Jordan's unique geographical position results in its experts choosing self development, which includes graphic design. Experts are also involved with developments occurring in neighbouring countries and the web was extremely useful in putting interested parties in these two fields touching one another and sharing possible development tools. The development of GRAPHICAL DESIGN is also assisted by annual exhibitions and specialised conferences held both in Jordan and outside the Arab world.
The academic and professional specialists for the foundation in developing graphical design through the formation of local learning institutions. In these institutions academics, programmers and graphical design teachers can meet with professional designers and discuss the way business is continue and requirements of the labour market.
Practical training is considered the foundation of GRAPHICAL DESIGN, where the academic skill of the student and his creativity are designed. Employed in a design office is known as to be the main and effective tool in measuring the level of academic learning. It also gives a sign of the potency of teachers in producing a generation of students capable of coping with the academic ethos and engaging with the requirements of the profession. This training provides the students with opportunities to polish and develop their skills by working along with established practitioners. Today's graphical design tools rely on it for producing visualisations of scientific developments. This visualisation requires a knowledge of the scientific theory and the visualisation tools available, which relies on the expertise of graphic designers.
In this paper I am going to concentrate on the profession of graphical design and its own development by discussing its early development. I'll review the negative and positive areas of that development and how they linked to changes on the market and the size of the marketplace and labour force. I will also discuss the academic concepts, and the requirement for graduate graphic artists.
In this paper I draw from my experience of employed in Jordan since 1987 at the MIDAS Establishment and my roles in student training at Yarmouk University and the Applied Sciences University, which I had been attached to since 1999. This paper addresses many questions and aims to explore the mechanics of enhancing graphical design in the academic and professional sectors.
The historic and technical initial stages of graphical design in Jordan
Graphic design developed alongside the printing and it industries. Printing was brought to Jordan in the 1940s by people who had learnt the trade far away. Jordan's printing evolution was similar to that of other countries. Printing started using wooden moulds, then zinc clich�s and letterpress, as well as other printing tools, symbols and shapes. It was the printing technology that restricted the scope for producing new designs. The range of items printed was limited to newspapers, cards and stationary. Printing started mainly in monochrome, and was then developed to create photo made clich�s through which the printers could actually print in full colour. Typolography, or raised printing was the main method and continues to be used today. Offset printing enhanced the quality of production, providing improvements in colour and picture reproduction. Round the same time the role of the graphic designer originated, involving the preparation of makettes and then film montage and plates to be equipped for printing (prepress); this relied on the professionalism of the film montage technician for the preparation of backgrounds for the pictures and words. Prepress was considered the main process in the production of the ultimate printed article. This technique was completed at the prepress service centre that was limited to a single institution until 1987. This centre had the capability and technology to execute a range of techniques where an artistic touch was required.
In the late sixties, design pioneers weren't graphic designers, but had learnt the technologies of collage and calligraphy. These were in a position to imitate designs from abroad and in some instances reproduced them. Their work initially ranged from greetings cards, business cards, social stationary, letterheads and envelopes, then progressed to brochures and folders. The work was mainly limited by newspaper advertising which relied predominantly on the offset printing method. We shouldn't forget the air brush technology that provided designers with the use of graded colours, achieving 3d effects for some designs, although the number of people by using this was limited.
From 1980-87 design was performed by specialists in Plastic Arts and Architecture, and also the first graduates of the faculty of arts at Yarmuok University and similar institutions. By the finish of the eighties, the computer Linotype was used as a publishing tool by newspapers to get ready text for layout and paste it on the mandatory pages next to advertising. Some publishing houses have graphic design offices which also acquired these systems to ensure the production of books and magazines to a similar quality. Linotype was also used to get ready the design of brochures and advertising materials that cannot be hand drawn. As time passes Linotype was also used for the preparation of other material by this technique, including handmade cards, posters and advertisements.
