Graphic design is the process of communicating visually using text and/or images to present information, or promote a message. Graphic design practice embraces a range of cognitive and aesthetic skills and crafts, including typography, image development and page layout. Graphic design is applied in communication design and fine art. Like other forms of communication, graphic design often refers to both the process (designing) by which the communication is created, and the products (designs) such as creative solutions, imagery and multimedia compositions. Graphic design was traditionally applied to static printed media, such as books, magazines and brochures. Since the advent of personal computers – and in particular WYSIWYG user int

erfaces – graphic design has been utilized in electronic media - often referred to as interactive design, or multimedia design.

Graphic design history

Although the term graphic designer was first coined in the 20th century, the story of graphic design spans the history of humankind from the caves of Lascaux to the dazzling neons of Ginza. In both this lengthy history and in the relatively recent explosion of visual communication in the 20th and 21st centuries, there is sometimes a blurring distinction and over-lapping of advertising art, graphic design and fine art. After all, they share many of the same elements, theories, principles, practices and languages, and sometimes the same benefactor or client. In advertising art the ultimate objective 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."[2]

The paintings in the caves of Lascaux around 14,000 BC and the birth of written language in the third or fourth millennium BC are both significant milestones in the history of graphic design and other fields which hold roots to graphic design.

The Book of Kells is an early example of graphic design. It is a lavishly decorated hand-written copy of the Gospels of the Christian Bible created by Celtic monks around 800AD.

Johann Gutenberg's introduction of movable type in Europe made books widely available. The earliest books produced by Gutenberg's press and others of the era are known as Incunabula. The Venetian printer and publisher Aldus Manutius developed a design style and structure for the book that remains largely intact to the present day. Graphic design of this era is sometimes called either Old Style (after the Gothic and handwriting-based typefaces which the earliest typographers used), or Humanist, after the new typefaces imitating the lettering in Roman carved inscriptions. These were introduced as part of the revival of classical learning, and still form the basis of the most commonly used Western typefaces.

Graphic design after Gutenberg saw a gradual evolution rather than any significant change. In the late 19th century, especially in the United Kingdom, an effort was made to create a firm division between the fine arts and the applied arts.

From 1891 to 1896 William Morris' Kelmscott Press published books that are some of the most significant of the graphic design products of the Arts and Crafts movement, and made a very lucrative business of creating books of great stylistic refinement and selling them to the wealthy for a premium. Morris proved that a market existed for works of graphic design in their own right and helped pioneer the separation of design from production and from fine art. The work of the Kelmscott Press is characterized by its obsession with historical styles. This historicism was, however, important as it amounted to the first significant reaction to the stale state of nineteenth-century graphic design. Morris' work, along with the rest of the Private Press movement, directly influenced Art Nouveau and is indirectly responsible for developments in early twentieth century graphic design in general.

Piet Mondrian, born in 1872, was a painter whose work was influential in modern graphic design. Although he was considered a fine artist, his work was mentioned[3] among others in a study of grids, the basic structure of the modern advertising layout known also as the grid system used commonly today by graphic designers.

Modern design of the early 20th century, much like the fine art of the same period, was a reaction against the decadence of typography and design of the late 19th century. The hallmark of early modern typography is the sans-serif typeface. Early Modern, not to be confused with the modern era of the 18th and 19th centuries, typographers such as Edward Johnston and Eric Gill after him were inspired by vernacular and industrial typography of the latter nineteenth century. The signage in the London Underground is a classic of this era and used a font designed by Edward Johnston in 1916.

In the 1920s, Soviet Constructivism (art) applied 'intellectual production' in different spheres of production. The movement saw individualistic art as useless in revolutionary Russia and thus moved towards creating objects for utilitary purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus etc.

Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, 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 we know it today. They pioneered production techniques and stylistic devices used throughout the twentieth century. Although the computer has altered production forever, the experimental approach to design they pioneered has become more relevant than ever.

The following years saw graphic design in the modern style gain widespread acceptance and application. A booming post-World War II American economy established a greater need for graphic design, mainly advertising and 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 "modern" architecture and design. Notable names in mid-century modern design include Adrian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who, from the late 1930s until his death in 1996, took the principles of the Bauhaus and applied them to popular advertising and logo design, helping to create a uniquely American approach to European minimalism while becoming one of the principal pioneers of the subset of graphic design known as corporate identity; and Josef Müller-Brockmann, who designed posters in a severe yet accessible manner typical of the 1950s and 1960s.

The reaction to the increasing severity of graphic design was slow but inexorable[citation needed]. The origins of postmodern typography can be traced back as far as the humanist movement of the 1950s. Notable among this group is Hermann Zapf who designed two typefaces that remain ubiquitous — Palatino (1948) and Optima (1952). By blurring the line between serif and sans-serif typefaces and re-introducing organic lines into typography these designs did more to ratify modernism than they did to rebel[citation needed].

An important point was reached in graphic design with the publishing of the First things first 1964 Manifesto which was a call to a more radical form of graphic design and criticized the ideas of value-free and purely commercial design. This was massively influential on a generation of new graphic designers[citation needed] and contributed to the founding of publications such as Emigre magazine.

Saul Bass designed many motion picture title sequences which feature new and innovative methods of production and startling graphic design to attempt to tell some of the story in the first few minutes. He may be best known for his work for Otto Preminger's The Man with the Golden Arm (1955).

Milton Glaser designed the unmistakable I Love NY ad campaign (1973) and a famous Bob Dylan poster (1968). Glaser took stylistic hints from popular culture from the 1960s and 1970s.

David Carson has gone against the restrictiveness of modern designs. Some of his designs for Raygun magazine are intentionally illegible, featuring typography designed to be visual rather than literary experiences. 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