Understanding the possibility of a 'Universal' visual language.

“ Understanding if a ‘Universal’ Visual Language is possible or not?”

Xavier D’Silva PGDPD Graphic Design National Institute of Design 2007 – 09

Research Elective

Guide: Dr. B. Baral

3 Weeks

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Project Duration: 3 weeks Set in the Families of: Fedra Sans & Garamond

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Page No.s set in Stencil

“ Understanding if a ‘Universal’ Visual Language is possible or not?”

CONTENTS

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The Need

4.

A Brief Background

9.

Images and script | Our day and age

11.

Designing a Universal Visual Language

12. In conclusion 13. Bibliography & Reference

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The Need In the current scenario, our world is moving closer to becoming a global community. Since most of our communication happens through a visual medium, we require understanding the possibility of developing a universal visual language to aid efficient communication in this global context. Just to put things in perspective, there are about 195 a countries in the world and over 6000 b different languages that are known to exist. Considering these and the implied cultural diversities, graphic and visual communication designers are therefore required to understand the nuances of effective visual communication for the development of this kind of a visual language.

It is also imperative to know if ambiguities can be avoided by following certain rules—for the creation of a universal visual language that can work when communicating in both the broader sense as well as its use in highly specific contexts.

This would also benefit better understanding in designing & communicating effectively not only to a global audience but also to a local one. < a Source: http://geography.about.com/od/ countryinformation/a/capitals.htm b

Source: Christine Kenneally, The First Word: The Search

for the Origins of Language, Viking, 2007 via http:// grammar.about.com/b/2009/03/25/language-factsand-figures-english-around-the-world.htm >

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The earliest known form of maintaining accounts can be traced all the way back to the beginning of civilization as we know it. Early Sumerian Cuneiform Script is commonly believed to have developed as a means of representing commodities. â&#x20AC;&#x153;Gifts from the high and mighty of adab to the high priestess, on the occasion of her election to the templeâ&#x20AC;? - MS in Sumerian on creamy stone, Sumer, 26th c. BC, 1 tablet, 9, 2 x 9, 2 x 1, 2 cm, 6 + 6 columns, 120 compartments of cuneiform script by an expert scribe.

Commentary: This tablet has no precedent. It is one of the earliest manuscript witnesses of religious practise. With its polished surface and staggering beauty, it would have been used as an illustration in most textbooks on the ancient Near East, had it been better known. Illustrated here for the first time. <Source: http://www.schoyencollection.com/religions.htm#3029>

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proto-writing - The history of human communication dates back to the earliest era of humanity.

Symbols were developed about 30,000 years ago, and writing about 7,000. The early writing systems of the late 4th millennium BC are not considered a sudden invention. Rather, they were based on ancient traditions of symbol systems that cannot be classified as writing proper, but have many characteristics strikingly reminiscent of writing. These systems may be described as proto-writing.

They used ideographic and/or early mnemonic symbols to convey information yet were probably devoid of direct linguistic content. These systems emerged in the early Neolithic period, as early as the 7th millennium BC.

* Stone age Cave painting of Auroches, in Lascaux, France. <Source: http://www.petermaas. nl/extinct/speciesinfo/images/ Lascaux-aurochs.jpg>

A Brief Background

Gregory, Richard L., The Intelligent Eye (New York: McGraw Hill, 1970), 31.

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Man has five basic senses with which he gathers information from his environment. Of these, he depends on his vision the most, especially in today’s world where he’s constantly bombarded with a multitude of visuals wherever he goes. Through these visuals and images he learns about himself and makes sense of his environment by extracting and examining the information he assimilates (Barry 102). Ever since early human civilizations started to adopt methods to immortalize their thoughts, by recording their experiences be it to keep an account of their material wealth and livestock—or as magic for a successful hunt or even for religious purposes—or for pure self-expression—they have relied heavily on signs and symbols which were things they observed—and then abstracted from their thoughts (Gregory 31). They would then, with the tools and technology available at the time, represent these messages onto a suitable medium e.g. cave walls, on animal bones etc. Some of these symbols were purely representational (pictorial) like prehistoric cave paintings (c. 30,000 BCE), and are considered as proto-writing 1 .

