The State Of GRAPHICAL DESIGN In Jordan

Jordan's unique geographical position results in its experts choosing self development, which include graphic design. Experts are also involved with developments taking place in neighbouring countries and the web was extremely useful in putting interested parties in these two fields in touch with each other and sharing possible development tools. The development of GRAPHICAL DESIGN is also assisted by annual exhibitions and specialised conferences held both in Jordan and beyond your 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 talk with professional designers and discuss just how business is continue and requirements of the labour market.

Practical training is definitely the foundation of GRAPHICAL DESIGN, where the academic skill of the student and his creativity are built. Working in a design office is known as to be the most crucial and effective tool in measuring the amount of academic learning. It also gives an indication of the potency of teachers in producing a generation of students capable of dealing with the academic ethos and engaging with certain 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 information technology for producing visualisations of scientific developments. This visualisation requires an understanding of the scientific theory and the visualisation tools available, which depends on the expertise of graphic artists.

In this paper I'll focus on the profession of graphical design and its development by discussing its early development. I'll review the negative and positive areas of that development and how they related to changes in the market and the size of the marketplace and labour force. I am going to also discuss the academic concepts, and the requirement for graduate graphic artists.

In this paper I draw from my connection with working in Jordan since 1987 at the MIDAS Establishment and my roles in student training at Yarmouk University and the Applied Sciences University, which I have 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 information technology industries. Printing was taken to Jordan in the 1940s by people who had learnt the trade in other countries. 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 number of items printed was limited by newspapers, cards and stationary. Printing started mainly in black and white, and was then developed to make photo made clich�s by which the printers were able to print completely colour. Typolography, or raised printing was the main method and is still used today. Offset printing enhanced the caliber of production, providing improvements in colour and picture reproduction. Round the same time the role of the graphic designer was developed, relating to the preparation of makettes and then film montage and plates to be ready 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 perform a range of techniques where an artistic touch was required.

In the late sixties, design pioneers were not graphic artists, but had learnt the technologies of collage and calligraphy. They 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 a few 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 prepare 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 guarantee the production of books and magazines to a similar quality. Linotype was also used to prepare 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 method, including greeting 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 film making and separation. However, more info of computers meant that there use was still limited. The production of computers by competitors of Apple Macintosh and also the ease with which film could be processed through its programs, created a huge increase in the amount 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. Additional hints could actually develop their skill base and by recruiting experienced designers and developing them by organising classes. These highly trained individuals achieved high standards of work within and outside Jordan and could actually compete 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 is rolling out so that it can meet the demand for design and printing within the united states. 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 most recent technology. There is plenty of evidence to suggest that they'll develop further, using modern production tools, which will ensure there are enough local specialists who is able to continue to produce work of the best quality.

The pace of technological development managed to get essential 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 adjust to the advancing technology together with support the academics within their quest to improve the artistic, scientific and technological areas of production and publishing. Relationships must also be strengthened by co-operation between business leaders and academic institutions in order to provide the mutual good thing about improve standards, with the best aim of maintaining both local and international developments.

The easiest way to guage the standard of design and printing in a country is through the newspapers, magazines and books published. Television also offers 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 need to continuously update their training to keep up to date with new technology. This enables them to be at the forefront of improving quality and creativity in all respects of production.

Advantages and disadvantages of sectors allied with graphical design

When discussing the organisations involved in design and production in Jordan it is easy to become overwhelmed by the variety and abundance of these. These organisations saturate the marketplace. One of the known reasons for the amount 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 people who own these organisations have chosen to specialise. A number of them specialised as the profession does not need a large capital outlay, others specialised since they had an understanding of the tools used. Most may actually have specialised because this provides them with status within their community.

Although there are many organisations working in graphical design, the workers and owners in these establishments often lack awareness of the professional graphical design concepts as they haven't studied the subject in depth. Employment opportunities for graduates only started to develop after 2000 when some organisations recognised the necessity for such skilled workers and academic institutions could actually produce professionals of the standard. The impression of graphical design graduates has changed so companies are no longer 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 selection of design and printing equipment. Without this properly structured training program, experience have been gained through hap-hazard face to face training.

One of the weaknesses of these producing the designs is that they are not always confident about how to use the most recent techniques. They often times ask advice and prefer to work of their comfort zones, failing to produce designs that could demand a great deal of time, effort or care. Graduates are convenient with change and ready to develop new skills. There are a few professionals, however, who've been invaluable in the development of graphical design by training others and developing their own technical and professional skills. These folks also have monitored the pace of development in the fields of printing and graphic design.

Most of the professionals established themselves thorough the high quality of the task they produce. This is not possible without a capable, aware and educated body of co-workers, who have scientific knowledge and so are creative rather than imitating the work of others.

The increasing gap between academic designers and employers, or art directors and creative managers is often because of misunderstanding the role of graphic artists. In industry, the priority of some designers or agency owners is profitability whatever the quality of the outcomes.

The initial problem is that a few of the art directors or creative managers have no idea of the importance of their position, and frequently the employer is equally ignorant of this. Job titles are often arbitrary so artistic or creative managers frequently lack experience and expertise.

There is an lack 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 participating in the creative thinking he would have been taught and university.

Adequacy of the professional reality

Graphic designers are distinguished from other fields by being the most creative professions; they use information technology and visual communication. It also involves dealing with the business enterprise world, in which credibility and ability are necessary to attain the creative work. Qualifications and talent are essential for this.

