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THE STATE OF GRAPHIC DESIGN IN JORDAN

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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 in touch with one
another and sharing possible development tools. The development of Graphic
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
graphic design through the formation of local learning institutions. In these
institutions academics, programmers and graphic design teachers can talk with
professional designers and discuss just how business is moving forward 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
amount of academic learning. It also gives a sign of the potency of teachers in
creating a generation of students capable of coping with the academic ethos and
engaging with the requirements of the profession. This training supplies the
students with opportunities to polish and develop their skills by working along
side established practitioners. Today's graphical design tools rely on it for
producing visualisations of scientific developments. This visualisation requires
an understanding of the scientific theory and the visualisation tools available,
which relies on the expertise of graphic designers.

In this paper I will concentrate on the profession of graphic design and its own
development by discussing its early development. I'll review the positive and
negative areas of that development and how they linked to changes on the market
and how big is the market and labour force. I'll also discuss the academic
concepts, and the requirement for graduate graphic designers.

In this paper I draw from my connection with 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 mounted on 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
taken to Jordan in the 1940s by individuals 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 number of items printed was
limited to newspapers, cards and stationary. Printing started mainly in black
and white, and was then developed to create photo made clich�s through which
the printers were able to print in full colour. Typolography, or raised printing
was the primary method and is still used today. Offset printing enhanced the
standard of production, providing improvements in colour and picture
reproduction. Around the same time the role of the graphic designer was
developed, relating to the preparation of makettes and 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 most important process in the production of
the final printed article. This process was carried out at the prepress service
centre which was limited to an individual 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 artists, but had learnt the
technologies of collage and calligraphy. They were in a position to imitate
designs from abroad and occasionally 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
to newspaper advertising which relied predominantly on the offset printing
method. We shouldn't your investment air brush technology that provided
designers with the use of graded colours, achieving three dimensional effects
for a few designs, although the amount of people using this was limited.

From 1980-87 design was performed by specialists in Plastic Arts and
Architecture, plus 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 close to advertising. Some publishing
houses have graphical design offices which also acquired these systems to
guarantee 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. With time Linotype was also used for the preparation
of other material by this method, including handmade cards, posters and
advertisements.

The look 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, the expense of computers meant that there use was still
limited. The production of personal computers by competitors of Apple Macintosh
plus the ease with which film can be processed through its programs, created an
enormous increase in the number of professionals interested in graphical design.
This became evident by the growth in the number of agencies, design offices,
publishing houses and service centres.

Computers affected the technical and artistic areas 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 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 has developed in order
that it can meet up with the demand for design and printing within the united
states. Jordan has become a magnet for most publishing houses in the Arab
region. Many production and publishing organisations were able to catch around
the levels of the latest technology. There is a lot of evidence to claim that
they'll develop further, using modern production tools, which will ensure there
are enough local specialists who can continue to produce work of the best
quality.

The pace of technological development made it 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
adapt to the advancing technology along with support the academics within their
quest to improve the artistic, scientific and technological aspects 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 ultimate aim of
maintaining both local and international developments.

The easiest way to judge 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 graphic design and the
designers themselves. Designers have 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 with design and production in Jordan
you can easily become overwhelmed by the variety and abundance of these. These
organisations saturate the marketplace. One of the reasons for the number of
organisations is the selection of production formats, all of which has its
structure. Computerisation has result in many operators being made unemployed.

Production sources could be divided into;

- Design

- Commercial printing

- Publishing houses

- Pre-press services centres

- Computer software training centres

These are the organisations where people often look for graphic designers,
although most 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. Some 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 may actually have specialised because this provides them
with status in their community.

Although there are many organisations working in graphic design, the workers and
owners in these establishments often lack awareness of the professional
graphical design concepts as they have not 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 were able to produce professionals of the standard. The
impression of graphic 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 curriculum,
experience had been gained through hap-hazard on the job training.

One of the weaknesses of those producing the designs is they are not always
confident about how exactly to use the most recent techniques. They often ask
advice and would rather work of their comfort zones, failing woefully to produce
designs that could demand significant amounts of time, effort or care. Graduates
are much more comfortable with change and willing to develop new skills. There
are many professionals, however, who have 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 graphical design.

Many of the professionals established themselves thorough the high quality of
the work they produce. This is simply not possible without 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 frequently due to 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 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 the. Job titles tend to be arbitrary so artistic or creative
managers frequently lack experience and expertise.

