Journal articles: 'Graphic design history'

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Triggs, T. "Designing Graphic Design History." Journal of Design History 22, no. 4 (November 23, 2009): 325–40. http://dx.doi.org/10.1093/jdh/epp041.

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Jobling, P. "Graphic Design, A New History." Journal of Design History 21, no. 3 (September 1, 2008): 296–98. http://dx.doi.org/10.1093/jdh/epn019.

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Jobling, P. "Graphic Design History * Clean New World: Culture, Politics, and Graphic Design." Journal of Design History 16, no. 3 (January 1, 2003): 260–62. http://dx.doi.org/10.1093/jdh/16.3.260.

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Dhillon, Kim. "Graphic Design: History in the Making." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 19, no. 1 (March 2012): 169–71. http://dx.doi.org/10.1086/665695.

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Donnelly, B. "Locating Graphic Design History in Canada." Journal of Design History 19, no. 4 (January 1, 2006): 283–94. http://dx.doi.org/10.1093/jdh/epl023.

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Hyun Shin Jo. "Graphic Design History as an Introspection Process - Focused on the three points of writing graphic design history -." Journal of Korea Design Forum ll, no. 22 (February 2009): 7–16. http://dx.doi.org/10.21326/ksdt.2009..22.001.

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Bloomer, Peggy. "Active Learning and Teaching Graphic Design History." International Journal of Arts Theory and History 11, no. 3 (2016): 11–18. http://dx.doi.org/10.18848/2326-9952/cgp/v11i03/11-18.

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Triggs, Teal. "Graphic Design History: Past, Present, and Future." Design Issues 27, no. 1 (January 2011): 3–6. http://dx.doi.org/10.1162/desi_a_00051.

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KIZILŞAFAK, ELANUR. "HISTORY OF CALIGRAPHY AS A GRAPHIC DESIGN PRODUCT." E-Journal of New World Sciences Academy 9, no. 2 (April 17, 2014): 55–65. http://dx.doi.org/10.12739/nwsa.2014.9.2.d0148.

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Barry M. Katz. "Graphic Design: A New History (review)." Technology and Culture 50, no. 1 (2008): 258–60. http://dx.doi.org/10.1353/tech.0.0201.

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TRIGGS, T. "Graphic Design in America: A Visual Language History." Journal of Design History 4, no. 1 (January 1, 1991): 59–61. http://dx.doi.org/10.1093/jdh/4.1.59.

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KINROSS, R. "Conversation with Richard Hollis on Graphic Design History." Journal of Design History 5, no. 1 (January 1, 1992): 73–90. http://dx.doi.org/10.1093/jdh/5.1.73.

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Budnyk, Andrii. "THE INFLUENCE OF UKRAINIAN FILM POSTERS OF THE 1920s AND 1930s ON CONTEMPORARY GRAPHIC DESIGN." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 185–98. http://dx.doi.org/10.31866/2410-1915.22.2021.235912.

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The purpose of the article is to analyse the influence of the system of compositional techniques and graphics of the All-Ukrainian Photo Cinema Administration Film Poster School and Ukrainafilm on domestic graphic design. Research methodology. The author has applied historical, art history, and comparative analysis. Scientific novelty. Through the similarity matching in the world and Ukrainian design and the study of the use of design schemes, techniques and tools that are permanently used in graphic design, we reason the influence of the Ukrainian Poster School of the 1920s and 1930s on contemporary graphic design practice. Conclusions. Despite a long break for ideological grounds in the functioning and study of Ukrainian graphic design in the middle of the twentieth century, we record a noticeable influence of the means and techniques of Ukrainian poster art on modern trends. These are general compositional techniques: placing a formatted face or figure as a dominant on the entire plane of the image, designing a composition on the principle of a “playing card”, deliberately replacing grounds on the inverted perspective. There are local techniques: concentric circles as a compositional dominant, filling the main character’s glasses with visual elements or font content, and rhythmically repeating visual elements or font groups. The identified similarities can be valuable in the young designers training, taking into account the general development of Ukrainian graphics’ history and its single branch graphic design. It is also possible to use these schemes, techniques and tools in contemporary design education as a methodological basis for teaching poster design, designing, composition, layout and modelling.

