In 1970, the Merganthaler Linotype VIP became the first phototypesetter to incorporate a minicomputer with programmable software that could be used to process raw text within the output machine (Barlow & Eccles, 1992).
The graphic artist and designer had been losing some of their credibility in relationship to the fine artists up to the 1970s, because typesetting became a mechanical process that required technical training rather than artistic talent. Yet illustrators continued to be considered artists. However, several graphic designers proved such beliefs biased and irrelevant. Starting in the 1950s, Alan Fletcher used pop art, humor and bold and colorful works to develop new works of art. David Carson, a typographer and graphic designer, established his expertise in the 1980s for experimental typeface design. Completely developing his own approach, he established new rules of design and typography and experimented with overlapping and distorted fonts that were interconnected with images. Peter Saville greatly changed the graphic design culture in fashion, art and music (Eskilson, 2007).
Desktop publishing totally transformed the field of graphic art and design. Artist April Greiman was one of the first graphic designers to make use of this technology. In 1984, she bought a Macintosh personal computer and immediately began to explore its potential to enhance her creative output. She did not see the computer as a functional tool that would execute a preconceived idea, but rather something that would lead to new experimentation in composition. In the mid-1980s, the separate products of Apple Computers, Adobe and Aldus together brought a completely new system for graphic artists and typographers. The Apple "What You See Is What You Get" format, the Adobe Postscript printer language and the Aldus Page Maker software gave designers the ability to produce camera-ready typeset quality work without having to leave their studio chair (Eskilson, 2007).
The digital revolution of the Internet and Web has greatly enhanced the reliance on the graphic artists' areas of expertise both in print and on the computer. Manipulating fonts with a wide range of effects with a click of a mouse has become second nature. As the varied methods of graphic designers extend into the virtual space of the computer monitor, art...
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
Art Therapy for Abused Children Art therapy is a psychotherapeutic discipline using plastic and graphic art expression as a means of expressing thoughts and feelings that an individual may be unable or unwilling to verbalize (Di Maria pp). Each client's diagnosis, needs, interests, and capabilities are formulated in the goals of the therapy (Di Maria pp). Art therapists encourage their clients to express personal concerns through the creation of art, and
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
Art Five notable 20th century artists The nature of 20th century art was profoundly challenged by the sudden ubiquity of apparently 'objective' media such as the motion picture, photography, and standardized graphic advertising. How could art be deployed effectively in the face of such representation? If art was no longer needed to physically capture the past, what was its use? The answer posed by the plastic arts was that art must look
He maintains that graphic design discussion is flawed for a number of reasons, and these flaws have led to distortions about graphic design and its principles. He writes, "He and other avant-garde artists made a major impact in the visual development of graphic design, but they also raised the importance of their esthetic approach to a point where they communication link with the common denominator they were addressing broke
(176) In this regard, Nead notes that because she was an art lover, Richardson experienced a moral dilemma in her decision to attack "The Rokeby Venus," but she felt compelled to do so anyway based on her perception that the government was failing to act responsibility towards women in general and the suffragettes in particular. "In her statement during her trial, Richardson appears calm and articulate and nothing is said
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