history of graphic design for lecture

8/6/2019 History of Graphic Design for Lecture

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History of Graphic Design

chapter 1

The invention of writing

Use tool was a major step in the human species journey form aprimitive to an organize state.

Pictographs : the animals painted on caves. Elementary sketches,the dawning of visual communication.

Cuneiform : Petroglyphs and ideographs: petroglyphs: carved or scratched signs or simple figures on rock.Ideographs: many petroglyphs can also be pictographs or ideographs, which aresymbols to represent ideas or concepts.

The cradle of civilization: Ancient MesopotamiaThe Sumerian influence

Evolution of writing:PictographsCuneiformRebus writingDifficult to learn

Writing elevated

LibrariesLiteratureSense of history Standardization of weights and measurementsLaw Hammurabis codeMesopotamian visual identification:Mesopotamian

Cylinder seals.Egyptian hieroglyphs:Egyptian rebus: represent of picture and soundsThe Rosetta stonP apyrus and writing: writing on one side with olive oil.

Major step in visual communicationScribes


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Illustrated manuscripts:Egyptians also combined words and pictures to communicate informationEgyptian visual identification:ScarabsCon clusi on :

3000 years

chapter 2

The alphabet : a set of visual symbols of characters used to represent theelementary sounds of a spoken language.

North Semitic alphabet:Semite: a member of a number of people of ancient SW Asian includingakkadians, Phoenicians, Hebrews and Arabs.

Semitic refers to the language family

Aramaic alphabet : origin from syria F irst used by the tribes from AramBecome d Dominant in the near East Predecessor to modern Arabic and Hebrew.H ebrew a nd Arabic la ng ua ges:Square Hebrews to Modern Hebrew kufic

Naskhi Aramic and IndiaThe Greek alphabet:Greek civilizationKing Cadmus of PhoeniciaVotive stelaBoustrophedon: reading left to right, right to left.Uncials: rounder writing with all caps.The Lati n alphabet:The rise of Rome

Roman serifsThe Latin alphabet:Capitalis QuadrataCapitalis rustica: no space, even on wall writingWall writingParchment and vellum: cattle or cat skin. Vellum.


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Codex: a early book Conclusions: alphabetic writing slowly transformed western society. Alphabetic writingwas easy to learn and literacy was put with in reachof ordinary people, in contrast tothe Egyptian and Mesopotamian

cultures.C hapter 3

Chinese contribute:Relief printing block print Invention of paper ChopsCalligraphy:

A purely visual language

Invented by Ts-an ChiehLogog ram:A graphic character or sign that represents an entire wordEarly forms of Chinese calligraphy: four phases

Chia-ku-wen: bone or shell script

Chin-wen: bronze script: food

Hisao chuan

Chen-shuC hi nese calli graphy:Bone-size authority Blood texture of ink Muscle spirit or vital forceThe i nv en ti on of paper : Invented by tsai lunHis process for making paper stayed almost unchanged until

nineteenth-century England mechanized it.The discovery of pri n ting :Relief printing: parchment.Chops: made out of jade, ivory, silver, or gold.F or legal document,contrast, and trade.Ink rubbings:


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Currency and religious textsConfucian classics and playing cardsMoveable type:Invented around 1045 AD.


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C hapter 4Two great traditions of manuscript illumination: combineddetailed typography with

pictures, color, and used presets material: gold, silver, leather,

and jewel.

Eastern in Islamic countryWestern in EuropeScriptorium:Scrittori= art director Copist=letterer Illustrator=illuminator The classical style:

Vatican Vergil: collection of poetry by Publius Vergillius MaroThe medieval era:The 1000 year medieval era lasted from the 5 th century fall of Rome tothe 15 th century renaissance.C eltic desi gn : use 3 ornamental design with borders, carpet

pages, geometric. The book of Durrow : 680 AD. The book of Durrow is theearliest fully designed and

ornamented Celtic book Li nd isf ar ne gospels 680-720AD: carpet pages Interlaces :geometric design made up of ribbonlacertines: animalsBook of kells :800AD . Detail of a hare and hound(dog).used spaces between booksThe C ar oline graphic re newal:Developed by the king of Franks Charlemagne. He unifiedwriting, lower cap, and

readability, page layout, punctuation further developed.Spa nish pict orial expressi on ism : combined Islamic designwith Christian tradition R oma nesque a nd gothic ma nuscripts: letters were very

condensed, emphasison linear drawing, distorted figures.


