The U.S. Government offers the H1B visa to enable highly skilled International Workers and International Students, from all over the World, or already in the U.S.A., the opportunity to legally live and work in America."
The process of obtaining one of the H1B visas involves many steps (H1B Program (http://www.h1base.com/).
A to obtain an H1B visa, an applicant must 'first' find an H1B job with an H1B visa employer company in the U.S.A.; commonly known as your 'H1B sponsor (H1B Program (http://www.h1base.com/)'."
Your H1B sponsor then applies for / files your H1B visa application. Individuals can NOT sponsor or apply for their own H1B visa - ONLY your new employer (sponsor) can (H1B Program (http://www.h1base.com/)."
An H1B visa is typically valid for up to six (6) years and entitles your spouse (husband/wife) and children to accompany you and 'live' in America (H1B Program (http://www.h1base.com/)."
One of the main advantages of the H1B visa (U.S. work permit) is that it is a 'dual intent' visa which means that you can apply for a Green Card (Legal Permanent Residency) (H1B Program (http://www.h1base.com/)."
The first step in getting an H1B visa is to find an employer willing to sponsor you in the United States as an employee.
One way of doing this is to locate an attorney who works with international concerns and find out if he or she has the names of companies who have in the past sponsored workers in particular graphic designers (H1B Program (http://www.h1base.com/).
There are limited quantities of such visas available each year and approximately 65,000 are given out beginning April 1 of each year.
In 2004 it only took until October 1 before the 65,000 cap was reached (H1B VISA - USA WORK VISA - USA WORK PERMIT (http://www.apwa.net/Publications/Reporter/ReporterOnline/index.asp?DISPLAY=ISSUE&ISSUE_DATE=022005&ARTICLE_NUMBER=977).
The process takes about 180 days to complete once the paperwork…… [Read More]
At this level, focus should be on meeting the needs of the graphic design industry. It is at the graduate level where intense discussion of theory should be developed. I agree with Frascara on this point. In most disciplines, such discussion is typically conducted at the graduate level. The average graphic design student can benefit from this work where applicable, especially if Frascara's proposed reference centers are created.
One of the main reasons Frascara wants to shift the emphasis of undergraduate education to meeting the needs of the industry is because he feels that the communication aspect of graphic art is understated in the current educational system. Greater specialized would allow for more in-depth training, allowing students more focus on this part of the discipline. I agree with his view that this aspect should be emphasized more. It will provide designers with a greater toolkit for the working world, but will also give them a stronger foundation for further, independent, exploration of communication concepts.
While I agree that graphic design is a major form of communication - its influence is inescapable in our society - I do not agree that graphic design has any social responsibility. If at its essence design is a discipline centered on creating a message and having that message understood, then that is the primary obligation of the design. Frascara himself argues that the design's success should be measured on the basis of the audience's response. This does not imply social responsibility; it merely implies responsibility to the message. The responsibility of graphic design, in effect, is to ensure that the message is received as intended. There may be social responsibility embedded in the message itself, but the design is merely a communication tool, no matter how responsible or irresponsible the message might be.
Works… [Read More]
Graphic Design Project
The shape of this design is irregular albeit the height and width are remarkably similar. The design uses bright colors -- notably red, yellow, several shades of blue and white as well -- and its texture has layers of shapes and colors. The feel of the design is ethereal, like it is floating in space. It has the texture and value that gives the impression of three dimensional. The man is in the middle, several jewels (diamonds) are in the foreground beside the clouds -- and the third dimension is in the background where stars, bubbles and rays of slashing red, yellow, orange light add to the luster around the man's body and especially his head and hat.
Space and balance: There is no distance between shapes as they are intertwined into an attractive medley of images, and design elements are equally distributed. The emphasis is on the man's face and smile. There is movement in the diamonds swooping down from space and the rhythm brings the eye to the central image, the man and his face; the dark background contrasts dramatically with the colors. Unity is achieved because all the elements are related and linked in an explosion of seemingly cosmic color and energy.
