CHAPTER Art and Production: An Overview Learning Objectives After reading this chapter, you should be able to * understand the concept and philosophy of art * define visual art and understand the meaning of visual literacy + categorize visual art on the basis of aesthetic and functional considerations * describe communication art in visual form and understand the importance of creativity in communication art * gain insight into how communication art can be made effective * discuss the concept of graphic art, define it, and understand the difference between graphic and non-graphic images * delineate the various components of graphics * discuss the application of graphics in different media formats and look at the processes involved in the planning, execution, and production of print work INTRODUCTION rt means different things to different people. In Indian philosophy, art is satyam shivam sundaram. Satyam is truth; shivam is that which does good to all; and sundaram is beauty. Art is much more than music, dance, drama, and the objects to be found inside museums and galleries. When we think of art, we usually mean something more than mere skill. There are many activities that require skill, but art is special. Great art has universal appeal, because it has a message that moves us deeply or awakens us to new insights into human nature. Art touches us everyday and everywhere—at home, at school, in the office, and on the street. Art is both the process and product of man’s creativity; it is an experience. Exhibit 1.1 presents various views on art. Let us now briefly look at various types of art. The categories described here are not mutually exclusive, but they have been segregated for ease in understanding. | VISUAL ART The meaning of art differs from person to person, depending upon one’s capabilities. However, we all respond to art emotionally. Physiologically, it reaches us through ourThe sensation and emotion derived from pleasure, vision and ecstasy are the most powerful human Motive forces in creation of art.’ Upanisada Cold exactitude is not art; ingenious artifice, when it pleases or when it expresses, is art itself. Eugene Delacroix Art is the lie that makes us realize the truth.” —Pablo Picasso ‘A man climbs a mountain, because it is there. A man makes art, because it is not there.’ ~Cart Andre “Exhibit 1.1. What is art? To reduce art and speak of it exclusively in of sensation isto do violence to the inner may | Ananda Coomarg z ‘Swamy | “Subjects of study primarily concerned with hums | culture (as contrasted with scientific of technicg | subjects). j Concise Oxford English Dictionay All of these concepts can be expressed in a single | statement: “Science is rational objective analysis; artis emg. | | tional subjective synthesis.” | } | sensory receptors. The art that reaches through our eyes is visual art. Defined thus, almog all forms of art (inclusive of the performing arts of drama and dance) are, in fact, visu Visual art, which is a non-verbal form of communication, is also a language because visual expression is used to communicate or interpret the artist’s message. Visual Aesthetics Aesthetics is a branch of philosophy called value theory or axiology, which is the study of sensory or sensori-emotional values, sometimes called judgments of sentiment ot taste. Aesthetics is an oft-used synonym of art, although many thinkers feel that thee two closely related fields need to be distinguished. Aesthetic consideration within visual art is usually associated with the sense of vision. In simplistic form, visual art has broadly two categories: fine art and applied art. Fine art It is basically concerned with aesthetic pleasure; it may or may not have much of utilitarian value. The term ‘fine’ implies beauty, skill, superiority, elegance, exclusiveness, and perfection. Therefore, fine art, in its simplest form, would bea piece of work that embodies some of these qualities. It may include drawing, painting, sculpture, and architecture. Fine art is purely a product of an artist’s search for sel expression. Applied art Applied art is art for a purpose. Fabrics, gained a specific value, which sets them apart from fine art. One cannot, however, rel) draw a sharp line between fine art and applied art. Some fine arts such as architecturt have utilitarian value. Thanks to mechanical reproduction, many fine arts have toda) been brought to the domain of applied art as well. Applied art can, thus, be define! as a product of an artist’s search for a visual solution to problems of man’s basic nee ceramics, furniture, etc. have ae e —Art and Production: An Overview 3 such as food, clothing, and shelter. Both functionality and aesthetics are measures of creativity in applied art. Visual Literacy “Beauty lies in the eyes of the beholder’, goes the popular adage. The subjectivity of an individual viewer's response to visual communication is largely altered by visual literacy. To understand visual language or to communicate visually, a certain degree of intellec tual ability, called visual literacy, is required. Here, ‘intellectual ability’ refers to one’s ability to know, perceive, or conceive of an act or faculty that is distinct from emotion. Visual literacy goes beyond understanding the literal content of an image, which comes from one’s involvement in the