The shift from the comparatively simple graphic needs of peacetime living to the complex web of printed instructions, demonstrations, and exhortations of war-impelled living, has brought with it a greatly increased emphasis on the designer and his special approach to visual problems. The old techniques are too limited to carry the burden of these new needs, and so there is developing naturally a more vital means of graphic expression. Although the final physical form of such work may take many shapes, the unifying quality of these new techniques is its “wholeness” or organic character. Words, forms and ideas are so closely woven together, that they cease to exist as entities, but function as a powerful compelling force.

The purpose of this article is to clarify the approach of the designer, to explain the best functioning relationship between the designer and writer and to suggest a few simple rules in the presentation of material. The term writer is meant to include anyone who is the representative of the idea to be demonstrated, whether he be an engineer, a public relations man or a government official. I have found that the bulk of my work is with organizations or individuals that have only recently required the services of a designer and are not too well informed as to procedure. Even the established agency techniques in the preparation and control of art work, are usually not adequate in securing this more organic result.

The Approach of the Designer

Many people, more at ease with a traditional type of design seem a little suspicious or even frightened by what they feel are the strange results of the modern designer. He is accused of novelty for its own sake and even a certain impish desire to put something over on them. The contrary is true. The capable designer has an interest in the problem that far exceeds the traditional attitude. His is the realm of forms, symbols and images. Drawing from his knowledge of their function he attempts to weave them together with the idea involved, into as cohesive and compelling a visual instrument as he is capable. The result may seem daring, but if the designer has been faithful to the requirements of the problem, the finished product will possess a logic and potency impossible to achieve by more timid means.

The difference between the designer and the advertising artist in the more usual sense, is parallel to the difference between the architect and the mural painter. The complete control of all the physical elements to fulfill specific needs is the function of the architect, whereas the mural painter has the task of decorating an area of the whole structure and is only slightly related to the entire problem. The graphic designer is the architect of the printed page and the writer is his client; it is for his needs that the structure exists.

Relationship Between the Writer and the Designer

Naturally, the closer the relationship and interchange between the writer and the designer, the more cohesive and perfect will be the result. Examination of outstanding graphic design will usually reveal a closely functioning designer-writer team. The secret of successful designer-writer relations is the ability to exchange positions. The writer, becoming familiar with the techniques of design, learns to project his words graphically. He learns what can be done with words and what with design and does not force words to carry burdens which can be better shouldered by design. He learns the power of simplicity and minimum statement, that a single idea strongly presented is more persuasive than four without emphasis. The eye is bombarded constantly all day and is responsive only to the most easily grasped visual concepts. He searches for emphasis, breaks, classification of ideas, anything that might offer a clue to the designer. The designer, in turn, learns to convert forms into words, selecting, simplifying, attempting to find the one logical arrangement satisfying to the content of the message. Quite often this interchange is so complete that the designer will suggest copy changes and the writer will discover the basic pattern of the page. Mutual confidence and respect for the other’s function will bring rewards.

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“Words, forms and ideas are so closely woven together, that they cease to exist as entities, but function as a powerful compelling force.”

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A Few Rules

• The writer should have a clarified understanding of what specific task is to be performed by the finished piece, a complete outline of contents and a not-too-preconceived notion of what it will look like, when he has his first discussion with the designer. It is during and after this first meeting that the interchange process should take place.
• After the initial scouting, the designer will make his decisions as to number of pages, size, printing process to be used and any other physical details. He may at this point make a very rough dummy.
• The next step is the preparation of the finished copy. From this the final dummy will be made. It is absolutely necessary that the copy be complete when given to the designer, as from this he will construct his plan. Obviously, the sudden appearance of unexpected elements will disturb the unity or balance in the whole. It is like telling the architect after the construction has begun, “Oh I forgot to mention that we are going to need another bathroom on the second floor and my wife’s sister is coming from the east so we better add ten feet to the guest bedroom.” The changes can be made but they are costly and time-consuming.
• After approval of the finished dummy and final copy, the job is ready for production. I have personally found that if the designer exercises control over the production, the result is usually happier. He has an intimate knowledge of processes and printers and certainly will choose the one best adapted to his specific job. One does not hire an architect and then take the choice of contractor out of his hands.
• The basic thing to remember when dealing with the designer is that his relationship to the problem should be a comprehensive one and not fragmentary. He is an expert in the control of physical elements and if allowed to work out the problem in his own terms, the result will be an effective piece of printed persuasion.