Editing Graphic design (section)

==History==
{{Main article|History of graphic design}}
In both its lengthy history and in the relatively recent explosion of [[visual communication]] in the 20th and 21st centuries, the distinction between advertising, art, graphic design and fine art has disappeared. They share many elements, theories, principles, practices, [[language]]s and sometimes the same benefactor or client. In advertising, 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 the human experience."<ref>Meggs, Philip B., 'A history of graphic design'. New York: Van Nostrand Reinhold, 1983</ref>

The definition of the graphic designer profession is relatively recent concerning its preparation, activity, and objectives. Although there is no consensus on an exact date when graphic design emerged, some date it back to the [[Interwar period]]. Others understand that it began to be identified as such by the late 19th century.<ref name="History" />

It can be argued that graphic communications with specific purposes have their origins in [[Paleolithic]] [[cave paintings]] and the birth of written language in the third millennium BCE. However, the differences in working methods, auxiliary sciences, and required training are such that it is not possible to clearly identify the current graphic designer with prehistoric man, the 15th-century [[xylographer]], or the [[lithographer]] of 1890.

The diversity of opinions stems from some considering any graphic manifestation as a product of graphic design, while others only recognize those that arise as a result of the application of an industrial production model—visual manifestations that have been "projected" to address various needs: productive, symbolic, ergonomic, contextual, among others.

By the late 19th century, graphic design emerged as a distinct profession in the West, partly due to the process of labor specialization that occurred there and partly due to the new technologies and business possibilities brought about by the Industrial Revolution. New production methods led to the separation of the design of a communication medium (such as a poster) from its actual production. Increasingly, throughout the 19th and early 20th centuries, advertising agencies, book publishers, and magazines hired art directors who organized all visual elements of communication and integrated them into a harmonious whole, creating an expression appropriate to the content.<ref name="History" />

Throughout the 20th century, the technology available to designers continued to advance rapidly, as did the artistic and commercial possibilities of design. The profession expanded greatly, and graphic designers created, among other things, magazine pages, book covers, posters, CD covers, postage stamps, packaging, brands, signs, advertisements, kinetic titles for TV programs and movies, and websites. By the early 21st century, graphic design had become a global profession as advanced technology and industry spread worldwide.<ref name="History" />

===Historical background===
{{Main article|History of printing}}
In China, during the [[Tang dynasty]] (618–907) wood blocks were cut to print on textiles and later to reproduce Buddhist texts. A Buddhist scripture printed in 868 is the earliest known printed book. Beginning in the 11th century in China, longer scrolls and books were produced using [[movable type]] printing, making books widely available during the [[Song dynasty]] (960–1279).<ref>{{cite book |last1=Wilkinson |first1=Endymion |title=Chinese History |date=2000 |publisher=Harvard University Asia Center |location=Cambridge |isbn=0674002490 |page=450}}</ref>

In Mesopotamia, writing (as an extension of graphic design) began with commerce. The earliest writing system, cuneiform, started out with basic pictograms, which were representations of houses, lambs, or grain.<ref>{{Cite journal |last=Bowen |first=Amanda |date=2013 |title=Graphic design: a new history. Stephen F. Eskilson. 2nd edition. New Haven, CT: Yale University Press; London: Laurence King Publishing, 2012. 464 p. ill. ISBN 9780300172607 £29.99/$65.00 (hardcover). |url=https://doi.org/10.1017/s0307472200018071 |journal=Art Libraries Journal |volume=38 |issue=2 |pages=51–52 |doi=10.1017/s0307472200018071 |issn=0307-4722|url-access=subscription }}</ref>

In the mid-15th century in Mainz, Germany, [[Johannes Gutenberg]] developed a way to reproduce printed pages at a faster pace using [[movable type]] made with a new metal alloy<ref>{{Cite web |title=Treasures of the McDonald Collection – Special Collections & Archives Research Center |url=https://scarc.library.oregonstate.edu/omeka/exhibits/show/mcdonald/incunabula/gutenberg/ |access-date=2022-07-03 |website=scarc.library.oregonstate.edu |archive-date=30 June 2022 |archive-url=https://web.archive.org/web/20220630153024/https://scarc.library.oregonstate.edu/omeka/exhibits/show/mcdonald/incunabula/gutenberg |url-status=live}}</ref> that created a revolution in the dissemination of information.<ref>{{Cite book |last=Hellinga |first=Lotte |chapter-url=https://books.google.com/books?id=CFiDCjMcnvcC&pg=PP1 |title=A Companion to the History of the Book |date=24 August 2011 |publisher=John Wiley & Sons |isbn=978-1-4443-5658-8 |editor-last=Eliot |editor-first=Simon |pages=207–219 |language=en |chapter=The Gutenberg Revolutions |editor-last2=Rose |editor-first2=Johnathan |access-date=16 July 2022 |archive-date=5 March 2023 |archive-url=https://web.archive.org/web/20230305041252/https://books.google.com/books?id=CFiDCjMcnvcC&pg=PP1 |url-status=live}}</ref>

===Nineteenth century===
In 1849, [[Henry Cole (inventor)|Henry Cole]] became one of the major forces in [[design education]] in Great Britain, informing the government of the importance of design in his ''Journal of Design and Manufactures''. He organized the [[Great Exhibition]] as a celebration of modern industrial technology and Victorian design.

