Graphic design

Graphic design is the profession and academic discipline whose activity consists in projecting
visual communications intended to transmit specific messages to social groups, with specific
objectives. Therefore, it is an interdisciplinary branch of design[1] whose foundations and
objectives revolve around the definition of problems and the determination of objectives for
decision-making, through creativity, innovation and lateral thinking along with digital tools,
transforming them for proper interpretation. This activity helps in the optimization of graphic
communications (see also communication design). It is also known as visual communication
design, visual design or editorial design.

Due to its interdisciplinary nature, graphic design can be performed in different areas of application: branding, technical
and artistic drawing, signage, photography, image and video editing, 3D modeling, animation, programming, among other
fields.[1]
The role of the graphic designer in the communication process is that of encoder or interpreter
of the message. They work on the interpretation, ordering, and presentation of visual messages.
The design work always starts from a client's demand, a demand that ends up being established
linguistically, either orally or in writing, that is, that graphic design transforms a linguistic
message into a graphic manifestation.[2]

Graphic design has, as a field of application, different areas of knowledge focused on any visual
communication system. For example, it can be applied in advertising strategies, or it can also be
applied in the aviation world.[3] In this sense, in some countries graphic design is related as only
associated with the production of sketches and drawings, this is incorrect, since visual
communication is a small part of a huge range of types and classes where it can be applied.

Given the rapid and massive growth in information sharing, the demand for experienced
designers is greater than ever, particularly because of the development of new technologies and
the need to pay attention to human factors beyond the competence of the engineers who
develop them.[4]

History

The origins of graphic design can be traced from the origins of human existence, from the caves
of Lascaux, to Rome's Trajan's Column to the illuminated manuscripts of the Middle Ages, to the
neon lights of Ginza, Tokyo. In "Babylon, artisans pressed cuneiform inscriptions into clay bricks
or tablets which were used for construction. The bricks gave information such as the name of
the reigning monarch, the builder, or some other dignitary".[5] This was the first known road sign
announcing the name of the governor of a state or mayor of the city. The Egyptians developed
communication by hieroglyphics that used picture symbols dating as far back as 136 B.C. found
on the Rosetta Stone. "The Rosetta stone, found by one of Napoleon's engineers was an
advertisement for the Egyptian ruler, Ptolemy as the "true Son of the Sun, the Father of the Moon,
and the Keeper of the Happiness of Men" [5] The Egyptians also invented papyrus, paper made
from reeds found along the Nile, on which they transcribed advertisements more common
among their people at the time. During the "Dark Ages", from 500 AD to 1450 AD, monks created
elaborate, illustrated manuscripts.

In both its lengthy history and in the relatively recent explosion of visual communication in the
20th and 21st centuries, the distinction between advertising, art, graphic design and fine art has
disappeared. They share many elements, theories, principles, practices, languages and
sometimes the same benefactor or client. In advertising, the ultimate objective is the sale of
goods and services. In graphic design, "the essence is to give order to information, form to ideas,
expression, and feeling to artifacts that document the human experience."[6]

Graphic design in the United States began with Benjamin Franklin who used his newspaper The
Pennsylvania Gazette to master the art of publicity, to promote his own books, and to influence
the masses. "Benjamin Franklin's ingenuity gained in strength as did his cunning and in 1737 he
had replaced his counterpart in Pennsylvania, Andrew Bradford as postmaster and printer after a
competition he instituted and won. He showed his prowess by running an ad in his General
Magazine and the Historical Chronicle of British Plantations in America (the precursor to the
Saturday Evening Post) that stressed the benefits offered by a stove he invented, named the
Pennsylvania Fireplace. His invention is still sold today and is known as the Franklin stove. "[7]

American advertising initially imitated British newspapers and magazines. Advertisements were
printed in scrambled type and uneven lines, which made them difficult to read. Franklin better
organized this by adding a 14-point type for the first line of the advertisement; although later
shortened and centered it, making "headlines". Franklin added illustrations, something that
London printers had not attempted. Franklin was the first to utilize logos, which were early
symbols that announced such services as opticians by displaying golden spectacles. Franklin
taught advertisers that the use of detail was important in marketing their products. Some
advertisements ran for 10-20 lines, including color, names, varieties, and sizes of the goods that
were offered.

