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GRAPHIC DESIGN

The term graphic design can refer to a number of artistic and professional disci

plines which focus on visual communication and presentation. Various methods are u

sed to create and combine symbols, images and/or words to create a visual represent

ation of ideas and messages. A graphic designer may use typography, visual arts and

page layout techniques to produce the final result. Graphic design often refers to bot

h the process by which the communication is created and the products which are gen

erated.

Common uses of graphic design include magazines, advertisements, product pa

ckaging and web design. For example, a product package might include a logo or othe

r artwork, organized text and pure design elements such as shapes and color which u

nify the piece. Composition is one of the most important features of graphic design e

specially when using pre-existing materials or diverse elements.

Graphic Design spans the history of humankind from the caves of Lascaux to th

e dazzling neons of Ginza. In both this lengthy history and in the relatively recent expl

osion of visual communication in the 20th and 21st centuries, there is sometimes a bl

urring distinction and over-lapping of advertising art, graphic design and fine art. Afte

r all, they share many of the same elements, theories, principles, practices and langu

ages, and sometimes the same benefactor or client. In advertising art the ultimate ob

jective 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 human experience.”

During the Tang dynasty (618–906) between the 4th and 7th century A.D. woo

d blocks were cut to print on textiles and later to reproduce Buddhist texts. A Buddhi

st scripture printed in 868 is the earliest known printed book.

In late 19th century Europe, especially in the United Kingdom, the movement b

egan to separate graphic design from fine art. Piet Mondrian is known as the father o

f graphic design. He was a fine artist, but his use of grids inspired the modern grid sys

tem used today in advertising, print and web layout.

In 1849, Henry Cole became one of the major forces in design education in Gre

at Britain, informing the government of the importance of design in his Journal of De

sign and Manufactures. He organized the Great Exhibition as a celebration of modern

industrial technology and Victorian design.

From 1892 to 1896 William Morris Kelmscott Press published books that are s

ome of the most significant of the graphic design products of the Arts and Crafts mov

ement, andmade a very lucrative business of creating books of great stylistic refinem

ent and selling them to the wealthy for a premium. Morris proved that a market exist

ed for works of graphic design in their own right and helped pioneer the separation o

f design from production and from fine art. The work of the Kelmscott Press is charac

terized by its obsession with historical styles. This historicism was, however, importan

t as it amounted to the first significant reaction to the stale state of nineteenth-centu

ry graphic design. Morris work, along with the rest of the Private Press movement, di

rectly influenced Art Nouveau and is indirectly responsible for developments in early

twentieth century graphic design in general.

Who originally coined the term

“graphic

design”

appears to be in dispute. It ha

s been attributed to Richard Guyatt, the British designer and academic, but another s

ource suggests William Addison Dwiggins, an American book designer in the early 20

th century .

The signage in the London Underground is a classic of the modern era and use

d a font designed by Edward Johnston in 1916.

In the 1920s, Soviet constructivism applied intellectual production in different

spheres of production. The movement saw individualistic art as useless in revolution

ary Russia and thus moved towards creating objects for utilitarian purposes. They des

igned buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus, etcJa

n Tschichold codified the principles of modern typography in his 1928 book, New Typ

ography. He later repudiated the philosophy he espoused in this book as being fascist

ic, but it remained very influential. Tschichold, Bauhaus typographers such as Herbert

Bayer and Laszlo Moholy-Nagy, and El Lissitzky are the fathers of graphic design as w

e know it today. They pioneered production techniques and stylistic devices used thr

oughout the twentieth century. The following years saw graphic design in the moder

n style gain widespread acceptance and application. A booming post-World War II A

merican economy established a greater need for graphic design, mainly advertising a

nd packaging. The emigration of the German Bauhaus school of design to Chicago in

1937 brought a

“mass

-

produced”minimalism

to America; sparking a wild fire of

“mod

ern”architecture

and design. Notable names in mid-century modern design include A

drian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who, from t

he late 1930s until his death in 1996, took the principles of the Bauhaus and applied t

hem to popular advertising and logo design, helping to create a uniquely American a

pproach to European minimalism while becoming one of the principal pioneers of th

e subset of graphic design known as corporate identityand Josef Muuml;ller-Brockmann,

who designed posters in a severe yet

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