Is graphic design dead? Nothing rattles cages more than putting out random, outrageous statements to see who bites. Yet twenty years ago graphic design seemed to be at the centre of the communication conversation, along with advertising.

In 1989, a design student either followed a path of advertising art direction; or a life of mainstream design developing logos or trademarks (not brands), posters, brochures (company profiles and suites of services brochures were very popular, now made redundant by the internet) packaging, 3D and livery; publishing design – books magazines, newsprint and journals; and image making – mixed media illustration.

In 1989, the studios that owned the stage, in Sydney that is, were Spatchurst Design Associates, Lunn Dyer, Eymont Kin Yee, Annette Harcus Design, Anthony Ginns & Associates, Ross Barr & Associates, Emery Vincent, Flett Henderson & Arnold, Billy Blue, Gallaher + Associates, David Jenson, Graeme Rendolf and Associates, Raymond Bennett Design, Davis Farrell, Cato Design Associates and Horniak & Canny. Their work on mass had a spirit to it that is hard to find in contemporary output. It communicated, it was professional, some of it was artful, quirky, stock images were sparely used, some studios were modernist while others were warm and fuzzy, the rendering, imagemaking and hand skills met high standards – some was extraordinary, the work was confident as it probably was delivered to market sans rigorous market testing. It was time were graphic design work for big companies was recognised in award programmes, along with hairdressing salon logos and paper promotions.

At the time brands and brand speak was a twinkle in Landor’s and Wolff Olin’s eyes, Apple just released the Apple SE 20, Quark 1 was a new software option and Telstra was called Telecom (for reference Telstra was designed by Flett Henderson and Arnold, Telecom 1975 to 1994 by Pieter Huveneers, thanks Jorge)

by http://www.flickr.com/photos/arankine/

by http://www.flickr.com/people/71089842@N00/

A Telecom Phone Card

A range of logos developed by Telstra from 1993 to 2008

Two decades later big trademarks come and go, some are refreshed, upgraded or retro fitted. Month in and month out brand changes are introduced, launched and celebrated – at best a soiree is called, and at most a media release with a sigh is typical.

The Australian Telstra brand speaks much of the change contemporary brands undergo. The Telecom logo, Telstra’s incumbent logo remained intact for 19 years from 1975 to 1994. From 1995, some 14 years, the Telstra logo had undergone at least six face lifts and it seems as management styles change, so does the brand change to symbolise management change.

Apply the Telstra brand upgrade process across the major corporations in Australia to the top two hundred companies, a company could enjoy at least three to six brand face lift in 14 years. Resulting in 3 1/2 to 7 major brands being upgraded every month over the last 14 years. Compared to the 14 years previous, applying the Telecom trademark upgrade from 1980 to 1994, a top two hundred company brand may witness 1 1/2 brands being potentially upgraded every two months of the previous 14 years.

Brand design in contemporary times seem to be a busy place indeed. A major trademark change was once a community event. In recent times a brand refreshes, or upgrades, and it is lucky to be mentioned in the advertising and design press. If a major communication project is troubled in attracting public attention, other communication media – posters, brochures, packaging, 3D and livery; publishing design and mixed media image making, has little hope of being recognised, except by those working on the project, or on the invitation list.

More graphic design, and money, is being made than ever before. What makes graphic design dead is not it’s absence, it is its lack of recognition, or unique visibility, in community. This lack of recognition reflects directly upon those who produce it and their unique skill sets. It seems that graphic designers in contemporary culture are too numerous, a ten cent piece (or a dime) a dozen, and the place they once held in culture has become less prominent too.

In parallel the communication mediums have broadened (to motion, digital, events, and more), and the tools in which graphic designers use (desktop computers and graphic software) are readily available and used by the public outside of design – more dilution and now the mystery, the alchemy of graphic design has gone with the growth of the D.I.Y culture. It isn’t any coincidence that the fall of the graphic designer and rise of the Uber marketers has taken place. Factor in that there are more projects today, and more money to be made, what was once a profession driven by great ideas and craft, is now an industry sector driven by finding outcome efficiencies and meeting profit targets.

Is Graphic design is dead? Is marketing on the rise and why does the artistic community continue to grow in popularity and prominence? Or is it a case that graphic design has a place in our community, yet notion of graphic design does not match the breadth of contemporary communication offers?

While the rest of population consumers the life and times of the late Michael Jackson, the truth remains that only a handful of design nerds will ever find this post interesting and worthy of comment. So in the spirit of irresponsibly rattling cages, we reckon “graphic design is dead” and it was slowly cast into Nowheresville by Apple’s SE 20 back in 1988.

Vale Michael Jackson, the old Telecom Australia trademark and graphic design.