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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, longer scrolls and books were produced using movable type printing, making books widely available during the Song dynasty (960–1279).^[6]

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During the 17th-18th century movable type was used for handbills or trade cards which were printed from wood or copper engravings. These documents announced a business and its location. English painter William Hogarth used his skill in engraving was one of the first to design for business trade.

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In Mainz Germany, in 1448, Johann Gutenberg introduced movable type using a new metal alloy for use in a printing press and opened a new era of commerce. This made graphics more readily available since mass printing dropped the price of printing material significantly. Previously, most advertising was word of mouth. In France and England, for example, criers announced products for sale just as ancient Romans had done.

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The printing press made books more widely available. Aldus Manutius developed the book structure that became the foundation of western publication design. This era of graphic design is called Humanist or Old Style. Additionally, William Caxton, England’s first printer produced religious books, but had trouble selling them. He discovered the use of leftover pages and used them to announce the books and post them on church doors.

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This practice was termed “squis” or “pin up” posters, in approximately 1612, becoming the first form of print advertising in Europe. The term Siquis came from the Roman era when public notices were posted stating “if anybody…”, which in Latin is “si quis”. These printed announcements were followed by later public registers of wants called want ads and in some areas such as the first periodical in Paris advertising was termed “advices”. The “Advices” were what we know today as want ad media or advice columns.

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In 1638 Harvard University received a printing press from England. More than 52 years passed before London bookseller Benjamin Harris received another printing press in Boston. Harris published a newspaper in serial form, Publick Occurrences Both Foreign and Domestick. It was four pages long and suppressed by the government after its first edition.

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John Campbell is credited for the first newspaper, the Boston News-Letter, which appeared in 1704. The paper was known during the revolution as “Weeklies”. The name came from the 13 hours required for the ink to dry on each side of the paper. The solution was to first, print the ads and then to print the news on the other side the day before publication. The paper was four pages long having ads on at least 20%-30% of the total paper, (pages one and four) the hot news was located on the inside.^[5] 

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The initial use of the Boston News-Letter carried Campbell’s own solicitations for advertising from his readers. Campbell’s first paid advertisement was in his third edition, May 7 or 8th, 1704. Two of the first ads were for stolen anvils. The third was for real estate in Oyster Bay, owned by William Bradford, a pioneer printer in New York, and the first to sell something of value. Bradford published his first newspaper in 1725, New York’s first, the New-York Gazette. Bradford’s son preceded him in Philadelphia publishing the American Weekly Mercury, 1719. The Mercury and William Brooker’s Massachusetts Gazette, first published a day earlier.

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In late 19th-century Europe, especially in the United Kingdom, the first official publication of a printed design was released, marking the separation of graphic design from fine art.

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In 1849, 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.

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From 1891 to 1896, William Morris‘ Kelmscott Press published some of the most significant of the graphic design products of the Arts and Crafts movement, and made a lucrative business of creating and selling stylish books. Morris created a market for works of graphic design in their own right and a profession for this new type of art. The Kelmscott Press is characterized by an obsession with historical styles.

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This historicism was the first significant reaction to the state of nineteenth-century graphic design. Morris’ work, along with the rest of the Private Press movement, directly influenced Art Nouveau.^[7]

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The term “graphic design” first appeared in print in the 1922 essay “New Kind of Printing Calls for New Design” by William Addison Dwiggins, an American book designer in the early 20th century.^[8] Raffe’s Graphic Design, published in 1927, was the first book to use “Graphic Design” in its title.^[9]

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The signage in the London Underground is a classic design example^[10] of the modern era. Frank Pick led the Underground Group design and publicity movement, even though he lacked artistic training. 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.

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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.^[11]

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In the 1920s, Soviet 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 utilitarian purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.^{[citation needed]}

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Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography.^[12] He later repudiated the philosophy he espoused in this book as fascistic, but it remained influential.^{[citation needed]} Tschichold, Bauhaus typographers such as Herbert Bayer and László Moholy-Nagy and El Lissitzky greatly influenced graphic design. They pioneered production techniques^{[citation needed]} and stylistic devices used throughout the twentieth century. The following years saw graphic design in the modern style gain widespread acceptance and application.^[13] 

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The post-World War II American economy revealed a greater need for graphic design, mainly in advertising and packaging. The spread of the German Bauhaus school of design to Chicago in 1937 brought a “mass-produced” minimalism to America; sparking “modern” architecture and design.