The audience for this design would seem to be young, musically inclined, and it would appear to be intended for commercial purposes (selling albums; or promoting a concert).
MAKE SOME NOISE
The shape and space of this design is heavily weighted to the bottom half of the presentation. It appears to be triangular on the bottom with a vague and perhaps desperate arm reaching down to grab a record. Colors: it is red, yellow, and black and the texture -- the feel of the design -- gives a sense of musical mayhem and downward movement. A crane has a human arm and it's trying to grab a falling…… [Read More]
Ongoing turmoil actually led to the eventual development of a wide variety of distinctly Mexican typefaces and other graphic features, many of them collected and/or created by Ignacio Cumplido. This graphic designer (before the term had been coined) and printer created graphics and fonts that were at once bold and striking yet exceedingly simplistic and direct, providing hundreds of different varieties and endless combinations for use on posters and pamphlets advocating a wide range of figures and issues (Gravier & Brandt 2002). Intricate and fanciful graphic work was reserved for certain illustrations and became quite common as borders on many posters, calling interest and attention to as well as framing the still-simple text that delivered often pointed messages and announcements (Gravier & Brandt 2002).
Graphic Design Goes Online
In this regard, the graphic design elements of nineteenth century Mexico during the latter half of the century has much in common with graphic design elements found on many standard web pages seen today around the world. There are also significant differences in the needs and approaches of graphic design on the Internet when compared to those of nineteenth century Mexico, however. At the time and place that saw Jose Maria Gutierrez Estrada and Igancio Cumplido producing their pamphlets and posters, the simple existence of visual information inherently called attention to these artifacts and their message; in the modern world where individuals are constantly inundated with visual information, graphic design -- especially on the Internet -- must take competition for attention into account.
One of the most well-known and widely-read books on the subject of web design is Steve Krug's Don't Make Me Think (2005), in which the author focuses on usability and simplicity as the paramount necessities of websites and the graphical elements that guide users therein. The interactive nature of graphic design is something that is almost entirely unique to the Internet and other computer applications, and usability must be enhanced by graphic design. This has made the directness and simplicity of text that was found in Mexican pamphlets and posters of the nineteenth century an important element of twenty-first century websites (Krug 2005).
The competitive aspects of Internet information,…… [Read More]
The Apple online store is located at (http://www.apple.com/). Its target audience is broad, encompassing all consumers interested in buying a range of lifestyle hardware and software. The Website of the Apple store is consistent with Apple store presence in brick and mortar format, as white is the key color used for brand identity. In the case of the Apple Website, the background is pure white. The feature product today is the iPad Air, tagged as having "The Power of Lightness." The word "lightness" corresponds with the whiteness of the color scheme. Moreover, the color of the iPad Air in the display is white. Below the primary advertisement for the iPad Air in white, a series of four images links the visitor to other products sold on the Apple Web store. From the far left to the far right, Apple lists the iPad mini "Small Wonder," Life on iPad "Explore the Stories," iPhone 5s, and iPhone 5c "For the Colorful." It is this latter tagline, "for the colorful" that is eye-catching, given the whiteness of the background and the appeal to consumers who want to be more "colorful" than conformist. Visitors to the Apple Web store page are instantly engaged with the products, because of the simplicity of the layout and design. The white background minimizes clutter. The page does not offer the opportunity to scroll down and find many more links. The viewer is encouraged to enter the store by delving deeper into the Website, which is what Apple likely intends.
Pathos is the introduction of emotion to the Website. In the case of the online Apple store, pathos is implied through diction and imagery. The diction of the products themselves connotes freedom and "lightness," as with the "Air" line of iPads. Likewise, the iPad "Mini" is miniature, small, compact, and…… [Read More]
Multimedia options and technology buttress need for graphic design
Technology, as they say, is everywhere. And it's in everyone's hands. Fifteen years ago, cell phones were still uncommon among adults. Today, it seems peculiar if a young child doesn't own one, too.
