The Development of Graphic Design
In truth, graphic design is one of the most creative disciplines to which artists can be exposed. Precisely, it is an art that integrates combines visual representation and display of information as well as ideas. As such, artists invest their effort in creating works that strive to offer solutions to an identified problem or even meet a predetermined objective. In doing so, a designer may opt to use images, words or even symbols that portray the intended meaning.
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Among other tools, the exercise employs sketchpads and computer software with the latter instituting tremendous progress in the presentation of graphic design artworks. While much emphasis is placed on the final results of visual models, elements of design such as lines, texture, shapes, colors, as well type form the basis of graphic design interpretation. Nonetheless, it is imperative for one first to understand the field’s historical development, its cultural contributions as well as the key individuals that have been behind that process.
History and Key Individuals
Ideally, to understand the concept of visual communication, one must first deconstruct the evolution as well as the relevance of graphic design. Mainly, the categories that have been exposed to change include topography, calligraphy, photography, illustration, as well as, motion graphics. Thus, following these groupings, recent studies are inclined towards broadening the scope of visible language and visual communication with graphic design being at the heart of the process (Griffin, 2016).
In particular, during the 19th and 20th centuries, designing was a stale process, but that changed once graphic designers opted to alter their models of visual representation including using fonts such as san serif. Even as the computer technology became the mainstream factor in most professional practices, graphic design had already gained prominence in the field of arts, As Neves (2017) indicates, graphics design did not begin with the inception of computer technology. Instead, designers chose to embrace the innovation so that they could optimize the use of computing tools in promoting their work.
As noted in the recent days, the practice is leaning towards web and graphic designs that can as well be commercialized. Part of this commercialization has been made possible and reinforced by the use of social network to promote the use of growth of graphic design. For example, through Dribble, designers can share their work through screenshots including processes and projects that redefine graphic design in the contemporary time (Marlow & Dabbish, 2014).
However, it is worth noting that innovations such as Dribble came into play courtesy of the graphic designers who made the transition from traditional to the digital era including instituting the use of interactive features for digital art which initiated the present-day developments. Nevertheless, it is vital to point out that even before the transition to the digital era; the revolution on graphic design was already underway courtesy of various designers.
Such artists include Pablo Picasso, Paul Rand, and Brague Juan although many other designers fall into this category of overseeing the development of this field (Meggs & Purvis, 2016). Indeed, based on the present day nature of graphic design practice, one cannot overlook the contribution of the noted innovators in enhancing human experience through visual communication.
Without a doubt, the theoretical, as well as principles, approaches invested in the evolution process had a critical impact on the whole process of graphic design as it is known today. As Bestley and Noble (2016) affirm, visual research integrates methods, as well as design principles, have been a subject of change concerning their use throughout history. In doing so, the authors shed essential light on communication theory which strives to present the various means with which a message is encoded and decoded among individuals and groups.
Moreover, the mentioned methods and design principles constitute visual research which can encompass analytical or propositional methods (Bestley and Noble, 2016). In other words, the methods entail deconstructing existing works from where others new works are forged including new design strategies as well as approaches. To this end, it appears that the evolution of graphic design has been down to the application of semiotic principles as well as communication theory to visual design models.
With art, the practice’s cultural impacts, as well as implications, are unlimited. During the development process, graphic design has always been a factor and consequence of culture. Precisely, designers influence culture, but it is worth noting that they are as well motivated and driven by the need to uphold and improve on such culture. For example, Bestley and Noble (2016) create emphasis on design testing and feedback which has a significant cultural implication of graphic design’s evolution process.
Furthermore, considering the differences in message, audience, and designers, there is a need for alternative ways of communication so that the interests of each stakeholder are sufficiently addressed (Griffin, 2016). To a more considerable extent and through the evolution period, culture, designers, and audiences belong to the same grouping since they are affected by the message in circulation. Hence, when looking at the historical context of graphic design, it is necessary and equally compelling to point out to the cultural evolution as well as significance of the practice
Overall, the importance of visual models cannot be overlooked considering the art’s influence as well as emphasis in history. Unarguably, the contribution of various vital artists and designers is crucial to the present day artworks, but due credit must be extended to the computer technologies that have made the process possible and accessible. On a different note, to make sense of graphic artworks, designers must contextualize their works such the messages of such pieces are easily deciphered. Above all, utilizing the right methods in creating information is vital since graphics can only be interpreted by people who have background knowledge on the issue featured in an artwork.
Bestley, R., & Noble, I. (2016). Visual Research: An Introduction to Research Methods in Graphic Design. Bloomsbury Publishing Griffin, D. (2016).
The Role of Visible Language in Building and Critiquing a Canon of Graphic Design History. Visible Language, 50(3), 7 Marlow, J., & Dabbish, L. (2014, February).
From rookie to all-star: professional development in a graphic design social networking site. In Proceedings of the 17th ACM conference on Computer supported cooperative work & social computing (pp. 922-933). ACM Meggs, P. B., & Purvis, A. W. (2016).
Meggs’ History of Graphic Design. John Wiley & Sons Neves, M. (2017, July).
A Story of Misencounters: Graphic Design and the Production of Digital Interaction. In International Conference on Applied Human Factors and Ergonomics (pp. 211-221).