Discussion Essay

							              Design as Art
         Critical Discussion Essay




Julie Barron •19 November 09 • Writing • Leslie Roberts
         I don’t know how to draw and I can’t paint, but I have great admiration for those that have been gifted
with these skills. Now that I am 26 years old, I wish I had practiced the techniques involved in producing visual
representations as a child. If I would of started young, I would probably be good at it today. But that is not the
case, it is actually very difficult, frustrating, and time consuming for me to try and figure it out. As a designer,
sketching ideas and visually relaying thoughts is the key to successful design. But how is this possible? How is
it possible that I have the credentials to perform as a designer, and yet I can’t draw? It is like a doctor who gets
disgusted at the sight of blood, it makes no sense. Throughout my undergraduate studies there was always one
controversial question being asked: Are designers considered artists? And are artists considered designers? My
answer to that question was and still is that as a designer, I do not consider myself an artist, simply because I cannot
draw or paint beautiful pictures. I cannot answer the other side of the question because I have no idea how artists
see themselves. Ever since I can remember, artists have always been considered “intellectuals” who create things
that normal people don’t understand. Recently, I read a book that put some of these concepts in perspective to my
role as a designer. The book is Design as Art by Bruno Munari.

       In Design as Art, Munari shares his ideas in what he calls “a kind of diary” about designers, artists, visual
communication, industrial, and research design. He shares the knowledge he gained from working in all avenues
of the design arena. Useless machines, materials, posters, children’s books, typography, advertising, and chairs –
are only some of the topics he touches upon. As a pioneer of the design world during the 1960’s, Munari wanted
to change the pre-conceived notions that artists belong on pedestals, he believed that design had become the most
important art of his time. He initially wrote Design as Art in 1966 in Italian but the first English copy was not
printed until 1971 and translated by Patrick Creagh.

        The book is an excellent example of writer’s voice, the ease
of the words flow from page to page and I instantly sensed Munari’s
persona. It was clear that Munari had a strong, yet humble character
that made him visible for all to see, his wit and charismatic writing
style make him a very likeable author. The most enjoyable part of
the book was the effortless translation of his writing, it felt like I
was reading his personal journal, not a book intended for the whole
world to read. Similar to the cover, the layout of the book was clear,
concise, and easy to follow. The design of the cover is minimal, it
shows black and white drawings of various faces Munari drew, and
the small size of book does not intimidate a potential reader. He
organizes the book into the following sections: preface, design as art,
designers and stylist, visual design, graphic design, industrial design,
and lastly, research design. The sections consist of a compilation
of pieces that appeared in an Italian newspaper and intend to give
solutions to design problems. The pieces are not very long and most
of the topics are accompanied by sketches or pictures related to the
text.
                                The drawings are also clearly labeled accordingly so the reader does not get confused.
                           Photographs include captions along with dates, and it is evident that some of the text on
                           certain pages is smaller than the rest. I am not sure what the reason is since it appears to
                           be random, but it does seem that he wants to isolate particular paragraphs and include
                           extra white space on the pages. Perhaps Munari wanted to call attention to the text and
                           cause the reader to move closer to the page. I personally enjoyed the random quotes
                           throughout the book from various artists and designers, each quote added value to the
                           idea Munari was trying to express. My favorite quote is “A laugh is an external sign of
                           inner balance, while a gloomy face is the sign of gloom in the spirit” by Zen. I think it
                           is great that he not only included quotes that talk about design, but also quotes that aim
                           at human happiness and kindness. Perhaps the most interesting aspect of the book is
                           that although it has been 43 years since it was first published, most of it continues to be
                           relevant to designers and artists around the world.

                                 In the section “Design as Art”, Munari discusses the need for artists to “step down
                            from their pedestals and be prepared to make a sign for a butcher’s shop… he must be
                            able to respond to humility and competence to the demands his neighbors make of
                            him.” I think this concept has definitely evolved into a design community where both
                            artists and designers are learning each other’s trades, not only to be more marketable,
                            but also to understand the other side of the spectrum. Today designers are expected
to know it all. We must know the business side of design, we need to know print design, web, industrial design,
architecture, art, history, current events, politics, geography, culture, and countless other areas that will enhance
our work.