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Remington, R. Roger. "The electronic museum of graphic design history at Rochester Institute of Technology." Art Libraries Journal 13, no. 2 (1988): 21–23. http://dx.doi.org/10.1017/s0307472200005642.

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Much of the original and printed material which constitutes the history of graphic design is in danger of being lost. The efforts of libraries and museums to preserve this material can be enhanced by the use of interactive videodisc to record, and to facilitate access to and exploitation of, the contents of graphic design archives. At the Rochester Institute of Technology, a project which aims to create an ‘electronic museum’ alongside an extensive archive of graphic design has achieved the production of a prototype videodisc and of accompanying software. While the Rochester Archive is focussed on American graphic design of the 1930s to 1950s, an international network of graphic design collections, and of electronic databases, is envisaged.

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Moltrup, Megan. "Herstory of Graphic Design: Elaine Lustig Cohen." Collections: A Journal for Museum and Archives Professionals 15, no. 2-3 (June 2019): 167–77. http://dx.doi.org/10.1177/1550190619866179.

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The Cary Graphic Arts Collection in Rochester, New York, manages the Graphic Design Archive of the Rochester Institute of Technology which features more than 35 collections documenting the work of many 20th-century Modernist graphic designers. Among these is the work of Elaine Lustig Cohen (1927–2016), a relatively unknown designer from New York City. Upon her marriage to the well-known designer Alvin Lustig, Elaine unknowingly started out on her path as a designer. She seamlessly transitioned from office manager to artist, but it took decades for her to receive recognition for her work. In an attempt to situate Elaine Lustig Cohen and her body of work within graphic design history and to give her body of work greater attention, I researched, handled, and disseminated knowledge of her work and her collection. Specifically, I examined and organized her collection at the Cary Graphic Arts Collection and went on to co-curate an exhibition chronicling her career as part of my capstone of my undergraduate degree in museum studies. I wanted to look at this collection in relation to the bigger picture of women in design and to the relationship between the representation of women in the history of graphic design textbooks and the availability of their work in archives.

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Michael J. Golec. "Purloined Letters and Prehistories of Graphic Design." American Quarterly 62, no. 2 (2010): 343–54. http://dx.doi.org/10.1353/aq.0.0128.

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Drucker, Johanna. "Philip Meggs and Richard Hollis: Models of Graphic Design History." Design and Culture 1, no. 1 (March 2009): 51–77. http://dx.doi.org/10.2752/175470709787375724.

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Ovchinnikova, Raisa Yu. "GRAPHIC DESIGN PROCESS: CONTEXT OF IMPLEMENTATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 185–96. http://dx.doi.org/10.17223/22220836/39/17.

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The article shows that the study of design process as a special activity in graphic design is an art history problem and requires special research methods. It is scientific methodology that makes it pos-sible to achieve reliability in art history knowledge. Attention is drawn to the fact that since the 1960s the methodology of systems theory and activity theory has been a keynote for the development of the design process knowledge in various schools of graphic design. This methodology meets academic criteria and has not lost its value in our days. Based on the principles of this methodology the article analyzes different types of the graphic design process. The objective processes associated with the use of computer technologies in design appear to be the norm and the paradigm of functioning in modern graphic design. Thus, the idea of existence of numerous computer-aided design types is justified. The design objectives of diverse complexity serve here as criteria. On the basis of these objectives traditional, original, and innovative designs are out-lined and comparatively analyzed in the article. It is noted that computer technologies, first, act as an effective tool for the implementation of the forms envisioned by the designer. Second, a computer can be regarded as a creative partner, an agent. Computer technologies possess a unique set of properties and features that open up new opportunities for a creative practice in the field of graphic design. The boundaries of the design practice are changing, and new areas of collective creativity are being estab-lished. In this case the graphic design process is a process that involves efforts of many people. So, individual creativity of professional designers appears to be replaced by the collaboration of interdisci-plinary experts. It is also noted that the growth of computer-aided technologies is too fast for graphic designers to develop a theoretical understanding of them. It results in the duality of assessing the role of methodol-ogy and experience in the graphic design process. On the one hand, the use of design methodology improves efficiency of the design process in comparison with the approach based on experience. On the other hand, there occurs the “extraction” of methodology from the design practice. Research meth-ods of the graphic design process are created under the influence of not only intradisciplinary process-es but also with a view to the messages from other areas of academic knowledge. An example is the use of synergy as a special way of understanding empirical facts accumulated in various fields of aca-demic knowledge. Namely, computer-aided design reveals the non-linearity, a large variety of forms. Herewith, any calculations applied to a huge number of graphic elements change the visual result, creating a new version of the form. It is noted that the use of high-tech computer technologies is quite specific about training designers.

