Graphics Reference
In-Depth Information
Graphic Translation
One particular kind of stylized illustration—known as graphic
translation—evolved from the poster tradition of Switzerland and Germany in the early
part of the twentieth century. Graphic translation combines some attributes of both icon
and symbol. It depicts subjects in a literal way, like an icon, but also in a self-con-
sciously abstract way that takes on symbolic qualities. A translation attempts to con-
vey the concrete, fundamental “truth” of a subject, without details that are specific to
that one particular instance of it; for example, a translation of a cat strives to be about
the idea “cat,” but not about a specific cat; that is, how long its hair is or the mark-
ings of its particular breed. Unlike an icon, however, which is strictly about shape,
the textural and volumetric qualities of the subject are important considerations in find-
ing an appropriate language with which to translate it: the cat translation must indicate
that cats, in general, are soft or furred, that they are slinky and athletic, and so on. A
translation might be simple and stylized, or it might be relatively naturalistic, taking
on characteristics such as surface detail or effects of light. Graphic translation dif-
fers from conventional illustration in that its visual language, or “form language”—the
marks used to make the drawing—is reduced to the point that there's nothing extra,
only the shapes and marks needed to describe the subject. The medium used for the
drawing is important only if its characteristic marks help describe the subject's form
or feeling. A scratchy texture made by charcoal, for example, might be appropriate in
describing the fragility or dryness of an autumn leaf, but the texture does not exist for
its own sake. Most often, a translation is developed simultaneously with other visual
material in a layout—the designer chooses translation as the illustrative option in ad-
vance—so that its shape, details, and textural qualities are dynamically integrated with
photographs, typeface selection, abstract elements, and their positioning, in combina-
tion with the qualities of the translation.
THE GEOMETRIC
form language chosen to translate the unicorn's head not only creates the an-
imal's mane but also emphasizes the powerful thrust of the horn.
Sang-Duck Seo
Iowa State University, United States
Real, Unreal, and Otherwise