But phones are just a mere segment of the communication and multimedia explosion. The emergence of smartphones, Blackberries and iPads have made information accessible and available immediately, right upon our demand.
This new information age has sparked a rebirth in advertising, for every multimedia medium contains a staggering area of words, pictures and appeals -- almost all of which have been designed or influenced by a graphic designer along the way.
Log into your e-mail account and you are flooded with an array of local advertisements. You can work online, shop online, play games online, get homework help online and even get real-time advice from a certified mechanic about how to remove the radio from the dashboard in Graphic design 8
your car. And every click of the way, technology is tracing your every move, feeding you ads and offers that originated at the desk of a graphic artist or designer.
But technology is not only tethered to computer lines; it's also tethered to a gas pump. Some gasoline companies have programmed their pumps so that the moment a consumer selects his gasoline of choice -- regular, high-grade or premium -- a commercial touting the company begins to air (some would say blare) for the next five minutes.
The "sea change" in the world of technology has -- to borrow an expression of an earlier, less complicated time -- made Sherry Turkle's head spin in wonder. But Turkle, a professor at MIT for the last 25 years, notes that "we make our technologies and our technologies shape us."
But the next generation of college students should fear not, for the entire revolution is being documented for future introspection.
Joe Janes, chairman of the library and information science at the University of Washington…… [Read More]
Life as a graphic designer vs. An illustrator
'What can you do with an art degree?' This is a common question asked of students who major in studio art or who get an MFA (Masters of Fine Arts). However, there are many professions which allow artists to create art and make a living. Two of these professions are that of a graphic designer and an illustrator. These professions share the common denominator of allowing someone to make a living with their creative visual intelligence. However, they require slightly different skill sets because of the unique nature of each profession. This paper will compare the typical activities of both professions; the skills and philosophies needed to perform the tasks required of graphic designers vs. illustrators; and the likely demand for professionals in these fields in the future.
Everyone has encountered the work of a graphic designer, even if he or she is unaware of this fact. The distinctive logo of Coca-Cola; the icon that represents a website on your browser; or an album jacket or a book cover are all the work of a graphic designer. "Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens" (Poggenpohl 1993). Graphic design is thus a marriage of technology and art. An astute graphic designer will be a maestro of a variety of computer programs, yet have the sensitive, impressionistic eye of an artist. Graphic designers must know how to manipulate shapes and colors to catch people's eyes and to communicate the value of a product (Starbucks coffee), idea (no smoking), or other concept. On one level, graphic design is highly abstract -- yet it is also very concrete as a profession. Think of how something like the logo for the Olympics communicates something very specific (an event) yet also the spirit of the games. Graphic design can function as a mental shorthand or symbol, yet through the beauty and simplicity of design it communicates something more powerfully than words. However, it should be noted that graphic designers do sometimes use words, yet somewhat differently than would a writer. "To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the…… [Read More]
For three years, I have studied in West Valley College with a grade point average (GPA) of 3.43. Prior to studying in the United States, I served under the Korean Military Service Program for two years and two months. After accomplishing the required period of service, I decided to go to the United States to have the opportunity of studying in the college level. As a military service member, I was interested in computer operations; thus, it came naturally that my chosen field of study when I was accepted in West Valley is to take up Computer Science.
Over the three years that I have studied in West Valley, I was able to hone my skills in various important computer operations that deal in both the aesthetic (physical appearance and features) and functional elements. As I familiarize myself with computer studies, I became more interested in one particular domain of computer studies -- that is, computer graphics design. I then realized that I could pursue my studies in computer studies without compromising one particular field, which I am more interested, familiar, and experienced with, which is in graphic design. Thus, I am now planning to accomplish this goal by entering a university that I know will help me achieve a degree in graphic design -- the University of XXXX.