The design and printing sectors found the computer to be an effective way of improving productivity. In 1988 with the arrival of the initial design computer by Apple Macintosh, the numbers of workers in the field increased and performance progressed in the pre-printing stages such as for example film making and separation. However, the trouble of computers meant that there use was still limited. The production of computers by competitors of Apple Macintosh in addition to the ease with which film could be processed through its programs, created an enormous increase in the number of professionals interested in graphic design. This became evident by the growth in the number of agencies, design offices, publishing houses and service centres.
Personal computers affected the technical and artistic aspects of production. Some production centres were able to develop their skill base and by recruiting experienced designers and developing them by organising classes. These experienced individuals achieved high standards of work within and outside Jordan and could actually contend with others in the Arab regions and captured a share of the markets, producing many publications. Jordanian specialists became serious competitors against other Arab countries which had previously monopolised the fields of design and printing. Jordan has developed so that it can meet the demand for design and printing within the country. Jordan has turned into a magnet for most publishing houses in the Arab region. Many production and publishing organisations could actually catch up to the levels of the latest technology. There is a lot of evidence to claim that they will develop further, using modern production tools, which will ensure you can find enough local specialists who can continue steadily to produce work of the best quality.
The pace of technological development made it necessary for the academic institutions to supply the Jordanian market with the skilled workers who is able to work to the high standards required. These institutions need to continually adapt to the advancing technology as well as support the academics within their quest to enhance the artistic, scientific and technological aspects of production and publishing. Relationships must be strengthened by co-operation between business leaders and academic institutions in order to provide the mutual advantage of improve standards, with the ultimate aim of maintaining both local and international developments.
The easiest way to guage the typical of design and printing in a country is through the newspapers, magazines and books published. Television also provides a showcase for visual communication through locally produced advertisements. The speed of printing development has made impositions on graphical design and the designers themselves. Designers have to continuously update their training to keep abreast of new technology. This enables them to be at the forefront of improving quality and creativity in all respects of production.
The advantages and disadvantages of sectors allied with graphic design
When discussing the organisations involved with design and production in Jordan you can easily become overwhelmed by the variety and abundance of them. These organisations saturate the market. One of the known reasons for the number of organisations is the variety of production formats, each of which has its own structure. Computerisation has result in many operators being made unemployed.
Production sources can be divided into;
- Design
- Commercial printing
- Publishing houses
- Pre-press services centres
- Computer software training centres
They are the organisations where people often look for graphic designers, although a lot of them don't have academically trained staff who specialise in graphical design. Many of the individuals who own these organisations have chosen to specialise. Many of them specialised as the profession does not require a large capital outlay, others specialised because they had a knowledge of the tools used. Most appear to have specialised because this gives them with status in their community.
Although there are many organisations working in graphical design, the workers and owners in these establishments often lack knowing of the professional graphical design concepts as they have not studied the subject in depth. Employment opportunities for graduates only began to develop after 2000 when some organisations recognised the need for such skilled workers and academic institutions were able to produce professionals of this standard. The impression of graphic design graduates has changed so companies are no more choosing graduates who studied abroad. Design establishments have noticed the top quality of products which trained graduates can produce making use of their competence and skills, and their capability to use the full range of design and printing equipment. Without this properly structured training curriculum, experience had been gained through hap-hazard face to face training.
One of the weaknesses of these producing the designs is they are not always confident about how to use the most recent techniques. They often ask advice and prefer to work of their comfort zones, failing woefully to produce designs that could demand significant amounts of time, effort or care. Graduates are convenient with change and willing to develop new skills. Here are a few professionals, however, who've been invaluable in the development of graphic design by training others and developing their very own technical and professional skills. These folks also have monitored the pace of development in the fields of printing and graphic design.
A lot of the professionals have established themselves thorough the high quality of the work they produce. This is not possible with out a capable, aware and educated body of co-workers, who have scientific knowledge and so are creative rather than imitating the task of others.
The increasing gap between academic designers and employers, or art directors and creative managers is often due to misunderstanding the role of graphic designers. In industry, the priority of some designers or agency owners is profitability regardless of the quality of the outcomes.
