Graphic design is a profession that designs, programs, and creates visual communication, typically created by industrial means and aimed at delivering a particular message to a particular social group with a clear purpose. This is an activity that enables you to graphically convey ideas, facts, and values that are processed and integrated from a formal and communication, social, cultural, economic, aesthetic, and technical perspective. Also known as visual communication design. This is because we relate the word figure only to the printing industry and understand that visual messages are sent through many media as well as printing.
Given the large and rapid growth of information exchange, the demand for graphic designers has never been higher, especially as we need to pay attention to the development of new technologies and the human factors beyond the capabilities of the engineers who develop them. I am. ..
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Some categories are widely used graphic designs: advertising design, editorial design, corporate identity design, web design, packaging design, print design, signage design, multimedia design, etc.
History of graphic design
The definition of the graphic design profession is fairly recent in terms of their preparation, their activities, and goals. There is no consensus on the exact date of birth of graphic design, but some are from the interwar period. Others understand that it begins to identify as such in the late 19th century.
Perhaps the purpose of certain graphic communications stems from the birth of Paleolithic cave paintings and the 3rd millennium BC Written language. C. However, the difference between how they work and the training of auxiliary science required is such that current graphic designers cannot be clearly distinguished from prehistoric people, 15th-century xylographers, or 1890 lithographers.
Diversity of opinion reflects the fact that some people only see what is the result of applying a model of industrial production as a product of graphic design and all other graphic demonstrations. Different types: productive and symbolic ergonomic context, etc.
Background
Book of Kells: The page of Folio 114 has decorated text and contains Tunc distills. Examples of medieval art and page layouts.
The Book of Kells, biblical handwriting richly drawn by Irish monks in the 9th century C.E., is a very beautiful and early example of the concept of graphic design. This is a graphic demonstration of great artistic value and high quality, and even a model for learning design is better in quality than many of today's editorial works and is also modern in terms of functionality. This graphic piece responds. A team of people who made it was presented in response to all needs, but because others understand that their designs do not fit the ideas of current graphic design projects. I believe it will be a graphic design product.
The history of typography, and the history of transient books, are closely related to graphic design. This may be since there is virtually no graphic design that does not include the graphic for such items. Therefore, when talking about the history of graphic design, typography also quotes Trajan's column, medieval miniatures, Johannes Gutenberg's printing press, the evolution of the book industry, posters Parisian Arts and Crafts (Arts and Crafts), William Morris, Bowhouse. I did, etc. "
The introduction of type by Johannes Gutenberg has made books cheaper and easier to spread. The first printed book (Incunabula) recorded a role model of the 20th century. Graphic design of this era became known as an old-style (especially the typeface used by these early typologists) or a humanist for the major philosophical schools of the time.
After Gutenberg, until the late 19th century, especially in Britain, efforts were made to create a clear division between art and applied art.
In the 19th century
The first page of John Ruskin's book The Nature of Gothic, published by Kelmscott Press. Arts and Crafts aim to revive medieval art, natural inspiration, and manual labor.
In the visual message of the 19th century, the design was alternately commissioned by two experts, an artist, and a publisher. The first was formed as an artist and the second as a craftsman. Often done in both the arts and crafts of the same school. For the printer as an art, it was the use of ornaments printed on his work and the choice of fonts. The artist looked at typography as a child and paid more attention to decorative and exemplary elements.
Between 1891 and 1896, William Morris Kelmscott Press published some of the most important graphic products and published the Arts and Crafts Movement (Arts and Crafts), a sophisticated book of excellent writing style. Established profitable businesses based on design and sold them to the top class as luxury goods. Morris proved that there was a market for graphic design works and established a separation between design and production and art. Kelmscott Press's work is characterized by a reproduction of historical style, especially medieval style.
First pioneer
Moulin Rouge poster in Paris. Made in 1891 by color lithography by Henri de Toulouse-Lautrec. Thanks to Art Nouveau, the graphic design and visual clarity were obtained by the composition.
Bauhaus isotype. Founded in 1919 by Walter Gropius, it is considered the birthplace of graphic design professionals.
I was given a Matinee poster. Created by Theofandusburg in January 1923. The free font organization expresses the spirit and irrationality of the Dada movement for freedom and opposes the status quo and visual representation of the time.
Lufthansa's corporate identity design by HFG Ulm Development Group 5. Ulm School was a turning point in the history of design, as design experts were outlined through scientific methodologies.