A graphic designer is not only an artist but additionally a technician who's able to use software and ways 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 should be able to do this from the info using the techniques available to him. The goal is to connect the data and to carry out 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 design sector requires professionals to have the experience to select and classify information, also to create links between related elements. However, this won't be enough if they can not interpret this and transform it into definite forms. Additionally it is important to understand the vocabularies of with language, sound and music because they are the most important tools of communication. Put into this, the designer must learn how to use the specialised design software to write texts, prepare drawings, animated cartoons and websites. The designer should know about design, timing, transformation, rhythm and visual presentation.

The potential of the design sector should be realised by understanding of the necessary theories and ways to improve communication with the audience, enrich the design proposals and understand the reflective facet of the look process, studies and research.

There's much variation in the qualifications of staff within the design sector. It is important to differentiate between the craftsman and the academic designer. The graphic designer is a complete cultural and intellectual entity that's 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 boost the added value of the ultimate product, all methods and tools used in production and publication should be understood. They must understand the stages before the design, and they must understand the printing process and its implications on the design.

The marketplace is crowded with many people working in graphic design. Due to the wide use of graphic design in many fields of work, the widespread usage of computers and availability of basic software packages you will find a role for folks using graphic design without any prior knowledge. The expression of graphic design continues to be not adequately understood by some employers in industrial and commercial firms and organisations that need graphic design services.

I do not doubt the potential of the vocational sector but this is the reality of graphical design. It must be remembered that well qualified people now occupy high status positions in the Jordanian market, showing its expertise and its own ability to demonstrate the best levels of graphic design.

The size of the marketplace and people working in graphic design

There are now more than five hundred establishments working in graphic design. There are many who not classify themselves as an agency, centre or office, because they have found their own market niche. Therefore these classifications can't be meaningfully applied in Jordan.

The sector is large when compared to market. The establishment of new graphic design organisations peaked in 1999. Since that time, some have declined while some have expanded. Some have stagnated or changed management, while others have merged.

A quick consider the design sector will show that 85% of these employed 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 who are interested in computers

University educated graphical design graduates fulfil a significant role because;

- Universities produce Graphic Designers with a different outlook to those mentioned previously.

- Organisations run by individuals who understand graphic design will undoubtedly be better able to develop designers skills and adjust to the future

I am concerned for students who study graphical design at university but do not try to improve his rate of innovation and creativity in order 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 able to produce those. Other organisations are not useful for the academic designer. These are the push-pull degree of the graphic design sector which reflects the levels of knowing of the concepts and functions of graphical design.

The market is with the capacity of absorbing all graduates. This is influenced by the development of visual communication methods through graphic design. Such development requires the presence of skilled workers with the capacity of meeting the needs of the marketplace. This places incentives for educational organisations that cope with design to plan 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 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 being 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, at that time when graphic design became popular and a profitable profession, community colleges started teaching graphic design. These included the Al-Quds College, Granada College, Middle University College and Princess Alya College.

The work of the universities that award bachelor degrees is similar to colleges that grant two year diplomas, because both produce students with a certificate in graphical design. But in reality where creativity and technical skills are concerned we find differences. The differences come in the course curricula, you need to include understanding the production process, product identity, knowledge of software and design innovation.

There is confusion between graphic design and graphic art. These differences affect the student, particularly if he enters employment. He is 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 for these differences becomes clear when we look at the number of workers on the market and where they graduated from. During the time that the largest number of graduates were being produced, the highest quality graduates were produced by well-known institutions and we were holding recruited by the most successful companies.

A distinction has developed between technicians and designers. It is because some academic institutions concentrate on technology and the practical aspects of design software, whilst others developing the opportunity to use knowledge and discover how to connect ideas to the psychological and social context and include qualitative studies of theories and design curricula.

The reasons for this are;

- The absence of specialised academic experts in graphic design and the indegent quality of a number of the teachers.

- The absence of appropriate study plans for creating graphic designers

- The absence of a system defining the role of universities and colleges in teaching graphical design

- The lack of entry examinations to graphical design courses, unlike courses in the art specialisations

- The absence links to the outside world, apart from through books.

- Some universities and colleges do not understand the concept of graphical design within an industrial context.

- The lack of official government support for finding ways to set up a core curriculum for university courses.



I have taught in the art departments of a number of universities and also have assessed many graduation projects. These gave me the chance to discover more regarding graphical design teaching, the standards of students, and showed the necessity for appropriate study plans. There is get more info of competitiveness which would improve educational standards and there is an arbitrary usage of teaching methods. Objectives can be clear, but often mistake in not utilizing the appropriate teaching methodology results in them not being achieved.

So that you can 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 will have a formal academic training. To experience this advancement it is necessary that graduate students are used as graphical design specialists.

Conclusion

You will find 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 capable of giving graphic design the respected position it deserves.

There is a requirement of government intervention to supply arena where specialists in graphical design may discuss a lot of the concepts that help them make company owners and managers alert to how to make the best use of graphic artists.

And also teaching graphic design, universities and community colleges must support the markets needs for designers and artisans within the new specialisations which have to be introduced to be able to 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 to make contacts with the outside world. You should hold workshops and symposiums that enhance the competence of teaching staff, designers and students; these ought to be held with assistance from international institutions which are respected in this field.

It is also vital that you hold national and international competitions to encourage creativity and innovation. This can develop a competitive atmosphere in which graphical design can flourish.

Finally, it is important to develop a national identity in graphic design, which can cement its position in the international arena.