From 1891 to 1896, [[William Morris]]' [[Kelmscott Press]] was a leader in graphic design associated with the [[Arts and Crafts movement]], creating hand-made books in medieval and Renaissance era style,<ref>{{Cite web |title=V&A · William Morris: literature and book design |url=https://www.vam.ac.uk/articles/william-morris-text |access-date=2022-07-03 |website=Victoria and Albert Museum |language=en |archive-date=19 May 2022 |archive-url=https://web.archive.org/web/20220519122805/https://www.vam.ac.uk/articles/william-morris-text |url-status=live}}</ref> in addition to wallpaper and textile designs.<ref>{{Cite web |title=V&A · William Morris textiles |url=https://www.vam.ac.uk/articles/willam-morris-textiles |access-date=2022-07-03 |website=Victoria and Albert Museum |language=en |archive-date=3 July 2022 |archive-url=https://web.archive.org/web/20220703213848/https://www.vam.ac.uk/articles/willam-morris-textiles |url-status=live}}</ref> Morris' work, along with the rest of the [[Private Press]] movement, directly influenced [[Art Nouveau]].<ref>Fiona McCarthy, ''William Morris'', London: Faber and Faber, 1996 {{ISBN|0-571-17495-7}}</ref>
[[File:The chap book.jpg|thumb|upright|Cover of the Thanksgiving 1895 issue of ''The Chap-Book'', designed by [[Will H. Bradley]]]]
[[Will H. Bradley]] became one of the notable graphic designers in the late nineteenth-century due to creating art pieces in various Art Nouveau styles. Bradley created a number of designs as promotions for a literary magazine titled ''The Chap-Book''.<ref>{{Cite book|last=Eskilson|first=Stephen J.|url=https://books.google.com/books?id=5C57DwAAQBAJ&q=graphic+design+19th+century+book&pg=PA10|title=Graphic Design: A New History, Third Edition|date=21 May 2019|publisher=Yale University Press|isbn=978-0-300-23328-5|language=en|access-date=11 December 2020|archive-date=15 April 2021|archive-url=https://web.archive.org/web/20210415031259/https://books.google.com/books?id=5C57DwAAQBAJ&q=graphic+design+19th+century+book&pg=PA10|url-status=live}}</ref>

===Twentieth century===
[[File:VC-25(040616-F-5677R-002).jpg|thumb|right|A Boeing 747 aircraft with [[livery]] designating it as [[Air Force One]]. The cyan forms, the [[US flag]], [[Seal of the President of the United States|presidential seal]] and the [[Caslon]] lettering, were all designed at different times, by different designers, for different purposes, and combined by designer [[Raymond Loewy]] in this one single aircraft exterior design.]]{{Expand section|The developments of this period greatly influenced contemporary graphic design.|talksection=Expand Twentieth Century Design|date=September 2016}}

In 1917, [[Frederick H. Meyer (furniture designer)|Frederick H. Meyer]], director and instructor at the [[California School of Arts and Crafts]], taught a class entitled "Graphic Design and Lettering".<ref>{{cite web|last=Shaw|first=Paul|author-link=Paul Shaw (design historian)|url=https://www.paulshawletterdesign.com/2020/05/the-definitive-dwiggins-no-81a-w-a-dwiggins-and-graphic-design-a-brief-rejoinder-to-steven-heller-and-bruce-kennett/|title=W.A. Dwiggins and "graphic design": A brief rejoinder to Steven Heller and Bruce Kennett|publisher=www.paulshawletterdesign.com|access-date=23 May 2020|archive-date=8 August 2020|archive-url=https://web.archive.org/web/20200808204420/https://www.paulshawletterdesign.com/2020/05/the-definitive-dwiggins-no-81a-w-a-dwiggins-and-graphic-design-a-brief-rejoinder-to-steven-heller-and-bruce-kennett/|url-status=live}}</ref> Raffe's ''Graphic Design'', published in 1927, was the first book to use "Graphic Design" in its title.<ref>{{cite journal|last=Baker|first=Steve |year=1990|title=The Sign of the Self in the Metropolis |journal=Journal of Design History|publisher=[[Oxford University Press]] |volume= 3|jstor=1315763|issue= 4|page=228|doi=10.1093/jdh/3.4.227}}</ref> In 1936, author and graphic designer Leon Friend published his book titled "Graphic Design" and it is known to be the first piece of literature to cover the topic extensively.<ref>{{Cite web |last=Poole |first=Buzz |date=2013-03-27 |title=The History of Graphic Design |url=https://www.printmag.com/design-books/the-history-of-graphic-design/ |access-date=2023-05-02 |website=PRINT Magazine |language=en-US}}</ref>