My decision to apply for a bachelor's degree in graphic design at the University of XXXX is based on my cumulative experience as a military service member, computer science student, and artist. The roles I have assumed throughout the years have helped developed in me certain qualities that enables me to aspire and know that I can achieve my plan to take up graphic design in University of XXXX.
My experience as a military service member developed in me a sense of discipline in everything I do, especially when accomplishing tasks that need to be done within a certain period. Furthermore, I can work under pressure, which I perceive to be…… [Read More]
The elements of successful graphic design entail synchronizing effective visual components with the image's semantics or underlying meaning. A logo or advertisement is only effective if it becomes anchored in the consciousness of the consumer, and if the visual element conveys the content that it is intended to communicate. The content might be emotional, or it might be informational in nature. Even when the graphic design does not represent a commodity but a creative element such as an illustration in a book, the three core elements of recognition, emotionality, and mnemonics are critical. Recognition refers to the viewer's ability to recognize what is being represented literally, and semantically. In other words, it is important to recognize that the "golden arches" form the letter "M" in the McDonald's logo. Emotionality is critical in graphic design, especially when there is a marketing meaning to the design. Thus, the iPod advertisements depicting silhouetted dancers convey emotions of freedom, joie de vivre, and positive energy. Mnemonics or memory elements maintain a connection between the consumer and the design. There are few people in the world who are unfamiliar with the McDonald's logo or the Apple logo, because these are simple and effective designs that stick in the consumer's mind. Therefore, graphic artists must always keep in mind the cornerstones of effective visual rendition, which include elements of composition like line, color, mass, direction, movement, chiaroscuro, and positive and negative spaces. Form relates to meaning in a successful graphic design, but form fails when the fundamental elements of graphic design are not fulfilled. Ultimately, brand recognition, emotional response, and mnemonic power are the benchmarks of success with graphic design.
The McDonald's logo shows how effective use of typeface in a graphic design logo fulfills the three main elements of effective graphic design: brand recognition, emotional response, and mnemonic power. The "golden arches" image represents the letter "M," the name of the company. The golden arches are also effective for line, direction, and movement. Curvilinear typeface allows the letter M. To appear soft, friendly, and fluid, but these are also absolute lines, not implied ones. There is no motion conveyed in the lines themselves, but none is necessary because eating McDonald's has nothing to do with…… [Read More]
However, it is good to note that despite the numbers of typefaces, designers were seemed to be not contented with it. The new batch of designers did not maximize using the traditional typefaces offered to them by the computer, and they opted to use specialized software programs and created new type forms. Not only were they able to create unique typeface of their own, but they were also able to minimize the time commonly used in rendering mechanical drawings of each letter. This was because all of the drawing is accomplished on the computer (Thornton, 1996 para 8).
Graphic designers used a variety of methods in creating their own typeface designs. They would sometimes combine two existing type forms to create a hybrid font. At times, they would disregard some portions and weight of letters' harmony and manipulate it thereby creating shapes to produce barely recognizable letters (Thornton, 1996 para 8).
These younger designers utilize every possible ways of creating their own designs of typefaces because they believe that typography is not effective in communicating the information anymore.
They stressed that typeface alone could already express various emotions and feelings, that is why these designers believe that it is not important that the texts can be read clearly. What is more significant is the fact that the letters could express newer styles and attitudes (Thornton, 1996 para 9).
At first, a lot of criticizers see the designers' unique typefaces as 'garbage' but when the public and the consumers acted like they liked the idea; it became popular in a way that major publications have started using it too. Major corporations did not have any choice but to follow the trend and use the same style of creating unique fonts or typeface (Thornton, 1996 para 9).