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The Romanesque period THE GOTHIC PERIOD 1150-1300AD:Textura: text are dark, heavy, no space.The Douce apocalypse: 1265AD

The ormesby psalter-1300sJudaic manuscripts: encouraged artstic creativity for educationalreason, or adornreligious objects.Haggadot:Islamic manuscripts:Koran AniconishIslamic society believed that to make a representation n of a living thing

was wrong,only god could create life and we as mortals should not make..Persian artists


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C hapter 6 the Germa n Illustrate d Book Typography is the major communications advance between theinvention of writing and20 th century mass electronic communication.

Incu nabula : the cradle or bodys linen or beginning caused 17 th century book makers to adopt it as a name for books printed from Gutenbergs invention of typography tothe end of 15 th century 1450-1500 Albrecht pfister 1460AD became to illustrated book.

Nuremberg becomes a printing center:Nuremberg chronicle made by Anton Koberger with Latin

and roman language.E xemplars : handmade model layouts and manuscript texts usedas guides for woodcut illustrations, typesetting, page design, and creation of books. Albrecht durer : publish Latin and German book the four horseman of the apocalypse The Life of the Virgin his books were an example of his mastery inthe use of line astone.

Rhinoceros broadside a course in the art of measurement with compass and ruler 1525 geometric,Br oad of marti n luther.Designed marked first step roman typographic that based onhumane italic scriptW illiam C axt on created first English language book: the gameand player of chesse. 90 books.Woodcut from Canterbury tales.Spanish style Great works White on black Broadsheet:Broadside:

Chapter 7 Re naissa nce Graphic Desi gn


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1. Renaissance: revial, rebirth. Type design, page layout,illustration2. Ars Moriendi: the art of dying. Italian style.3. die cut

4. fleuron5. humanism6. can-celleresca7. renaissance man8. caracteres de civilte9. crible

Nicolas: his font is extremely legible, but it was the spacing between the letters thatwas the genius of his work. 150 books

Erhard ratdolt:Calendarium (record book)He renaissance loved floral decoration.Elements of geometry 1482 Ars Moriendi: the art of dying. Italian style.Giovanni and Alberto Alvise. 1 st book believed to have fleuron.Renaissance humanism: was a philosophy of human dignity and worththat defined man as capable of using reason and scientific inquire to achieve both

anunderstanding of the world and self meaning. Aldus Manutius: printer F rancesco da bologna-aka griffo: art designer.They created the type Bembo at 1495 is still used today.The dream of poliphilus.Vergils Opera: The first book set in italic font, which ismodeled after can-celleresca, a slanted handwriting style favored by scholars.

Renaissance men: Geoffrey Tory loved letterform.Pot Casse : his trademark of his ten years old died daughter.Illustrated crible technique: tiny dots at background to add unity.Book of Hours:1525 Champ F leury: ideas of proportion of letterform.


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Claude Garamond: was the first punch cutter to work independently of printing firms.

He virtually eliminated Gothic style from Europe.

Robert Granjon: developed character de civillite: the first book of fabulous stories.