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Clary, Renee M., and James H. Wandersee. "The evolution of non-quantitative geological graphics in texts during the formative years of geology (1788–1840)." Earth Sciences History 34, no. 1 (January 1, 2015): 59–91. http://dx.doi.org/10.17704/1944-6187-34.1.59.

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Although modern geology uses both pictorial and graphical illustrations for conveying information and data presentation, early books in the discipline did not place such a reliance on graphics. This study investigated the numbers and types of graphics in 72 texts containing geological illustrations, which were considered to be representative (excluding works with solely mineralogical or paleontological illustrations), published during the formative years of geology (1788–1840) in terms of Edward R. Tufte's principles of graphic design. The text graphics were analyzed in terms of the presence of proxy or inferred imagery, direct or keyed labeling, unnecessary embellishment, and their data density; and whether they exhibited multivariate properties, represented the small multiple format, or exhibited graphic modifications. Mixed methodology analyses revealed four stages in the evolution of geologic illustrations in the interval from 1788–1840: (1) early pictorial or proxy representations; (2) the introduction of labeled graphics, coinciding with the first geology textbooks; (3) ‘grand' or elaborate illustration; and (4) a high graphic density. Although progress was made in graphical representation during the time period studied, statistical graphics were hardly ever used.

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Engholm, Ida. "Digital style history: the development of graphic design on the Internet." Digital Creativity 13, no. 4 (December 2002): 193–211. http://dx.doi.org/10.1076/digc.13.4.193.8672.

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Anguera, Marta. "Enric Huguet: 60 Years of the History of Catalan Graphic Design." Design Issues 34, no. 3 (July 2018): 103–4. http://dx.doi.org/10.1162/desi_r_00500.

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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.

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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s).  Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.

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Riordan, Diane A., Michael P. Riordan, and Scott N. Cairns. "Graphic Design: Is It Just Another Advertising Expense?" ATA Journal of Legal Tax Research 1, no. 1 (January 1, 2003): 54–63. http://dx.doi.org/10.2308/jltr.2003.1.1.54.

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Identifying the period when a business benefits from advertising expenditures has proven to be difficult. Because of the difficulty in allocating expenses to a particular period, tax authorities provide for the current deduction of advertising expense even though it is reasonable to expect future benefits from the activities. In 1998, citing case history, administrative pronouncements, and the definition of advertising, the Tax Court allowed the immediate deduction of the costs for the graphic design of cigarette packaging incurred by R. J. Reynolds Tobacco Co. The Internal Revenue Service did not acquiesce to the Tax Court's decision, and we can expect the deduction of advertising expense, especially graphic design, to remain an interesting and challenging issue.

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Cheshenko, L. I. "The Role of Design for the Deaf and Hard of Hearing in History and Modern Society." Contemporary problems of social work 6, no. 3 (September 28, 2020): 22–29. http://dx.doi.org/10.17922/2412-5466-2020-6-3-22-29.

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the article describes one of the branches of design – graphic design, as an integral part of society. Namely the role and adaptation of graphic design for deaf and hard of hearing people. The methodological basis of the research is the works of such authors as E.A. Rosenblum, V. Singe, I.F. Heilman. Based on the results of the study, recommendations were developed for designers developing a design product adapted for deaf and hard of hearing people.

