DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

POLINA JOFFE UNIT 1.2 TEXT / CONTENT

Language is one yet languages are many. In this very distinction lies the primordial need for translation. What all languages share in common is a capacity to mediate between a human speaker and a world of meanings (Kearney, 2006)

RESEARCH QUEST DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

Flux Bible

Graphic design follows the basic rules of translation. There are many theories and philosophies of translation, and a lot of them define language and translation very broadly, allowing visual language to fall under its category. The oxford

of the visual and on the why instead of the how (Kress & Leeuwen, 2005), (Sadokierski, 2009). Understanding, interpreting and analyzing the visual language has largely benefitted from the founding of semiotics, a critical theory that uses methods similarly available to linguistics. The theory of semiotics largely concentrates on the analysis of what Ferdinand de Saussure called signs. He thought of signs as the basic units of meaning in language. The semiotic approach to visual language helps make sense of images by separating the connotative meanings from the denotative (Chandler, 2005). This system exposes social and cultural meanings and helps understand how signs achieve meaning. The semiotic approach though useful doesnt allow for much understanding of how the designer can encode images, but explains how social and cultural aspects affect the encoding of the images. This understanding that all images are already heavily encoded is vital to a designer, but the theoretical understanding of translation can bring this knowledge to a new high by exploring how the designer can control the viewer experience and designed outcome (Sadokierski, 2009). Translation is a cultural problem. It is a problem of meaning. This is a deep philosophic question, and how it relates to visual communication is a difficult and a somewhat controversial idea to tackle, as is translation in itself (Schulte & Biguenet, 1992). Visual communication transforms meaning without the necessary use of words and is in essence about translating ideas and concepts into something clear (Sadokierski 2009, p.16)

RESEARCH QUEST DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

dictionary defines translation to be the process of translating words or text from one language into another or as the conversion of something from one form or medium into another (Oxford dictionary, 2012). If, as Jermolino writes, language means to express oneself in any way, whether it is speaking, writing, improvising or visualizing your thoughts, then visual communication and graphic design fall under the definition of language and can gain understanding from the study of linguistics (Jervolino, 1997 cited in Kearney, 2006, p.xv). One could argue that it is essential for designers to examine literary theory and analyze its creative process in order to be able to control the similar, overlapping aspects in design and to understand the theory behind what we often do on intuition alone. Through this understanding, the designer can gain more control over the intended viewer / reader experience. Through gaining a better understanding of the design function, its practice can become more informed and thus more effective, diverse and eventually more sustainable (Sadokierski, 2009). Theories of literary interpretation have been invaluable to the understanding of visual communication in explaining the construction and meaning of visual texts. The theories have largely covered a wide range of essential aspects but havent looked into how the designer affects the way the viewer engages with the designed outcome but focuses on the grammar

and acceptable to the consumer of a product. There is an infinite amount of ways to express the same content. Exercises in style by R. Quineau (1947) is a great

and close to the original as possible. In my opinion, to communicate the former message alone is to communicate nothing at all, as the seemingly same word can hold very different cultural connotations and therefore not be the best equivalent one. The variety of languages makes the encounter with the other a condition that requires us to give up the dream of a perfect language and of a global translation. The partiality and the finitude of individual languages is then viewed not as an insurmountable obstacle but as the very precondition of communication among individuals (Jervolino, 1997 cited in Kearney, 2006, p.xv). If there is no possibility of perfect translation, or as S. Sontag states to interpret is to impoverish, to deplete the world in order to set up a shadow world of meanings (Sontag, 1964). Does that give us the freedom to interpret meanings more freely, like some philosophies argue we should? Some theories argue that the translator is also a creator with his own individualism, and has the license to alter the inner form of the original meanings to create a personal interpretation of the content. This raises a question of the designer as a co-author and whether such intervention is still communication of the original meaning and thus translation, or a separate creation. London based book publisher, Visual Editions, create books that are visually written. They believe that writing can use visual elements as an integral part of the writing itself (Visual Editions, 2012), using visuals that arent gimmicky, decorative or extraneous, but are a key to the story. However, Visual Editions tend to work on the visual aspects of the book together with the author, which makes it a part of the In this newspaper McCarthy accurately translates the tabloid news of the London riots. McCarthy, S. England's Burning: The Story of the English riots told in pictograms.

