Problems of translation of meanings in graphic design in the context of cultural differences
Such an important aspect requires careful analysis by designers seeking to communicate effectively with different audiences. This research paper examines the complexities of meaning translation in graphic design in the context of cultural diversity.
| Рубрика | Психология |
| Вид | статья |
| Язык | английский |
| Дата добавления | 10.12.2024 |
| Размер файла | 2,5 M |
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Problems of translation of meanings in graphic design in the context of cultural differences
Ivanova A.
Аннотация: graphic design, as a language of visual communication, is influenced by the cultural characteristics of different countries. Such an important aspect requires careful analysis by designers seeking to communicate effectively with different audiences. This research paper examines the complexities of meaning translation in graphic design in the context of cultural diversity.
Ключевые слова: graphic design, cultural differences in design, visual communication, translation of meanings in graphic design, color symbolism.
Graphic design is a universal language capable of conveying messages, ideas, meanings and emotions across linguistic barriers. Adaptation of a graphic design product to the target audience is of paramount importance, in particular adaptation to the cultural peculiarities and trends of different countries.
According to Prof. Geert Hofstede's research on the difference of cultural values, six cultural aspects have been identified depending on the country [1, pg. 67], which form the basis for the differences between the cultures of countries (fig. 1). graphic design cultural difference
Fig. 1. Six cultural aspects.
The data allowed us to identify the following criteria:
1) Power distance - how power is distributed in the culture. Countries with high power distance are more autocratic, countries with low power distance are more democratic.
2) Individualism versus collectivism - the level of individualism in the society.
3) Uncertainty Avoidance (UAI), how comfortable a society is with uncertainty and ambiguity.
4) Masculinity versus Femininity - whether the culture favors achievement, heroism, assertiveness, and material rewards. Distribution of emotional roles between the sexes.
5) Long Term Orientation - describes the temporal orientation of the culture. Hig-h scoring societies are pragmatic and business oriented in the long term. Short-term oriented societies are interested in the present and the past, and are suspicious of change.
6) Indulgence versus Restraint - the ability to show one's inner feelings. Indulgent societies are those that allow others to express their inner feelings, while restrained societies discourage such expression.
By examining cultural differences in these six criteria, it is possible to understand the general trends and frameworks that influence both graphic design and any other area of visualization.
Fig. 2. Diagram of the values of the different criteria using the example of the USA, Norway and Japan.
Based on the comparative data of the level of individualism shown in the diagram (fig. 2), it can be concluded that in Japan a design focusing on society and relationships rather than on individuals would be preferable. In the USA and Norway, the focus is on individuality and self-expression, which is also important to consider in graphic design.
In addition to the above criteria, it is important to consider the symbolism of color. For example, while in Western cultures white symbolizes purity and peace, in many Asian cultures it symbolizes mourning and death (table 1), [2, pg. 89].
Table 1. Meaning of colors in different cultures.
It can be concluded that it is not possible to create a completely uniform design for different cultures, but it is important to properly adapt a graphic design product for the perception of local audiences.
By recognizing and embracing cultural diversity, designers can create unique, effective designs that resonate with different audiences around the world.
СПИСОК ЛИТЕРАТУРЫ:
1. Geert Hofstede. Culture's Consequences (2001) pg. 50-78;
2. Gavin Evans, The History of Color. How Colors Changed Our World" (2019)
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