Visual Artist or Visual Designer? Visual Communication Design Education Aysu Arsoy Submitted to the Institute of Graduate Studies and Research in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Communication and Media Eastern Mediterranean University February 2010 Gazimağusa, North Cyprus Approval of the Institute of Graduate Studies and Research Prof. Dr. Elvan Yılmaz Director (a) I certify that this thesis satisfies the requirements as a thesis for the degree of Doctor of Philosophy in Communication and Media Studies. Assoc. Prof. Dr. Tuğrul İlter Chair, Department of Communication and Media Studies We certify that we have read this thesis and that in our opinion it is fully adequate in scope and quality as a thesis for the degree of Doctor of Philosophy in Communication and Media Studies. Asst. Prof. Dr. Ümit İnatçı Supervisor Examining Committee 1. Prof. Dr. Turan Aksoy 2. Assoc. Prof. Dr. Wilbert R. Norman 3. Asst. Prof. Dr. Emre Zeytinoğlu 4. Asst. Prof. Dr. Senih Çavuşoğlu 5. Asst. Prof. Dr. Ümit İnatçı ABSTRACT Design tools and contents have been digitalized, forming the contemporary fields of the visual arts and design. Corporate culture demands techno-social experts who understand the arts, design, culture and society, while also having a high level of technological proficiency. New departments have opened offering alternatives in art and design education such as Visual Communication Design (VCD) and are dedicated to educating students in the practical aspect of using digital technologies in visual design. The aim of this research is to investigate the current adoption and understanding of VCD education in Turkey and North Cyprus. The marketing and commercialization strategies of various institutes are analyzed to reflect the trends and possible invisible curricula present in VCD. VCD students profiles were examined and interviews were conducted in order to understand the purpose of VCD education from the students‟ and VCD scholars‟ perspective. Questionnaires were also administered to VCD students in order to determine if future visual designers are aware of the complexities of the actual elements of visual design. The cognitive portion of this research demonstrates the difference between vision and perception which is one of the major subjects in VCD. The differences are demonstrated through the use of methods borrowed from critical pedagogy and semiotics in order to analyze this relatively new field in education. Various triangulation approaches were used to analyze the perceptions of students and scholars and synthesize suggestions to improve VCD curriculum. iii Keywords: Visual Communication, Design, Artist, Designer, Education. iv ÖZ Çağdaş görsel sanatlar ve tasarım alanlarında, hem tasarım araçları ve hem de içerik olarak sayısal ortamda uygulamalar üretilmektedir. Görsel tasarım alanında kurumsal kültür, sanat ve tasarım, kültür ve toplum aynı zamanda teknoloji becerileri olan tekno-sosyal uzmanlar talep etmektir. Görsel İletişim Tasarımı (GİT) gibi alternatif sanat ve tasarım eğitimi veren bölümler de, görsel tasarım uyulamarında sayısal teknolojiler kullanarak bu özelliklere sahip öğrenciler yetiştirmeyi amaçlamaktadır. Bu araştırmada, Türkiye ve Kuzey Kıbrıs‟da GİT eğitiminin benimsenmesi ve anlayışı iredelenmektedir. GİT‟deki görünmeyen müfredat ve eğilimlerini yansıtmak için enstitülerin pazarlama ve ticari stratejileri incelenir. Öğrenciler ve akademisyelerin GİT‟ e bakış açılarını - GİT öğrenci profilleri incelenerek GİT eğitiminin amacı nedir?- yansıtan görüşmeler gerçekleştirildi. Ayrıca GİT öğrencilerine anket uygulanmıştır. Geleceğin görsel tasarımcıları, görsel tasarım unsurlarının karmaşıklığını farkında mı? Araştırmanın bilişsel bölümü ise görme ve algı arasındaki farklara değinerek, görme ve algının GİT‟deki önemini yansıtır. Eğitimdeki bu yeni alan incelenirken, eleştirel pedagoji ve göstergebilim yöntemlerini kullanıldı. Çeşitli nirengi yaklaşımlarla öğrenci ve akademisyenlerin görüşleri GİT müfredatını geliştirmek için öneriler sunmaktadır. Anahtar Kelimeler: Görsel İletişim, Tasarım, Sanatçı, Tasarımcı, Eğitim. v To My Family vi ACKNOWLEDGMENT I would like to sincerely thank my supervisor Asst. Prof. Dr. Ümit İnatçı, for all his continued support and encouragement. This thesis would not have finalized without him. I would like to give a special thanks to Assoc. Prof. Dr. Wilbert Reuben Norman for his guidance and patience. I would like to express my gratitude to Prof. Turan Aksoy, Asst. Prof. Dr. Emre Zeytinoğlu, Asst. Prof. Dr. Senih Çavuşoğlu, Assoc. Prof. Dr. Wilbert Reuben Norman and Asst. Prof. Dr. Ümit İnatçı for their support and valuable opinions as special committee members of my defense. I would like to thank the following people for their kind advice and assistance: Assoc. Prof. Dr. Tuğrul İlter and Assoc. Prof. Dr. Hanife Aliefendioğlu, Assoc. Prof. Dr. Valerie Goby, Assoc. Prof. Dr. Derek Bousé and Prof. Dr. Murat Barkan. vii TABLE OF CONTENTS ABSTRACT ................................................................................................................ iii ÖZ ................................................................................................................................ v ACKNOWLEDGMENT ............................................................................................ vii LIST OF TABLES .................................................................................................... xiii LIST OF FIGURES .................................................................................................. xiv 1 INTRODUCTION .................................................................................................... 1 2 STATEMENT OF THE RESEARCH PROBLEMS ................................................ 4 2.1 Significance of the Study ................................................................................... 6 2.2 Limitations of the Study..................................................................................... 7 2.3 Definitions.......................................................................................................... 9 2.3.1 Terms and Concepts used in the Chapters .................................................. 9 Design Tools ........................................................................................................ 9 2.3.2 Research Terminology: Why do we need research on the perception of geometrical shapes? ........................................................................................... 