Academic Articles About Graphic Design

We think that academic articles on graphic design will help us understand what graphic design is. As it is known, it is quite possible to reach visual resources in the field of design through various websites that publish content on this subject on the internet. Unfortunately, in this process, articles written by experts and competent people in the field of graphic design and containing regular academic information are unfortunately overlooked.

For this reason, we have brought together academic articles and research on graphic design on this page so that visual designers working in the advertising industry can understand the function of graphic design. Access to academic information on the basic elements of design will enrich the perspectives of art directors in the marketing industry.

Academic Research and Articles About Graphic Design

We hope that academic articles and research on design components such as color and typography, as well as the historical process and basic principles of design, will enrich the production of graphic design professionals. Students studying in the field of graphic design will learn the historical understanding of graphic design, so they will be able to realize current problems in the visual field. We hope that scientific research and articles created by experts in this visual discipline will improve our approach to problem-solving in design.

Sustainable. Graphic Design? Maryland Institute College of Art

This book is a collection of thoughts on what sustainability means in the context of a graphic design student’s practice. Thanks to all the students in GD314 for honestly and authentically attempting to document their thoughts on the term, on sustainability, and on the future of their respective design directions.

Slowing Down Graphic Design By Kristian Bjornard

Our modern lives are fast, and so the design must be fast to help information and understanding keep up with the pace of life. “What then,” Trace asked the class, “does slow graphic design look and behave like?” Trace’s question caused all present to pause and think. What is fast design? What is slow design?

It’s a Talk About Graphic Design By David Cabianca

Try Again, Fail Again, Fail Better, or, Thoughts on an Ongoing Dissatisfaction with the Limits of Language – and Yes, It’s a Talk about Graphic Design: The 2D Design program had always piqued my interest since I discovered Rick Poynor’s first Typography Now book and read the names of the schools associated with the coolest work.

Regionalism in Graphic Design By Darrin Hunter

Regionalism arose in the 1980s as a design theory meant to address growing discomfort with perceived placelessness and lack of identity in modernist and postmodernist architecture. The modernist movement’s original ideals were to create environments that improved the quality of life for everyone using universal design principles which could ostensibly be employed anywhere with equal success.

Brand Archives: The Rescuing of Locally Specific Brand Imagery as a Graphic Design Response to The Globalization of Visual Identity By Pedro Carvalho Almeida

By showing what can be lost with regards to historical and cultural memory within a brand’s imagery, this thesis questions the significance of archives to locally specific brands claiming symbolic and cultural relevance. It shows how can graphic designers can contribute to the preservation of cultural diversity through visual identity.

Meta Identity, Graphic Design Master Thesis By Marcello J. Biffi

The prerogative of identity design has always been to manage the visual representation of an object, individual, organization. Traditionally, a visual identity revolves around a prime signifier, which is said to stand for a specific entity. Its objective is to fulfill the four fundamental functions of visual communication – to identify, to inform, to present, and to promote – and to confirm the perception of the audience.

A Question of Ethics By Lama Ajeenah

Graphic design is in a state of crisis of ethics as designers are behaving within the limits of the law but with a clear lack of ethics. Being in a field that communicates to people descending from different ethnic and cultural backgrounds, it is critical for designers to set the rules of ethics; the question that will arise: who determines the rules of ethical graphic design?

Graphic Design Speculations By Synne Skjulstad

In this paper, we discuss how the teaching of visual identity in graphic design education may be redeveloped within a speculative design framework. We inquire into how the teaching of visual identity design was framed speculatively with reference to a student project focusing on future scenarios for water sustainability.

Graphic Design Education as a Liberal Art By Gunnar Swanson

Although this essay concentrates on issues of graphic design education, my arguments also pertain to education in other areas of design; most apply to arts education and many are relevant to post-secondary education in general. Finally, just as the essay calls for a broad view of design education and a broad context for design, I hope it will be read in a broad context and the arguments applied wherever appropriate.

Teaching Toward a Legacy in Graphic Design By Scott Boylston

Everything graphic designers create is garbage. Referring to the inherent and often instantaneous disposable of the majority of work done by graphic designers, the design critic Kerrie Jacobs suggested this in 1990. At that time the Environmental Protection Agency estimated that paper and paperboard — primary substrates in the graphic design industry — comprised 41% of the solid waste stream.

