The emergence of smartphones, Blackberries and iPads have made information accessible and available immediately, right upon our demand.
This new information age has sparked a rebirth in advertising, for every multimedia medium contains a staggering area of words, pictures and appeals -- almost all of which have been designed or influenced by a graphic designer along the way.
Log into your e-mail account and you are flooded with an array of local advertisements. You can work online, shop online, play games online, get homework help online and even get real-time advice from a certified mechanic about how to remove the radio from the dashboard in Graphic design 8
your car. And every click of the way, technology is tracing your every move, feeding you ads and offers that originated at the desk of a graphic artist or designer.
But technology is not only tethered to computer lines; it's also tethered to a gas pump. Some gasoline companies have programmed their pumps so that the moment a consumer selects his gasoline of choice -- regular, high-grade or premium -- a commercial touting the company begins to air (some would say blare) for the next five minutes.
The "sea change" in the world of technology has -- to borrow an expression of an earlier, less complicated time -- made Sherry Turkle's head spin in wonder. But Turkle, a professor at MIT for the last 25 years, notes that "we make our technologies and our technologies shape us."
But the next generation of college students should fear not, for the entire revolution is being documented for future introspection.
Joe Janes, chairman of the library and information science at the University of Washington and the person responsible for developing the Internet Public Library, recently stated he foresees a growing role for multimedia in the library (Mitchell, 2005).
Technology empowers but the operator rules the day
Much like TV programs devoted to home improvement projects have engendered legions of weekend warriors, so too has the accessibility and ubiquity of graphic design spawned countless amateur designers.
They have been encouraged by a cottage industry of "easy to follow" commercial templates and computer programs that guide wanna-be artists through the creation of business cards, brochures, Web sites and virtually any design challenge they wish to master.
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But have we also lost sight of the word master? -- "a person recognized as having achieved the highest degree of skill," according to Webster's New World College Dictionary.
To return to the original thesis question: is it possible to simply put the "right" technology in someone's hands -- even a caveman's hands -- and expect truly masterful graphic design to result?
Not unless that someone is graced with god-like powers of intuition, skill and years of experimentation, practice and education.
To wit: Not only does a graphic designer need to know how to use sophisticated computer programs to create designs, but he or she often needs to understand photography, editing, printing capabilities and context.
If a designer is creating an ad for the newspaper, he or she needs to consider several options: Will there be color? Is the font embedded into the design? Has the photo or graphic element been saved in the right dpi? (Does the novice designer even know what dpi -- dots per inch -- stands for?)
Many people have experienced issues opening a document at one time or another. If the font isn't embedded into the document, chances are, when it is opened on another computer, another font entirely will take place of the one that was so...
Graphic Design Comparison Graphic design has the power to shape our world and reflect our history. This is abundantly clear when examining two works of graphic design over a century apart. This paper will examine the similarities and difference between the handbill for the excursion tickets to Baltimore of 1876 and Paula Scher’s poster for the Public Theatre. One major similarity between these two posters that have over 100 years of difference
Graphic Design The objective of this work is to examine the knowledge needed by the graphic designer both historically and in today's modern world. Swanson (2010) writes in the work entitled "Graphic Design Education as a Liberal Art: Design and Knowledge in the University and the 'Real World'" states "Though hardly homogeneous, the vast majority of graphic design programs, whether in vocational schools, art schools, or universities, are, at least in concept,
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
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Graphic Designing Impact of Typographers on Graphic Design Field This paper sheds light on the lives of two prominent typographers Eric Gill and Adrian Frutiger. The purpose of this paper is to find out about the lives of these typographers, their careers and their contributions to the field of graphic designing. The art of typography pertains to the technique of arranging text in order to enhance visibility of the language. We begin
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