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Notable names in mid-century modern design include Adrian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who 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; Alex Steinweiss, credited with the invention of the album cover; and Josef Müller-Brockmann, who designed posters in a severe yet accessible manner typical of the 1950s and 1970s era.

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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 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 51^[14] 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.

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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.”^[15] Both editions attracted signatures from practitioners and thinkers such as Rudy VanderLans, Erik Spiekermann, Ellen Lupton and Rick Poynor. The 2000 manifesto was also published in Adbusters, known for its strong critiques of visual culture.

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Graphic design is applied to everything visual, from road signs to technical schematics, from interoffice memorandums to reference manuals.

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Design can aid in selling a product or idea. It is applied to products and elements of company identity such as logos, colors, packaging and text as part of branding (see also advertising). Branding has become increasingly more important in the range of services offered by graphic designers. Graphic designers often form part of a branding team.

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Graphic design is applied in the entertainment industry in decoration, scenery and visual story telling. Other examples of design for entertainment purposes include novels, vinyl album covers, comic books, DVD covers, opening credits and closing credits in filmmaking, and programs and props on stage. This could also include artwork used for T-shirts and other items screenprinted for sale.

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From scientific journals to news reporting, the presentation of opinion and facts is often improved with graphics and thoughtful compositions of visual information – known as information design. Newspapers, magazines, blogs, television and film documentaries may use graphic design.

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With the advent of the web, information designers with experience in interactive tools are increasingly used to illustrate the background to news stories. Information design can include data visualization, which involves using programs to interpret and form data into a visually compelling presentation, and can be tied in with information graphics.

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A graphic design project may involve the stylization and presentation of existing text and either preexisting imagery or images developed by the graphic designer. Elements can be incorporated in both traditional and digital form, which involves the use of visual arts, typography, and page layout techniques.

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Graphic designers organize pages and optionally add graphic elements. Graphic designers can commission photographers or illustrators to create original pieces. Designers use digital tools, often referred to as interactive design, or multimedia design. Designers need communication skills to convince an audience and sell their designs.

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The “process school” is concerned with communication; it highlights the channels and media through which messages are transmitted and by which senders and receivers encode and decode these messages. The semiotic school treats a message as a construction of signs which through interaction with receivers, produces meaning; communication as an agent.

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Typography includes type design, modifying type glyphs and arranging type. Type glyphs (characters) are created and modified using illustration techniques.

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Type arrangement is the selection of typefaces, point size, tracking (the space between all characters used), kerning (the space between two specific characters) and leading (line spacing).

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Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the digital age, typography was a specialized occupation.

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Certain fonts communicate or resemble stereotypical notions. For example, 1942 Report is a font which types text akin to a typewriter or a vintage report.^[16]

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Page layout deals with the arrangement of elements (content) on a page, such as image placement, text layout and style. Page design has always been a consideration in printed material and more recently extended to displays such as web pages.

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Elements typically consist of type (text), images (pictures), and (with print media) occasionally place-holder graphics such as a dieline for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing.

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Printmaking is the process of making artworks by printing on paper and other materials or surfaces.

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The process is capable of producing multiples of the same work, each called a print.

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Each print is an original, technically known as an impression. Prints are created from a single original surface, technically a matrix.

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Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing.

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Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition.

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Prints may be published in book form, as artist’s books. A single print could be the product of one or multiple techniques.

Aside from technology, graphic design requires judgment and creativity.

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Critical, observational, quantitative and analytic thinking are required for design layouts and rendering.

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If the executor is merely following a solution (e.g. sketch, script or instructions) provided by another designer (such as an art director), then the executor is not usually considered the designer.

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Strategy is becoming more and more essential to effective graphic design.

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The main distinction between graphic design and art is that graphic design solves a problem as well as being aesthetically pleasing.

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This balance is where strategy comes in.

