Designers, design educators, and design students are in a more important and interesting field than we seem to recognize." (Swanson, 2010, p
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
In 1932, London Midland & Scottish Railway built the Art Deco Midland Hotel for which Eric Gill produced several artifacts, among which the prominent sculpture is the two seahorses which lie above the entrance to the Hotel (below) Gill's contributions to the graphic design typography field are impeccably important. The typeface designer created the Perpetua typeface in 1925 (Harling, 1978)
During his time in this foundry, Frutiger produced the President, Meridien & Ondine typefaces. It was after seeing these typefaces that Charles Peignot commissioned him to work on converting the existential extant types for the new phototypesetting Linotype equipment (Macmillan, 2006)
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)
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 need for specific websites and even specific portions of given websites to attract the user's attention despite other websites/sections trying to do the same thing -- has led to many differences from the pamphlets and posters of yesteryear. Flashy text styles, bright colors, and dynamic movements have all been incorporated into web design not as a method of enhancing the usability of a the site or even necessarily presenting the information more clearly, but rather simply to attract attention (Lynch & Horton 2008)
As the tools for designing and mass producing graphic design and text-based artifacts became more widely available in Mexico, they were increasingly put towards political ends. One of the most momentous occasions around the middle of the nineteenth century, at least according to certain eyewitnesses that were present, was the production by Jose Maria Gutierrez Estrada of a pamphlet calling for a constitutional monarchy (Sanders 1970)
Pamphlets and Posters The confluence of cultures and the political turmoil that existed in Mexico in the latter half of the twentieth century had an enormous impact on the artistic and aesthetic styles of the period. Religion and politics both started moving away from strong and domineering centralized authorities and became more homespun and democratic, yet at the same time industry and mechanization were advancing rapidly (Zarur & Lovell 2001)
By way of contrast, it may be stated that Selznick employed graphic designers who worked on titling, layout, framework, typography, etc. Also known as "communication design," today's graphic design field is meant to assist in the conveyance of information: thus, graphic designers work on physical as well as digital images and their work ranges from the "design of books and magazines" to posters, motion graphics, signage, business cards, brand designs, ads, software, mobile apps, animation and much more (Cezzar, 2015)
Essentially, the field is broad and graphic designers are used in almost every line of work that involves marketing or communication of some visual sort to the public. Moreover, the sophistication of graphic design can further serve as an argument that there is an "art" to the work that must be understood by designers (Frascara, 1988) just as the art of crafting a plot must be understood by novelists and the art and theory of line and dimension must be understood by painters
): the action is essentially commercial and emphasizes not so much some aspect of nature but rather appeals to the senses in an aesthetic way that is divorced from "enlightenment." Another famous English writer, Charles Dickens, built upon Shakespeare's definition of art, when he said that art should "entertain and enlighten" (Glavin, 2003, p
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)
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)
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)
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)
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)
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)
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)