Соотношение визуального и коммуникационного в графическом дизайне

В статье показано существование различных исследовательских позиций в трактовке графического дизайна, что объясняется сложной системой общекулътурных функций, которые выполняют объекты дизайн-графики. Автор показывает необходимость теоретико-понятийного изучения графического дизайна в контексте его исторического самоопределения. Обосновывается идея о том, что визуальный дизайн как искусство графики начиная со второй половины XX в. замещается коммуникационным дизайном, целью которого является обеспечение эффективных коммуникаций, а не создание выразительных графических форм.
The paper shows the existence of various research strategies for graphic design treatment, determined by the emergence of new culture-related functions that graphic design objects fulfil. Academic descriptive definitions of graphic design identifying its subject areas are considered in the paper and the objects typologies are brought forward. Grounds are given for the necessity of graphic design theoretical and conceptual study, as well as for the necessity of identifying its essential characteristics in the context of historical self-determination. In this regard, the paper examines the stages of graphic design development, starting with the 1920s. Graphic design emerged as visual, painting and drawing techniques having been extensively included in its toolset. Visual ingenuity, expressiveness of the graphical forms presented in the creative work of graphic artists became the "goal" of their design projects. It is noted that at all times when the visual expression is put forward as the goal of the design project, its objects are evaluated with due regard for aesthetic qualities. The paper studies how the ideas of the graphic design role in public life changed historically. A comparative analysis of the visual constituent role in design projects of the XX-XXI centuries is carried out. The idea of visual design as a graphics art being replaced by communication design from the 2nd half of the XX century onward is substantiated. Functionality, simplicity, clarity serve as the fundamental characteristics of communication design. For this reason, the creation of expressive graphic forms is not an end in itself but is just a means of organizing effective mass communication. Concurrently, graphic design has not lost its dual nature. 0n the one hand, it is deeply related to art. 0n the other hand, the design principles used in graphic design distinguish it from art. Changes connected with the ones in the graphic design problem field today result in new criteria being established for assessing the quality of design developments and professional competence of the designer. It is also noted that professional graphic designers have two opposing viewpoints concerning the designer's role in the communication process. According to one of them, the designer carries out "transportation", "transfer" of understandable, useful, interesting information, showing neutral attitude towards its content. The other standpoint "announces itself" today ito an increasing degree: when choosing expressive means, the designer's social responsibility towards the consumers should be of priority rather than commercial interest of marketing.