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It is important for a graphic designer to understand their clients’ needs, as well as the needs of the people who will be interacting with the design.

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It is the designer’s job to combine business and creative objectives to elevate the design beyond purely aesthetic means.^[17]

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The method of presentation (e.g. Arrangements, style, medium) is important to the design.

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The development and presentation tools can change how an audience perceives a project. The image or layout is produced using traditional media and guides, or digital image editing tools on computers.

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Tools in computer graphics often take on traditional names such as “scissors” or “pen“. Some graphic design tools such as a grid are used in both traditional and digital form.

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Drawing

Drawing generally involves making marks on a surface by applying pressure from a tool or moving a tool across a surface.

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In which a tool is always used as if there were no tools it would be art. Graphical drawing is an instrumental guided drawing.

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Woodblock printing, including images is first seen in China after paper was invented (about A.D. 105).

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In the West, the main techniques have been woodcut, engraving and etching, but there are many others.

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Etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid.

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The acid eats the metal, leaving behind roughened areas, or, if the surface exposed to the acid is very thin, burning a line into the plate.

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The use of the process in printmaking is believed to have been invented by Daniel Hopfer (c. 1470–1536) of Augsburg, Germany, who decorated armour in this way.

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Etching is also used in the manufacturing of printed circuit boards and semiconductor devices.

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Line art is a rather non-specific term sometimes used for any image that consists of distinct straight and curved lines placed against a (usually plain) background, without gradations in shade (darkness) or hue (color) to represent two-dimensional or three-dimensional objects.

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Line art is usually monochromatic, although lines may be of different colors.

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An illustration is a visual representation such as a drawing, painting, photograph or other work of art that stresses subject more than form.

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The aim of an illustration is to elucidate or decorate a story, poem or piece of textual information (such as a newspaper article), traditionally by providing a visual representation of something described in the text. The editorial cartoon, also known as a political cartoon, is an illustration containing a political or social message.

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Illustrations can be used to display a wide range of subject matter and serve a variety of functions, such as:

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• giving faces to characters in a story

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• displaying a number of examples of an item described in an academic textbook (e.g. A Typology)

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• visualizing step-wise sets of instructions in a technical manual

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• communicating subtle thematic tone in a narrative

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• linking brands to the ideas of human expression, individuality, and creativity

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• making a reader laugh or smile

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• for fun (to make laugh) funny

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A graph or chart is an information graphic that represents tabular, numeric data. Charts are often used to make it easier to understand large quantities of data and the relationships between different parts of the data.

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A diagram is a simplified and structured visual representation of concepts, ideas, constructions, relations, statistical data, etc., used to visualize and clarify the topic.

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A symbol, in its basic sense, is a representation of a concept or quantity; i.e., an idea, object, concept, quality, etc. In more psychological and philosophical terms, all concepts are symbolic in nature, and representations for these concepts are simply token artifacts that are allegorical to (but do not directly codify) a symbolic meaning, or symbolism.

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A map is a simplified depiction of a space, a navigational aid which highlights relations between objects within that space. Usually, a map is a two-dimensional, geometrically accurate representation of a three-dimensional space.

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One of the first ‘modern’ maps was made by Waldseemüller.

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One difference between photography and other forms of graphics is that a photographer, in principle, just records a single moment in reality, with seemingly no interpretation. However, a photographer can choose the field of view and angle, and may also use other techniques, such as various lenses to choose the view or filters to change the colors. In recent times, digital photography has opened the way to an infinite number of fast, but strong, manipulations. Even in the early days of photography, there was controversy over photographs of enacted scenes that were presented as ‘real life’ (especially in war photography, where it can be very difficult to record the original events). Shifting the viewer’s eyes ever so slightly with simple pinpricks in the negative could have a dramatic effect.

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The choice of the field of view can have a strong effect, effectively ‘censoring out’ other parts of the scene, accomplished by cropping them out or simply not including them in the photograph.

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This even touches on the philosophical question of what reality is. The human brain processes information based on previous experience, making us see what we want to see or what we were taught to see. Photography does the same, although the photographer interprets the scene for their viewer.