There is an absence of a standard 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 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 it and visual communication. It also involves dealing with
the business world, where credibility and ability are essential to attain the
creative work. Qualifications and talent are crucial for this.

A graphic designer isn't just an artist but also a technician who's able to use
software and techniques to tackle the project at hand. His approach is going
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 available to him. The goal is to connect the info and to carry out
this must understand the development and design of the program that could be
used. He has to comprehend all the innovations and methods of designing texts.

The look sector requires professionals to really have the experience in order to
select and classify information, and to create links between related elements.
However, this will not be enough if they cannot interpret this and change it
into definite forms. It is also 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 create texts, prepare drawings, animated cartoons and
websites. The designer should know about design, timing, transformation, rhythm
and visual presentation.

The potential of the look sector ought to be realised by understanding of the
necessary 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.
It is very important differentiate between your craftsman and the academic
designer. The graphic designer is really 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 final product, all methods
and tools used in production and publication should be understood. They need to
understand the stages before the design, plus they must understand the printing
process and its implications on the look.

The marketplace is crowded with lots of people working in graphic design. Due to
the wide use of graphical design in lots of fields of work, the widespread use
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 is still not adequately understood by some employers in
industrial and commercial firms and organisations that require graphic design
services.

I do not doubt the potential of the vocational sector but it is the reality of
graphic design. It should 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 marketplace and people working in graphic design

There are now a lot more than five hundred establishments working in graphic
design. There are lots of who would 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 that time, some have declined while
others have expanded. Some have stagnated or changed management, while others
have merged.

A quick look at the design sector will show that 85% of these 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 graphical design specialists and non-specialists)

- Graduates of design courses run by computer centres

- Unemployed people who find themselves 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 be better
in a position to develop designers skills and adapt to the future

I am concerned for students who study graphical design at university but do not
make an effort 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 are able to 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. They are the push-pull
level of the graphical 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. That is influenced
by the development of visual communication methods through graphical design.
Such development requires the presence of skilled workers with the capacity of
meeting the requirements of the market. This places incentives for educational
organisations that deal with design to plan to suit the graphical design market.

The academic reality of graphical 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 design sector in Jordan. In1991 teaching graphic design
started as an independent specialisation within the Arts Department at the
Applied Sciences 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 graphical 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. But in reality where creativity and technical skills are
worried we find differences. The differences are in the course curricula, and
include understanding the production process, product identity, understanding of
software and design innovation.

There's 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 capability
to use technology which now involves the computer, the primary graphic design
tool.

The reason for these differences becomes clear whenever we look at the amount of
workers in 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 these were recruited by the most
successful companies.

A distinction is rolling out between technicians and designers. This is because
some academic institutions focus on technology and the practical areas of design
software, whilst others developing the opportunity to use knowledge and discover
how to connect suggestions to the psychological and social context you need to
include qualitative studies of theories and design curricula.

The reasons because of this are;

- The absence of specialised academic experts in graphical design and the
indegent quality of a few 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 graphic design

- The lack 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 ways to set up a core
curriculum for university courses.


I have taught in the art departments of a number of universities and have
assessed many graduation projects. check here gave me the opportunity to
discover more regarding graphical design teaching, the standards of students,
and showed the need for appropriate study plans. You will find a lack of
competitiveness which may improve educational standards and there's an arbitrary
use of teaching methods. Objectives can be clear, but often mistake in not
utilizing the appropriate teaching methodology results in them not being
achieved.

To be able to develop and improve, the graphical design sector needs skilled and
competent workers. The workers will not be able to react to the changes in
technology unless they have a formal academic training. In order to achieve this
advancement it is necessary that graduate students are used as graphic 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
graphical design the respected position it deserves.

There is a requirement of government intervention to provide arena where
specialists in graphic design may discuss lots of the concepts that help them
make company owners and managers aware of how to make the very best use of
graphic artists.

And teaching graphic design, universities and community colleges must support
the markets needs for designers and artisans within the new specialisations
which ought to be introduced to be able to reduce unemployment.You will find 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 exterior world. You should hold workshops and symposiums that enhance the
competence of teaching staff, designers and students; these ought to be held
with the help of 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 will develop a competitive atmosphere
where graphical design can flourish.

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


Public Last updated: 2023-04-22 08:02:00 AM

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