Christophe Plantin: his contribution to ..The Whole Book of Psalms: first book to north America.C hapter 8

R omai n du r oi:1692, transitional type style. quare grid. Frechking. Two people

created this type: Philippe Grandjean- punchcutter. Louis Simonneau-engraver.Romain du roi initiated a category of type called transitional roman of antiques. Thecalligrapher was replace by the engineer R ococo eraRococo related to the fanciful F rench art and architecture that flourished from about 1720 to 1770

Characteristics: fluid and intricate and composed of a and c curves withscrollwork,tracery and plant forms derived from nature classical, oriental art and medieval sources.Light pastel color..Pierre simon fourier le jeune.: established the first type family. Regular,bold ,italic.He had the most the impact in this area, the book manual of

typography Eng ra ving Business card: calling card.W illiam C asl on 1692-1766: Caslon old style. He overnightsucceeds. His typestyles were popular mainly because of their legibility. Instead of reducing the


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texture to the lighter lines of the remain Romain du Roi, hemade them slightly heavier.This added to their visual interest and appeal.J oh n Baskerv ille: engraver of graves tone s late: his type is

lighter than Cas lon s tyle. No f lora l des ign, pure ly graph ic style. Used ho t press paper/smoo th.

he or igin of informa tion graph ics: by W illiam p layfa ir.he founda tion of informa tion graph ic is ana lytical geome try

The mo der n sty leGiamba ttista Bodon i: redid roma in s tyle. C lean, mach ine- like.Fra ncoise D idot : granddad of French type s tyle.

ypography from a prospec tus for la gerusa lemme li bera ta

heir exper imen tation led to the ex tended and condensed fon tsof our timehe process that invo lved cas ting dup licated of a re lief-pr inting

surface by press ing amatr ix aga inst it and the mo lding ma ter ial inW illi am Blake : songs of innocence. The epoch c loses

homas Berw ick : father of wood engrav ing.Eng land was the cen ter of the beg inning of the indus tr ial

revo lution.

Chapter 9The V ictor ian EraSenti mentality, nostalgia, and an ideal of beauty were expressed through the printed i mages of children,maidens, puppies and flowers.Traditional values of home, religion and patr iotism were sy mbolized

with sweetness and piety.Owe n J ones : the grammar of ornamen t. Chromo litho graphyLou is Pra ng :

A co llection of graph ic ma ter ials pr inted by chromo lithography.


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The father of American Christmas cards.

Most contribution is the art education for children.W alter cra ne:

Development of children designRandolph Caldecott:Kate Geenway: used white space in her designThe rise of America n editorial a nd adv ertisi ng design :

James and John Harper -1817: One of the printing and publishing forms in theworld.

Harper magazine: monthly magazine

Harper weekly: Thomas Nast was the illustrator: the father of American politicalcartoon.

Publisher Frank Tousey: comic book The bridge to the twentieth century

The industrial revolution: the impact of industrial technologyupon visualcommunications.

Modern is a style of typeface developed in the late 18 th centurythat continuedthrough much of the 19 th century.

Vincent F iggins: slab serif

F riedrich Koenig: steam powered double cylinder press 1814. 1100per

hour.

The mechanization of typography:Otpmar Mergenthaler 1886The i nv en tory of ph otographyThe camera obscura: was a darkened room of box with a small opening or lens in oneside. Light rays passing through the opening.


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J oseph Niepce: heliogravure( sun graving) the first man fixed i mages.Henry ox Talbot: photogenic drawing-photogram i mages madewithout camera. The pencil of nature.

Sir J ohn Herschel: created negative.George East man: put picture of every day human living.

.T. Nadar: took pictures of popular peopleM atthew Brady: documentary pictures.

Chapter 10 The arts a nd craft moveme nt

hey s tove to crea te a way of life invo lving soc iety and itsrelationsh i p to ar t itself

here was a grow ing reac tion to the an ti des ign trend of indus tryand , wh ich was

par t of more genera l resen tmen t to the tyranny of the mach ine.Soc ialism

1. Any of various economic and political theories advocating collective or governmental ownership and ad ministration of themeans of productionand distribution of goods.

2. A sys tem of soc iety of group living in wh ich there is no pr ivate proper tyW illi am Morr is1834- 1896

Fitness of purpose re turn ing to hones ty in des ign no t to be foundin mass-

produced items.

ruth to the na ture of ma ter ial and me thods of produc tion.

Individual expression by both designer and worker-talent and creativity of the individual craftsman.2 di mensional fabric designer J oh n Rusk in : scientist, poe t. Believed beau tiful things werevaluab le because their beau ty.