RESEARCH QUEST DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

example of this as it demonstrates the plentitude of language by telling the same, simple story 99 times in different manners. The exercise demonstrates the power of words and how the subjectivity of the narrator can change ones approach of a series of simple events (Laurent, 2004). A translator has to be able to pick up on the inner form and meaning of the material and find an appropriate solution in communicating all its aspects. The translator does the difficult job of understanding, and helps overcome the obstacles of communication and mutual understanding between the sender and receiver of a message. If the understanding of the original material is unsuccessful the translated product will be invalid not depending on the skills and techniques of the translator (Rivelis to Joffe, 2012). There are numerous theories in literary criticism investigating the definitions of understanding in this context. Some believe that the translator has to convey the meaning of what he is translating, as close to the original as possible. This theory is referred to as literalism. This is possibly the theory least applicable to design, but that might depend on the translators or designers understanding of literalism. The main interpretation of the meaning of literalism is that it holds a straight-ahead, literal message aiming to match exactly the meaning of the words of the original (Robinson, 1997). It could however also be understood as a theory in which the translator tries to keep all meanings, literal and not, as accurate

original text, and less translation. Or is the transformation of the inner form into a visual one already a translation in itself? Is a modest position as a translator more productive and worthy? Beatrice Ward speaks of this dilemma and discusses how

As an example of an application of this theory to graphic design, lets take the designing of a book. The format needs to be picked as does the paper and its tone, grain and texture. The design of the cover needs to be created. Then the choice of the typeface, the headings, the leading and kerning and numerous other details need to be decided on. In this case, the book designer has a completely different language at his disposal from the language of the book. The function of the designer is to transmit the inner form of the book in a clear visual and tactile way using the language of design. A question arises how can a graphic image be equivalent or at least close to the inner form of the original? In other words, the problem of equivalence arises, which is a typical problem in the theories of translation. The problem of equivalence can be defined in the figurative way. It can hold in itself the much more complex substance of the original, and the equivalent will be the kind of graphic form of text, that will evoke in the viewer the same kind of a reaction, intellectual and emotional, as evokes the original text in somebody who is reading it in their native language. The translation equivalence needs to happen in perception and reception. (Leonardi, 2000) Design can be seen as a form of translation. When for example executing the design of a book, the designer seeks to transmit the inner form of the books content and world. He is thereby trying to affect the recipient or viewer in the just way and cause controlled, desirable associations and emotions while at the same time being original as a designer. The definition of translation and graphic design are so similar in ways, that philosophies and theories of both can be applied on to each other. Foer, J. S. Tree of codes. Visual Editions

RESEARCH QUEST DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

transparent the designer should be in the essay The Crystal Goblet. She argues that the design should not interfere with the taste of the content. (Warde, 1932) There are also theories stating that literal meanings are non-principal especially in poetic style content and can almost be dismissed. They argue that the main aspect of the inner form is what lies beneath the plot, character and direct philosophical reasoning. Meaning is not constructed by these elements, but by the connotations of the language and the things not said. (Losonsky, 1999) Principally in such texts the inner form is the authors voice and his unique world. Formal methods to interrogate and learn to utilize these forms are used in the study of poetics. Translation of any kind needs to convey the inner form of content. The notion of inner form is possibly most appropriate when looking at informal texts, even though the presence of an author is evident in any text. The notion of inner form can be extremely beneficial to graphic design practice as it helps gain understanding of the main meanings and aspects of content. When analyzing a text, the presence of the author unveils in the attitudes towards the topic, understanding of the audience, and the intentions and affect on engagement towards the reader or viewer. All these aspects need to be in one way or another encoded and preserved in the translated resolution (Rivelis to Joffe, 2012).