world of visuals. Visual literacy, as defined by the Inter- national Visual Literacy Association, is ‘a group of vision competencies a human being can develop by seeing and at the same time having and integrating other sensory experi- ences. The development of these competencies is fundamental to normal human learning. When developed, they enable a visually literate person to discriminate and interpret the visual actions, objects, and/or symbols, natural or man-made, that are encountered in (the) environment. Through the creative use of these competencies (we are) able to communicate with others. Through the appreciative use of these competencies, (we are) able to comprehend and enjoy the masterworks of visual communications’. COMMUNICATION ART Communication art is art with a message. Here, we are referring to the visual commu- nication of an optically stimulating message that is understood by the viewer. Commu- nication art is a field that overlaps some areas of fine and applied art. It is historically rooted in the fine arts of drawing, painting, and writing, yet it is an applied art in the sense that it has a very clear purpose—communication. In the world today, thousands of messages are reaching us everyday. The first set of messages—brands of soap, toothpaste, and other personal care products—reaches us as we get up in the morning. We get ready for breakfast and the second set of messages reaches us—brands of food and the morning newspaper loaded with the concomitant classified and other advertisements. We then go to work, on the way we are literally bombarded with messages—bus schedules, route maps, posters, hoardings, street signs, names of shops, etc. At work, again, there is no cessation of messages received—cor- respondence, documents, and advertisements in myriad forms; computer outputs; audio-visual aids; etc. Weary in the evening, we turn our back on the messages of a busy day and relax in our favourite chair. Perhaps unknowingly and all too unwittingly, we then tune in another barrage of messages through the television, magazines, or books. Communication art is omnipresent—everywhere and at all times, we see it—and yet, rarely do we notice it. Creativity in Communication Art Creativity is the primary impulse of all the arts. Defining creativity would be as subjec- tive as defining love or hate. Creativity is an abstraction conceived by the imaginative4 Art and Print Production instincts of an artist's mind and influenced by his/her related environment, past, and n ‘ ’ 5 existence present. The dictionary meaning of creativity is ‘to create’, or to bring into existen or give rise to something that is original in nature, Creativity in communication art, nes a tool of mass com: although essentially and significantly related to originality, beco munication. It has a definite direction and a specific objective Communication art should be aesthetic and functional. The three primary players in this balancing act are: the visible object, the creator of the object, and the intended Viewer. Therefore, visual art (object) must link the mind of the artist (creator) with the mind of the target audience (viewer) and convey a clear and concise message. In Order to create this link, one should be visually literate. If such a link is not established or i the message is misunderstood, visual art is ineffective and hence lacks creativity, even if the artwork is creative in purely aesthetic or functional terms. Thus, the true measure of creativity in communication art is effectiveness In order to be effective, a piece of communication art must * stop the target audience; * hold the target audience; * send an absolutely unambiguous message; and + ifthe main purpose is advertising, evoke an instinctively positive response—usually brand purchase. GRAPHIC ART Graphic artis a subset of visual art. The word ‘graphic’ is derived from the Greek word graphiko, which means writing. Graphic art, thus, is a medium that conveys a written message. However, there is ambiguity in this definition. A written message is not the only element used in graphic art. More often than not, it is juxtaposed with related pictures that have been manipulated. Although each category of art has distinctive characteristics, it is not possible to draw a line be- tween these categories. Figure 1.1 illustrates how art can be narrowed down to graphic art. Modern users have simplified the term ‘graphic art’, christening it ‘graphics’. Today, graphic art is not just confined to printing. We find pictures and letters with a spoken message on TV and video. Titles of TV serials and the special effects of advertisements and animation films are all graphics. These are all created by the human hand. Earlier, ink, brush, pen, etc. were used to cre- ate a graphic by hand. Now, in tune with the spirit of modern age, sophisticated equipment, including computers, is used to create a graphic. Take the example of a rectangular photograph in 21.1 Art narrowed down to graphics which images are formed by blending different levelsArt and Production: An Overview 5 Sek ao pure is termed a continuous tone picture—it is not a graphic. The anes fe eS yy eliminating the unwanted background, it is called a graphic. Maa ain ponte is enhanced for this manipulation. Manipulation is also applied in moving forms such as film