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Influenced National education, elderly care.The ce n tury guil d : Arthur H.Mackmurdo

Design was to be elevated to its rightful place beside paintingand sculpture.

They incorporate renaissance and Japanese design ideas intotheir works.

Their designs provide one to links between the A&CM and art Nouveau Hobby Horse: Selwyn image. the first magazine devolved exclusively visual artsThe Kelmscott PressGolden typeface: 50 titlesThe private press movementCharles ashbee: Essex House Press: the Psalter of 1922Doves press: dove press bibleC hrist opher dresser: contemporary of William Morris, thefather of graphic design. Ru do lf K och : influenced by William Morris: he thought of thealphabet as a supreme spiritual achievement of humanity and he pursued the medieval

experience through thedesign and lettering of handmade manuscript.American connection:Albert Bruce Rodgers.Conclusion: The legacy of the arts and crafts movement extendsbeyond visualappearances. Its philosophies became an important inspiration for 20 th centurydesigners.

C HAPT ER 11Kita gawa Utamar o : supreme poet of Japanese art Katsushika H okusai : 35000 works. He was famous for RedFuji with 36 views. Ando Iroshige: Japonisme- the term for late 19 th century maniafor al things Japanese Art Nouveau was an international decorative style that was predominant during the two


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decades of 1890-1910, identifying quality is an organic, plantlike line,vine tendrils,flowers, birds, and the human female form were frequent motifs fromwhich this fluid

line was adapted.Jules Cheret: poster for the Doe in the Woods. Masked Ball

Father of the modern day poster.English art nouveau: The Studio Aubrey Beardsley :black spot. Book Salone. Influenced late twenty designs.The Beggarstaff BrothersFrench art nouveau:

Henri de Toulouse-Lautrec. Painted after being cripple.Alphonse Mucha: Gismonda Poster-a Christmas design. Womenwith long floatinghair Art Nouveau Comes to America

William Bradley: self taught, influenced by William Morris.Used mechanicaltechnique. Chop books.

Ethel Reed: poster for Folly or Saintliness.Belgium Art Nouveau:Henri van de velde:

wrote a paper which stated that a new art would be necessary whichwould becontemporary in concept and form but possess the vitality and ethical integrity of the great decorative and applied arts of the past.

His work is viewed as a serious effort to develop new forms for the era.

All branches of art share a common language of form and equalimportance to


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the human community in his opinion.German art Nouveau:Otto Eckmann : Jugend(Youth)Art Nouveau is one of the attitudes toward materials, process

and values rather thanone of it[t surface appearance.

C hapter 12 the m od er n EraThe genesis of twe n tieth ce ntury design

Art nouveau proved that invention, rather than duplicating ideaswas a successfulway to create.

Designers moved form the organic drawingThe Glas gow sch ool: the four- the distinguished by symbolicimagery and styled form. Bold lines define flat planes of color

Charles Rennie mackintosh

J. Herbert McNair

Margaret and Frances MacdonaldTalwi n M orris : applied geometric spatial division and lyricalgeometric forms of the Glasgow group to mass communications.The Vie nn a secessi on 1897 : key member of the group were

painter Gustav Klimt, architect Joseph Maria Olbrich, Josef Hoffmann and artist/designer koloman mooser.Ver sacrum (1898-1903 sacred spring) experiencedPeter Behre ns: father of cooperative design. Design for the London Underground: Frank Pick.Their artist explorations and philosophies coursed throughdesign activities in thedecades ahead.C hapter 13The i nf lue nce of m od er n art


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C ubism : figures are broken down into geometric planes andsome are viewed from more than one viewpoint at once. The shapes, textures andvalues are the real subject

of these early paintings.Syn thetic cubism - the essence of the object was captured. Composed of fewer and simpler forms, brighter colors wereemployed for a moredecorative effect.Futurism-p oetry : Filippo Marinet, Italian poet: the manifestovoiced enthusiasm for war, the machine age, speed and modern life we will destroy museums, libraries,

and flight against morals, feminism and all utilitarian cowardice Marinetti and his flowers created emotionally charged poetry and defied correct syntax and grammar.

