Abstract

The global community is at our doorsteps. For years this has been forecast and it is now reality. The pervasiveness of technology and the Internet has made communication an immediate, far-reaching phenomenon and the need for cross-cultural awareness is paramount, no more so than in the design community. Visual design is part of our daily lives—through the lens of art, architecture, graphic design, fashion, urban planning, and a multitude of visual media, the viewer/user/consumer can “read” a message of national pride, social justice, cultural history, or simply reflect upon pure aesthetics. Conducting business with other countries is de rigueur; the need for understanding cultural differences of communication, tradition, and sensibilities has become essential. In my paper, “Visual Design in Cross-Cultural Communication,” I emphasize the necessity for incorporating cultural awareness in the preliminary research stages of visual design in all international corporate, academic, or business interactions. When language inhibits verbal communication and comprehension, visual design in cross-cultural communication becomes a powerful tool. Once the barrier of trust has been violated, relationships are not easily repaired. By understanding and respecting cultural nuances, we go a long way toward fostering a style of communication that transcends non-verbal communication. Cultural symbology and iconography is a deeply embedded, multi-faceted aspect of communication. Colors, icons, and symbols used in graphic design, architecture, website design, product branding, and marketing can produce an emotional impact and can have far-reaching effects. A designer or artist may develop an innovative, original product or business image that may represent fidelity and warmth in his/her culture, yet, this same image may generate emotions of anger and adversity in another culture. What was initiated as an aesthetic judgment may result in a cultural, political, or social insult that irreparably damages a business or professional relationship. In my paper I give an illustrated presentation that compares and contrasts international symbology and cultural references in visual design and imagery. I suggest ways to bridge the gap of cross-cultural communication and avoid the consequences of design that is culturally insensitive.