What Is Graphic Design: History And Origins

What Is Graphic Design: History And Origins

Studio is a profession whose business is the act of designing, programming, and create visual communications, generally produced by industrial indicates and intended to convey specific messages to specific social groups, with a clear purpose. This is the activity that enables graphically communicate ideas, facts and values processed and synthesized in terms of form and communication, social, cultural, economic, visual and technological. Also known as visual communication design, because some associate the word figure only to the printing industry, plus understand that visual messages are channeled through many media, not just print.

Given the massive and rapid growth inside the exchange of information, the demand for graphic designers is greater than ever, particularly because of the

development of new technologies and the need to pay focus on the human factors that are beyond the competence of engineers who develop them.

Some classifications are widely used graphic design: advertising design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia style, among others.

Graphic Design History The definition of the graphic design ballarat is rather recent, in what concerns their preparation, their activities and even goals. Although there is no consensus on the exact date of the birth of graphic design, some dating during the interwar time period. Others understand that begins to identify as such to the late nineteenth century.

Arguably specific graphic communications purposes have their source in Paleolithic cave paintings and the birth of written language in the third millennium BC. C. But the locations working methods and training required auxiliary sciences are such that it is not possible to clearly identify the current web designer with prehistoric man, with xylograph fifteenth century or the lithographer 1890.

The diversity of opinion reflects the truth that some see as a product of graphic design and all other graphical demonstration only those that arise as a result of the application of a type of industrial production, those visual manifestations that have been "projected" contemplating needs of different types: productive symbolic ergonomic contextual and so on Background A page from the Book of Kells: Folio 114, with decorated text contains the Tunc dicit illis. A good example of art and page layout of the Middle Ages.

The Book of Kells - A Bible handwritten richly highlighted by Irish monks in the ninth century CE-is for some a very beautiful and early example of graphic design concept. This is a graphic demonstration of great artistic value, high quality, and that even a model for learning to design-for even surpasses with quality to many

of the current-editorial productions, and also from a functional point of view contemporary This graphic piece responds to all requirements presented the team of people who made it, however others believe that it would be graphic design product, because they understand that their design is not modified to the idea of current graphic design project.

The history of typography-and by transitive, also the history of the book-is closely associated with graphic design, this may be because there are virtually no graphics designs that do not include such items graphics. Hence, when talking about a brief history of graphic design, typography also cited the Trajan column, medieval miniatures, Johannes Gutenberg's printing press, the development of the book industry, the posters Parisian Arts Movement and Crafts (Arts and Crafts), William Morris, Bauhaus, etc .. " The introduction of movable type by Johannes Gutenberg made books cheaper to produce, and facilitate their spread. The first printed books (incunabula) scored the role model to the twentieth century. Graphic design of this era has become referred to as Old Style (especially the typefaces which these early typographers used), or Humanist, due to the predominant philosophical school of times.

After Gutenberg, no significant changes were seen until the late nineteenth century, particularly in Britain, there was an effort to produce a clear division between the fine and applied arts.

In the 19th Century First page of the book "The Character of Gothic" by John Ruskin, published by the Kelmscott Press. The Arts and Crafts intended to revive the middle ages art, inspiration in nature and manual labor.

During the nineteenth century visual message design was entrusted alternately 2 professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman, often both in exactly the same schools of arts and crafts.

For the printer as art was the use of ornaments and selecting fonts imprinted in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.

Between 1891 and 1896, the William Morris Kelmscott Press published some of the most significant graphic products Arts and Crafts Motion (Arts and Crafts), and established a lucrative business based on the design of books of great stylistic refinement together with selling them to the upper classes as luxury items. Morris proved that a market existed for works of studio, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is seen as a its recreation of historic styles, especially medieval.

First Vanguards Poster for the Moulin Rouge in Paris. Created by Henri de Toulouse-Lautrec with color lithography in 1891. Thanks to Art Nouveau, graphic design and visual clarity acquired by the composition.

Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, is considered the birthplace of the graphic design occupation.

Given Poster for MatinĂŠe. Made by Theo van Doesburg in January 1923. The free font organization, conveys the spirit of the Dada movement, irrationality, for freedom and oppose the status quo and visual expressions of the time.