The current pictogram design of the US National Park Authority. The idea of simplifying symbol forms developed in the 1950s.
Design in the early 20th century, and art of the same period, was a reaction to the decadence of typography and design in the late 19th century.
The rapid increase in interest in decoration and changes in measurement, and the typographic style one-piece design, which is synonymous with excellent design, was an idea that was maintained until the latter half of the 19th century. Art Nouveau, with a clear stylistic desire, was a movement that contributed to higher visual composition. He did it within a strong visual consistency while maintaining a high level of formal complexity, discarding the typographic variation of one graphic piece.
The 20th-century art movement and the resulting political turmoil have revolutionized graphic design. Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, and Bauhaus have created new visions that influence all areas of visual arts and design. All these movements opposed Art Nouveau, which evolved into Art Deco under the influence of decorative arts, popular things, and a new interest in geometry. All of these movements were revisionist and transcendental spirits in all art of the time. During this period, the number of publications and manifests in which artists and educators expressed their opinions also surged.
Developed in the 1930s to compose an interesting aspect of graphic design. The change in graphic style was important because it showed an eclectic decorative organicism and a reaction to time, suggesting a more stripped geometry. Related to Constructivism, Suprematism, Neoplasticism, De Stijl, and Bauhaus, this style had a lasting impact and was inevitable in the development of graphic design in the 20th century. Another important factor related to professional practice was the increasing use of visual forms as a communication factor. This item has appeared in designs created primarily by Dada and De Stijl.
The symbol of modern typography is the sans-serif font or serif inspired by the industrial types of the late 19th century. Highlights include Edward Johnston and Eric Gill, authors of the London Underground font.
Design school
Jan Tschichold embodied the principles of modern typography in his 1928 book, New Typography. He later called the philosophy presented in this book a fascist and denied it, but it was very influential. Herbert Bayer, a typography and advertising workshop at Bauhaus from 1925 to 1928, created a new profession requirement for graphic designers. He put the subject of "advertising" in an educational program that includes, among other things, the analysis of advertising media and the psychology of advertising. In particular, the term graphic design was first defined in 1922 by designer and typologist William Addison Dwiggins.
Therefore, Tschichold, Herbert Bayer, Las Lomoholinaj, and El Lissitzky have become the parents of graphic design, as we know it today. They pioneered the production techniques and styles that were later used. Computers have dramatically changed production systems today, but the approaches that contributed to the design of experiments are more relevant than ever to dynamism, experimentation, and even the most specific things like font selection (). Helvetica is a resurrection, originally a typography design based on the 19th century (industrial) and orthogonal composition.
In the years that followed, the stagnant, modern style was embraced. Famous names for mid-century modern design are Univers and Frutiger typeface designer Adrian Frutiger and Josef Müller-Brockmann, a large poster from the '50s and '60s.
Hochschule für Gestaltung (HFG) in Ulm was another important institution in the development of graphic design professionals. Since its inception, HFG has kept away from the possibility of partnering with advertising. Originally called visual design, it soon became clear that the current goal was to solve design problems in the mass communication field from 1956 to 1957, and it became a modeled visual communication department. It was renamed. Visual Communication Division of New Bow House in Chicago. At 23HFGUlm, we have decided to work in the field of compelling communication, mainly in areas such as traffic sign systems, technical equipment planning, and visual translation of scientific content. Until that time, other European schools had not systematically taught these areas. In the early '70s, members of the Bund Deutscher Grafik-Designer (German Graphic Designers Association) revealed some characteristics of their professional identity, especially as in the case of Anton Stankowski. In 1962, the official definition of profession was directed almost exclusively to advertising but is now extended to include areas under the rubric of communication visuals. The corporate image created by HFG Ulm's Development Group 5, or the airline Lufthansa, such as the one created for Braun, was also important to this new professional identity.
Gui Bonsiepe and Tomas Maldonado were the first two to apply design ideas from semantics. At a seminar held at HFG Ulm in 1956, Maldonado proposed the modernization of rhetoric, a persuasive classical art. Maldonado Bonsiepe then wrote several articles on semiotics and rhetoric in capitalized English publications and Ulm magazine. This will be an important resource for designers in the field. Bonnie suggested that the latest system of rhetoric and semiotics should be updated as a tool for describing and analyzing the phenomenon of advertising. Using this term may reveal the "ubiquitous structure" of message publicitario.5.