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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (August 19, 2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.

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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.

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Zeller, Sara. "Centering the Periphery: Reassessing Swiss Graphic Design Through the Prism of Regional Characteristics." Design Issues 37, no. 1 (January 2021): 64–75. http://dx.doi.org/10.1162/desi_a_00625.

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In the literature, the history of Swiss graphic design is regularly told as a linear development from illustrative tendencies to Modernist abstraction. Recent research has shown that these narratives were constructed and disseminated by a group of Modernist graphic designers through journals and their own publications. By the mid-1950s, the Modernists themselves began dividing designers of the time into two camps: the individual or illustrative versus the abstract or Modern. This dichotomy, which established itself quickly, continues to shape the narrative of Swiss graphic design to this day. However, this article argues that the reality of graphic design practice in Switzerland in the 1950s was more diverse than previously assumed. Outside an exclusive circle of practitioners, illustration and abstraction were understood more as design methods than as attitudes. Taking this as its starting point, this article looks beyond this dichotomy by drawing on unpublished sources of the time and, thereby, challenges the traditional understanding of Swiss graphic design.

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Thomson, Ellen Mazur. "Alms for Oblivion: The History of Women in Early American Graphic Design." Design Issues 10, no. 2 (1994): 27. http://dx.doi.org/10.2307/1511627.

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Zulueta, Maider, and Josep Antoni Rom. "The value of the paradigms of Art History in Graphic Design practice." grafica 5, no. 10 (July 3, 2017): 75. http://dx.doi.org/10.5565/rev/grafica.80.

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McCarthy, Steven. "After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy." Design and Culture 11, no. 3 (August 21, 2019): 361–64. http://dx.doi.org/10.1080/17547075.2019.1651119.

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Targ, Rebecca. "Graphic Design History: A Critical Guide by Johanna Drucker and Emily McVarish." Design and Culture 2, no. 1 (March 2010): 117–19. http://dx.doi.org/10.2752/175470710x12593419555847.

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Renon, Anne-Lyse. "Graphic design and research in social sciences: Jacques Bertin and the Laboratoire de Graphique." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-311-2019.

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Abstract. The contemporary rise of data visualization and imaging technologies in all areas of knowledge now places design and visuality at the heart of research and its communication, with fundamental implications for scientific epistemology. Jacques Bertin's Laboratoire de Graphique (LG) of the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in France, is a privileged entry for this study, since it was a major player in this movement, at the crossroads of graphic innovation and social sciences as they reinvented themselves in the second half of the twentieth century.This intervention aims to explore a black box of research in the humanities and social sciences, according to two approaches, that of the interdisciplinary collaborations and that more experimental of the graphic design and formatting of information. By design we mean as all the processes from graphical display of data, to CHI, new methods of scientific representation.This laboratory was created and directed by the cartographer and semiologist Jacques Bertin from 1954 to 2000 at the Ecole Pratique des Hautes Études and, under the impetus of Fernand Braudel, at the Ecole des Hautes Etudes en Sciences Sociales (EHESS), is considered as a forerunner of productions and reflections on graphic research in the social sciences. His work articulates an unprecedented production of images, visualization of data and scientific research, forming the subject of a fundamental treatise, Graphical Semiology (1967). The intervention will trace the largely unknown history of this laboratory, will pinpoint the contributions and the intellectual trajectory of its graphic experiments and collaborations.Indeed, while the activities related to the LG's cartographic research are relatively well known, its interactions with history, statistics, sociology, anthropology, urbanism, literature and the decorative arts remain unexplored.Jacques Bertin, in Semiology of graphics (1967), highlighted the concept of « visual variables » to build a general rhetoric of visual representation: background shape orientation grain color, etc.The paradox of these visual variables is the desire to achieve an objectivity of representation, while taking into account the ”aesthetic“ part of the data. This graphic rhetoric developed by Bertin has influenced many works and disciplines, becoming almost standard, convention, rules. In this session we propose to discuss the relationship between design and visual variables in the contemporary visual display of information.We will start by presenting the two complementary funds of archives of the Laboratoire de Graphique the NAs and the BnF, allowing a genetic analysis of the origin of certain concepts of Bertin to give an account of the process of their elaboration.We will present collaborations, content, and processes to produce a story that is at once aesthetic, social, economic, and political. We will measure the evolution of scientific imaginaries, the values and uses of representation methods and graphic communication tools, their epistemological scope into 4 thematics:<ol><li>The Life of the Graphic Lab: Pathways, Collaborations and Practices at EHESS. Collaboration Braudel-Bertin,creation of the visual identity of the EHESS, practices and conceptualization of the place of graphic research in the social sciences. Bertin heritage in current research programs</li><li>The graphic semiotics of Jacques Bertin: genesis and effects, including in contemporary digital humanities (statistics,big data, cultural analytics). Visual variable and Display of information as the starting point of a research, fieldworks</li><li>The expressivity and plasticity of graphic work: the representation of geographical and human territory. Contribution of the experimental work of the Graphical Laboratory to cartography; materialization of the instrumental design and graphic knowledge in the uses and materiality of the cards from the point of view of the plastic creation and the patrimonial conservation. Objectivity and visual display: relationships between graphics and fact in scientific demonstration</li><li>Graphical semiology in contemporary research, from graphic semiology to information design; pedagogical and epistemological issues of graphic semiology; dissemination of the work of the Laboratoire de Graphique and impact on the field of design and different disciplines in the international context. « Redesigning » the concepts of Bertin: how new data processing tools can contribute?</li></ol>The new convergences between design and research will be mobilized to question the place devolved to design in the visual and instrumental construction of contemporary scientific practices and knowledge. This will stimulate a dynamic and a collective experience of interdisciplinary discovery of uses of these methods and tools in heritage context.