The advent of printing

During the Tang Dynasty (618–907) wood blocks were cut to print on textiles and later to
reproduce Buddhist texts. A Buddhist scripture printed in 868 is the earliest known printed book.
Beginning in the 11th century, longer scrolls and books were produced using movable type
printing, making books widely available during the Song dynasty (960–1279).[8]

During the 17th-18th century movable type was used for handbills or trade cards which were
printed from wood or copper engravings. These documents announced a business and its
location. English painter William Hogarth used his skill in engraving was one of the first to
design for business trade.

In Mainz Germany, in 1448, Johannes Gutenberg introduced movable type using a new metal
alloy for use in a printing press and opened a new era of commerce. This made graphics more
readily available since mass printing dropped the price of printing material significantly.
Previously, most advertising was word of mouth. In France and England, for example, criers
announced products for sale just as ancient Romans had done.

The printing press made books more widely available. Aldus Manutius developed the book
structure that became the foundation of western publication design. This era of graphic design
is called Humanist or Old Style. Additionally, William Caxton, England's first printer produced
religious books, but had trouble selling them. He discovered the use of leftover pages and used
them to announce the books and post them on church doors. This practice was termed "squis"
or "pin up" posters, in approximately 1612, becoming the first form of print advertising in Europe.
The term Siquis came from the Roman era when public notices were posted stating "if
anybody...", which in Latin is "si quis". These printed announcements were followed by later public
registers of wants called want ads and in some areas such as the first periodical in Paris
advertising was termed "advices". The "Advices" were what we know today as want ad media or
advice columns.

In 1638 Harvard University received a printing press from England. More than 52 years passed
before London bookseller Benjamin Harris received another printing press in Boston. Harris
published a newspaper in serial form, Publick Occurrences Both Foreign and Domestick. It was
four pages long and suppressed by the government after its first edition.

John Campbell is credited for the first newspaper, the Boston News-Letter, which appeared in
1704. The paper was known during the revolution as "Weeklies". The name came from the 13
hours required for the ink to dry on each side of the paper. The solution was to first, print the ads
and then to print the news on the other side the day before publication. The paper was four
pages long having ads on at least 20%-30% of the total paper, (pages one and four) the hot news
was located on the inside.[7] The initial use of the Boston News-Letter carried Campbell's own
solicitations for advertising from his readers. Campbell's first paid advertisement was in his third
edition, May 7 or 8th, 1704. Two of the first ads were for stolen anvils. The third was for real
estate in Oyster Bay, owned by William Bradford, a pioneer printer in New York, and the first to
sell something of value. Bradford published his first newspaper in 1725, New York's first, the
New-York Gazette. Bradford's son preceded him in Philadelphia publishing the American Weekly
Mercury, 1719. The Mercury and William Brooker's Massachusetts Gazette, first published a day
earlier.

Nineteenth century
In 1849, Henry Cole became one of the major forces in design education in Great Britain,
informing the government of the importance of design in his Journal of Design and
Manufactures. He organized the Great Exhibition as a celebration of modern industrial
technology and Victorian design.

From 1891 to 1896, William Morris' Kelmscott Press published some of the most significant of
the graphic design products of the Arts and Crafts movement, and made a lucrative business of
creating and selling stylish books. Morris created a market for works of graphic design in their
own right and a profession for this new type of art. The Kelmscott Press is characterized by an
obsession with historical styles. This historicism was the first significant reaction to the state of
nineteenth-century graphic design. Morris' work, along with the rest of the Private Press
movement, directly influenced Art Nouveau.[9]

During the first half of the ninetieth century, there were diverse styles that were used by various
graphic designers. Several examples are Greek, Roman, Classical, Egyptian, and Gothic. The
early part of the century has often been regarded as being lackluster for reviving historic
styles.[10] However, the latter part of the century would showcase designers using these existing
styles as a conceptual framework to expand their own styles. For instance, designer Augustus
W.N. Pugin has a quote in the book The True Principles of Pointed or Christian Architecture (1841)
that says Gothic is "not a style, but a principle."