or television. Imagine that you are watching a cricket match sitting in your drawing room and enjoying your team’s batting. Suddenly, something unusual happens. Your favourite player is declared out, that too by LBW. You, like most other fans, are disappointed and doubtful about the umpire’s decision. Now, it is the duty of the communicator or the telecaster to satisfy the millions of cricket fans. Graphics is the tool used by the telecaster to draw lines between the wickets and show the movement of the ball as it hits the leg in front of the leg stump. Will you call it a graphic when the TV camera focuses on the crowd or the advertisement boards in the field? The answer is no, because the pictures coming through the camera are continuous—flow or analogue images like the normal playing action. Images such as the introductory details of a player at the start of his batting or that of a moving duck to make the situation humorous as a player is declared out without scoring are examples of the use of graphics on TV. Movement is the basic characteristic of electronic media. A road map shown on a video screen may be a graphic, but it will be effective only if the direction arrow is moving. This movement is also part of a graphic. An animation film is also a graphic as all its frames are drawn manually or mechanically. Graphics is also defined as the process of representing a three dimensional entity ona two dimensional surface, using various tools and techniques. The basic purpose of graphics is to enhance the message. A painting by M.F. Hussain, the famous Indian painter, may be called a piece of fine art. The moment it is used for a calendar, it will be called graphic communication and the work will be called graphics. This is because the original painting has been reproduced through some system and process. If you carefully observe a reproduced painting, you will notice a number of dots in different sizes. Done mechanically, itis, again, a work of graphics. ‘Arthur Tambull, an international authority on graphics, gives us a more academic definition: ‘Graphic communication is a process of conveying messages by means of visual images, which are usually on a flat surface.” Components of Graphic Communication If we have pictures with a spoken message, as we usually have on TV or video, they are not strictly graphics as they are created by a continuous flow of (analogue) pictures and sounds, Printed messages, of course, are a part of graphic communication. In sum, graph- ics may be defined as a part of visual communication that is manipulated to enhance the message. Whichever definition we might choose, we find that graphic communication has three basic components: (i) written messages; (ii) visual images—pictures, drawings, paintings, photographs, etc.; and (ii) layout. | ‘All three components are basically pictures. Written messages are formed by letters ofthe alphabet, which are primarily pictures We know that man had first started writingD Art and Print Production by using pictures. When these pictures are arranged graphically to convey # specific meaning, this new arrangement is known as a pictograph.| Although the art of writing has developed greatly over the years, the be of arranging pictures has not changed much. The pictures have just been m0 Pas form graphic symbols. These symbols, in groups, are capable of conveying § Tits a They are complex symbols. In order to communicate effectively, coe nee the symbols and their meaning in combination, which we call anes language is understood when these letter symbols are arranged in s* ec em fee like photographs or paintings, are more direct and capable of ma the message instantly. There is hardly any language or geographical barrier in v standing a picture) [Often, neither written messages nor pictures are capable of conveying th message. This is because written messages may be so complex that one fails to ssp the inner meaning of the message even though one may have learnt the language = its word symbols. Here, pictures come to one’s rescue. Children’s books are usual y full of pictures and have scant letter content.|An Indian child reading a folk tale of Malaysia will find it difficult to imagine the face and dress of a queen described in the story without an illustration. As the child grows up, the picture content goes down. However, even grown-ups often find language complex and difficult to comprehend without the aid of pictures and diagrams. Language is incapable of explaining a scientific formula without a diagram. Quite often, pictures too pose the same problem. Can you understand a newspaper picture without a caption? Will even the best photograph of an advertisement sell a product without a headline and a copy? (Only a combination of words and pictures is capable of conveying a message ef- fectively. Here, layout has a major role to play. Layout is a plan. We plan to arrange the words and pictures logically with a view to create effectiveness. Both the writer and the designer work together, and both are considered creative people. While the copywriter is more concerned with the message content in terms of language, the graphic designer is more concerned with the message presentation (typography, pictures, layout, etc.).) a Functions of Graphic Communication basic system mplified to g the intended Let us compare the spoken word and the writti and facial expressions to enhance the meat size, formatting, colour, Graphic design is not and meaningful effort to maximize the imy en word. Just as a person uses gestures ning of the spoken word, one uses type style, etc. to enhance the meaning of the written word. audience. A truly effective graphic sage content and message presentation. rp . 