PAHI MANIS Poster Graphics Exhibition
We may say that graphic design works best by how well it appeals to our emotive and cognitive senses. Equally, art has the ability to touch our hearts and minds. Though graphic design, in it’s purest language. That language is one of the visual kind where form , function and content can be integrated to produce an aesthetic sense of pure graphics .Graphics is an essential prerequisite in the development of visual arts and visual communications. The skillful application of visually arresting graphics has begun to come into its own as a craft with it’s own unique intellectual property rights.Paul Rand, the great American graphic designer, once stated that graphic design is the method of putting form and content together to which, he professed that there is on difference between the designer and the artists as they both work with form and content. Therefore, form this viewpoint, graphic design can be art.The exploits of graphics as a craft may clearly be defined in how well the designer or artist interacts and engages the audience with his eyes for aesthetics and understanding of ephemera. This unique process of exchange defines the level of intimacy between the author and the viewer. Perhaps, nine more so evident in the poster medium . The poster has a fascinating history that can be traced across many matured civilizations. Over the last century, governments, institutions, corporations and individuals have used this intrepid medium for mass communication and even, self-expression. It was originated with efficacy in mind that started out with low visual vernacular in some countries or even, glorified art in other parts of the world. Many poster forms paved the streets and alleyways throughout the urban and rural area. Due to its accessibility it has the amazing ability to impact and incite the public with a near blink of an eye.Conventionally, the poster form is design in orientation with art as its ally. Despite the absence of a concise definition of what constitutes a poster, it has the power of revealing a keen sense of graphic imagery, that for all it’s intent and purpose can be both folly and dramatic.By the mid 20th century, posters have evolved into an exciting genre of aesthetics and functionality that can be classified into two distinct fields of the visual spectrum. On one hand, there is poster design, objective in character yet, manipulative in nature. While on the other , poster art which exudes soulful subjects of self-expressionism and social consciousness. The existence of this visual dichotomy of art and graphic design in the poster medium can be found in many developed countries. In particular, the Japanese poster heritage typically illustrates this phenomenon, the development and appreciation of the poster genre in Malaysia is more occasions of convenience.
According to Rand, graphic design can be aesthetics and. designers and artists profess that the importance of graphic imager lying appeal of aesthetics. In recognition of this special skill and craft of plying visual imagery there is an emerging branch of a poster form know as poster graphics. Although, not unlike poster design and poster art, an outstanding feature of poster graphics is the lack of clarity in definition of it’s visual characteristics and physical parameters; a strained reminiscent of what definition art, graphic art or even graphic design.
The American designer also contented that design, just as art, has multiple definitions and that there is on single definition. He commented further that as he tried to create art in his designs, whether he succeeds or not, is not up to him but, up to the God.
参考资料：百度一下