- Now I know that some of you
may disagree with my next issue.
But since I'm doing the talking,
just take a leap of faith here.
While I'm all for a great maximalist solution
handled brilliantly, there's is a lot, and I mean a lot,
of graphic design that seems to rely on,
what I call, pointless chaos.
This is the type of work that at first glance
appears groovy and exciting,
but on closer examination there is no actual concept.
Like Gertrude Stein said about Los Angeles,
"There is no there there."
There may be many colors and images,
five different typefaces, and some squiggles,
but these add up to nothing.
Consider how digital tools promote this kind of work.
Adobe Creative Suite products are lifesavers
for most of us.
They help us quickly articulate a concept,
but they are also the entry drug to pointless chaos.
The ability to layer imagery, type, and symbols,
persuade us to be additive, rather than reductive.
For example, I need to design an invitation
for an awards ceremony.
First I add the headline and information.
But it seems too bare, so I put an image behind the text.
This looks good, but it still needs more,
so I place a symbol of the sun
and a golden rectangle on top.
Now there's some empty space.
It's about the AIGA medal, so I can add that also.
At the same time, I'll outline the type, because I can.
I'm left with a hodgepodge of typography,
shapes and imagery.
The image is there, but now illegible.
The type seems groovy, but hard to read.
And the additional images, simply add up
to a vague communication about design.
It looks active, but is a complicated mess
of pointless chaos.
Taking away all the extra stuff,
leaves me with simple and clear information.
The large typography is a beautifully-designed typeface
and can stand on its own.
The oversize format is unexpected and the soft yellow,
creates an inviting tone.
This doesn't mean that all design
must be minimal and simple.
There are many solutions that are complex,
but engaging and meaningful.
Every element that is added
contributes to the communication.
Herbert Matter's poster for tourism in Engelberg
mixes typography, diagrams, and photography.
The map tells me how to travel to Engelberg.
The photography tells me that it's fun,
and I can sunbathe, or enjoy sports.
Each element is in place on purpose.
In the end, anything on the page, screen,
or spatial design has meaning.
It either adds to the communication, or detracts from it.
Nothing is there just to fill up space.
If it is, take it away.
It can only add confusion.