         I will agree that being a well-rounded designer is great, but this can also hinder the proficiency in a certain
area of design. For example, most of my design experience is in print graphic design. I know the basics of web
design but my skills are not sufficient to do a full time employment. As I mentioned earlier, I lack skills in drawing
and painting, so unless I learn the skills, design work related to that would not be the best option for me. I would
love to learn all there is to know about design, but I would also like the opportunity to become a master at certain
things. Munari explains the idea further: “The designer is therefore the artist of today, not because he is a genius,
but because he knows his job and the ways and means of solving each problem of design” (Munari 32). I believe
that as designers there is a point in our careers where we have to decide what path we want to follow in our field,
but to also keep in mind the importance of the latest developments within the entire design movement.

        Furthermore, aside from being a well-rounded designer, Munari discusses the idea of styling. This is very
interesting to me because the way he approaches fads or fashions continues to play an important role in a designer’s
job. He suggests that styling is a kind of industrial designing, and of all branches of design the most ephemeral
and superficial. That it does no more than give a veneer of fashion, a ‘look’, to any object whatever (Munari 45).
In my few years of involvement with design I have found this to be true, especially in fashion. One of my history
professors once said that fashion never has anything new; that old styles simply come back with a new twist. As
designers, we don’t like to think of ourselves as trend followers or fashion victims, we want to be recognized for
our particular brand or signature style, and we want to be known as leaders of a new design movement.

         This leads me to a quote from Munari’s book that I do and do not agree with it. He says: “ A designer
with a personal style, arrived at a priori, is a contradiction of terms. There is no such thing as personal style in a
designers work.” In some ways I think this is true but in others I don’t. I think every type of designer has a particular
signature look or style, something that sets them apart from other designers. No matter what trend a designer is
working with, or what style he or she must follow, he or she will always find a way to insert their signature style,
a little something that can be recognizable as their work. On the other hand, designers must make a living, and
produce design that will sell; they must fulfill the client’s wants and needs. So where is the balance? How do we
create work that doesn’t follow flashy trends, shows our unique style, and also fulfills the project’s requirements?
I think in the end it is about producing work that doesn’t jeopardize your morals as a professional and a person.
Regardless if your work is in fashion or not, or if you don’t have a signature style, what matters is that you retain
the integrity of your work, always.

         One of the biggest trends or phenomenon currently taking place in the
design world is the green movement, I believe this is a movement students will be
learning about in design school within the next 50 years. This movement is truly
important for everyone since it aims at the overall benefit of the planet and the people.
Unlike many other trends, this one is necessary and it is constructive. Visually, this
movement includes large focal imagery, typically the font Georgia, minimalist design,
and a mix of vibrant colors (especially shades of green). Environmentally conscious
design has become a new way of thinking about the use and creation of physical
                                      objects that deteriorate our planet. It is also about
                                      the principles of economic, social, and ecological
                                      sustainability. The intention of sustainable design
                                      is to eliminate the harmful impact created by waste, mass production, pollution,
                                      and other factors through dexterity and competent design. The media, celebrities,
                                      young teens, and the society as a whole have slowly been adopting this movement.
                                      Large corporations have stylized their branding solutions, colleges have created
                                      departments solely for environmental design,
new jobs are being created for this cause, and the automobile industry has taken
a drastic change for the better. More and more advertisements in television
entice people to shop vintage because it saves resources, cleaning products clearly
portray the natural ingredients on the label, and even the food industry is involved
in this movement. It seems that most products and ads in the market today
are intended to attract users to take part in the latest green fad, but hopefully,
this green fad isn’t just a fad. It should become a permanent part of design and
hopefully a lasting idea that is here to stay.
         Munari clearly understood all avenues of design and was a talented creator, as well as a humble, and witty
individual. The compilation of his pieces in Design as Art, continue to play a role within the subject of design and
art. In the preface of the book Munari wrote: “The artist has to regain the modesty he had when art was just a
trade, and instead of despising the very public he is trying to interest he must discover its needs and make contact
with it again. This is the reason why the traditional artist is being transformed into the designer…” (Munari 13).
Since the 1960’s when the book was written, the ideology of transcending roles and transdisciplinary skills among
designers and artists has become the only way to interact in the professional world. Being able to see this back then
and predicting the future of design, as an art is what makes Munari one of the most inspirational iconic designers
of our time. He has been able to break down the aspects of design to the simplest terms and allowed people of
different backgrounds to understand what he is saying. He has removed all pre-conceived notions that artists are
better than designers, and has created a bridge for designers and artists to value and respect each other’s work.
                          Works Cited

Munari, Bruno. Design as Art. New York: Penguin Books, 2008. Print.