Cover of the Thanksgiving 1895 issue of The Chap-Book, designed by Will H. Bradley
Will H. Bradley became one of the notable graphic designers in the late nineteenth-century due
to creating art pieces in various Art Nouveau styles. Bradley created a number of designs as
promotions for a literary magazine titled The Chap-Book.[11] One of them was a Thanksgiving
poster that was finished in 1895. The poster is recognized for including a system of curved lines
and forms. The poster also borrows elements from Japanese printing styles by using flat
colored planes. Bradley's works have proven to be inspiration as the concept of art posters
would become more commonplace by the early twentieth century. In addition, art posters would
become a significant aspect in the subject of advertising.

Twentieth century

A Boeing 747 aircraft with livery designating it as Air Force One. The cyan forms, the US flag, presidential seal and the
Caslon lettering, were all designed at different times, by different designers, for different purposes, and combined by
designer Raymond Loewy in this one single aircraft exterior design.

In 1917, Frederick H. Meyer, director and instructor at the California School of Arts and Crafts,
taught a class entitled "Graphic Design and Lettering".[12] Raffe's Graphic Design, published in
1927, was the first book to use "Graphic Design" in its title.[13]

The signage in the London Underground is a classic design example[14] of the modern era.
Although he lacked artistic training, Frank Pick led the Underground Group design and publicity
movement. The first Underground station signs were introduced in 1908 with a design of a solid
red disk with a blue bar in the center and the name of the station. The station name was in white
sans-serif letters. It was in 1916 when Pick used the expertise of Edward Johnston to design a
new typeface for the Underground. Johnston redesigned the Underground sign and logo to
include his typeface on the blue bar in the center of a red circle.[15]
In the 1920s, Soviet constructivism applied 'intellectual production' in different spheres of
production. The movement saw individualistic art as useless in revolutionary Russia and thus
moved towards creating objects for utilitarian purposes. They designed buildings, theater sets,
posters, fabrics, clothing, furniture, logos, menus, etc.

Jan Tschichold codified the principles of modern typography in his 1928 book, New
Typography.[16] He later repudiated the philosophy he espoused in this book as fascistic, but it
remained influential. Tschichold, Bauhaus typographers such as Herbert Bayer and László
Moholy-Nagy and El Lissitzky greatly influenced graphic design. They pioneered production
techniques and stylistic devices used throughout the twentieth century. The following years saw
graphic design in the modern style gain widespread acceptance and application.[17]

The post-World War II American economy revealed a greater need for graphic design, mainly in
advertising and packaging. The spread of the German Bauhaus school of design to Chicago in
1937 brought a "mass-produced" minimalism to America; sparking "modern" architecture and
design. Notable names in mid-century modern design include Adrian Frutiger, designer of the
typefaces Univers and Frutiger; Paul Rand, who took the principles of the Bauhaus and applied
them to popular advertising and logo design, helping to create a uniquely American approach to
European minimalism while becoming one of the principal pioneers of corporate identity, a
subset of graphic design. Alex Steinweiss is credited with the invention of the album cover; and
Josef Müller-Brockmann, who designed posters in a severe yet accessible manner typical of the
1950s and 1970s era.