Others were ideograms like those used by early Chinese cultures (c.

6000 BCE), others were phonetically derived examples of which are Egyptian (c. 2700 BCE) hieratic script and demotic script yet they were logographic 2 (Hieroglyphs), where as cuneiform (Sumerian c. 1800 BCE) was abstracted to basic strokes which marked the beginnings of modern script which have transmuted into most written script we know today. Most of these symbols have continued to be used throughout cultural history and are prominent even in today’s world.

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Barry, Ann M. S., The Nature and Power of Images, Visual Intelligence, 102.

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logographic - another term for logogram - a sign or character representing a word or phrase, such

as those used in shorthand and some writing systems.

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Demotic script on a replica of the rosetta stone on display in Magdeburg <Source: http://commons.wikimedia.org/wiki/File:DemoticScriptsRosettaStoneReplica.jpg>

The Edwin Smith papyrus, the worldâ&#x20AC;&#x2122;s oldest surviving surgical document. Written in hieratic script in ancient Egypt around 1600 B.C., the text describes anatomical observations and the examination, diagnosis, treatment, and prognosis of 48 types of medical problems in exquisite detail. Translated in 1930, the document reveals the sophistication and practicality of ancient Egyptian medicine. Plate 6 and 7 of the papyrus, pictured here, discuss facial trauma. <Source: http://en.wikipedia.org/wiki/File:Edwin_Smith_Papyrus_v2.jpg>

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ISOTYPE - Isotype (pictograms), a system of pictograms designed to communicate

information in a simple, non-verbal way. In graphic design and sociology, an Isotype is a system of pictograms designed by the Austrian educator and philosopher Otto Neurath, an active member of the Vienna Circle, in collaboration with the artist and illustrator Gerd Arntz to communicate information in a simple, non-verbal way.

ISOTYPE: International System Of Typographic Picture Education, Speaking of Graphics, Paul J. Lewis, Chapter 6 - Neurath and the Vienna Method

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of Picture Statistics, Page 18, <Source: http://www.datascope.be/sog.htm> Austrian economist Otto Neurath and the graphic artist Gerd Arntz developed a system of practical signs as a simpler and neater way of conveying quantitative information. <Source: History of Graphic Design. P. Megg>

Wikipedia – Free encyclopedia, Isotype(pictograms), July 2009. <http://en.wikipedia.org/ wiki/Isotype_(pictograms)>

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Even though some may have been modified or new symbols are derived from them, most have now reached an iconic status; generally anyone who sees them can instantly recognize and make meaning of it. The Universal Visual Language would take advantage of this situation and use it make connections across cultures. Examples of this can be seen in the work of Otto Neurath (10th December 1882 – 22nd December 1945); the ISOTYPE 3 (1937) that was developed as a system originally intended to be used by educators of young children, but it wound up instead heavily influencing modern public signage, statistical graphics, and information graphics (Wikipedia, Isotypes (pictograms 4 )). Another good example would be the work of Otl Aicher (13th May 1922 – 1st September 1991). One of the cultural milestones in the field of visual communication, the design of the XXth Olympiad (1972 Munich) was so successful that it articulated to multi-lingual and mutli-cultural audiences which had never been done so well before. The pictogram system devised

by Aicher and his team for the games was the perfect example of simplistic information design and has now become the universal standard (www.1972municholympics.co.uk). Soon after in 1974, AIGA 5 released its own set of 34 symbols that received one of the first Presidential Design Awards; 16 more symbols were added in

* Otl Aicher and the 1972 Munich Olympics, July 2009. <http:// www.1972municholympics. co.uk/>

AIGA (formerly an acronym for the “American Institute of Graphic Arts”) is an American

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professional organization for design. Organized in 1914, AIGA currently has more than 22,000 members throughout 63 chapters nationwide.

