현대 그래픽디자인 하이브리드 상태의 고찰

Abstract

Study on the Hybrid State of Graphic Design

Yeesook Jeong

Department of Industrial Design, The Graduate School Pukyong National University

(Abstract) Today, the term “graphic design” is referred to as the expanded term “visual design.” This is mainly because at the turn of the 21st century, the scope of graphic design which used to be limited to print media has expanded to include all categories capably of visually communication. In modern graphic design, when conceptual diversity and technical innovation appear as an expression style and the given subject is expressed in a visual language, a new form of visual hybrid emerges. Visual hybrid is a combination of disparate elements and is viewed as formless in terms of its form by breaking away from the traditional domain of graphic design and conceptually crossing the boundaries. As a result, visual hybrid such as the convergence of contents and media, convergence between different genres, convergence of media and symbol, and generation of opened symbols have come forward as a method of expression of graphic design. On the basis that such formlessness and genre deviation in modern graphic design have been brought by the emergence of visual hybrid, this study attempts to analyze hybrid attributes of graphic design by considering visual characteristics and forms through experimental works which show heterogeneity. Before getting into the analysis, this study seeks to understand the hybrid attributes of graphic design by looking at hybrid aspects of art works and graphic design based on the general definition of the term “hybrid.” This study explores how the form of modern graphic design has approached, and has been perceived by, the audience from philosophic and conceptual hybridism shown in inner elements based on the convergence of disparate elements, technical innovation, and pluralism of thought. It is understood that graphic design has evolved by inspiring artistic sensibility through attributes of opening of the digital media influenced by the complex technology. In order to closely look at the hybrid state of graphic design, hybrid characteristics shown in modern graphic design became the foundation of visual hybrid: mutative aesthetic generated by the physical intervention of media, open emotion and artistry by attribution of opening, hyper-reality of virtuality generated by innovative technology and change of concepts, pluralism by change of society and extension of visual language by the extension of designers’ areas.The hybrid characteristics shown in modern graphic design can be summarized in the following four categories: paragon as an intermediary of form and signifier, allegorical code as open visual language, simulacra of virtuality and appropriation, de-familiarization implied aesthetic emotions. As the existing form changes and turns into a mole form by entering into the center of virtual paragon which is an outside element, the opening of a digital attribute functions as an allegorical code, which leads to the understanding of an art work from the perspective of a recipient. Simulacre filled with unfamiliar semiotics without being connected with reality in any way displays virtuality, and de-familiarization is combined with any shape or form conceptually for a visual expression and assigns a new meaning to it. To examine hybrid visual in detail, selective works of graphic designers such as Stefan Sagmeister, Jonathan Barnbrook, Jianping He, Tachibana Fumio, Sang-Soo Ahn and Geum-Jun Park since 2000, which show hybridity, have been interpreted. For the purpose of interpreting such design works, paragon of mutative aesthetic, artistry of opening, allegorical symbol, hyper-reality, simulacre, pluralism and defamiliarization are taken as the standards of interpretation. The outcome of such interpretation is that the works of such graphic designers at the forefront strongly reveal three-dimensional characteristics using new and various electronic media introduced by the innovation of technology. The post-modern deconstruction graphic designers of the earlier generation expressed the crossing-over of boundaries or deconstruction through a plane, two-dimensional expression method and failed to audaciously divulge them in their works. Compared to the past, while the spirit to experiment and explore a new and undefined genre may be the same, today’s graphic design is completely different in that it is three-dimensional and shows the experimental attribute attempting to verify the interrelationship with digital media’s direct physical intervention. This study uncovers visual forms of hybrid graphic design in the 21st century through the works of the pioneering designers by extracting the identity of hybridism based on its characteristics and shows that graphic design is undergoing the continuous process of evolution.