The first problem is that some of the art directors or creative managers are not aware of the importance of their position, and often the employer is equally ignorant of this. Job titles tend to be arbitrary so artistic or creative managers frequently lack experience and expertise.
There is an absence of a common language between academic designers and managers or employers. This often frustrates designers, creating insecurity and hindering creativity. This environment can be an attempt to reduce a designers` status and restricts him from engaging in the creative thinking he'd have already been taught and university.
Adequacy of the professional reality
Graphic designers are distinguished from other fields when you are just about the most creative professions; they use information technology and visual communication. In addition, it involves dealing with the business enterprise world, where credibility and ability are necessary to attain the creative work. Qualifications and talent are crucial for this.
A graphic designer isn't only an artist but additionally a technician who's in a position to use software and techniques to tackle the project in hand. His approach should go beyond communication with the audience, to effective promotion and display. His aim is to produce clarity and he will be able to do this from the info using the techniques open to him. The goal is to connect the info and in order to do this must understand the development and design of the software that may be used. He has to comprehend all the innovations and methods of designing texts.
The look sector requires professionals to really have the experience to select and classify information, and to create links between related elements. However, this will not be enough if they can not interpret this and change it into definite forms. It is also vital that you understand the vocabularies of with language, sound and music as they are the most crucial tools of communication. Put into this, the designer must understand how to use the specialised design software to write texts, prepare drawings, animated cartoons and websites. The designer ought to know about design, timing, transformation, rhythm and visual presentation.
The potential of the look sector should be realised by understanding of the required theories and ways to improve communication with the audience, enrich the design proposals and understand the reflective aspect of the look process, studies and research.
There is much variation in the qualifications of staff within the design sector. You should differentiate between the craftsman and the academic designer. Wedding Photography is really a complete cultural and intellectual entity that is noted in the sensational theory, linguistic theory, visual eloquence and the cultural history of art, literature, science, technology, industry and humanity. They cannot isolate themselves from developments in theories of communication, information development, and from management and criticism. Moreover to improve the added value of the final product, all methods and tools used in production and publication ought to be understood. They must understand the stages before the design, plus they must understand the printing process and its implications on the look.
The market is crowded with many people working in graphical design. Because of the wide use of graphic design in lots of fields of work, the widespread use of computers and option of basic software packages you will find a role for folks using graphic design without the prior knowledge. The expression of graphic design continues to be not adequately understood by some employers in industrial and commercial firms and organisations that require graphic design services.
I really do not doubt the potential of the vocational sector but this can be a reality of graphic design. It must be remembered that well qualified people now occupy high status positions in the Jordanian market, showing its expertise and its ability to demonstrate the highest levels of graphical design.
The size of the market and people employed in graphic design
There are now more than five hundred establishments employed in graphic design. There are various who not classify themselves as an agency, centre or office, because they have found their very own market niche. Therefore these classifications can't be meaningfully applied in Jordan.
The sector is large compared to the market. The establishment of new graphical design organisations peaked in 1999. Since then, some have declined while some have expanded. Some have stagnated or changed management, while some have merged.
A quick look at the design sector will show that 85% of those working in the field can be classified as;
- Computer science graduates
- Architecture graduates
- Interior design graduates
- Graduates in 'Computers and the Fine Arts' from community colleges
- Fine arts graduates (both graphic design specialists and non-specialists)
- Graduates of design courses run by computer centres
- Unemployed those people who are interested in computers
University educated graphical design graduates fulfil an important role because;
- Universities produce Graphic Designers with a different outlook to those mentioned above.
- Organisations run by individuals who understand graphic design will undoubtedly be better in a position to develop designers skills and adapt to the future
I'm concerned for students who study graphical design at university but do not make an effort to improve his rate of innovation and creativity so as to improve. This can affect whether he is employable.
Academically and scientifically talented students will have few problems because good employers need students who can form ideas quickly, use appropriate design programs for his ideas and in a position to produce those. Other organisations aren't ideal for the academic designer. These are the push-pull degree of the graphic design sector which reflects the degrees of awareness of the concepts and functions of graphic design.