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Pictograms - also Pictograph; a pictorial symbol for a word or phrase. Pictographs were used as the

earliest known form of writing, examples having been discovered in Egypt and Mesopotamia from before 3000 BC.

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Symbols Signs representing, from left, “Escalator (up),” “Nursery” and “Ground transportation” designed by Cook and Shanosky for the US Department of Transportation.

This image is a work of a United States Department of Transportation employee, taken or made during the course of an employee’s official duties. As a work of the U.S. federal government, the image is in the public domain. <Source: http://en.wikipedia.org/wiki/File:DOT_pictograms.svg>

1979. These copyright-free symbols have become the standard for off the-shelf symbols in the catalogues of U.S. sign companies. This system of 50 symbol signs was designed for use at the crossroads of modern life: in airports and other transportation hubs and at large international events. Produced through a collaboration between the AIGA and the U.S. Department of Transportation, they are an example of how public-minded designers can address a universal communication need. Prior to this effort, numerous international, national and local organizations had devised symbols to guide passengers and pedestrians through transportation facilities and other sites of international exchange. While effective individual symbols had been designed, there was no system of signs that communicated the required range of complex messages, addressed people of different ages and cultures and were clearly legible at a distance. To develop such a system, AIGA and D.O.T. compiled an inventory of symbol systems that had been used in various locations worldwide, from airports and train stations to the Olympic Games. AIGA appointed a committee of five leading designers of environmental graphics, who evaluated the symbols and made recommendations for adapting or redesigning them.

Based on their conclusions, a team of AIGA member designers produced the symbols (AIGA Website, July 2009).

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AIGA, Symbols & Signs, Society and Environment, July 2009. <http://www.aiga.org/ content.cfm/symbol-signs> The AIGA LOGO (below)

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The Pictogram, The History of Pictograms 1.3, Page 21, The Olympic Games. <Source: http://www.brocketthorne. com/iWeb/gdone/links_ files/pictograms.pdf>

The logical visual form of

Otl Aicher did not, however,

Even in 1936, at the eleventh

the 1972 Munic Olympics

invent the pictogram.

Olympics in Berlin, pictorial

pictograms designed by

Back in 1964 at the Tokyo

signs had been designed

Otl Aicher is regarded by

Olympics, consistently

for individual sports.

many people as the origin

systematized, abstract

They fulfil all the criteria

of the modern pictogram.

pictograms were used.

of modern pictogram.

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Otl Aicher Photographed during the Munich Olympics 1972, (Photo, Ulner Museum / HFG Archive) <Source: Otl Aicher ikonjai, http:// wap.phil-inst.hu/2001_maj/Nyiri_prez/nyiri_tlk.htm>

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Images and script

Barry, Ann M. S.,The Language of Images,

The difference between written script and images is that— written script has a more linear sequential approach, compared to visuals, which have a more spatial appeal (Barry 107-117). However, the message sent through the use of word and image—is a combination—that is far more superior than using them as separate components. A good example of this is in comics, where on some level—the message even seems to transcend the language barrier— and can communicate even if it were in a language unknown to the reader. The phrase “a picture speaks a thousand words” holds true in this case.

Gregory, Richard L., The Intelligent Eye (New York: McGraw Hill, 1970), 138-140.

On one level—visuals convey more information in one go, yet visual language requires a lot more involvement from the user, in terms of having a visual vocabulary to decipher meaning.