Changes in Equipments
Along with the changes that were happening with the texts or font types, the very sources of such fonts were also…… [Read More]
They "carved" their laws "with care into walls or tablets and meant [the laws] to have a permanent presence and carry authority" (Drucker and McVarish, 2009: 34). Thus, because of the Greeks' understanding of graphic design, they were able to exert authority over their citizens. In the Middle Ages, the church, which was the primary source of learning and graphics held the same power, using graphics contained in the codex to communicate this power to citizens, in addition to non-writing graphics, such as pictures. Finally, the Renaissance, with its invention of the printing press, encouraged the equalization of power, as citizens were able to put their own thoughts into print, in addition to the monarchs and other powerful leaders. The age of Enlightenment was the offspring of this equalization, as it was "characterized by the rise of nationalism, reason, and scientific empiricism in Europe and North America" (Drucker and McVarish, 2009: 95). Here, communication the form of books and newspapers gave power to many who wanted to express a voice.
In conclusion, the importance of graphic design, as indicated by Drucker and McVarish (2009) cannot be disputed. Their narration of the history of graphic design suggests that it not only served communication purposes, but also allowed those who had a grasp on graphic design to come into power, while those who did not to be in submission, finally ending with an equalization of power as graphic design and literacy became more widespread. Drucker and McVarish's (2009) two points, while important to the understanding of history, though, are also of extreme importance for understanding graphic design today and in the future. I believe that graphics still function as an important method of communication, and will continue to gain importance as new technology is introduced. In addition, I also think that power is still associated with graphics, as those who can…… [Read More]
Interpersonal skills and the ability to learn from the experiences of others (through the study of work examples from teachers and students) are important. Many traditional methods may become obsolete as the authors say. However, students may still learn a great deal about graphic design by learning how it developed and what made it important in the first place. This appears to be the greatest flaw of Windows on the Future -- the authors' inability to take their own advice and use all tools that are at their disposal, even if that means using tools that are traditional.
So while everyone has a great deal to learn about the power of graphic design and communication, those in the actual field should be given extra knowledge. McCain and Jukes imply the impact of graphic design many times in Window on the Future. They also explain how lifelong learning and a redefining of technology is key for educators who want to offer the best resources to students of graphic design and all other fields. While I found much of the information in the book obvious, it may not be obvious to educators who have been in their field for decades. Also, while I found their arguments compelling for the inclusion of technology in the classroom, I did find them rather shortsighted in discounting many traditional methods as obsolete. Students should master both traditional and new advances in the field of graphic design in order to succeed and think critically on the job and in the classroom. Offering any less is like teaching to type on the computer before teaching them to write. Perhaps writing is not as good in many ways, but it has its place, much as many of the traditional methods in the world of graphic design.… [Read More]
In a graphic design company that depends on creative pitches to clients, the best presentation software is an indispensible tool. Any workplace that requires snazzy presentations to lure or retain clients or land contracts will want to have powerful presentation software at its disposal. Microsoft Powerpoint and PREZI are two of the best presentation software applications on the market. They both offer something of value to the end user.
A company like ours, which already uses Microsoft Powerpoint, might want to take this fact into consideration. There are certainly benefits to sticking with the same software family, as it will avoid the problems and costs associated with training in the new software system Moreover, Microsoft Powerpoint is the most common application used for making presentations. This means that its file formats will be shareable with clients who want them. The pervasiveness of Microsoft PowerPoint also means that the software is cheaper, more of our clients and employees are already familiar with it, and there will be less of a need for specialized support services.
However, I would like to recommend a change to PREZI. The change is not without its risks, but PREZI offers our organization much that Microsoft Powerpoint can no longer give us. It is in my opinion that switching to PREZI will pay off in the future, because our presentations will be more dynamic. Our sales staff will be able to grab the attention of clients with a PREZI presentation in ways that a PowerPoint presentation cannot do.
