Less Reality: More Meaning
Quantifying imagery for the visual communicator.
Stuart Medley, Edith Cowan University
‘Typography’ as a defining term has become
interchangeable with ‘graphic design’, thanks
largely to the International Typographic Style
of the Swiss. While font choice and application
are seen as of paramount importance, image
choice—virtually half of the communication
design equation—is neglected in the theory and
in practice is left to the instinct of the designer.
The problem of specificity has
been known since photography’s
inception. Photography works
Photography: Arnold Newman
Psychology, art history and education are all ahead of graphic design with regard to quantifying the image. A useful model is the ‘realism continuum’ which distinguishes between pictures according to their relationship with visible reality (Dwyer, 1972; Wileman, 1993; McCloud, 1993)
The colour photograph is our closest A grey-scale image is only slightly
analogue to visible reality. Photographs removed from realism but immediately
are very good at showing us specific suggests relationships between the ele-
people and things, but they are pressed ments that a colour photograph
into service by designers for other tasks does not.
to which they are less suited.
Photography: Arnold Newman
Swiss modernism as the benchmark of
20th century graphic design theory has an
ill-informed reliance on realism through
photography: “the informational richness
and depth of the photographic image is at
odds with the imperative for the generic, the
The Swiss typographers prescribed photo-
graphy as the way to present images in symbolic” (Lupton and Miller, 1999, p.133)
graphic design.
Design: Joseph Müller-Brockmann
In 2000, 77% of awarded Australian graphic
designs contained photographic imagery
compared to 32% with illustrated imagery,
and 9% whose content was type only.
This reflects a long trend that may just be
changing. In 2008, 53% contained photo-
best when showing us a real graphic imagery compared to 30% with
person, place or thing.
illustrated imagery and 16% type only.
A silhouette or outline-only image has A range of studies in education have
graphic impact that appeals to one of found that line drawings are better than
the major functions of the eye: edge photographs at communicating instruc-
detection. tional materials (Goldsmith, 1984).
After Frank Werblin and Botond Roska:
The brain re-assembles multiple basic
images from the eye. The eye gives
off strong signals on edge-detection,
colour fields, vertical and horizontal
aspects of the environment. The brain
adds detail from memory.
Nothing is less
real than realism.
Details are confusing.
It is only by selection,
by elimination, by
emphasis that we get
at the real meaning
of things.
Georgia O’Keeffe
Stick figures have broad potential as A reduction in realism allows us to Letters and words are the ultimate
pictures, including capturing gesture accentuate other aspects of a picture: visual abstraction, but they are still in
with gesture, and revealing their shape and colour considerations allow the realm of the visual. Letter shape
authored nature. us to apply a ‘system of seeing’ to a pic- and weight have an important bearing
ture to suggest which elements belong on meaning separate from the content
with which others. Picture shape can of the text.
make a complex diagram seem
approachable and simple.
A paradox reveals itself when we examine Face recognition experts have found that
Though these theories address the void in
graphic design that sits outside of typogra-
the human visual system: We are able to we recognise faces—and all kinds of other
phy, they can be used as a more appropriate
communicate more accurately through less objects—by mentally mapping their image
accurately rendered images. Visual reality The ‘spotlight’ or ‘zoom lens’ principle against norms and exaggerating the dif-
means to classify type itself. Most design
allows that the visual system may fo- audiences don’t know their transitional from
is not accepted on face value by the human cus on a small aspect of what’s in front
of it and effectively disregard the rest.
ferences. Caricature, and not realism, is a
their modern, but they will respond to open,
organism but is a complex visual problem mechanism for visual memory: distillation
to be solved.
Agency: Springer & Jacoby
Creative Direction: Stephan Ganser/ and exaggeration actually communicate
curving geometry or sharp points and high-
Hans Jurgen Lewandowsk contrast. As designers we must remember
Photography: Axl Jansen more accurately to the psyche than the real
As with picture shape, letter shape can leave an that we are interested in how type looks—its
Once we begin to understand how the vis- thing (Rhodes, 1996); impression. Text may seem open or protective,
ual system works we can make images that
for example, because of the type shapes in which
it is set.
image aspect—more than what it spells out.
play to its strengths: we can solve the object
hypothesis problem on behalf of the viewer,
rather than re-present the problem of reality
through a photograph. We can solve or even create visual
problems that lead to strong viewer
engagement. Impressive things can be
achieved when pictures are made to
draw attention to the ways that we see.
Illustration: after Milton Glaser
References:
Illustration: Milo Manara
Dwyer, F. M. A guide for improving visualized instruction. Learning Services, Contemporary Illustration and its Context. DGV, Berlin. p. 8 (2005).
State College, PA. Pennsylvania (1972). McCloud, S. Understanding Comics. Kitchen Sink Press (1993).
Eysenck, M. Psychology: An International Perspective. Psychology Press (2004) Meggs, P. Meggs’ history of graphic design. John Wiley and Sons,
Goldsmith, E. Research into illustration: an approach and a review. Cambridge Hoboken (1998).
University Press (1984) Rhodes, G. Superportraits: Caricatures and Recognition, Psychology Press,
Lupton, E and Miller, J.A. Design Writing Research, Writing on graphic design. East Sussex (1996).
Phaidon. London (1999) Wileman, R.E. Visual Communication. Educational Technology Publications,
Mareis, C. Illustration in Practice. In R. Klanten and H. Hellige (Eds.) Elusive: New Jersey, pp12-17 (1993).