The professional graphic design industry grew in parallel with consumerism. This raised
concerns and criticisms, notably from within the graphic design community with the First Things
First manifesto. First launched by Ken Garland in 1964, it was re-published as the First Things
First 2000 manifesto in 1999 in the magazine Emigre 51[18] stating "We propose a reversal of
priorities in favor of more useful, lasting and democratic forms of communication - a mindshift
away from product marketing and toward the exploration and production of a new kind of
meaning. The scope of debate is shrinking; it must expand. Consumerism is running
uncontested; it must be challenged by other perspectives expressed, in part, through the visual
languages and resources of design."[19] Both editions attracted signatures from practitioners and
thinkers such as Rudy VanderLans, Erik Spiekermann, Ellen Lupton and Rick Poynor. The 2000
manifesto was also published in Adbusters, known for its strong critiques of visual culture.

Applications
Colour

Graphic design is applied to everything visual, from road signs to technical schematics, from
interoffice memorandums to reference manuals.

Design can aid in selling a product or idea. It is applied to products and elements of company
identity such as logos, colors, packaging and text as part of branding (see also advertising).
Branding has become increasingly more important in the range of services offered by graphic
designers. Graphic designers often form part of a branding team.

Graphic design is applied in the entertainment industry in decoration, scenery and visual story
telling. Other examples of design for entertainment purposes include novels, vinyl album covers,
comic books, DVD covers, opening credits and closing credits in filmmaking, and programs and
props on stage. This could also include artwork used for T-shirts and other items screenprinted
for sale.

From scientific journals to news reporting, the presentation of opinion and facts is often
improved with graphics and thoughtful compositions of visual information - known as
information design. Newspapers, magazines, blogs, television and film documentaries may use
graphic design. With the advent of the web, information designers with experience in interactive
tools are increasingly used to illustrate the background to news stories. Information design can
include data visualization, which involves using programs to interpret and form data into a
visually compelling presentation, and can be tied in with information graphics.
 Skills

A graphic design project may involve the stylization and presentation of existing text and either
preexisting imagery or images developed by the graphic designer. Elements can be incorporated
in both traditional and digital form, which involves the use of visual arts, typography, and page
layout techniques. Graphic designers organize pages and optionally add graphic elements.
Graphic designers can commission photographers or illustrators to create original pieces.
Designers use digital tools, often referred to as interactive design, or multimedia design.
Designers need communication skills to convince an audience and sell their designs.

The "process school" is concerned with communication; it highlights the channels and media
through which messages are transmitted and by which senders and receivers encode and
decode these messages. The semiotic school treats a message as a construction of signs
which through interaction with receivers, produces meaning; communication as an agent.

Typography

Typography includes type design, modifying type glyphs and arranging type. Type glyphs
(characters) are created and modified using illustration techniques. Type arrangement is the
selection of typefaces, point size, tracking (the space between all characters used), kerning (the
space between two specific characters) and leading (line spacing).

Typography is performed by typesetters, compositors, typographers, graphic artists, art

directors, and clerical workers. Until the digital age, typography was a specialized occupation.
Certain fonts communicate or resemble stereotypical notions. For example, 1942 Report is a
font which types text akin to a typewriter or a vintage report.[20]

Page layout
Golden section in book design

Page layout deals with the arrangement of elements (content) on a page, such as image
placement, text layout and style. Page design has always been a consideration in printed
material and more recently extended to displays such as web pages. Elements typically consist
of type (text), images (pictures), and (with print media) occasionally place-holder graphics such
as a dieline for elements that are not printed with ink such as die/laser cutting, foil stamping or
blind embossing.

Printmaking

Printmaking is the process of making artworks by printing on paper and other materials or
surfaces. The process is capable of producing multiples of the same work, each called a print.
Each print is an original, technically known as an impression. Prints are created from a single
original surface, technically a matrix. Common types of matrices include: plates of metal, usually
copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for
woodcuts, linoleum for linocuts and fabric plates for screen-printing. Works printed from a single
plate create an edition, in modern times usually each signed and numbered to form a limited
edition. Prints may be published in book form, as artist's books. A single print could be the
product of one or multiple techniques.
The pencil is one of the most basic graphic design tools.