Also, PREZI has specific software features that Microsoft PowerPoint does not have. In this way, using PREZI will have a greater impact on all of our departments and not just on content development and sales departments. PREZI allows our company to conduct virtual meetings in a media-rich environment, so we can share important data with clients and them with us. PREZI offers users the ability to interface seamlessly with mobile devices including smartphones and iPads. The graphical user interface on PREZI mobile applications make them attractive for the novice user, which is great for when we would like our clients in remote locations to interact with us related to a presentation we have created.…… [Read More]
Milton Glaser's 1967 poster of Bob Dylan epitomizes the hippie aesthetic. The hair is one of the distinguishing features in this poster, which makes sense symbolically given the importance of hair to hippie culture. Men with long hair were considered rebellious, and hippies were rebelling against the established social norms and institutions. Moreover, the musical Hair was released around the same time, highlighting the importance of hair as an emblem of rebellion and social change. Bob Dylan's hair in Glaser's poster is rendered in swirling lines of color. The stylized swirls of the long hair hearken to art nouveau, an era in which poster design became elevated to a fine art. Therefore, Glaser establishes a link between the Bob Dylan poster and the art nouveau era. There are connections with art nouveau's embrace of the poster as the foremost element of graphic art; and there are also thematic connections between the social changes taking place in the early 20th century and those taking place in the 1960s. Both were eras of social change, with the 1960s building on some of the work that had taken place especially with regards to women's rights. Dylan's hair in Glaser's poster is also rendered in a kaleidoscope of colors. Kaleidoscopes were also emblematic of hippie culture, perhaps because their swirling shapes, forms, and colors resembled the hallucinatory effects of mind-altering drugs. The design of the Beatles' Yellow Submarine animated movie shares much in common with the Glaser poster of Bob Dylan. Music and visual art became inextricably connected in the 1960s. Fifty years later, and it is impossible to imagine a band that does not take its design or its visual stage presentation seriously.
Besides the hair, Bob Dylan's black silhouette is central to the poster. The poster design is otherwise simple, with only two main features, the silhouette and the hair. The midpoint of the poster is the front of Bob Dylan's ear, where…… [Read More]
Other graphic designers work at design studios. These designers generally focus upon design and visual brand strategies and create "logos, brochures and packaging, design studios generally provide such opportunities in abundance. They typically provide clients with creative solutions for both print and the Web" (trade-schools.net). The next types of graphic designers are those who work for companies which have nothing to do with creativity or the arts.
These companies are usually large and are ones who use their own in-house marketing and communications departments. There, the graphic designers generally help in the creation of things like, "brochures, promotional displays, corporate annual reports, catalogs, training materials and, sometimes, advertising campaigns" (trade-schools.net). These graphic designers are different from others in that they only work for one client, so they can have a clear understanding of the brand and needs (trade-schools.net).
The final type of graphic designers are those who work freelance. These designers pick their projects and set their own schedule (trade-schools.net). However, these types of designers don't always have steady income, and it might be difficult to engage in steady growth; these designers might find themselves too readily working on small projects for too long. "Self-employed designers also have the expense of keeping their computers and software packages up-to-date, networking to find new clients and handling business administration tasks. it's for these reasons that many graphic designers work for an employer full time -- moonlighting as a freelancer when they want some extra variety -- or combine their freelance work with a part-time job" (trade-schools.net).
It's also important to remember that the classification of graphic designers also extends to the skill levels. When most graphic designers start out, they have a skill level that's more compatible with things like preparing layouts and producing materials with their basic skills levels and knowledge in connection with the design and development of visual print, multimedia and electronic materials (calstate.edu). Graphic designers at this level are generally working under more experienced designers. it's only later when graphic designers start to hone skills such as advanced graphic and artistic ability where they create a higher level of "visual communications, executing and coordinating multimedia or component communication projects, and developing graphic…… [Read More]
Impact of Typographers on Graphic Design Field
This paper sheds light on the lives of two prominent typographers Eric Gill and Adrian Frutiger. The purpose of this paper is to find out about the lives of these typographers, their careers and their contributions to the field of graphic designing. The art of typography pertains to the technique of arranging text in order to enhance visibility of the language. We begin with British sculptor Eric Gill as follows:
Born on February 22, 1984, Arthur Eric Rowton Gill was a sculptor, printmaker, typeface designer and stonecuttor of Britisch descent. His hometown was Brighton, Sussex and he used to live in a suburban street in the town. Eric dismissed Brighton as a "shapeless and meaningless mess." Gill was among the second of his thirteen siblings and his father was the minister of a small sect called "Connection." Eric lasted only about 6 years in the school and he learned things only for the sake of passing tests. He was fond of playing cricket and football and in his early childhood he used to draw engines of locomotives.