5 i i (According to designer Will Burtin, the main function of graphic design in contem- porary communication is translating and condensing ideas or problems i ch that they pave a shortcut to understanding. ee | The relative importance of content {Th and presentation vari ituati situation. Where message content is being actively sought, mesaedeneea naa nArt and Production: An Overview 7 be no more than a succinct headline. For example, job and tender advertisements are often dull in appearance, yet they are among the most read parts of a newspaper.) ‘On the other hand, where message content is only passively sought, message pre- sentation may spell the difference between full awareness and stark ignorance] Let us take an example. (Glossy magazines are literally packed with four-colour display advertisements of soaps, toothpastes, and thousands of attractive products; yet most of us flip through the pages and continue reading the editorial matter, stopping only at the occasional advertisement that is so unique that it almost jumps out of the page to grab our attention, Most written matter needs some graphic design to increase its appeal and impact. Headline size and typeface, placement on a page, margins and borders, colour, and a number of other things will determine whether a particular message will hit the target audience or just be thrown into the dustbin without even a casual look at it. It is im- portant to note that well-written words combined with well-conceived designs make the print work. Making the Print Work Graphics may be two-dimensional, three-dimensional, moving, or static. Print commu- nication graphics are static in nature. Good graphics require sound planning, effective execution, and proper handling of the production process. Designing skills, good visual perception, and knowledge of technology are essential requirements for giving shape to the final graphic design. The final idea is then reproduced for mass communication by one ofthe various production methods available. Figure 1.2 illustrates the steps involved in graphic communication. ; Graphic Communication ] Printed literature: Production | Planning | Execution | res mechanicals| Figure 1.2 Steps of graphic communication8 Art and Print Production Planning Every good printed material has good planning behind it. Planning starts information that provides a clear understanding of the project. The clie! et source of initial information. Mostly, information comes in the form of a ae eo The fact-finding process may include the use of various consulting agencies such as t consumer research bureau or one’s own sources. i The ultimate goal of this process is to make sure that one is in complete agreem: with the client about the scope of work and the objective reflected in the design brief. Information should be precise—it should be neither too much nor too little. Too much information confuses the creative mind while too little information is sterile of alternative ideas, killing all chances of creativity. At the planning stage, the basic aes tions are: Who are we trying to communicate with? What are we trying to tell them How do we do it? 2 The answer to the first two questions may be the urban middle class and our trying to promote a new savings scheme. The answer to the third question may be an adver- tisement, folder, or even an article in a newspaper. The collected information further tells us about the product or the idea that we want to sell or transmit. How can we reach the target audience? We may just make a simple announcement of the programme or provide information to the target audience through an appropri- ate medium. The planning of communication material for printing is usually done by a team of workers. In an advertising agency, the copywriter, visualiser, media planner, and ac- counts executive work together as a team. In some cases, the planning team depends on the availability of professionals. In some cases, it may even be limited to a single person. Selection of the right media is also a critical component of planning. Cost control is another issue that needs to be looked at. We should plan the work in such a way that, in addition to generating profits, we are also able to deliver a level of service that makes the clients or the users of the product feel that they are getting value for money. For instance, a publisher of school books may know that a book printed on executive bond paper, with all the illustrations in colour and a hardbound cover, will be attractive. However, such a high-quality product may not be viable because the cost of production would then shoot up, making its price prohibitive for students. At the same time, a publisher would not print a book that discusses art on plain white paper with only line illustrations in order to cut down costs. A balance needs to be maintained in planning a project. Execution Atthis stage, printed communication materials