Hindsight: Fifty Years of the Yale Graphic Design Thesis By Randall Hoyt

As the first program of its kind in the United States, the Yale Graphic Arts Program, as it was then called, was the center of a revolution in design education. The artifacts of this rich legacy are housed in a special library called The Arts of the Book Collection which was established in 1967 as a place to preserve Yale’s rich collections of printing books, materials, and ephemera.

Socialism and Modernity: Graphic design and Visual Communications 1950-1975 By Dejan Krsic

The exhibition Socialism and Modernity: Art, Culture, and Politics 1950 – 1974, held by the end of 2011 and the beginning of 2012 at the Museum of Contemporary Art Zagreb was focused on the relation between the process of modernization and the culture of modernism, i.e. the way in which the Yugoslav postwar socialist society – by conceiving this relation in terms of general social progress – generated its own vision of modernity. This text deals with the development of graphic design and visual communications in the Yugoslav context, between 1950 and 1975.

Materialising Design Education Futures By Denielle Emans

This research explores how collaborations between geographically separate design students in San Francisco, California, USA, and Dubai, UAE—mediated by virtual communication—can impact learning, cultural awareness, and audience sensitivity. The two distinct courses challenge students to work together in teams, understand a range of audiences, give and receive critical feedback, exchange projects, and respond with culturally sensitive design solutions. The paper introduces the rationale, methods, and design-related outcomes of a series of collaborations to encourage design educators to develop cross-cultural methods in their own classrooms.

Beyond Commercial Design By Margot Muir

This analysis explores how they anticipated a modern conception of graphic design that has become part of a recently adopted and more widely embedded discourse. This discourse involves critical design that interrogates social and political agency, multiculturalism, interdisciplinarity, environmental sustainability, and speculative futures. The graphic design engages social institutions and practices that denote social constructions of difference and inequality and is never neutral.

Spaces in Time: The Influence of Aubrey Beardsley on Psychedelic Graphic Design

This article discusses how the psychedelic graphic design of the 1960s was influenced by the work of Aubrey Beard- sley, the late 19th-century illustrator. The conjunction of vibrant psychedelic features with Beardsley’s sinuous and organic traits made room for the creation of seminal countercultural works between 1966-69, the Grammy award-winning cover design for the Beatles’ album Revolver (1966), by Klaus Voorman being a key example. Graphic materials evoking the style of the controversial illustrator created a new path within countercultural graphic design.

An Agent of Change: Sustainability and Social Entrepreneurship in 21st Century Graphic Design By Marius Stepsys

In 1963 Ken Garland published the First Things First manifesto that raised concerns about graphic design becoming a mainly commercial tool than anything else and suggested that designers should take more meaningful and long-lasting challenges instead. Republished in 1999 by Adbusters, the First Things First manifesto and the activity of culture jammers in the 1990s outlined the consumerism problem and again invited graphic designers to reject this mass communication by creating something meaningful and socially orientated.

Radial Grid in Graphic Layout By Prasad Bokil

This paper is an effort to bring to the attention of graphic designers an interesting method of preparing grids for dynamic layouts. Grid is a well-known and well-studied tool in graphic design, especially in print media and typography. The paper will throw light on two pre-modern concepts, radial grid, and oblique grid, from the perspective of graphic layout. The phenomenon is observed in ancient Indian art by an artist-art historian, Alice Boner. This is a synchronic study with the review of early medieval texts, analysis of medieval artworks, and reflections on contemporary design.

First Periods of Poster Design and The Acceleration Contributed by Cultural Type Posters To Turkish Graphic Design Development By Banu Inanc Uya

The poster has the power of influencing people’s habits, is an important graphic design product which is also forming the aesthetical perception level. Contextually benefited from poster’s powers of guidance and obtaining certain behaviors. Aesthetical qualities were budding in advancing years in poster design, also with the effect of the development in industry, the embodiment of art environments, and much professional graphic design education.

Design for Paralympians Exploring Roles of Graphic and Industrial Design in Promoting Awareness of Athletes with Disabilities By Carlos A Montana-Hoyos

In relation to design, the roles of engineering and technology, mainly prostheses, materials, and equipment design have also been widely studied. However, the roles of design disciplines in promoting awareness and development of Paralympic sports are rarely discussed, and thus worthy of further investigation. Collaborating with the Australian Paralympic Committee (APC), the authors developed a practice-led research project in two parts (mainly a graphic design and an industrial design one) which explored some of the roles of visual culture in design for athletes with disabilities.