The market is capable of absorbing all graduates. This is dependent on the development of visual communication methods through graphic design. Such development requires the current presence of skilled workers with the capacity of meeting the requirements of the market. This places incentives for educational organisations that cope with design to intend to suit the graphic design market.
The academic reality of graphic design
The emergence of academic institutions that specialised in the arts started at the Yarmouk University where in fact the first arts and music department was established in 1980. This became a faculty in 2001, teaching drama, design (industrial, interior and graphic), plastic arts and music. The university awards bachelor degrees. It started in 2001 at the height of the computer revolution within the look sector in Jordan. In1991 teaching graphic design started as an independent specialisation within the Arts Department at the SYSTEMS University. This was followed by the Ahiya Amman University, the Petra University, Philadelphia University, AlZaytouneh University, the University of Jordan, and later the Israh University.
Apart from universities, during the time when graphic design became popular and a profitable profession, community colleges started teaching graphical design. These included the Al-Quds College, Granada College, Middle University College and Princess Alya College.
The task of the universities that award bachelor degrees is similar to colleges that grant two year diplomas, because both produce students with a certificate in graphic design. However in reality where creativity and technical skills are worried we find differences. The differences come in the course curricula, you need to include understanding the production process, product identity, understanding of software and design innovation.
There is confusion between graphic design and graphic art. These differences affect the student, particularly when he enters employment. He could be judged by both his creativity and innovation in producing new ideas and his ability to use technology which now involves the computer, the main graphic design tool.
The reason behind these differences becomes clear whenever we look at the amount of workers on the market and where they graduated from. At that time that the largest amount of graduates were being produced, the best quality graduates were produced by well-known institutions and these were recruited by probably the most successful companies.
A distinction is rolling out between technicians and designers. The reason being some academic institutions concentrate on technology and the practical aspects of design software, whilst others developing the opportunity to use knowledge and know how to connect ideas to the psychological and social context you need to include qualitative studies of theories and design curricula.
The reasons for this are;
- The lack of specialised academic experts in graphical design and the indegent quality of some of the teachers.
- The lack of appropriate study plans for creating graphic artists
- The absence of something defining the role of universities and colleges in teaching graphical design
- The absence of entry examinations to graphic design courses, unlike courses in the art specialisations
- The absence links to the outside world, other than through books.
- Some universities and colleges do not understand the concept of graphic design within an industrial context.
- The absence of official government support for finding a method to establish a core curriculum for university courses.
I've taught in the art departments of several universities and have assessed many graduation projects. These gave me the chance to find out about graphical design teaching, the standards of students, and showed the necessity for appropriate study plans. There is a lack of competitiveness which may improve educational standards and there's an arbitrary usage of teaching methods. Objectives can be clear, but often mistake in not utilizing the appropriate teaching methodology leads to them not being achieved.
To be able to develop and improve, the graphic design sector needs skilled and competent workers. The workers will never be able to respond to the changes in technology unless they have a formal academic training. To experience this advancement it is essential that graduate students are employed as graphical design specialists.
Conclusion
There exists a requirement in the Jordanian arena for the academic and professional sectors to examine their experiences and identify their strengths and weaknesses. This is used by them to set a strategy with the capacity of giving graphical design the respected position it deserves.
There is a requirement of government intervention to supply arena where specialists in graphical design may discuss many of the concepts that help them make company owners and managers aware of how to make the very best use of graphic artists.
And also teaching graphical design, universities and community colleges must support the markets needs for designers and artisans within the new specialisations which ought to be introduced so that you can reduce unemployment.There is a need for a professional body in graphic design to provide support to designers, co-ordinate educational and technical preparation and for making contacts with the outside world. It is important to hold workshops and symposiums that improve the competence of teaching staff, designers and students; these should be held with assistance from international institutions which are respected in this field.
It is also important to hold national and international competitions to encourage creativity and innovation. This can create a competitive atmosphere where graphical design can flourish.
Finally, it is very important develop a national identity in graphic design, that may cement its position in the international arena.
The State Of GRAPHICAL DESIGN In Jordan
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