handled by the creative team compris ing the designer and the copywriter. Although they work onthe basis othe information provi yy the planning team, their work is most creative as it is thi i print communication is based. oe The skills of the copywriter and the designer are quite di is of thet a quite different. A skills creates the most effective communication material. In many stage hence they work independently. For instance, for publishing a book, the author may provide from collecting nt may be theArt and Production: An Overview 9 a complete manuscript to the publisher. The publisher, in turn, may engage a designer to execute the visual and verbal copy for production. In case the illustrations needed for the book are not supplied with the manuscript, the publisher, in consultation with the designer, arranges for the same. Other decisions such as type style, book format, margins, division of chapters, etc. may then be taken independently by the designer. milarly, in case of magazines, the contributors of the articles can hardly involve themselves in designing the magazine. In many cases, the editor takes the responsibility of designing and uses his/her visual imagination and graphic skills. The editor might have acquired these skills in his/her journalism education or simply from years of experience. It does not seem, however, that designers can easily be replaced with journalists. Execution of printed material is changing with technological developments. In newspaper designing, paste-up jobs are now a thing of the past. Designers and sub-editors now work out the lay- out digitally. This has simplified the job considerably, bringing in scope for more creative ideas and enabling designers to complement the verbal copy with visuals to make the message clearer. Until recently, newspapers used to avoid this due to time constraint. Designers now get more time to prepare the magazine supplements of a newspaper. That is why these pages have more visual appeal as compared with the main newspaper. Creativity in magazine and newspaper layout is somewhat limited. Since the designers have to work within the framework of these publications, the basic format, consisting of aspects such as column grids, type style, margins, etc., is predetermined and remains the same issue after issue. Print advertising, folder designing, and package designing offer great scope for designers. Designing these is much more challenging than designing a book, magazine, or newspaper. This is because, as ad space is expensive, clients cannot accept a design that would not sell the product or idea, even though it may be avery good piece of art. Thus, while creating print advertisements, folders, and packages, in addition to the aesthetics of the design itself, designers also have to keep various other considerations in mind. The high cost of advertising space is because of tough competition. The competition is not only between different media but also within a medium. In a newspaper, an ad- vertisement competes with other advertisements and written material for the attention of the reader. Here, team work ensures success in the competitive race. Advertising agencies have come into existence because they ensure success through team work. They are much in demand from elite advertisers. Success comes to designers who have strong visual perception and a very sound knowledge of human psychology. Designers should update their knowledge of print technology, which is rapidly changing. They should also keep their eyes open for new type designs and their effect in attractive designing. Copywriters and other professionals must also have some exposure to graphic design. They can then help the designers with positive ideas. They must also have knowledge of the design principles, typesetting complexities, paper qualities, production constraints, and new technology. Idea generation and printing the same on paper in a visual form is not complete unless prepress work is prepared. Prepress work includes the processes of typesetting, imaging, page make-up, colour management, and trapping. It is a highly technical job.Art and Print Production hily skilled artists and Until recently, a part of the prepress task was performed by hig! xpensive proprietary the other part by specialized technicians working manually or on e systems. Today, digital prepress technology is increasingly being used. Prepress tasks can now be accomplished by a single person with the help of computers. Designers and copywriters who have the knowledge and access to the relevant technology can complete their own prepress task to a large extent. Production The idea of a piece of printed mater for mass production. Every printing job requires t and the print buyer, with equal attention to a comp! budget to the time schedule, printing process, prepress task, paper stock, binding, finishing that may affect the final product. The production process may start with an evaluation of the whole job in terms of the tasks that can be performed in-house and the services needed from other prepress service providers. Sometimes, due to time constraint, separating the prepress task and printing instead the entire job to a printing outfit that does not have all the facilities under in terms of cost and time. Many a time, the production ise and equipment