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Косів, В. М. "МІЛІТАРНИЙ ОБРАЗ УКРАЇНЦЯ У ГРАФІЧНОМУ ДИЗАЙНІ ДІАСПОРИ 1945–1989 РР." Art and Design, no. 4 (March 4, 2019): 65–71. http://dx.doi.org/10.30857/2617-0272.2018.4.6.

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The purpose of the study is to identify the peculiarities of a Ukrainian Man visual representation in the 1945–1989 graphic design of the Ukrainian diaspora. The methodology of this research is based on iconographic and semiotic analysis, as well as the application of gender studies approach. Graphic design is discussed as visual communication, methods of the «new art history» were applied.

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PİLİCİ, Elanur. "POSTMODERN REKLAM AFİŞİ TASARIMI." IEDSR Association 6, no. 11 (February 24, 2021): 329–42. http://dx.doi.org/10.46872/pj.245.

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The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods within this period. In particular, the invention of the printing press, lithography, and the Industrial Revolution have led to great leaps in the art of graphic and poster design as in all other areas of life. Computer and digital technologies that were first developed in the middle of the 20th century almost brought about a revolution in the art of graphic and poster design. These great breakthroughs caused technical and technological innovations and changed the art of graphic design. While education in graphic design acquired an institutional dimension, its aims and objectives were transformed. Discussions of postmodernism, new forms of relationship, concepts and schools are reflected in the art. Relationships between postmodernism and graphic design, poster styles categorized as postmodern and advertising culture have caused new debates. Advertisements and advertising posters have acquired new forms to meet the needs of today’s consumer society, which are getting more and more complex. Its dynamics have changed posters and advertising. This study discusses the evolution of the art of graphic and poster design within the whole historical and social development process, its dimensions, postmodernism and striking examples of postmodern advertising posters.

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Wong, Wendy Siuyi. "Detachment and Unification: A Chinese Graphic Design History in Greater China Since 1979." Design Issues 17, no. 4 (October 2001): 51–71. http://dx.doi.org/10.1162/07479360152681092.

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Abdulkhakova, Aislu R. "From the History of the Tatar Soviet Children’s Book Art." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (May 24, 2010): 56–60. http://dx.doi.org/10.25281/0869-608x-2010-0-3-56-60.