The design of a Universal Visual Language would depend on understanding certain intrinsic factors, like the perception & cognition along with past experiences of the end user. It is obvious that we receive & make meaning of messages in more ways than one (Gregory 138-140)—even if for e.g. we are looking at a poster for musical performance—it is an undoubted fact that if one likes the music they would go to the concert. The perception of the message more often than not falls prey to individual subjectivity. Although the poster would ideally seek to draw the attention of new converts, this would depend where they are and the mood they’re in at the time they see the poster. The environment that the poster is in, the wall and other things in proximity to the poster— constitute all the extrinsic factors that determine the message that would eventually be received.

Our day and age Globalization would feel incomplete without a universal visual language. The media of today has come a long way from cave paintings and hieroglyphs to the T.V. and the Internet. These enable us to communicate using shortened text and emoticons in chat programs and in SMS on mobile phones; visually we still communicate with posters, music videos, ISOTYPE like icons, internet icons, arrows, maps & charts and most of all info graphics.

These are further influenced by more social factors like culture and religion, mother tongue, even taste in music, movies (popular culture) and music videos etc. In the current context, Logos used in corporate branding could be examined and as for how they work— is more or less understood. They are the symbols of our modern day that seek to convey a universal message to the masses. “Visuals”, as noted, appeal more to experiential emotions rather than to linear categorical logic. Most of our perception is selective and highly

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Visual Intelligence, 107 - 117.

influenced by our emotion—that is what a good brand mark capitalizes on and successfully leaves its message in the hearts and minds of its loyal customers.

Going beyond the conventional—at some point we most definitely need to look at communicating to people with physical disabilities, more importantly those with visual disadvantages, as they too are a part of the universal community. The design for this purpose would require a different intervention than the “visual kind” can offer.

Here is one situation where we for certain encounter the limits of a universal visual language.

Signs like this are misleading, especially for people who are either not paying attention to the message or those who can’t read the english language. <Source: http://robertstevenson. files.wordpress.com/2008/04/ funny-keep-right-sign3.jpg>

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Diagrams showing a baby’s bib and instructions for re-using a nappy with disposable diaper for children, may not work in a context where the people have never heard off or seen these items being used. Apart from the written language not being familiar to them, even the way the items are represented may not be able to communicate to them effectively. < a Source: http://www.kids-courier.com/oldsite/baby_gifts/untitled/baby_bib4.gif b

Source: http://i2.photobucket.com/albums/y27/mrsmogul/New%20Blog%20Album/starttoflush_diagram.gif>

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kinesthetic - awareness of the position and movement of the parts

of the body—by means of sensory organs in the muscles and joints.

Designing a Universal Visual Language

v<http://www.arielv.net/ academic/picture_this.pdf>

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Design of any visual language is always within a certain context without which messages become ambiguous. Visuals still need to be adapted to fit the context they will be used in. or e.g. a diagram of a baby wearing a bib or a diaper will not be understood completely in a culture that doesn’t understand what bibs or diapers are, or of their function. They may not even have a word for it & could probably be a futile exercise to explain it further. Unless the context was the description of a bib in a dictionary supported by an illustration of it for reference (van Sporsen 14). Even Otto Neurath’s Isotypes and Otl Aicher’s Olympic pictograms may have worked perfectly in the context of the Olympic games or the commonly used office/public signage systems, but have not proven effective in all possible contexts without modification to meet specific needs. From this we can conclude that familiarity is needed in order for one to learn any particular language. Icons such as these exist at the border between language and perception, between abstract concepts and concrete objects. These Icons in the form of Ideograms, pictograms, street signals, and other graphic symbols, are the place where language and perception meet (Manfredo 260-262).

We would need to understand the way people learn to comprehend these new age symbols. It is known that a majority of people understand visuals easily, whereas others need tactile, or aural inputs or some kinesthetic 6 (movement) to be able to better understand things they are trying to learn—and this information should be well understood and considered when designing. Peoples past experiences play an important role in the way they go about getting information and processing it. For visual designers it is important to understand concepts like gestalt and the subliminal messages that the mind picks up. Educating the general public about basic visual elements as well as reading into images would ensure the understanding and deciphering of visual messages especially through such medium manipulative as advertising and safe guard them from false incentives. Knowledge of art & art history could improve understanding and broaden ideas, making one more visually literate and capable of understanding and communicating with complex visual imagery. Human gestures like sign & body language are also effective ways to communicate and should be looked into. Knowing the psyche of an individual, possible likes and dislikes, learning capabilities, extrinsic yet predictable would help improve communication. If one knows about the culture then they could make an educated guess as to how to communicate with them.