rial becomes a reality when it is finally reproduced he sustained effort from the printer ex set of variables ranging from the and of assigning one roof may prove economic i process costs more if the work is not done correctly for lack of experti heeded to accomplish the job. Errors may surface only after the film output is obtained. At this stage, there is usually no alternative but to discard the job and go through the whole process again. As a result, delays occur in the printing cycle, which translates into higher costs. Once it has been decided which tasks will be performed in-house and which ones will be contracted, a commercial printer needs to be chosen. From the client’s perspec- tive, three things are considered while choosing a printer: price, quality, and service. In addition to considering these factors, the print buyer should check the capability of the printer’s plant and his/her service record before considering a printer. The printer should have a good service record in terms of meeting all schedules including final delivery and taking care of the minute details of the job. The printing job should be satisfactory for both the parties. The printer should accept the job with a proper copy and all the specifications clearly specified therein. In many cases, the print buyer may be a production specialist, but most of the time detailed specifications come from the designer. These details include specifications about making of films for the original, line and half-tone job, their reproduction sizes, percentage of tint, and whether the illustrations should bleed or crossover. Details about the quality of paper to be used, print run, colour sample, and colour instructions in case of colour jobs should also be specified. For binding and finishing, the manner in which the product is to be stitched and trimmed and special requirements such as lamination, perforation, die cutting, etc. may be specified. The elements and steps involved in graphic com- munication, as discussed here, are presented in Figure 1.2. To get the best result from a printer, the designer or print buyer should send the final error-free proofs to the printer along with illustrations, if any, duly cropped and scaled. Electronic files may be accompanied by a proof sheet with necessary instruc-Art and Production: An Overview tions for colour, type font, dots per line, trapping, cut mark, etc., and also details of the various versions of software used in creating the file. These issues have been discussed in detail in the following chapters, which would help the reader handle production jobs with ease and confidence. In addition to knowledge regarding the printing process, it is important for designers and print buyers to possess good communication skills so that they can build a good relationship with printers they depend on to get their work done. SUMMARY The concept and meaning of art differs from person to person, but we all respond to art emotionally. We perceive art through our sensory receptors. The art that we perceive through our eyes is called visual art. Visual art can be broadly categorized into fine art and applied art. Fine art is concerned with aesthetic plea- sure, whereas applied art is art that is created to serve aparticular purpose. Communication art transcends the borders of fine and applied art. It is an art with a mes- sage. A creative message enhances the effectiveness of the communication art. Communication art can be further streamlined into graphic art. Graphics is defined as the process of present- ing visual forms which have been manipulated to enhance the communication message. The three components of graphics are—the written message, visual image, and layout. These three components have a distinctive identity and are used independently or in combination In some graphics, the layout or picture arrangement is capable of conveying the message effectively. Graphics may be of two-dimensional, three-dimen- sional, moving, or static form. Print communication graphics are static in nature. A good print commu- nication has good planning behind it. The planning is handled by creative people. It is then followed by execution. Here, design skill, visual perception, and knowledge of technology work together to give shape to the graphic design. Finally, the idea in the form of the design is duplicated for mass communication by one of the various production methods available. KEY TERMS ‘Analogue Image Physical variables of continuous flow of pictures, such as images on TV, voltage stabilizer, etc. Applied Art Aesthetically pleasing design or decora- tion of functional objects. It is used in distinction to fine art, although there is often no clear dividing line between the two. Art A product of human creativity, made with the intention of stimulating our senses through aesthetics or emotional impact, Commercial Printer Printers who undertake and deliver printed material in lieu of money. Communication Art Anything that adds meaning to a message. Copywriter Generally writes copy for advertisement and promotional literature. Copywriters are expected to establish their credibility with editors, designers, and readers through strong research and the use of appropriate sources and citations. Creativity A mental process of human activity involv ing the generation of