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In this article the national origins of Tatar children’s book art formation and the influence of Russian traditions of book design are considered. The history of Tatar children’s book design art development in the Soviet period covers the field briefly. The author succeeded in eliciting some facts in the field of children’s book design in the local archival and printed sources, and these facts are produced in the article. The names of some graphic artists are mentioned.

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Hess, Ingrid. "How drawing helps history remain present." Visual Inquiry 2, no. 1 (March 1, 2013): 77–86. http://dx.doi.org/10.1386/vi.2.1.77_1.

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In the class 'A history of graphic design' I use drawing as a tool to help students retain what they learn in the lectures and readings. I show examples of how this visual component aids my lessons regarding 'Egyptian books of the dead', 'Industrial Revolution broadsides', 'Modern symbol systems' and a final capstone museum project. My method is applied to more than one cohort of students in different art specialties and design areas. I conclude the article with a summary of my experience using drawing as a tool for retention of historical material and share students' reactions to this method of teaching history.

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Dundure, Inese, and Diāna Apele. "GRAPHIC DESIGN OPPORTUNITIES FOR INTEGRATED APPROACH IN MUSEUMS IN REPRODUCTION OF ART TREASURES." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 384. http://dx.doi.org/10.17770/sie2018vol1.3375.

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Latest tendencies in museum accessibility, both in the world and in Latvia, show that the social status of museums is changing from a cultural institution for a narrow circle of interested persons to a meeting place open to society, accessible both intellectually and physically to different social groups. The research aim is to study the opportunities for the use of graphic means to disclose and give access to the collection of artistic property of Latgale Culture and History Museum (LCHM) to persons with vision impairment. With the information summarised, the authors invite to use the opportunities of graphic design and technologies in the creation of art reproductions, making the graphic image of the painting perceptible by touch, i.e. tactile, and thus accessible to persons with visual impairment. The novelty of the research on the scale of Latvia will be a supplement of tactile images to the album of the collection of art reproductions of LCHM, which includes tactile graphic images and corresponding descriptions in Braille for persons with vision impairment. At this stage of the research, empirical methods were used – interview and practical activity.The aim of the research: Study and research graphic design opportunities for the integrated approach in museums in the reproduction of existing art property to ensure its accessibility to persons with vision impairment, analyse the needs of the visually impaired in cooperation with societies and organisations in Latvia and design a scheme of practical activities for persons with vision impairment.

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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2114.

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Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.

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Ben-Pazi, Hanoch. "Graphic design in the printed translations of Franz Rosenzweig." Journal of Modern Jewish Studies 18, no. 3 (June 6, 2019): 298–313. http://dx.doi.org/10.1080/14725886.2019.1612571.

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Leopardi, Liliana. "Semiotics and Pedagogy: Teaching Visual Thinking to Studio, Graphic Design and Art History Students." International Journal of the Arts in Society: Annual Review 4, no. 3 (2009): 209–14. http://dx.doi.org/10.18848/1833-1866/cgp/v04i03/35634.

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Carmin, James H. "GRAPHIC DESIGN IN AMERICA: A VISUAL LANGUAGE HISTORY. Caroline Hightower , Mildred Friedman , Joseph Giovannini." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 2 (July 1990): 116–17. http://dx.doi.org/10.1086/adx.9.2.27948224.

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Grant, Robert D. "Graphic Design, Print Culture, and the Eighteenth-Century Novel (review)." Victorian Periodicals Review 38, no. 4 (2005): 421–22. http://dx.doi.org/10.1353/vpr.2006.0008.

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Kolisnyk, O. V., L. V. Ocheretna, M. I. Yakovlev, O. V. Kolosnichenko, K. L. Pashkevich, and O. M. Kretova. "TENDENCIES AND ART TECHNIQUES IN CONTEMPORARY COMIC BOOK GRAPHIC DESIGN." Art and Design, no. 3 (November 13, 2020): 34–45. http://dx.doi.org/10.30857/2617-0272.2020.3.2.