* Massironi, Manfredo, ICONS, Chapter 9, Ambiguity & Information, The psychology of Graphic Images: Seeing, Drawing, Communicating, 260-262.

This book traces Neurath’s global understanding of the modern metropolis as a ‘global polis’, representing an idea about collectivity premised on cultural and linguistic universality. Although much attention has been given to Neurath’s achievements in the field of graphic design and philosophy, he has never been treated in the context of urbanism and architecture. Yet from 1931 onwards, he collaborated with the International Congress of Modern Architecture (CIAM) and its chief exponents - Cornelis van Eesteren, Sigfried Giedion, Le Corbusier and Laszlo Moholy-Nagy - on the project of deriving an international language of urban planning and design. And his close relationship with bibliographer Paul Otlet, and the ‘cité mondiale’ project triggered Neurath’s engagement with questions of international communication and understanding. The book first deals with Neurath’s engagement with the modern metropolis, then turns to his growing fascination with visual media and the rise of the Vienna Method of Pictorial Statistics, and finally focuses on the project of the global polis and the ways in which Neurath attempted to internationalize the aims of his Museum of Society and Economy through collaborations with CIAM and Otlet, and by establishing satellite museums across the world. <Source: http://www.naipublishers.nl/architecture/neurath_e.html>

In conclusion In designing for the universal context, there are certain rules that would come in to play. The first and obvious one is: understanding the end user and context that they are in, their cultural background, the location and even the temporal significance of the communication. A generalization of the audience’s background and possible experience along with their comprehension levels, common interests; their mother tongue and the popular culture they are used to. The visual literacy levels of the target group is of primary importance and is key to understanding how to communicate to them and to devise strategies to provide any familiarization if needed. The design of a universal visual language should ideally stay away from the realm of subjectivity; the best way to accomplish this is to avoid the open artistic approach—but to focus on the objective at hand. There may not be a particular syntax for a universal visual language, but certain broader things that should be taken into consideration when designing for a universal audience. Design for universality is possible to a certain level, after which one needs to understand the specific treatment that would be applicable in the given context. Consider that unless the world speaks only one language, the means to write in that language according to sound becomes plentiful; the rest is up to the visual to enhance it. Even if the image carries the soul message, it has to be designed within certain cultural contexts. Dynamism in language gives scope for expression. Creating a universal visual language that isn’t dynamic will inevitably cause monotony. Universality of visual language can happen up to a point, after which specifics would be needed to completely convey the intended message. The limits of language can be observed as the dynamism we speak about, which in turn is forgone in order to maintain & preserve cultural diversity and evolution. Until the world speaks one language, the possibility of a “perfect” universal visual language is a dream or unless a particular culture becomes so common that it becomes the norm thus granting the allowance for universal communication.

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Bibliography & Reference 1. Megg, Phillip, Purvis, Alston W., Meggâ&#x20AC;&#x2122;s History of Graphic Design, 4th Edition, Wiley, John & Sons, Incorporated, January 2006.

2. Bloomer, Carolyn M., Principles of Visual Perception, Great Britain The Herbert Press, 1990.

3. History of writing - From Wikipedia, the free encyclopedia, May 2009, <http://en.wikipedia.org/wiki/History_of_writing> 4. History of communication - From Wikipedia, the free encyclopedia, May 2009, <http://en.wikipedia.org/wiki/History_of_communication> 5. History of the alphabet - From Wikipedia, the free encyclopedia, May 2009, <http://en.wikipedia.org/wiki/History_of_the_alphabet> 6. Barry, Ann Marie Seward, Visual Intelligence: Perception, image and manipulation in visual communication, State University of New York Press, 1997.

