Design within reach

Could a new generation of graphic designers revolutionize the creative industry in Vietnam?

Laughter. That was the response I received when I mentioned my dream to become a graphic designer just over ten years ago. “It’s simply being familiar with computer programs.” “You need to know expensive software—Photoshop, Illustrator, and Flash.” “It doesn’t even exist as a distinct career in Vietnam.” My friend had no shortage of doubts interspersed between his chuckles.

It’s true that the profession of graphic design has been slow to legitimize itself in the country. It was only 20 or so years ago that people began to understand what it was and how it could be used, thanks to a number of computer magazines. Gradually, it began to appear as a course in some art universities.

The demand quickly outpaced supply, and short-term design courses were offered in computer centers, which attracted a bevy of interested novices. Though the classes taught some basic design aesthetics and skills, students mostly just learned how to use core software.

Ultimately, Vietnam saw the birth of a generation of designers rife with massive gaps in knowledge about what graphic design actually is. And still today, much of the work being produced is painfully cliché and devoid of creativity, often borrowing heavily from the West—which is not surprising considering the massive influence the West has had on all aspects of the Vietnamese culture and nation over the years.

However, what the country desperately needs are more design teams that are fluent with the software, skilled in fine arts, and passionate about creating an innovative, unique imprint on the global design industry. And slowly we’re seeing this come to fruition. Starting with the famous creative site Behance, you will find many young Vietnamese working in graphic design, photography, and illustration pioneering the field and adding their personal touch to the design arena. Most particularly Le Thanh Tung and Egregius (graphic designers); Linh Phan and Tamypu (illustrators); Tang Tang and Wing Chan (photographers) have influenced the next generation of designers via their creativity and a keen eye for detail.

Vietnam is a nation brimming with youthful energy. Fifty per cent of the population is under 30 years old, and the GDP growth rate has bested the once much lauded Indian economy for most of the past 20 years. The new generation is vital—full of enthusiasm, passion and a sharp intelligence, which is a major advantage as creative industries continue to develop.

For past generations, expressing one’s personality and individuality was seen as problematic. But today, many of Vietnam’s Millennials are extremely interested in expressing themselves through design, as can be seen over recent years in the country’s new cafes, galleries and street fashions. And graphic design is now being seen as a bonafide profession, in which to be successful, designers must learn the nuances of research, client relations, professional standards, criticism and typography. Of these finer points, design methods such as knowing where to start as well as improving productivity and efficiency, along with creative skills are the most alluring, and the most important for moving the nation’s visual language forward into the future.

Further inspiring the next generation of designers is Vietnam’s long history of fantastic traditional and contemporary craft—arts and handicrafts being one of the main exports of the country, particularly wooden and bamboo furniture and silk textiles. As a whole, the country’s personality is ingenious, hard working. This is especially essential in Graphic Design, which requires a meticulous and precise vision.

The diversity of Vietnamese culture must be an essential building block of the new aesthetic. The inherited essence of Vietnam’s indigenous cultures combined with international influences. Over 4000 years of art combined with the digital age. A vast palette of inspirations that leave plenty of space for artists and designers to create their own style and purpose.

Diversity also includes geography, with each region of the country providing unique opportunities for novel design languages. For example, a designer from the North feels compelled to learn how to do one thing well, where a designer from Central Vietnam will focus on succeeding based on their dreams, whilst a designer from the South will try to accomplish learning how to do everything. Embracing these differences in approach, perspective and aspiration will help designers from across the nation become excellent.

What was once laughable is now within reach. What once seemed impossible now is an everyday passion for a multitude of ambitious Vietnamese designers. What’s left to do is to combine all of these visions and provide more and better professional graphic design training. Watch out design world; we’re coming.

Published on Status QUO #3