Graphic Design Essay
Graphic design does not have a fixed meaning. In a broad sense it is the production of visual statements. The term was first used by the American book and advertising designer W.A.
Dwiggins in 1922. At that time it served the purpose of pointing toward a new profession that was broader than either typography, book design, or advertising design alone. For many years the term “graphic design” held because the range of media that graphic designers worked in did not change dramatically. By the early 1960s you had graphic designers working on large exhibitions, urban signage projects, and corporate identity programs. At that point, the practice outstripped the traditional name for it. New terms like “visual communication” …show more content…
2. What makes current graphic design different from that of earlier times.
The proliferation of new media. Designing good web sites, for example, requires a deeper understanding of cognitive psychology, learning theory, and other social science disciplines than most communication designers have. Consequently, the information routes through a web site are frequently rather crude. The graphics often are too because not enough thought has been given to the relation between formal images and the communication of information.
In another sense, however, there is much today that is similar to the past. We still enjoy great posters, well-designed newspapers and magazines, wonderful books, excellent typography. The great accomplishments of designers from the past are very much alive and are extremely relevant to most work that is done today. When a web designer has poor training in typography, for example, it is evident.
3. When did graphic design first make itself known?
I don’t believe in a single moment when something called “graphic design” appeared. There are separate practices such as typography or book design whose histories have different durations. …show more content…
This derives from the refusal of administrators to commit to new programs in design history or design studies.
Actually the history, theory, and criticism of design have never been more important or relevant to design education. This is recognized in a few places such as the Jan Van Eyck Akademie in the Netherlands which features post graduate theory and criticism courses in art and design. In developing countries, the emphasis is on training graphic designers for the market. Quality is secondary. Look at how much poor work you see today. I feel it. You feel it. But poor typography or badly-designed web sites are hardly critical issues for people in general. What needs to be done in the academic setting is to implant the idea that design, whether visual communication or product design, is a cultural activity before it is a commercial one. Young designers need to locate themselves in their respective cultures, whether in the United States, Mexico, or
Palestine. To do so means knowing how to interpret culture in its present manifestations as well as those of the past. An educated person of any profession should be able to locate himself