new ideas or concepts, or new associations between existing ideas or concepts. Drawing The act of making an image that involves scribbling of marks on a surface by applying pressure with a wide variety of tools. Fine Art Art produced or intended primarily for beauty rather than utility. An art that requires highly developed techniques and skills. Graphic Art A visual image that is manipulated to enhance the message. Graphic Design A form of visual communication using text and/or images to present information or to promote a message. Graphic design often refers to the process designing in solving the communication problem. Graphic Symbols Also referred to as pictographs, pictograms, or pictures, these are symbols that are used12 Art and Print Production in place of, or as supplements to, written words, The Pictures provide non-verbal information about various object and activities. Painting The act of making an image by applying a pigment suspended in a carrier or medium and a binding agent like giue to a surface such as paper canvas or wall Photograph Pictures developed by means of ac- tion of light. Light pattems refiected or emitted from objects are recoded onto a sensitive medium or storage chip through timed exposure. Prepress The process of preparing the copy vis-a-vis tech- nological parameters before it reaches the printing press. Print Buyer Organizations or persons who get the material printed by paying money. Verbal Copy Information to be printed in words for ‘communication, Words are the abstract representation of objects in our environment Visual Art Works of art, such as paintings, pho- tographs, sculptures, and graphic art, which appeal primarily to our visual sense and typically exist in a permanent form. Visual Literacy A set of mental skills and competen- cies in human beings that enables them to discriminate and interpret visual actions, objects, and/or symbols — natural or man-made—that are encountered in the environment. REFERENCES Concise Oxford English Dictionary 1999, Tenth Edition, Oxford University Press Inc., New York. Gorden, Bob and Maggie Gorden 2002, Consultant Editors, Digital Graphic Design, Thames & Hudson Ltd, UK. Holmes, Charles 1946, A Grammar of the Arts, G. Bell and Sons, London. Industrial Design Centre, IIT 1987, Indian Symbology, Proceedings of the Seminar on Indian Symbology, Bombay. REVIEW QUESTIONS Russell, Stella Pandell 1975, Art in the World, Rinehart Press, San Francisco. Smith, Ken (ed.) 2005, Handbook of Visual Communica- tion: Theory, Methods and Media, Lawrence Erlbaum Associates Inc., New Jersey. Turnbull, Arthur T. and Russell N. Baird 1980, The Graphics of Communication, Holt, Rinehart and Win- ston, USA. Wikipedia, the free encyclopedia, accessed in December 2006 faith ath A 4. Define the following terms: art, visual art, fine art, and applied art. 2. What is visual literacy? 3. What is the meaning of visual aesthetics? 4. Explain how graphic artis a form of communication art 5. What do you mean by creativity? How does com- munication art become effective with a touch of creativity? PROJECTS 6. Define graphic art. Identify the graphics of various media formats and describe their characteristics, 7. What are the components of graphics? Ex- plain the characteristics and functions of each ‘component. 8. How can one make the graphic work? ees 4. To become a graphic designer, you would need to build your source materials. Collect as much material as possible of printed pages, photographs, drawn or painted images; scan them; and storethem in CDs or folders for each of the following topics: (a) Furniture, pottery, and tapestry (b) Sculpture—modern and ancient (c) Architecture—building, place of worship, and monument (d) Folk art of different regions . Prepare a project on the history of graphics. The project may be in three parts: (a) Prehistoric visual communication; (b) Graphics after Gutenberg’s invention of the movable type; (c) The influence of modern art in graphic designing. You will have to visit libraries or browse the Inter- net to collect the required information. . Make a sketch book of size 12” x 10” of ordinary Paper. Keep on sketching whatever you find in front of you. As you gain a little confidence, begin sketching moving objects. Use a soft pencil (4B) or sketch pen to draw the images, as far as Possible, in a single stroke. Avoid using an eraser for removing shortcomings in your sketches. Art and Production: An Overview 13 4. Buy a cartridge paper sketch book of size 16” x 11’(approx). Title it ‘Graphics Appreciation Book’. Every week, collect a printed form of a graphic design and paste it on the left side of a page. Note your appreciation or criticism on the facing page on the right. Cover the following points: (a) Kind of printed piece (brochure, advertise- ment, book cover, etc.) (b) Source (published in a magazine/newspaper or collected from ---) (c) Target audience (sex, age, education, life- style, etc.) (d) Communication objectives (generating awareness, selling a product or idea, inform- ing or educating) (e) Design quality in terms of form, colour, type, and appropriateness (f) Conclusion or suggestions for improvement Show your appreciation book to your teacher and take his/her comments or judge it yourself in terms of your gradual improvement in quality of appreciation.