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Purpose. Exploring of the distinctive features of modern comics, their artistic and compositional solutions, types, main trends in American, European and Asian culture. Definition of the original formation of modern Ukrainian comics. Methodology. The basis of the research methodology includes integrated use of historical and comparative methods, system analysis, synthesis, generalization. Results. Basing on the analysis of modern comic book content, the history of comics and its perception by the audience as a modern media text are revealed, characteristics of individual elements in comics are systematized. The specifics of the artistic and compositional system of modern comics, the nature of figurative and stylistic techniques, graphic features of American, European, Asian, Ukrainian comics are determined. Patterns which are inherent in comics as visual narratives of different socio-cultural parts of the world, as well as aspects that shape modern Ukrainian comics, are considered. Scientific novelty. Characteristics of comics as an object of graphic design are determined: features of artistic and compositional design solutions in different regions of the world are systematized; leading trends in the development of specific types of comics in the United States, Europe, Asia and Ukraine are revealed. Practical significance. Based on art analysis of comic book types and by identifying trends in their development within modern art the specifics of the further development of comics are determined and ideas for future creative projects are presented, features that have both artistic and commercial value are indicated.

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Chen, Rain. "Design Patent: A Unique Tool for Design Protection." Recent Patents on Engineering 14, no. 1 (June 21, 2020): 29–38. http://dx.doi.org/10.2174/1872212113666191010144927.

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Design patent is deemed as a superb competitive tool in the design industry. The author of this study delineates a co-opetition type of relationship of design patent with patent, trademark, and copyright to assist designers to construct a correct core concept of design patent quickly. The investigator proposed five key judgment factors based on infringement identification, and they are (1) literal infringement, (2) doctrine of equivalence, (3) points of novelty test, (4) prosecution history estoppel, and (5) prior art limitation. They can help designers clearly identify the legal right and scope of their design. Lastly, the author proposed three new competitive tools for a design patent, and they are (1) partial design patent, (2) computer-generated icons and graphic user interface, and (3) derivative design patent. Using these three new design patent tools will enable designers to effectively expand their design patent rights and maximize design benefits for their companies.

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Budiman, Arif, and PG Wisnu Wijaya. "Perancangan Media Komunikasi Visual Pada Museum Uang Sumatera." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 3, no. 1 (April 20, 2020): 356–69. http://dx.doi.org/10.37505/aksa.v3i1.28.

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The Sumatran Money Museum (MUS) in Medan, North Sumatra is one of the self-managed museums, with a collection of thematic and distinctive artifacts, namely the Sumatran currency! The official currency that was issued after independence in 1947-1949. This is among MUS's strengths. However, the problem that arises is that MUS has not yet maximally arranged aspects of visual communication such as consistency in implementing corporate identity, stationary, and graphic signaling (sign system), including the absence of graphic information (infographic) information on the history of the Sumatran currency. This study provides solutions to problem solving through designing a visual communication media based on identity (brand identity) and prioritizing informationfriendly principles, especially for young millennials. The problem in this study was answered by using the design method by following the stages of the graphic design process from Amy E. Arntson namely Research, Thumbnails; Roughs, Comprehensives and Ready for Press. The solution obtained from this research is to design a corporate identity service. Consists of the logo, stationary, merchandise and graphic information of the museum. As a first step in building the MUS brand identity.

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James, Stuart. "Graphic Design: A Concise History (Revised and Expanded Edition)2002209Richard Hollis. Graphic Design: A Concise History (Revised and Expanded Edition). London: Thames and Hudson 2001. 232 pp., ISBN: ISBN 0 500 20347 4 £8.95." Reference Reviews 16, no. 4 (April 2002): 35. http://dx.doi.org/10.1108/rr.2002.16.4.35.209.

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Woodham, Jonathan M. "The Design Archive at Brighton: serendipity and strategy." Art Libraries Journal 29, no. 3 (2004): 15–21. http://dx.doi.org/10.1017/s0307472200019015.