The idea of simplicity and great design features has been doing this for many years, not just in alphabet design, but in other areas as well. The tendency to simplify influenced all means at the forefront of design in the 1950s. At the time, we developed a consensus that it was not only simple and equivalent to good, but also easier to read. One of the hardest areas was symbol design. The designer raised the question of how it could be simplified without compromising useful functionality. However, recent research has shown that simplifying just one symbol does not necessarily improve readability.
Second vanguard
The reaction to the growing graphic design of drinking was slow but unforgiving. The origin of postmodern fonts dates back to the humanist movement of the 1950s. This group focuses on Hermann Zapf, who designed two typefaces today, the ubiquitous Palatino (1948) and Best (1952). By blurring the lines between serif fonts and sans serifs and reintroducing organic lines into the lyrics, these designs helped ratify the modern movement against him.
An important milestone was the publication of the first manifesto (1964). It sought a more radical form of graphic design and criticized the series' design ideas worthlessly. He had a great influence on a new generation of graphic designers and contributed to the emergence of publications such as Emigre magazine.
Another notable designer of the second half of the 20th century is Milton Glaser, who designed the unmistakable I Love NY campaign (1973) and the famous Bob Dylan poster (1968). Glaser incorporates elements of popular culture from the 1960s and 70s.
Advances in the early 20th century were strongly influenced by technological advances in photography and printing. For the last decade of the century, technology played a similar role, but this time it was a computer. At first, I took a step back. Zuzana Licko started composing with her computer as soon as the computer's memory was measured in kilobytes and the typeface was created with dots. She and her husband, Rudy Vander Lans, founded the pioneering Emigre magazine and the type foundry of the same name. They played with the extraordinary limits of computers and released great creativity. Emigre magazine has become a digital design bible.
David Carson is the culmination of a movement against the calmness of resentment and modern design. Some of his designs in Raygun Magazine are intentionally unreadable and designed to be more visual than literary experience.
Current time
Today, much of the work of graphic designers is backed by digital tools. Graphic design has changed a lot thanks to computers. From 1984, with the advent of the first desktop publishing system, personal computers gradually replaced all analog technical procedures in digital systems. In this way, computers have become indispensable tools, and with the advent of hypertext and the Web, their functionality has been expanded as a means of communication. In addition, this technology is gaining attention with the rise of telecommuting, and special crowdsourcing is beginning to intervene in job arrangements. This change increases the need to think about time, movement, and interactivity. Still, the professional practice of design was not an essential change. Even if the production form changes and the communication channel expands, the basic idea for understanding human communication does not change.
Job performance and skills
The ability to design is not innate but is acquired through practice and reflection. Still, it remains an option and is potentially one thing. To harness this power is very difficult to learn intuitively and requires continuous education and practice. Creativity, innovation, and lateral thinking are important skills for graphic designers to perform their jobs. Design creativity lies within established standards, but above all, it is a skill cultivated to find unexpected solutions to seemingly unmanageable problems. This leads to the highest level and quality of design work. Creativity is at the core of the design process manager, but creativity itself is not the act of design. However, creativity is necessary for the proper performance of design work, but it is not limited to graphics performance or profession.
The role of the graphic designer as an encoder or interpreter in the process of communication is responsible for interpreting, organizing, and displaying visual messages. His sensitivity to forms should be parallel to his sensitivity to the content. This work deals with the planning and structuring of communication, as well as its production and evaluation. Design work is always based on customer requirements, which are ultimately established verbally or verbally. This means that graphic design translates linguistic messages into visual demonstrations.
Professional graphic design rarely works with non-verbal messages. Words may appear short or complex text. Editors are often important members of the communication team.
Design activities often require the participation of a team of professionals such as photographers, illustrators, and technical illustrators. This includes experts with irrelevant visual messages. Designers are often coordinators in various areas that contribute to the creation of visual messages. Therefore, we utilize information and professionals to coordinate research, design, and production according to the requirements of various projects.
Because graphic design is interdisciplinary, designers need to know about other activities such as photography, freehand drawing, drafting, descriptive geometry, perceptual psychology, Gestalt psychology, semiology, typography, technology, and communication.
Professional graphic design is a specialist in visual communication, and his work is associated with every step of the communication process. In this context, the action of creating a visual object is just one aspect of the process. This process involves the following:
Define the problem.
Targeting.
Communication strategy concept.
screen.
Schedule production.
Production monitoring.
evaluation.
This process requires the designer to have in-depth knowledge of the following areas:
Visual communication.
communication.
Visual.
Finance and human resources management.
technology.
media.
Evaluation method.