There are so many different philosophies and theories of translation that it is possible to cover only a fraction of them in a report of this magnitude. It is intriguing to see how unscientific

RESEARCH QUEST DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

the study of translation in a sense is compared to the reputation that it holds as a discipline. Everything in design and in translation has to start from intuition. It is intriguing to speculate how the application of translation theories could influence graphic design learning, but more research is needed to analyze and develop an applicable system. One could argue that the addition of literary critique and theories of translation into the study curriculum of graphic design could have the potential of improving the general level of graphic design. Even if the practice has to start from intuition, it is possible that the consistency of work produced would be more uniform. Best work is produced when natural intuition and talent is supported by literacy, technique and their repetition. Words and images have an additive power and can enhance each others meanings. Bolao, R. (1998) Los detectives salvajes

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(Sadokierski 2009, p.69)

Biguenet, J. (1992) Theories of translation: an anthology of essays from Dryden to Derrida. London: University of Chicago press. Chandler, D. (2005) Semiotics for Robinson, D. (1997) What is translation? : centrifugal theories, critical interventions. Ohio: Kent state university press. Sadokierski, Z. (2009) Visual Writing: A critique of graphic devices in hybrid novels, from visual communication design perspective, PhD thesis, University of Technology, Sydney. Sontag, S. (1964) Against interpretation [Internet] Available from: <http:// www.coldbacon.com/writing/sontagKress, G. & Leeuwen, T. (2005) Reading images: the grammar of visual design. 8th ed. Suffolk: Routledge. Translation (2012) Oxford Dictionaries Laurent, S. (2004) Book review: exercises in style. Bohme magazine [Internet]. vol.2. Available from: <http://www. boheme-magazine.net/dec04/exercise. html> [Accessed 16 April 2012]. Visual editions (2012) Visual writing. Leonardi, V. (2000) Equivalence in translation: between myth and reality. Translation theory [Internet]. vol.4 (4). Available from: <http://translationjournal. net/journal/14equiv.htm> [Accessed 16 April 2012]. Losonsky, M. (1999) Introduction: the author in: Humboldt: on language. Cambridge: Cambridge university press. Quineau, R. (2009) Exercises in style. 2nd ed. Surrey: Oneworld classics. Dr. Rivelis, E. (2012) Personal communication. London, Stockholm, 13 April. [Rivelis, E. PhD has been awarded the Royal Swedish Academy of Letters, History and Antiquities award for distinguished scholarly achievements in theories of translation]. Warde, B. (1956) The crystal goblet or printing should be invisible in: Graphic design & reading: explorations of an uneasy relationship. New York: Allworth press. Visual editions: great looking stories [Internet] Available from: <http://www. visual-editions.com/visual-writing > [Accessed 11 April 2012]. [Internet]. Available from: <http:// oxforddictionaries.com/definition/ translation?q=translation> [Accessed 12 April 2012]. againstinterpretation.html> [Accessed 16 April 2012].

Images Flux Bible. [online image]. Available at: <http://fluxshop.se/shop/product.php?id_ product=13> [Accessed 16 April 2012].

RESEARCH QUEST DOES GRAPHIC DESIGN BELONG TO THE REALM OF TRANSLATION? SO WHAT IF IT DOES?

beginners. [Internet]. Available from: <http://www.aber.ac.uk/media/Documents/ S4B/sem01.html> [Accessed 11 April 2012]. Kearney, R. (2006) Introduction in: Paul Ricoeur: on translation. Oxon: Routledge.

McCarthy, S. Englands Burning: The Story of the English riots told in pictograms. [online image]. Available at: <http://www. uniteditions.com/shop/englands-burningudr-04> [Accessed 16 April 2012]. Foer, J. S. Tree of codes. [online image]. Available at: <http://www.visual-editions. com/our-books/tree-of-codes> [Accessed 16 April 2012]. Bolao, R. (1998) Los detectives salvajes. [online image]. Available at: <http:// thepublishinglab.tumblr.com/> [Accessed 16 April 2012]. Sadokierski 2009, Fig.1

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