7. Walker, John A., Design History and the History of Design, London Pluto Press, 1990.

8. Massironi, Manfredo, Translated by Bruno, Nicola,The Psychology of Graphic Images: Seeing, drawing, communicating, Lawrence Erlbaum Associates, Inc., Publishers, 2002.

9. Frutiger, Adrian, Signs and Symbols, Their Design and Meaning, New York, Van Nostrand, 1990.

10. Kress, Gunther and van Leeuwen, Theo, Reading Images, The Grammar of Visual Design, London Routledge, 2000.

11. Otto Neurath - From Wikipedia, the free encyclopedia, April 2009, <http://en.wikipedia.org/wiki/Otto_Neurath> 12. Otl Aicher - From Wikipedia, the free encyclopedia, April 2009, <http://en.wikipedia.org/wiki/Otl_Aicher> 13. Itten, Johannes, The Art of Color: The Subjective Experience and Objective Rationale of Color, New York John Wiley & Sons, Inc., January 1974.

14. Isotypes â&#x20AC;&#x201C; From Wikipedia, the free encyclopedia, April 2009, <http://en.wikipedia.org/wiki/Isotype_(pictograms)> 15. An essay based on research and writing initiated at The Cooper Union in 1986 with the exhibition Global Signage:Semiotics and Language of International Pictures, curated by Ellen Lupton, July 2009, <http://www.dandydesign.com/seattleu/media/Modern_Hieroglyphics.pdf>*

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16. The History of Visual Communication, July 2009, <http://www.citrinitas.com/history_of_viscom/> 17. McCloud, Scott, Understanding Comics: The Invisible Art, New York Harper, 1990.

18. Gibaldi, Joseph, MLA Handbook for Writers of Research Papers, Fourth Edition, New Delhi Affiliated East-West Press 2000.

19. “The Writing Process”, The Writing Center, Cleveland State University. February 2009, <http://www.csuohio.edu/academic/writingcenter/writproc.html> 20. The Times: the world an illustrated History, London. Times Books. 1990.

21. Sample papers from Bedford St. Martins Website, July 2009.

• Chicago Manual of Style, Style Sample <http://www.bedfordstmartins.com/hacker/pdf/chicago.pdf> • Modern Language Association of America Style Sample <http://www.bedfordstmartins.com/hacker/pdf/mla.pdf> • The APA (American Psychological Association) Style Sample <http://www.bedfordstmartins.com/hacker/pdf/apa.pdf>

22. Bonnici, Peter, Visual Language: The Hidden Medium of Communication, Switzerland Rotovision 2000.

23. Roland Barthes – From Wikipedia, the free encyclopedia, February 2009, <http://en.wikipedia.org/wiki/Roland_Barthes> 24. van Spronsen, Ariel, Picture This, Message Task Considerations for Universalizing Images and Symbols in International Technical Communication, TC 512 Winter 2006, Final Research Paper, <http://www.arielv.net/academic/picture_this.pdf> 25. Rotha, Paul, From Hieroglyphs to Isotypes , Future Books No III, “The crowded Scene” pre 1947, from an autobiography to be published by Nicholson and Watson (untraced) <http://www.fulltable.com/iso/is03.htm> 26. Neurath, Marie, Isotype, Instructional Science, Volume 3, Number 2, Springer Netherlands, July, 1974 <http://www.springerlink.com/content/n73k156364wu787h/> 27. Lewi, Paul J., Speaking of Graphics, Chapter 6, Neurath and the Vienna Method of Picture Statistics. Version of February 11, 2006. <http://www.datascope.be/sog/SOGChapter6.pdf> Glossary terms from Wikipedia.org and some images from

Wikimedia commons.

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