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An engineering drawing is a type of drawing and is technical in nature, used to fully and clearly define requirements for engineered items. It is usually created in accordance with standardized conventions for layout, nomenclature, interpretation, appearance (such as typefaces and line styles), size, etc.

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There are two types of computer graphics: raster graphics, where each pixel is separately defined (as in a digital photograph), and vector graphics, where mathematical formulas are used to draw lines and shapes, which are then interpreted at the viewer’s end to produce the graphic. Using vectors results in infinitely sharp graphics and often smaller files, but, when complex, like vectors take time to render and may have larger file sizes than a raster equivalent.

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In 1950, the first computer-driven display was attached to MIT’s Whirlwind I computer to generate simple pictures. This was followed by MIT‘s TX-0 and TX-2, interactive computing which increased interest in computer graphics during the late 1950s. In 1962, Ivan Sutherland invented Sketchpad, an innovative program that influenced alternative forms of interaction with computers.

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In the mid-1960s, large computer graphics research projects were begun at MIT, General Motors, Bell Labs, and Lockheed Corporation. Douglas T. Ross of MIT developed an advanced compiler language for graphics programming. S.A.Coons, also at MIT, and J. C. Ferguson at Boeing, began work in sculptured surfaces. GM developed their DAC-1 system, and other companies, such as Douglas, Lockheed, and McDonnell, also made significant developments. In 1968, ray tracing was first described by Arthur Appel of the IBM Research Center, Yorktown Heights, N.Y.^[1]

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During the late 1970s, personal computers became more powerful, capable of drawing both basic and complex shapes and designs. In the 1980s, artists and graphic designers began to see the personal computer, particularly the Commodore Amiga and Macintosh, as a serious design tool, one that could save time and draw more accurately than other methods. 3D computer graphics became possible in the late 1980s with the powerful SGI computers, which were later used to create some of the first fully computer-generated short films at Pixar. The Macintosh remains one of the most popular tools for computer graphics in graphic design studios and businesses.

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Modern computer systems, dating from the 1980s and onwards, often use a graphical user interface (GUI) to present data and information with symbols, icons, and pictures, rather than text. Graphics are one of the five key elements of multimedia technology.

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3D graphics became more popular in the 1990s in gaming, multimedia and animation. In 1996, Quake, one of the first fully 3D games, was released. In 1995, Toy Story, the first full-length computer-generated animation film, was released in cinemas. Since then, computer graphics have become more accurate and detailed, due to more advanced computers and better 3D modeling software applications, such as Maya, 3D Studio Max, and Cinema 4D.

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Another use of computer graphics is screensavers, originally intended to prevent the layout of much-used GUIs from ‘burning into’ the computer screen. They have since evolved into true pieces of art, their practical purpose obsolete; modern screens are not susceptible to such artifacts.

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In the 1990s, Internet speeds increased, and Internet browsers capable of viewing images were released, the first being Mosaic.

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Websites began to use the GIF format to display small graphics, such as banners, advertisements, and navigation buttons, on web pages.

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Modern web browsers can now display JPEG, PNG and increasingly, SVG images in addition to GIFs on web pages. SVG, and to some extent VML, support in some modern web browsers have made it possible to display vector graphics that are clear at any size. 

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Plugins expand the web browser functions to display animated, interactive and 3-D graphics contained within file formats such as SWF and X3D.

Modern web graphics can be made with software such as Adobe Photoshop, the GIMP, or Corel Paint Shop Pro.

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Users of Microsoft Windows have MS Paint, which many find to be lacking in features. This is because MS Paint is a drawing package and not a graphics package.

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Numerous platforms and websites have been created to cater to web graphics artists and to host their communities.

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A growing number of people use create internet forum signatures—generally, appearing after a user’s post—and other digital artwork, such as photo manipulations and large graphics.

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With computer games’ developers creating their own communities around their products, many more websites are being developed to offer graphics for the fans and to enable them to show their appreciation of such games in their own gaming profiles.

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Graphics are visual elements often used to point readers and viewers to particular information. They are also used to supplement text in an effort to aid readers in their understanding of a particular concept or make the concept more clear or interesting. Popular magazines, such as TIME, Wired and Newsweek, usually contain graphic material in abundance to attract readers, unlike the majority of scholarly journals. In computing, they are used to create a graphical interface for the user; and graphics are one of the five key elements of multimedia technology. Graphics are among the primary ways of advertising the sale of goods or services.