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The Design Archive at Brighton University, until 2004 known as the Design History Research Centre Archives, houses a number of collections which are of great value to UK and international design historians. These include the Design Council Archive and that of ICOGRADA (the International Council of Graphic Design Associations), as well as material relating to two well-known designers, James Gardner and F. H. K. Henrion. These archives, which actually relate to one another very well, were acquired somewhat serendipitously, but future additions will be chosen as the result of a more strategic planning process.

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Klyushina, Elena V., and Eleonora M. Glinternik. "“La Revue Blanche”: The History of Illustrating." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 127–49. http://dx.doi.org/10.21638/spbu15.2021.108.

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The article reconstructs the illustrating history of “La Revue Blanche”, the leading French literary and artistic magazine of the fin de siècle epoch. Leaving out the analysis of literary content, the authors considers the petite revue through the prism of its most significant artistic achievements. In order to achieve this goal, a rather wide range of graphic artists who collaborated with “La Revue Blanche” at one time or another is outlined, and the conditional genre ranking of engravings published and distributed with the help of the journal is carried out. Based on the data obtained, a periodization of the short history of “La Revue Blanche” illustrating is proposed. The article attaches great importance to the stylistic and iconographic analysis of individual artworks. In the case of the ones by Vuillard, Roussel, and Bonnard, it is possible to put forward new semantic interpretations and emphasize the confessional nature of the prints created by the masters for the design of the journal’s frontispiece. In the article significant attention is given to the history of introducing the practice of publishing graphic literary portraits by Vallotton in “La Revue Blanche”, which at some point are forced to take on the utilitarian function of vignettes. Equally important is the review of the publication history of the independent illustrated supplement “NIB”, which, as is well known, has only had three issues. The authors see in “NIB”, at the same time, an artistic reincarnation of fumiste chatnoiresque satire, clearly close to Toulouse-Lautrec, Valloton and Bonnard, and a graphic revealing of the internal philosophical and aesthetic conflict that existed within the Nabis art group. In addition, the authors also describe the features of the Nathanson brothers’ publishing activity, emphasizing the direct dependence of the content of published products on the owners’ tastes.

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Kulpińska, Katarzyna. "Gracjan Achrem-Achremowicz: Vilnius Print-Maker, Graphic Designer, Bibliophile and Publisher." Acta Academiae Artium Vilnensis, no. 98 (December 11, 2019): 33–51. http://dx.doi.org/10.37522/aaav.98.2020.23.

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When considering the personality and work of Gracjan Achrem-Achremowicz, a citizen of Vilnius, one must keep in mind the richness of his interests and talents: he was a painter, a printmaker, a bibliophile, a collector of antique prints, a publisher, an educator, a poet and a translator, and he knew several languages, including Hebrew and English. His passions and activities, though versatile, were most strongly associated with artistic (workshop) prinmaking, the graphic design of books, and with the printed word. In my paper, I aim to define the achievements of this artist as those of one of the few students of the Faculty of Fine Arts in Vil- nius who was committed to graphics at a time when teaching this discipline was not a priority (before 1930), and at the same time as an artist who had the opportunity of studying abroad.

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Irwin, Ken. "Graphic nonfiction: a survey of nonfiction comics." Collection Building 33, no. 4 (September 30, 2014): 106–20. http://dx.doi.org/10.1108/cb-07-2014-0037.

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Purpose – This bibliographic essay examines the scope and variety of nonfiction works in comics form with the intent of expanding librarians’ awareness of the diversity of such materials and serving as a resource for librarians. Design/methodology/approach – It provides some theoretical background for understanding what constitutes nonfiction in graphic form and an overview of works available in print. Findings – The article provides a representative (but not comprehensive) survey of graphic nonfiction works in the genres of memoir, travel, journalism, history, biography, science, essays and educational materials. Research limitations/implications – The essay focuses on materials published in books in English; the library world would benefit from subsequent research exploring the richness of materials available in other formats and other languages. Originality/value – The field of graphic nonfiction is expanding, and this article serves as a guide for libraries interested in building or expanding collections in this format.

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Journal articles on the topic 'Graphic design history'

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