*Tongmyong University of Information Technology, College of Design, Dept 535 Yongdang-dong, Nam-gu, 608-711, Busan, Korea dshong@ tit.ac.kr
Abstract:Visual communication design has been represented in varied images from ancient society up until the present time. Especially graphic design, which has experienced artistic upheaval from modernism and postmodernism, has been enabled to deliver messages in a more developed and sensuous appearances. Deconstructionist design wasn't well received by modernism, an advocate of practicality and effectiveness; however, as the beginning of subsequent postmodernism, it started to earn a warm welcome from a number of designers. Postmodernism made it possible for deconstruction to be a new paradigm appreciating neutral respect for varied expressions and designers' idiosyncrasy. Corresponding to this new trend, Edward Fella published his artwork "Letters on America", which introduced a variety of vernacular design works in America. It was the result of years of research, and included materials which were not something completely new to field of communication design but rather symbolic, deconstructive images available everywhere around us. Deconstruction broke away from the previous modernism's unity and standards, and sought to acheive a new tensional deliverance. As a consequence, images were created in destructive and incomplete forms. Graphic design also complied with this new code and its advent fascinated the artists in the fields of advertising, editorial and poster designs. This paper contends that contemporary graphic design still maintains a deconstructive representation, examines its locality in design works from an aesthetic viewpoint, and researches theoretical approaches to deconstructionist and case studies conducted domestically. There has been incessant critical contradiction in terms of the heritage of deconstruction. I would like to present you with a moment in which you can struggle to decide whether it is a result of an effort to get away from modernism or an offspring of postmodernism. Key words: Deconstruction, Postmodern, Transgression
1. Introduction Looking into the on-going features of communication design, we can easily notice the designers devoting themselves to exploring a shared aspiration for visually strong, new, beautiful objects: sometimes they are so carried away that non-designers even treat them like some kind of addicts. This feverish trend is a manifestation of the contemporary design aiming at art for Art's sake accompanied by postmodernism pursuing de-unification and variety. And this has made it possible for deconstruction to strongly appeal to designers yearning for unprecedented, powerful artistic presentation. Complying with this trend, Korean designers have also made experiments with designs advocating postmodernism. Especially, deconstruction seems to attract the designers most in that we can observe its frequent appearances in Graphic Design, Website Design, and Typography in
videos and movies. These deconstructive presentations take various shapes; however, research on their origin and categorization has not been conducted so much. Acknowledging its urgent call, this paper investigates the theory and practical representative methods. 2. The theory of Deconstructionism The first appearance of deconstructionism in Design was noted in 1988 at 'Deconstructive Architecture' exhibited in the New York Modern Art Museum and a seminar of deconstructive painters held in London Tate Gallery, whose theoretical background was based on a French writer, Jaques Derrida. He asks for a new definition of aesthetic by urging us to put equal importance on the ideas opposing the fixed ones and social norms. Deconstructionism accentuates reorganization by means of illogical and disordered processes. 2.1 What is Deconstructionism? Deconstructive design challenges, in...