His family moved to Chichester in 1897 where he studied Arts at Chichester Technical and Art School. In 1900, he moved to London to train architecture and took classes at Westminster Technical Institute in stonemasonry. He also studied calligraphy at Central School of Arts and Crafts where he was strongly influenced by Edward Johnston who was the creater of the typeface called London Underground.
Gill married at the age of 22 and settled in Battersea and later in Ditchling, Sussex. His revolutionary religious views, sexual and paedophiliac behavior made him a controversial figure.
Gill began his career in Ditchling, Sussex where he used to live with his wife by producing sculptures. Among his successful works, the first public success was "Mother and Child" which was produced in 1912. During his early career, Gill was influenced by the sculptures he saw in Indian temples. This profound fascination led him to plan an imitation large-scale construction of Jain sculptures, as shown in the picture below, with the help of his friend and collaborator Jacob Epstein (Arrowsmith, 2010)
(Jain Sculptures in Gwalior Fort, Madhya Pradesh, India)
Continuing his love for sculptory, he created sculptures for stations of the cross in Westminster Cathedral in 1914. He met Stanley Morison, the…… [Read More]
role did graphic designing play in the 1960s in popular culture?
The ability to transfer an idea, concept, theme, or notion from the abstract depths of one's mind onto the rich whiteness of a canvas is indeed, a unique one. It is a gift that one is born and blessed with. The capability to sketch, draw and paint has been a part of human civilization since the dawn of time. From the moments of the first primitive man who carved roughly on the coarse walls of the cave he probably called home to the diverse technological art forms that exist today, graphic design has been the very foundation upon which all this has been built. The term "graphic" owns its heritage to the Greek word of "Graphikos" and engages in the composition of symbols, signs, logos, line art, geometry, and other visuals. ( (A History of Graphic Design, 2011).
Graphic design had always been influenced by culture, political, social and legal forces. This paper explores the explosive era of the 1960s where flower power reigned and being an activist was in. The United States of America was entangled in a cobweb of political turmoil and chaos. With the advent of the Civil Rights Movement, recognition of feminism and Vietnam, the American citizen was waking up. Wars had been fought and were now in the finishing stages. Young men were returning home with a desire to truly live and experience new things. The post World War II Baby Boom had created seventy million teenagers for the 1960s. As mentioned previously, the war had been over for almost two decades and resources were being dedicated to building back industries that had to be put on the back burner due to the need for weaponry and such.
The age of youth had arrived; a time when the young had a say and an opinion. Fashion, music, entertainment, art and literature were led by these young, heartfelt individuals. The realm of media experienced a huge surge and growth through the talented and pioneering voices of the Beatles, Led Zepplin, Jimi Hendrix and the likes. The poster that promoted Jimi Hendrix at the Thunderbird Peace Festival incorporates a figurine that is completely lost in his music. The stars in the background invoke a patriotic…… [Read More]
Art and Design: Why the Graphic Designer is not the Same as an Artist
In the 20th century "art" began to veer away from traditional norms and standards and take on a more commercial aspect, utilizing the means of mass production to become "designer" art. Therefore, it is natural that one might argue from a technical standpoint that graphic designers should be considered as artists. This paper will argue, however, that graphic designers are not artists because "art" as defined for centuries has a unique purpose to which graphic designers do not attend (Wolfe, 1976).