The signage in the [[London Underground]] is a classic design example<ref>{{cite web | title = Designing Modern Britain – Design Museum Exhibition | url = http://designmuseum.org/design/london-transport | access-date = 10 December 2009 | url-status = live | archive-url = https://web.archive.org/web/20100107205325/http://designmuseum.org/design/london-transport | archive-date = 7 January 2010}}</ref> of the [[Modern history|modern era.]] Although he lacked artistic training, [[Frank Pick]] led the Underground Group design and publicity movement. The first Underground station signs were introduced in 1908 with a design of a solid red disk with a blue bar in the center and the name of the station. The station name was in white sans-serif letters. It was in 1916 when Pick used the expertise of [[Edward Johnston]] to design a new typeface for the Underground. Johnston redesigned the Underground sign and logo to include his typeface on the blue bar in the center of a red circle.<ref>{{Cite book|last=Meggs|first=Philip|title=A History of Graphic Design|publisher=John Wiley & Sons, Inc.|year=1998|isbn=0-471-29198-6|location=New York|pages=229–230}}</ref><!-- Why is this a classic design example? Who is Edward Johnston? What distinguishes his typeface? -->
[[File:Centenario Argentina 1910 HD.png|thumb|Poster to promote the [[Argentina Centennial|Centennial of Argentina]] (1910)]]
In the 1920s, Soviet [[Constructivism (art)|constructivism]] 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 [[Utilitarianism|utilitarian]] purposes. They designed buildings, film and theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.<ref>{{Cite journal |last=Bowlt |first=John E. |title="From Pictures to Textile Prints" |date=1976 |url=https://www.jstor.org/stable/44130037 |journal=The Print Collector's Newsletter |volume=7 |issue=1 |pages=16–20 |jstor=44130037 |issn=0032-8537 |access-date=3 May 2022 |archive-date=3 May 2022 |archive-url=https://web.archive.org/web/20220503110821/https://www.jstor.org/stable/44130037 |url-status=live}}</ref>

[[Jan Tschichold]] codified the principles of [[modern typography]] in his 1928 book, ''New Typography''.<ref>{{Cite book|url=https://books.google.com/books?id=8CPmMRRx1DEC&pg=PT333|title=Advertising Design and Typography|last=White|first=Alex W.|date=21 September 2010|publisher=Allworth Press|isbn=9781581158205|language=en|access-date=11 January 2018|archive-date=15 April 2021|archive-url=https://web.archive.org/web/20210415035051/https://books.google.com/books?id=8CPmMRRx1DEC&pg=PT333|url-status=live}}</ref> He later repudiated the philosophy he espoused in this book as fascistic, but it remained influential.{{Citation needed|date=July 2007}} Tschichold, [[Bauhaus]] typographers such as [[Herbert Bayer]] and [[László Moholy-Nagy]] and [[El Lissitzky]] greatly influenced graphic design. They pioneered production techniques{{Citation needed|date=January 2011}} and stylistic devices<!-- These stylistic devices should be described further, like the use of grids, preference for minimalism/aversion against ornaments, left-aligned text, sans-serif fonts, geometric shapes etc.  --> used throughout the twentieth century. The following years saw graphic design in the modern style gain widespread acceptance and application.<ref>Crouch, Christopher. 2000. ''Modernism in Art Design and Architecture'', New York: St. Martin's Press. {{ISBN|0-312-21830-3}} (cloth) {{ISBN|0-312-21832-X}} (pbk)</ref>

The professional graphic design industry grew in parallel with [[consumerism]]. This raised concerns and criticisms, notably from within the graphic design community with the [[First Things First 1964 manifesto|First Things First manifesto]]. First launched by [[Ken Garland]] in 1964, it was re-published as the [[First Things First 2000 manifesto]] in 1999 in the magazine ''[[Emigre (magazine)|Emigre]]'' 51<ref>{{cite web |url=http://www.emigre.com/Editorial.php?sect=1&id=14 |title=฿Emigre Essays |publisher=Emigre.com |access-date=1 January 2012 |url-status=live |archive-url=https://web.archive.org/web/20120106152041/http://emigre.com/Editorial.php?sect=1&id=14 |archive-date=6 January 2012}}</ref> stating "We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication – a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design."<ref>{{cite web |url=http://maxbruinsma.nl/index1.html?ftf2000.htm |title=max bruinsma |publisher=Maxbruinsma.nl |access-date=1 January 2012 |url-status=live |archive-url=https://web.archive.org/web/20111219160927/http://maxbruinsma.nl/index1.html?ftf2000.htm |archive-date=19 December 2011}}</ref>