Simplification of graphic representation. You need to understand who will read the ad and in what format.

Moreover, an important role is played by identifying the style of the advertising image graphic solution, which should be taken into account when developing methodological principles of design. Historically, specific stylistic models, which address national traditions and mentality, have been established in each country. This is especially true for advertising that targets the domestic market. However, in some cases, the advertising message to the external environment is visually enriched with national flavor, attracting potential customers.

Each qualitative model can usually provide the traditional cultural basis caused by features of national art. For example, the Japanese model of graphic design in advertising has been influenced by such traditional arts as “monso” (generic and corporate emblems), “ukiyo-e” (color engraving), “manga” (stories in pictures), and calligraphy. We can also emphasize the unique nature of national approaches to design.

The Korean model used the traditional Hangul letter system as a national element working as a reliable identifier. Written symbols were put on the image as a texture, resembling the national ornament. Unique graphics were identified with the national graphic design style in advertising, as they are a means of communication [7, p. 68].

In the European tradition, in general, the modernist orientation of art contributed to the search for new forms of visual communication.

The methodology of graphic design in advertising should be formed according to the principles of scientific knowledge. The position of I. Lakatos is rather interesting in this respect. He emphasizes that the development of science cannot be considered only as a result of the interaction of theory and experience [10]. Theoretical knowledge has relative independence expressed in research programs accepted by the scientific community. These are methodological principles indicating the rules that must be followed in the cognition process. R. Yu. Ovchinnikov reveals the concept of a “research program” as follows. She emphasizes that the research program allows to justify the development of any science as a continuous series of interdependent theories - in this case - the connection of theories within graphic design and advertising. Thus, the methodological approach is a principle that determines the overall research strategy and design process. The methodology is a part of the design. According to O.I. Genisaretsky, without the development of methodology, work on the future project will inevitably weaken [4,p. 252].

The following approaches can be distinguished for the formation of the methodology of project activities in the field of graphic design of advertising:

1. System-structural approach allows a person to consider advertising graphic design, taking into account the synthesis of individual components.

2. Socio-cultural approach allows us to identify the impact of society's historical, sociocultural, economic, and political factors on the nature of advertising graphics because advertising and design have an ideological platform.

3. The creation of advertising graphics should be approached not as a purely cultural phenomenon but as a product caused by a set of values and norms of a particular historical period of a specific region, provided by the axiological approach.

4. Historical and artistic approach is essential to reveal the influence of art styles on advertising.

5. Coloristic-graphic approach is necessary to analyze the constructive, compositional and coloristic organization of the advertising plane.

Conclusions

The development of graphic design as an independent, not burdened with theory, practically directed process has exhausted itself. Solving the problems of effective visualizing advertising messages requires design thinking to adhere to particular methods, techniques, and rules. It is necessary to build a theory considering the involvement of system-acting methodology and the creative component of graphic design. In forming graphic design methods in advertising, the ideas and practice of system methodology are in demand. However, the generation of new ideas is always associated with rejecting outdated technologies and ideas. The source of such an update may be technological developments of domestic and foreign specialists. In addition, it is necessary to emphasize the comprehensive solution to methodological issues, which involves the involvement of a wide range of particular disciplines in the field of management and advertising business. They should be used at the level of formation of the advertising image concept to consider all impact factors on further effective implementation. Artistic and compositional means and methods of graphic design in the standard design methodology are responsible for the aesthetics of the visual message.

Thus, it can be argued that the basis of project activities in the field of graphic design in advertising should be based on theoretical developments in the form of design process methodology, which will act as a guarantee of the effectiveness of advertising development. Identification of strict norms, in this case, is considered inappropriate, as a significant part of the project process is a creative activity. However, certain recommendation restrictions will allow to correct the artistic “chaos” of visual advertising messages. It will protect consumers from visual information overload, allowing advertisements to perform their tasks effectively.

graphic design marketing advertising

References

1. Azhhykhyn S.H. Projet image creation during the advertising images development. Prepodavatel ХХІv. 2009. No 3. P. 187-192.

2. Bohoslovska Yu.V., Malik T.V. Graphic design as a means of advertising idea transfer in polygraphy: almanac. 2021. N 2. P. 136-139.

3. Boumen U. Graphical presentation of information. M.: Mir, 1971. 226 p.

4. Henysaretskyi O.I., Bizunova E.M. Theoretical and methodological research in design. M.: Printing house of CPS, 2004. 373 p.

5. Hlynska O. Identification of stylistic tendencies of advertising while studying graphical design. Modernization perspectives of future specialists training in the sphere of technological, professional, and cultural education. Poltava: PNPU named after V.H. Korolenka, 2020. P. 157-162.

6. Zadorozhna Yu.M. Project idea and visual implementation of development tendencies in printed aid design. Technology and design. 2014. N 4 (13). P. 1-7.

7. Kosiv V. Globalization and national models in modern graphic design. Plastic art. 2002. № 1. P. 66-71.

8. Ovchinnikova R.Yu. Design-development of advertising graphics: methodological aspect. Omsk Scientific Bulletin. 2013. N 5 (122). P. 261-264.

9. Ovchinnikova R.Yu. The methodological basis of design research. Omsk Scientific Bulletin. 2012. N 1 (106). P. 267-270.

10. Porus V.N. Lakatos. New philosophical encyclopedia.

11. Pryshchenko S.V. Modern methodology and perspectives of advertising design development. Bulletin of National Academy of Managerial Staff of Culture and Arts. 2019. № 1. P. 389-394.

12. Pryshchenko S.V. Perspectives of advertising graphics in traditional and digital media. Ukrainian Arts Academy. 2020. N 29. P. 54-59.

13. Sapenko R. Advertising art in the modern culture: monography. Kyiv: «Kliaksa» Printing house, 2005. 295 p.

Размещено на Allbest.ru