Aside from technology, graphic design requires judgment and creativity. Critical, observational,
quantitative and analytic thinking are required for design layouts and rendering. If the executor is
merely following a solution (e.g. sketch, script or instructions) provided by another designer
(such as an art director), then the executor is not usually considered the designer.

Strategy

Strategy is becoming more and more essential to effective graphic design. The main distinction
between graphic design and art is that graphic design solves a problem as well as being
aesthetically pleasing. This balance is where strategy comes in. It is important for a graphic
designer to understand their clients' needs, as well as the needs of the people who will be
interacting with the design. It is the designer's job to combine business and creative objectives
to elevate the design beyond purely aesthetic means.[21]

Tools

The method of presentation (e.g. Arrangements, style, medium) is important to the design. The
development and presentation tools can change how an audience perceives a project. The
image or layout is produced using traditional media and guides, or digital image editing tools on
computers. Tools in computer graphics often take on traditional names such as "scissors" or
"pen". Some graphic design tools such as a grid are used in both traditional and digital form.

In the mid-1980s desktop publishing and graphic art software applications introduced computer
image manipulation and creation capabilities that had previously been manually executed.
Computers enabled designers to instantly see the effects of layout or typographic changes, and
to simulate the effects of traditional media. Traditional tools such as pencils can be useful even
when computers are used for finalization; a designer or art director may sketch numerous
concepts as part of the creative process.[22] Styluses can be used with tablet computers to
capture hand drawings digitally.[23]

Computers and software

Designers disagree whether computers enhance the creative process.[24] Some designers argue
that computers allow them to explore multiple ideas quickly and in more detail than can be
achieved by hand-rendering or paste-up.[25] While other designers find the limitless choices from
digital design can lead to paralysis or endless iterations with no clear outcome.

Most designers use a hybrid process that combines traditional and computer-based
technologies. First, hand-rendered layouts are used to get approval to execute an idea, then the
polished visual product is produced on a computer.

Graphic designers are expected to be proficient in software programs for image-making,

typography and layout. Nearly all of the popular and "industry standard" software programs used
by graphic designers since the early 1990s are products of Adobe Systems Incorporated. Adobe
Photoshop (a raster-based program for photo editing) and Adobe Illustrator (a vector-based
program for drawing) are often used in the final stage. Some designers across the world use
CorelDraw. CorelDraw is a vector graphics editor software developed and marketed by Corel
Corporation. Open source software used to edit the vector graphis is Inkscape. Primary file
format used in Inkscape is Scalable Vector Graphics (SVG). You can import or export the file in
any other vector format. Designers often use pre-designed raster images and vector graphics in
their work from online design databases. Raster images may be edited in Adobe Photoshop,
vector logos and illustrations in Adobe Illustrator and CorelDraw, and the final product
assembled in one of the major page layout programs, such as Adobe InDesign, Serif PagePlus
and QuarkXpress.

Powerful open-source programs (which are free) are also used by both professionals and casual
users for graphic design, these include Inkscape (for vector graphics), GIMP (for photo-editing
and image manipulation), Krita (for painting), and Scribus (for page layout).

Related design fields

Interface design
Since the advent of personal computers, many graphic designers have become involved in
interface design, in an environment commonly referred to as a Graphical User Interface (GUI).
This has included web design and software design when end user-interactivity is a design
consideration of the layout or interface. Combining visual communication skills with an
understanding of user interaction and online branding, graphic designers often work with
software developers and web developers to create the look and feel of a web site or software
application. An important aspect of interface design is icon design.

User experience design

User experience design (UX) is the study, analysis, and development of creating products that
provide meaningful and relevant experiences to users. This involves the creation of the entire
process of acquiring and integrating the product, including aspects of branding, design, usability,
and function.

Experiential graphic design

Experiential graphic design is the application of communication skills to the built

environment.[26] This area of graphic design requires practitioners to understand physical
installations that have to be manufactured and withstand the same environmental conditions as
buildings. As such, it is a cross-disciplinary collaborative process involving designers,
fabricators, city planners, architects, manufacturers and construction teams.