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Graphics are commonly used in business and economics to create financial charts and tables. The term Business Graphics came into use in the late 1970s, when personal computers became capable of drawing graphs and charts instead of using a tabular format. Business Graphics can be used to highlight changes over a period of time.

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Advertising is one of the most profitable uses of graphics; artists often do advertising work or take advertising potential into account when creating art, to increase the chances of selling the artwork.

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Most importantly, graphics give a good look to artwork whenever it is applied.

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Graphics contribute to the general outlook of a designed artwork, this, in turn, lure interested members of the public to look at the work of art or purchasing it.

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Any graphical work (especially advertisement) or any work of art that is poorly designed will not persuade the audience. therefore, for an advertisement to persuade and convince readers or viewers, it must be well designed with needed graphical tools so as to bring profit to the designer or advertiser.

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The use of graphics for overtly political purposes—cartoons, graffiti, poster art, flag design, etc.—is a centuries-old practice which thrives today in every part of the world. The Northern Irish murals are one such example. A more recent example is Shepard Fairey‘s 2008 U.S. Presidential election Barack Obama “Hope” poster. It was first published on the web, but soon found its way onto streets throughout the United States.^[2]

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Graphics are heavily used in textbooks, especially those concerning subjects such as geography, science, and mathematics, in order to illustrate theories and concepts, such as the human anatomy. Diagrams are also used to label photographs and pictures.

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Educational animation is an important emerging field of graphics. Animated graphics have obvious advantages over static graphics when explaining subject matter that changes over time.

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The Oxford Illustrated Dictionary uses graphics and technical illustrations to make reading material more interesting and easier to understand. In an encyclopedia, graphics are used to illustrate concepts and show examples of the particular topic being discussed.

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In order for a graphic to function effectively as an educational aid, the learner must be able to interpret it successfully. This interpretative capacity is one aspect of graphicacy.

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Computer graphics are often used in the majority of new feature films, especially those with a large budget. Films that heavily use computer graphics include The Lord of the Rings film trilogy, the Harry Potter films, Spider-Man and War of the Worlds.

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The majority of schools, colleges, and universities around the world educate students on the subject of graphic design and art.

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The subject is taught in a broad variety of ways, each course teaching its own distinctive balance of craft skills and intellectual response to the client’s needs.

Some graphics courses prioritize traditional craft skills—drawing, printmaking, and typography—over modern craft skills. Other courses may place an emphasis on teaching digital craft skills.

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Still, other courses may downplay the crafts entirely, concentrating on training students to generate novel intellectual responses that engage with the brief.

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Despite these apparent differences in training and curriculum, the staff and students on any of these courses will generally consider themselves to be graphic designers.

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The typical pedagogy of a graphic design (or graphic communication, visual communication, graphic arts or any number of synonymous course titles) will be broadly based on the teaching models developed in the Bauhaus school in Germany or Vkhutemas in Russia. The teaching model will tend to expose students to a variety of craft skills (currently everything from drawing to motion capture), combined with an effort to engage the student with the world of visual culture.

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Aldus Manutius designed the first italic type style which is often used in desktop publishing and graphic design. April Greiman is known for her influential poster design. Paul Rand is well known as a design pioneer for designing many popular corporate logos, including the logo for IBM, NeXT and UPS. William Caslon, during the mid-18th century, designed many typefaces, including ITC Founder’s Caslon, ITC Founder’s Caslon Ornaments, Caslon Graphique, ITC Caslon No. 224, Caslon Old Face and Big Caslon.

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In the mid-1980s desktop publishing and graphic art software applications introduced computer image manipulation and creation capabilities that had previously been manually executed. Computers enabled designers to instantly see the effects of layout or typographic changes, and to simulate the effects of traditional media. Traditional tools such as pencils can be useful even when computers are used for finalization; a designer or art director may sketch numerous concepts as part of the creative process.^[18] Styluses can be used with tablet computers to capture hand drawings digitally.^[19]