Business identity design for Lufthansa, by the Development Group 5 of the HFG Ulm. Ulm School was an inflection justification in the history of design, since there is outlined the design profession through scientific methodology.

Current pictograms design for the National Recreation area Service of the United States. The idea to simplify the symbols forms developed during the 1950s.

The design of the early twentieth century, along with the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth millennium.

The interest in ornamentation and the proliferation of measurement changes and typographical style one piece design, synonymous along with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau, with its clear wish stylistic was a movement that contributed to higher order visual composition. While maintaining a high level of formal complexity, did so

inside a strong visual consistency, discarding the variation of typographic styles in one graphic piece.

Art movements of the 2nd decade of the twentieth century and the political turmoil that accompanied them, generated dramatic changes in graphic design.

The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and created a new vision that influenced all divisions of the visual arts and design.

All these movements opposed to the decorative arts and popular, as well as the Art Neuf, which under the influence of the new interest in geometry evolved into the Art Deco. All these movements were a revisionist and transgressive spirit in all arts of the time. This period also publications and manifestos proliferated through which artists and educators expressed their own opinions.

During the 1930s developed for the composition interesting aspects of graphic design. The graphic style change was significant since it shows a reaction against eclecticism ornamentalist organicism and the time and proposes a more stripped and geometric. This design, connected with Constructivism, Suprematism, Neoplasticism, De Stijl and Bauhaus exerted a lasting influence and inescapable in the development of 20th century graphic design. Another important element in relation to professional practice, was the increasing use of visual form as communication element. This particular item appeared mostly in the designs produced by the Dada and De Stijl.

The symbol of modern typography may be the sans serif font or serif, inspired by industrial types of the late nineteenth century. Highlights include Edward cullen Johnston, author of the font for the London Underground, and Eric Gill.

Design Schools Jan Tschichold embodied the guidelines of modern typography in his 1928 book, New Typography. He later repudiated the philosophy presented in this book, phoning it fascist, but remained very influential. Herbert Bayer, who dirigรณ from 1925-1928 the typography and marketing workshop at the Bauhaus, created the conditions for a new profession: the graphic designer. He put the subject "Advertising" in the schooling program including, among other things, the analysis of advertising media and the psychology of advertising. Notably, the first to determine the term Graphic Design was the designer and typographer William

Addison Dwiggins in 1922.

Thus Tschichold, Herbert Bayer, László Moholy-Nagy, and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and designs that have been using later. Today, computers have dramatically altered production systems, but the approach that contributed to fresh design is more relevant than ever dynamism, experimentation and even very specific things like choosing fonts (Helvetica is a revival, initially a Typography design based on the nineteenth-century industrial) and orthogonal compositions.

In the years following the modern style gained approval, while stagnated. Notable names in modern design midcentury are Adrian Frutiger, designer of the typefaces Univers and Frutiger, and Josef Müller-Brockmann, large poster of the fifties and sixties.

The Hochschule für Gestaltung (HFG) around Ulm was another key institution in the development of the graphic design profession. Since its founding, the HFG distanced themself from a possible affiliation with advertising. At the beginning, the department concerned was called Visual Design, but it quickly grew to become clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication, modeled Visual Communication Department at the New Bauhaus in Chicago, il. 2 3 In the HFG Ulm, decided to work primarily in the area of persuasive communication in the fields such as traffic indication systems, plans for technical equipment, or visual translation of scientific content. Until that time were not systematically trained these areas in any other European school. In the early '70s, members of the Bund Deutscher Grafik-Designer (Association regarding German graphic designers), unveiled several features of their professional identity, as in the case of Anton Stankowski among others. During 1962 the official definition of the profession was directed almost exclusively to the advertising, now extended to include areas situated under the rubric of communication visual. 4 corporate images produced by the Development Group 5 of the HFG Ulm like those created for the firm Braun or airline Lufthansa were also critical to this new professional identity.

Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from semantics. In a seminar kept at the HFG Ulm in 1956,

Maldonado proposed modernizing rhetoric, classical art of persuasion.