Futurism-a dv ertisi ng Fortunato Depero: they forced poets and graphic designers torethink the nature of thetypographic word and its meaning.Da da claimed to be anti-art and had a strong negative anddestructive element, dada artists and poets were concerned with the shock value of their work, protest and nonsenseThey rebelled against eh world and all of its war, decadence, and faithin technology,religion and conventional amoral does.John heartfiled: used photomontage as a powerful propaganda

weapon.Surrealism

Surrealism grew out of Freudian free-association and dreamanalysis. It searchedthe world of intuition, dreams, and unconscious realm that Freudexplored.


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It looked for ways to make new truths, to reveal the language of the soul.

Surrealism was not a style, it was a matter of thinking andknowing, a way to feeland live.Rene Magritte: mystery means nothing.Salvador dali: perspective drawing.Surrealism impact on graphic design has been diverse. It provided a poetic example of the liberation of the human spirit and pioneered new techniques.Surrealism showed how fantasy and intuition could be expressed invisual terms.E xpressi on ism:Came out of Germany pre WWI as a way to depict not objective realty but subjectiveemotions and personal responses to subjects and events.Line, color and shape were pronounced and color and value contrastswere intensified.Texture was achieved through thick paint, loose brushwork and bold contours.Ph otography a nd the M od er n M oveme ntMan rays camerless prints called rayographsConclusion: the images, methods, and philosophies from cubism,futurism, dada,surrealism and expressionism have continued toinfluence designers, artists, andillustrators to this day.

Chapter 14 pict orial M od er n ismPlakastilLucian Bernhard-self taught artist, developed san-serif style.The maverick from MunichLudwig HohlweinP ost cubist pict orial m od er n ism . A.M Cassandre:Was a lover of typography and he had a special ability to integratewords and imagesinto a total composition. Combining type, geometric forms and symbolic imagery


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enabled hi m to produce masterpieces such as this poster for a Parisnewspaper. Austin Cooper J ose binder

Modern ist pictor ial graph ics in Europe focused on the total integra tion of wor d andima ge, wh ich became one of the mos t endur ing curren ts of 20 th century des ign. Chapter 15 co nstruct ivismSuprema tism: Kas imir Malevich-Suprema tism

Basic form and pure co lor

He sough t the supreme express ion of fee ling, seek ing and prac tical values, noideas, no prom ised land.Constructivism:Sans-serif test Colors: red: sy mbolized revolution, blood-shed Black: for lettering Use of grid for construction Asy mmetrical typography: identified with the art of revolutionUse of diagonal lines (text or rules)Later addition of photomontageEl liss itzky: commun isis, adver tising des ign, book for thevoice. he isms of ar t Alexander R odchenko : did lots of pho to ma tages.De st ijl (the sty le) Theo va n Doesbur g: the worked in an abs tract geome tr ic s tyleto seek laws of equ ili br ium and harmony for ar t, wh ich cou ld then be a

pro totype for a new soc ial order.P iet Mo nd r ian : insp ired by van go.

Compos ition w ith R ED, ye llow, and b lue.


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Pure geometric abstraction.C hapter 16Bauhaus

The early Bauhaus sought a new unity of artists and craftsmento build for the future.

Workshops were taught by an artist and a craftsman and wereorganized alongmedieval lines-master, journeyman, and apprentice.

Workshops, not studios, were to be the basis for Bauhausteaching.

Teachers in the fine as art areas were called masters of Formwhile instructionsin the crafts areas were called workshop mastersJ oha nn es Itte n : the master of the art of color. Again anymaterials. Vorkurs: this course required six monthsMaster of F ormWassily KandinskyRussian artist who attempted to identify alanguage of vision.

These shapes represent Kandinskys attempt to prove a universal correlations betweencolor and geometry.Icon of Bauhaus: yellow triangle, red square, blue circle.M oholy-Na gy: conservative, practical man with practicalmeaning on teaching. Self- taught.He described typography as a tool of communication. It must becommunication in its

most intense form. The emphasis must be on absolute claritylegibility communication must never be impaired by an a priori esthetics. He wanted to be rule free in his use of typography and havetypographical compositionexclusively dictated by the inner law of expression and the optical effect.