10 3 LITERATURE REVIEW: VISUAL COMMUNICATION IN THE DIGITAL AGE ........................................................................................................................... 13 3.1 Visual Communication Design Education ....................................................... 15 3.1.1 The Constitution of Visual Communication Design Departments in the Higher Education System in Turkey .................................................................. 15 3.1.1.1 Fine Arts, Design and Communication Faculties in State Institutes... 16 3.1.1.2 VCD Education in State Universities.................................................. 16 3.1.1.3 Fine Arts, Design and Communication Education in Foundation Institutes .......................................................................................................... 16 3.1.1.4 VCD Education in Foundation Universities ....................................... 17 3.1.2 Commercialization of VCD Education ..................................................... 19 viii 3.2 Visual Cognition and Perception: An image ................................................... 23 3.2.1 Gestalt Theory ........................................................................................... 24 3.2.1.1 Phi-Phenomenon or Phenomenal Movement ...................................... 25 3.2.1.2 Gestalt Principles of Visual Perception .............................................. 25 3.2.1.2.1 The Principle of Proximity and the Vertical and Horizontal Processing of Observed Objects .................................................................. 26 3.2.1.2.2 The Principle of Similarity ........................................................... 28 3.2.1.2.3 The Principle of Continuity .......................................................... 28 3.2.1.2.4 The Principle of Closure .............................................................. 29 3.2.1.2.5 The Principle of Figure-Ground or Prägnanz ............................... 30 3.2.1.2.6 Some Examples of Gestalt Order of Visual Perception ............... 31 3.2.1.2.7 Criticisms of Gestalt Theory ........................................................ 31 3.2.2 Physical Issues in Visual Perception ......................................................... 32 3.2.2.1 Cerebral Processing of Visual Data – Scanning, Matching, and Memory ........................................................................................................... 33 3.2.2.2 Visual Impairment and Visual Perception .......................................... 33 3.2.3 Interpretation of Visual Data ..................................................................... 35 3.2.4 The Role of Intuition In The Process of Visual Perception ...................... 36 3.2.5 The Role of Semantics and Language in the Process of Visual Perception ............................................................................................................................ 37 3.3 Semiotics .......................................................................................................... 38 3.3.1 Peirce‟s Triadic Model of Semiotics ......................................................... 38 3.3.2 Saussure‟s Two-Part Model of Semiotics ................................................. 40 3.3.3 Barthes‟ Categorization of Signification ................................................... 41 3.3.4 The Concept of Metaphor ......................................................................... 41 3.3.5 Semiotics and Codes ................................................................................. 42 3.3.6 Signs and the Representation of Reality ................................................... 44 3.3.7 Semiotic Models and VCD ....................................................................... 44 3.4 Factors Involved in the Visual Perception of Art: Creation or Creator? ......... 44 ix 3.4.1 Historical Sources of Contemporary Perception of Works of Art ............ 45 3.4.2 Contemporary Digital Media Culture ....................................................... 49 3.4.3 Commercial Considerations in the Creation of Artistic Works ................ 52 3.5 Visual Perception in the Digital Age ............................................................... 55 3.5.1 Developing Technologies, Developing Perceptions ................................. 55 3.5.2 The Importance of Symbols in Cyber-Culture .......................................... 57 3.5.3 The Creation of Symbolic Operations through Graphic User Interfaces .. 57 3.5.4 Absorption of Cyber Realities into General Culture ................................. 58 3.5.5 The Role of Culture in Digital Visual Presentation .................................. 59 3.5.6 Emoticons: Definition and Development .................................................. 60 3.5.7 Impact of Culture on Use of Emoticons .................................................... 62 3.6 The Virtual Culture and Visual Communication ............................................. 63 3.6.1 Social Networking Sites (SNS) ................................................................. 63 3.6.2 Facebook™ as a Social Networking Community ..................................... 64 3.7 VCD Curriculum Problems from Scholars Perspective ................................... 65 3.7.1 Design Process .......................................................................................... 68 3.7.2 Visual Designer or Visual Artist ............................................................... 69 3.7.3 Tools and Intuition .................................................................................... 70 3.8 Critical Pedagogy ............................................................................................. 72 3.8.1 Concepts of the Critical Pedagogy ............................................................ 73 3.8.2 The Function of the Critical Pedagogy in VCD Education ...................... 75 4 RESEARCH DESIGN AND METHODOLOGY .................................................. 77 4.1 Triangulation Approach ................................................................................... 77 4.2 Population Sample ........................................................................................... 78 4.3 Instrument: Data Collection Techniques ......................................................... 80 x