Maldonado Bonsiepe after which wrote several articles on semiotics and rhetoric for Uppercase English publication and Ulm magazine that would be an essential resource for designers to that area. Bonsiepe suggested that it was necessary to have a modern system of rhetoric, semiotics updated as a device to describe and analyze the phenomena of advertising. Using this terminology, could expose the "ubiquitous structure" of a information publicitario. 5 The idea of simplicity and good design feature continued this for many years, not only in the design of alphabets but also on other areas. The tendency to simplify influenced all means at the forefront of design in the 1950s. At that time, developed the consensus that simple, not only was the equivalent of good, but was also more readable equivalent. One of the hardest hit places was the design of symbols. The designers raised the question of how they could be simplified without destroying its informative functionality. However , recent investigations have shown that the shape simplification only one symbol does not necessarily increase readability.

Second Vanguards A reaction to the sobriety growing graphic design was slow but inexorable. The origins of postmodern fonts back to the humanist movement of the fifties. In this group highlights Hermann Zapf, who designed two typefaces today ubiquitous Palatino (1948) and Best (1952). Blurring the line between serif fonts and sans serif and reintroducing organic lines from the lyrics, these designs served more to ratify the modern movement to rebel against him.

An important milestone is the publication of the Manifesto, first things first (1964), which was a call for a more radical form of graphic design, criticizing the idea of design for series worthless. He had a massive influence on a new generation of graphic designers, contributing to the emergence of publications for instance Emigre magazine.

Another notable designer of the late twentieth century is Milton Glaser, who designed the unique I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture from the sixties and seventies.

The advances of the early twentieth century were strongly inspired by technological advances in digital photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first it was one step back. Zuzana Licko began using computers to compositions soon, when computer memory was measured in terme conseillĂŠ and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the pioneering Emigre mag and type foundry of the same name. They played with the extraordinary limitations of computers, releasing a great creative power. Emigre magazine became the bible of digital design.

David Carson is the culmination of the movement against contrition sobriety and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to be more visual compared to literary experiences.

Present Times Today, much of the work of graphic designers is assisted by digital tools. The gate design has changed enormously because of computers. From 1984, with the appearance of the first desktop publishing systems, personal computers gradually changed all analog in nature technical procedures for digital systems. Thus computers have become indispensable tools and, using the advent of hypertext and the web, its functions have been extended as a means of communication. In addition , the technology also has been mentioned with the rise of telecommuting and special crowd sourcing has begun to intervene in work arrangements. This modify has increased the need to reflect on time, motion and interactivity. Even so, the professional practice of design has not been essential modifications. While the forms of production have changed and communication channels have been extended, the fundamental concepts that allow us to understand human being communication remain the same.

Job performance and skills The ability to design is not innate, but acquired through practice as well as reflection. Still, it remains an option, one thing potentially. To exploit this power is necessary continuing education and practice, as it is very hard to acquire by intuition. Creativity, innovation and lateral thinking are key skills for graphic

designer job performance. Creativeness in design exists within established frames of reference, but more than anything, is a cultivated skill to find unforeseen solutions to seemingly intractable problems. This translates into design work of the highest level and quality. The creative take action is the core of the design process manager but creativity itself is not an act of design. However , creativeness is not exclusive graphics performance and no profession, although it is absolutely necessary for the proper performance of the design work.

The part that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation, organization and presentation involving visual messages. His sensitivity to the form must be parallel to its sensitivity to the content. This work handles the planning and structuring of communications, with its production and evaluation. The design work is always based on customer demand, need which eventually established linguistically, either orally or in writing. This means that the graphic design transforms a linguistic message within a visual demonstration.

The professional graphic design rarely works with non-verbal messages. At times the word appears briefly, and in other text messaging appears as complex. The editor is in many cases an essential member of the communications team.

The design activity often needs the participation of a team of professionals, such as photographers, illustrators, technical illustrators, including professionals with less related to visible message. The designer is often a coordinator of various disciplines that contribute to the production of the visual message. Thus, coordinates its investigation, design and production, making use of information or specialists in accordance with the requirements of different projects.

Graphic design is interdisciplinary and therefore the developer needs to have knowledge of other activities such as photography, freehand drawing, technical drawing, descriptive geometry, psychology of perception, Gestalt mindset, semiology, typography, technology and communication.