Search for Meaning: A Study on The Cranbrook Academy of Art’s Graphic Design Department By Lara Camargo

This paper proposes to study the design process and design criticism in the well-known post-modern moment in Cranbrook Academy of Art’s Department of Graphic Design under Katherine McCoy’s Co-Chairmanship (1971 to 1995). This research intends to show some problematic concepts, like Deconstruction, that surrounded the school and some visual examples of graphic experimentation that could be seen as visual meaningful ideas.

The Lines, Literature & Lives of Modernism: A Paper on The History of Graphic Design By Harini Venkat

This book explores the trail of Modernism from the Crystal Palace towards the architectural intelligence of the Bauhaus and De Stijl, and also unto the destructive typography of the Futuristic and Dada movements as they lead towards the greatest exponents of design and design ideology around Europe and, at some parts, the United States.

Modern-Day Issues Related to Graphic Design and Their Solutions In a Historical Perspective By Kaushik Macharla

In order to comprehend the modern-day issues, it is essential to understand the historical insight of graphic design and furthermore acknowledge its significance. The changing ways of graphic design have affected a great amount of the procedures in the field of graphic design. It is a fact that design educators and graphic designers are worried about this discipline and where it is heading.

Graphic Design 101 for Marketing Professionals By Rescue Illustrate

Graphic Design 101 for Marketing Professionals by Emily Brackett. Contents: Typography, Tools, Color Systems, Layout, Choosing a Designer, Communication, Impact, and Visual Hierarchy.

Design Books in the Chinese Taste By Julie Bellemare

This article examines design books replicating Asian and Asian-inspired imagery in seventeenth- and eighteenth-century England and France. Often created to provide craftsmen with new sets of decorative patterns, the designs compiled in these books served to imitate a range of newly manufactured products imported from Asia, for which local demand was growing at a steady pace.

Style, Production, and Authorship in Graphic Design By Brian Donnelly

What does the graphic designer produce? The typical design project results in detailed specifications, usually in the form of electronic files, for the production of material objects that have been commissioned by clients. The design itself, however, is immaterial, a technology nested inside other technologies and materials.

Cultural Change in The Creative Industries: A Case Study of BBC Graphic Design From 1990-2011 By Iain Macdonald

The author hopes to draw lessons from an analysis of television graphic design using examples of work that can point out the attributes and skills that a new designer across the globe will need to have and obtain in order to withstand future industrial and cultural changes.

Out of Scale, Out of Context. The Use of Images in The Teaching of Graphic Design History By Silvia Sfligiotti

Images are a core element in the teaching of the history of graphic design, but the way they are used and often de-contextualized in publications and classroom presentations can alter the perception of graphic artifacts, which instead of being seen as examples from a specific historical context are transformed into undisputed icons from an ideal gallery of masterpieces.

Graphic Designer, User, Specialist(s): Calling for a Triple Collaboration in The Area of Tactile Information Design By Ewa Satalecka

This paper reports from my experience as a graphic designer in co-designing tactile graphics for and with visually impaired people for making a museum exhibition accessible to this special audience. The presentation takes up as a case study the Accessibility Programme developed for the temporary exhibition ‘The Pre-Columbian Art at the Benaki Museum’ in Athens, Greece, in 2009.

Decoding the Candidates: A Semiotic Analysis and Literacy Guide to Graphic Design Principles in Political Campaign Branding By Jilanne Doom

Research and discussion of modern political communication have glossed over the messaging strategies afforded to political campaigns by graphic design. Further, the digital age has provided a new environment for political entities to create professionalized brand images. This interdisciplinary study combines the research behind political branding and visual communication of graphic design through the lens of semiotic theory.

Teaching Graphic Design Using Information Design Principles By Eden Potter

With social, technological, environmental, and industrial changes providing a new context for design and how it operates in the world, an audience-focussed, problem-solving approach is validated as central to reimagining graphic design education. Through a case study example, the paper suggests that when graphic design students in a traditional craft-based design education program are offered a human-centered approach to solving design problems—specifically information design problem solving and research methods—their own graphic design practice changes.

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