Graphic designers are not to be considered artists for the sole reason that art, according to the greatest playwright in the English language, is that which mirrors (or reflects) reality (Shakespeare, 1973). Art can be of any medium (painting, film, narrative) so long as it performs this task. The primary purpose of graphic design is not to "hold the mirror up to nature," as Hamlet says the artist should do, but rather to create visually arresting images whose purpose is typically not artistic but rather commercial. This point is essentially proven by the fact that the term "graphic designer" was not coined until a book about the advertising designer W.A. Dwiggins was published in 1922 (Margolin, 2000). The term has always been more associated with commercialism than it has with the ideas of artists, such as Shakespeare, Wolfe, Dickens, Van Gogh, Vermeer, Rembrandt, Vasari, and many others.
There is an art to graphic design, which has been defined by scholars and training schools as "visual communication" (Smith, 2008) -- however, the intention and purpose of graphic design is what separates it from the generic term of "art," which has had more of a social and/or spiritual function throughout history (Johnson, 2003). Yet, in the 20th century mass production and a consumeristic, commercially driven art society combined to produce a unique development in the modern world -- the emergence of the graphic designer. The graphic designer provides the "dressing" for the communication of the seller to the buyer: the graphic designer is like a sign maker or print maker in older days. As Circar…… [Read More]
Computer Specification for a Graphic Designer
The utilisation of technology facilitates many advantages. Not only the automation processes that would otherwise take longer manually, reducing the time taken, but increasing effectiveness through the efficiency that is provided. In addition, computer systems may also allow additional task to be undertaken, which would not be viable possible manually. This is particularly true when considering the utilisation of technology to support specific professions, such as the graphic arts. Therefore, when a graphic artist needs a computer they will need to take into account the different specifications of the applications they wish to use (Flynn & Luk, 2011). For a graphic designer there needs to be sufficient power, memory and disk space to contain the different imaging and associated software (Patterson & Hennessy, 2013).
Many software applications utilised by graphic designers, including CAD applications, will require a relatively fast computer system, with a high level of memory due to the level of graphic images that may be contained in memory that any single point (Heller & Vienne, 2015). Examining the minimum requirements for CAD software, it is recommended that there should be at least 6 GB of RAM for the memory, with a relatively fast processor, the minimum standard being an i5 Intel processor, or an AMD quad core processor (Anonymous, 2015). The system should also have a dedicated graphics card, with a minimum specification being either an nVidia or Radeon card (Anonymous, 2015).
The computer system should also have a hard drive that has sufficient space for numerous graphic files, as well as the software applications, which can also be sizeable. Therefore, a 750 GB hard drive is recommended as a minimum (Anonymous, 2015). A hard drive is recommended over solid-state drive due to the longevity associated with this hardware. In order to accommodate the software required to run the Systems effectively, the minimum PC requirement for the system should be a Windows 7 64-bit operating system (Anonymous, 2015).
While the minimum system requirements as a starting point, the ideal requirement should also be identified, as minimum systems are likely to become outdated more rapidly than more advanced systems (Flynn & Luk, 2011). The ideal system should have an Intel i7 processor, capable of multiple threading. While Windows 8 is still popular, this may be seen as potentially viable,…… [Read More]
The text that the scribe had to deal with was meant to transmit ideas and feelings, but the most important thing were the ideas. Nowadays, the role of the graphic designer is to produce an emotion which is strong enough in order to make the idea even stronger. People who, in the Medieval times had contact with a text "produced" by a scribe were supposed to learn. The "text" that the contemporary graphic designer produces is most often meant to sell. This means that the stake is higher and the involved mechanisms much more complex. The scribe had to deal with letters and his options were limited. The situation could not be more different compared to nowadays when the graphic designer has to deal with everything from colour to font style, size, etc. under the circumstances in which his options are overwhelming from a quantitative point-of-view.
5. Conclusion believe that graphic design and its forms changed not only the thinking patterns of humanity, but has also contributed to the development of the society itself since it has always been an element which supported freedom and freedom of expression. As society develops at all possible levels, so do the forms and types of graphic design which become richer and more valuable.… [Read More]