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Typophoto : To communicate information immediately.

Art and technology a new unity:Oscar Schlemmer designed in 1922

Bauhaus seal

Herber Bayer designed famous cover for Bauhaus. Ja n Tschich old : Apply new design solution to problem design.

Not belong to Bauhaus but its ideas influenced him. The elementary of typography.Book the newtypography. San-serif typography is important, rule used for structure, white space.Paul Re nn er 1924: invented Futura-san-serif font.

Sta n ley M oris on 1931: invented the times font / roman style, thewidely font in 20 th century

The Is otype M oveme n tOtto Neurath- Innovator of pictograph: birth vs. death.The Netherla nd s c onn ecti on Willem SandbergHerbert Matter: the Swiss, photomontage, modern art

Chapter 17 m od er n art a nd the U.S.A.WILL IAM ADD ISON DW IGG I NS: the first book he printedwas the power of print andmen. Used abstract.Lester Beal: from Chicago, self taught artist, influenced byDada.Alexey Br odov itch: from Russia. with his use of white spaceand sharp typography he

wanted to attain a musical feeling in the flow of text and pictures.

Joseph Binder:

WPA: work progress administration

Will Burtin: from Germany in 1939, 3D model.


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W alter P. Paepcke: A PA TRON OF DES IGN. The founder of CC A: container cooperation of America. CC As new visual identity was based otwo principles, the vision

of the designer and a supportive client.

Herbert Bayer: world gfographic atlas. 350 pages.

Many of the designers who came to America from Europe brought

design concepts that enriched notC hapter 18 pi on eer of the m oveme ntCons : critics had complained that is based on formula ns results in thesame solutionPros: others argue that it purity has given the designer the means toachieve a perfection of form.

Visual unity of design achieve by asymmetrical organization of the designelements on a mathematically constructed grid.

Ss type is used in a flush left ragged right alignment and visualelements, whichare clear and factual.

Grids and SS type was used because it was felt that theyreflected the spirit of the

age.

Max Bil: student of Bauhaus.

New Swiss sans-serif typefacesAdrian Frutiger: created the Univers font.

Edouard Hoffman: created the HelveticaHermann zapf : developed PalatinoEmil Ru der : he taught his student that legibility and readabilityare primary concerns.


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Taught negativespaceDesign in Basel and Zurich.Josef Muller-Brockman: the leader of this movement. He sought to

portray an objectiveand impersonal communication to the audience.


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http: //gds.parkland.edu /gds /!lectures /history /0020_graphicarts /graphicarts.html


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H ist ory O f Graphic Desi gn E xplai ned

The actual terminology surrounding graphic designers has started out in the twentiethcentury. Nevertheless, there are many events that led up to graphic design that could

be considered a piece of the history of graphic design itself.

Graphic design has its roots in similar rich cultural history of all art. Art has been a piece of cultures since prior to the written word. The history of graphic design stemsfrom these ancient beginnings. The history of graphic design is, in a sense, the historyof art and its applications and methods, in addition to a history of graphic designreproduction techniques and technology.

Like all recreational and applied arts, graphic design got its real beginning with theinnovation of the printing press. Previously in the history of graphic design, art and

other creative works had to be hand copied. The skills to print copies of art and other creative works was a massive step toward the graphic design that exists nowadays.

Another large part of graphic design history was the increase in picture taking, andlater film making. These important steps at the finish of the nineteenth century werethe stepping stones to creating the graphic designs that weve presently. This era alsomarks the beginning of the separation of creative art, or art for entertainment, fromapplied art, or art that was employed for a purpose such as conveying a moral,advertising, and other graphic design purposes.

