Graphic Design
Today, graphic design has become second nature. In fact, most people do noteven realize that every day they are viewing thousands of visuals from thelabel on their coffee in the morning, to the billboard on the way to work,to the advertisement being pulled by the plane, to the toothpaste packagingbefore they go to sleep. The basis, or intellectual model, for thiswidespread art form of graphic design-or the use of typographic, color andlayout as well as text elements to communicate an idea or concept-goes backabout three hundreds years ago to European book production and composition. Graphics are as much a part of the history of culture as the oral andwritten word. From the time that Gutenberg invented mass printingproduction to the current websites, graphic design has grown and evolvedwith technology. First came the scores of books that could be printed at atime, instead of one-by-one by hand, then more elaborate engravings withcopper plates. By the late 1700s to early 1800s, even before the industrialrevolution, graphics were visible on fliers, signs, posters, banners, as Graphic design has become a vital component of each culture andperiod of human history since then in
At the end of the 17th century, typography body typeswere still not numbered, but received names instead. These were often basedon the title of books, such as Cicero used in Epistles. This French typeface, which was based on scientific principles, ledto the artistic and precise work of Giambattista Bodoni, who created thefirst Roman type. Art compliments this specific inquiry byproviding an-experiential model with diverse avenues to achievecreative/qualitative outcome. As Seymour Pappert says in his bookMindstorms the model helps the user acquire a sense of mastery over apiece of the most modern and powerful technology and establish an intimatecontact with some of the deepest ideas from science, from mathematics, andfrom the art of intellectual model building. In Modern faces, they are straight and thin and unbracketed. It is in the melding of analysis, creativity,curiosity and intuition where the future would find its best scientists (ortechnical experts) and artists. Thus, this typography became an standardized intellectual model forthe world as it moved from the nontechnical, passive and natural to theincreasingly industrial, active and artificial. De Vinne, oneof the foremost printers of America, who did not hesitate to criticizeBodoni's types as too mechanical and too dependent on geometrical notionsas to propriety of form, nevertheless paid tribute to him: Bondoni was not content with the accurate drawing and harmonious proportions of his letters. John Baskerville is one another individual who developed a long knownand appreciated typeface that combined the creative with the analytical. It had taken the Garamound tradition andproduced characters for printing that resulted in what was called the Romandu roi.
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Acceptance Essays