Experiential graphic designers try to solve problems that people encounter while interacting with
buildings and space (also called environmental graphic design). Examples of practice areas for
environmental graphic designers are wayfinding, placemaking, branded environments,
exhibitions and museum displays, public installations and digital environments.

Occupations
Graphic symbols are often functionalist and anonymous,[27] as these pictographs from the US National Park Service
illustrate.

Graphic design career paths cover all parts of the creative spectrum and often overlap. Workers
perform specialized tasks, such as design services, publishing, advertising and public relations.
As of 2017, median pay was $48,700 per year.[28] The main job titles within the industry are often
country specific. They can include graphic designer, art director, creative director, animator and
entry level production artist. Depending on the industry served, the responsibilities may have
different titles such as "DTP Associate" or "Graphic Artist". The responsibilities may involve
specialized skills such as illustration, photography, animation, visual effects or interactive
design.

Employment in design of online projects was expected to increase by 35% by 2026, while
employment in traditional media, such as newspaper and book design, expect to go down by
22%. Graphic designers will be expected to constantly learn new techniques, programs, and
methods.[29]

Graphic designers can work within companies devoted specifically to the industry, such as
design consultancies or branding agencies, others may work within publishing, marketing or
other communications companies. Especially since the introduction of personal computers,
many graphic designers work as in-house designers in non-design oriented organizations.
Graphic designers may also work freelance, working on their own terms, prices, ideas, etc.

A graphic designer typically reports to the art director, creative director or senior media creative.
As a designer becomes more senior, they spend less time designing and more time leading and
directing other designers on broader creative activities, such as brand development and
corporate identity development. They are often expected to interact more directly with clients,
for example taking and interpreting briefs.

Crowdsourcing in graphic design

Jeff Howe of Wired Magazine first used the term "crowdsourcing" in his 2006 article, "The Rise of
Crowdsourcing."[30][31] It spans such creative domains as graphic design, architecture, apparel
design, writing, illustration etc. Tasks may be assigned to individuals or a group and may be
categorized as convergent or divergent. An example of a divergent task is generating alternative
designs for a poster. An example of a convergent task is selecting one poster design.
Companies, Startups, Small businesses & Entrepreneurs have all benefitted a lot from design
crowdsourcing since it helps them source great graphic designs at a fraction of the budget they
used to spend before. Getting a logo design through crowdsourcing being one of the most
common. Major companies who operate in the design crowdsourcing space are generally
referred to as design contest sites.

See also

Related areas
Concept art Technical illustration

Copywriting Technical writing

Digital illustration User Experience Design

Illustration User Interface Design

Information technology Visual communication

Instructional design Communication design

Landscape architecture Visual culture

Marketing communications Visual Art

Motion graphic design Fine Art

New media

Related topics
Aesthetics Color theory
 Design principles and elements Logotype

European Design Award Material culture

"First Things First 2000" Style guide

Infographic Value

List of graphic design institutions Visualization (computer graphics)

List of notable graphic designers International Typographic Style

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Bibliography

Fiell, Charlotte and Fiell, Peter (editors). Contemporary Graphic Design. Taschen Publishers,
2008. ISBN 978-3-8228-5269-9

Wiedemann, Julius and Taborda, Felipe (editors). Latin-American Graphic Design. Taschen
Publishers, 2008. ISBN 978-3-8228-4035-1

External links

Wikibooks has a book on the topic of: Graphic Design

Media related to Graphic design at Wikimedia Commons

 The Universal Arts of Graphic Design (http://video.pbs.org/video/2311391293) –
Documentary produced by Off Book

Graphic Designers (http://www.bls.gov/ooh/Arts-and-Design/Graphic-designers.htm) , entry

in the Occupational Outlook Handbook of the Bureau of Labor Statistics of the United States
Department of Labor

Retrieved from
"https://en.wikipedia.org/w/index.php?
title=Graphic_design&oldid=1036291376"

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