The next largest part of graphic design history was the growth of the computer, andmore significantly, the technological wave that led to a personal computer in every

home as weve nowadays. Graphic design wouldnt be as popular, nor would it be asefficient, creative, and reproducible without the invention of computers. As aconsequence, the history of graphic design is closely tied with the history of computers, software, computer imaging software, computer scanners, computer

printers, and digital picture taking. The internet and graphic design software aremaybe the most significant of these technological advances that are a large role in thehistory of graphic design. Without all of these important technological advances,graphic design wouldnt be just what it is these days.

There are a number of other important landmarks in graphic design history. In 1919the first union of art and industry was put into place. In 1929 commercial artists,advertising designers, and illustrators became commonplace place. In 1970 megacomputers allowed for more advances in graphic design with businesses like IBM.The increase in the micro processor, providing personal workplace and homecomputers, were returned 1980 and was marketed with Apple computers in 1984.Finally, the now frequent place technology of internet access in 1993 tops off thegraphic design history that has lead to the graphic design industry we know andrecognize these days.

To take in information more to do with the history of graphic design, you can searchthe internet or your local library. Many colleges and universities proposal arts


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categories and history of graphic design courses. Community education programs alsooften offer summer families or work shops on topics of interest like the history of Graphic Design .

Youll never have to worry about History of Graphic Design again ! Visit us on theweb at History of Graphic Design to learn more.

categories: graphic design,computers,internet,business

Graphic Design History:At the very early stages, graphics was not considered an integral partof any particular business or community. The advent of graphics canbe contributed to the first few black in white cartoons, whichillustrated that the graphic media can be used to attract people andgenerate revenue. The business sector and other industries paid littleor no heed to the graphical revolution at that time. Nevertheless, theadvent of colors in graphics in cartoons and animation propell ed theimportance of graphic design. It was the same time when computersstarted making use of graphic design to create interfaces andplatforms for computer applications.

The programmers and developers realized the potential of graphicdesign and started develop painting software's and launched severalsmall computer games with limited capabilities. As the processingcapabilities of computers and technology increased, so did the graphicdesign capability. The major trend in graphic field came whenbusiness started to use graphic design for advertisement andpromotional campaign. This trend developed to a great extent asonline mechanism and internet started to use graphic design forbuilding web pages and online promotions.

How has the field developed?The graphic design field has developed to be an integral part of every

major industry of trade and commerce. Whether it's business,entertainment, educational, or any other promotional campaign,every aspect utilizes graphic designs. The businesses exclusively

market their products on well designed web pages, which use thelatest graphical designs. All the business utensils, such as businesscards, brochures, banners are created using graphical designs and

patterns.

The graphic sector has become a huge business industry, and there are


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multibillionaire firms, which provide graphic design services. Therehas been an advent of powerful 2D and 3D software that enables themovie and entertainment industry to develop sensational animations

and movies. The graphic design agencies are deployed in theproduction of movies and helps in generation millions of dollars at the

box office.

The internet has made use of graphic designing to promote onlinebusinesses. Graphic design is exclusively used to create e-commerce

web design and web advertisement tools. There are many onlinegraphic designers and web pages that facilitate the development ofonline websites. The major impact of graphic design, and the extentto which the graphic field is developed, is evidently clear from thefact that every major business and online promotion rely on graphic

design and eye-catching illustrations to propel their businesses.


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IntroductionIn 1922, book designer William Addison Dwiggins coined theterm Graphic Designer . A Graphic Designer is someone who

brings together the various elements of a page (words, pictures,colours) to form a visually attractive page.

Prehistory

Ima ge 2: C unei fo rmtablet, c. 2100 B. C .This clay tablet listsexpe nd itures of g rai n and a n imals.Ima ge 3: TheseE gyptia n hier og lyphsillustrate the rebuspri nciple. W or ds a nd syllables are represe nte d by pictures of ob

!

ects a nd bysymb ols wh ose names

are similar t o thewo r d or syllable t o becommu n icate d . Thesehier og lyphs mea n bee,lea f , sea, a nd su n. Asrebuses (usi ng theE ng lish la ng ua ge)they c ould als o mea n belie f and seas on .

history of graphic design for lecture

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