# Graphic design

> Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Graphic_design
> Markdown URL: https://mediated.wiki/source/Graphic_design.md
> Source: https://en.wikipedia.org/wiki/Graphic_design
> Source revision: 1356856150
> License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/)

Interdisciplinary branch of design and fine arts

Due to its interdisciplinary nature, graphic design can be performed in different areas of application: branding, technical and artistic drawing, signage, photography, image and video editing, [3D modeling](/source/3D_modeling), animation, programming, among other fields.[1]

**Graphic design** is a [profession](/source/Profession),[2] [academic discipline](/source/Academic_discipline)[3][4][5] and [applied art](/source/Applied_art) that involves creating [visual communications](/source/Visual_communications) intended to transmit specific messages to social groups, with specific objectives.[6] Graphic design is an interdisciplinary branch of [design](/source/Design)[1] and of the [fine arts](/source/Fine_arts). Its practice involves [creativity](/source/Creativity), [innovation](/source/Innovation) and [lateral thinking](/source/Lateral_thinking) using manual or [digital tools](/source/Computer-aided_design), where it is usual to use text and [graphics](/source/Graphics) to communicate visually.

The role of the [graphic designer](/source/Graphic_designer) in the communication process is that of the encoder or interpreter of the message. They work on the interpretation, ordering, and presentation of visual messages. In its nature, design pieces can be philosophical, aesthetic, emotional and political.[7] Usually, graphic design uses the [aesthetics](/source/Aesthetics) of [typography](/source/Typography) and the compositional arrangement of the text, ornamentation, and imagery to convey ideas, feelings, and attitudes beyond what language alone expresses. The design work can be based on a customer's demand, a demand that is established linguistically, either orally or in writing; that is, graphic design transforms a linguistic message into a graphic manifestation.[8]

Graphic design, as a field of application, encompasses different areas of knowledge focused on visual communication systems. For example, it can be applied in advertising strategies, or it can also be applied in the [aviation](/source/Aviation) world[9] or [space exploration](/source/Space_exploration).[10][11] In this sense, in some countries graphic design is related as only associated with the production of sketches and drawings, this is incorrect, since visual communication is a small part of a huge range of types and classes where it can be applied.

With origins in [Antiquity](/source/Ancient_history) and the [Middle Ages](/source/Middle_Ages),[12] graphic design as applied art was initially linked to the boom of the [rise of printing](/source/Printing_press) in Europe in the 15th century and the growth of consumer culture in the [Industrial Revolution](/source/Industrial_Revolution). From there it emerged as a distinct profession in [the West](/source/Western_world), closely associated with [advertising](/source/Advertising) in the 19th century[13] and its evolution allowed its consolidation in the 20th century. Given the rapid and massive growth in information exchange today, the demand for experienced designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to human factors beyond the competence of the engineers who develop them.[14]

## Terminology

The term "graphic design" makes an early appearance in a 4 July 1908 issue (volume 9, number 27) of *Organized Labor*, a publication of the Labor Unions of San Francisco, in an article about technical education for printers:[15]

An Enterprising Trades Union … The admittedly high standard of intelligence that prevails among printers is an assurance that, with the elemental principles of design at their fingertips, many of them will grow in knowledge and develop into specialists in graphic design and decorating. …

A decade later, the 1917–1918 course catalog of the [California School of Arts & Crafts](/source/California_College_of_the_Arts) advertised a course titled Graphic Design and Lettering, replacing the course titled Advanced Design and Lettering. Both classes were taught by [Frederick Meyer](/source/Frederick_H._Meyer_(furniture_designer)).[16]

## History

Main article: [History of graphic design](/source/History_of_graphic_design)

In both its lengthy history and in the relatively recent explosion of [visual communication](/source/Visual_communication) in the 20th and 21st centuries, the distinction between advertising, art, graphic design and fine art has disappeared. They share many elements, theories, principles, practices, [languages](/source/Language) and sometimes the same benefactor or client. In advertising, the ultimate objective is the sale of goods and services. In graphic design, "the essence is to give order to information, form to ideas, expression, and feeling to artifacts that document the human experience."[17]

The definition of the graphic designer profession is relatively recent concerning its preparation, activity, and objectives. Although there is no consensus on an exact date for the emergence of graphic design, some date it back to the [Interwar period](/source/Interwar_period). Others understand that it began to be identified as such by the late 19th century.[12]

It can be argued that graphic communications with specific purposes have their origins in [Paleolithic](/source/Paleolithic) [cave paintings](/source/Cave_paintings) and the birth of written language in the third millennium BCE. However, the differences in working methods, auxiliary sciences, and required training are such that it is not possible to clearly identify the current graphic designer with prehistoric man, the 15th-century [xylographer](/source/Xylographer), or the [lithographer](/source/Lithographer) of 1890.

The diversity of opinions stems from some considering any graphic manifestation as a product of graphic design, while others only recognize those that arise as a result of the application of an industrial production model—visual manifestations that have been "projected" to address various needs: productive, symbolic, ergonomic, contextual, among others.

By the late 19th century, graphic design emerged as a distinct profession in the West, partly due to labor specialization there and to the new technologies and business opportunities brought about by the Industrial Revolution. New production methods led to the separation of the design of a communication medium (such as a poster) from its actual production. Increasingly, throughout the 19th and early 20th centuries, advertising agencies, book publishers, and magazines hired art directors who organized all visual elements of communication and integrated them into a harmonious whole, creating an expression appropriate to the content.[12]

Throughout the 20th century, the technology available to designers continued to advance rapidly, as did the artistic and commercial possibilities of design. The profession expanded greatly, and graphic designers created, among other things, magazine pages, book covers, posters, CD covers, postage stamps, packaging, brands, signs, advertisements, kinetic titles for TV programs and movies, and websites. By the early 21st century, graphic design had become a global profession as advanced technology and industry spread worldwide.[12]

### Historical background

Main article: [History of printing](/source/History_of_printing)

In China during the [Tang dynasty](/source/Tang_dynasty) (618–907), woodblocks 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 in China, longer scrolls and books were produced using [movable type](/source/Movable_type) printing, making books widely available during the [Song dynasty](/source/Song_dynasty) (960–1279).[18]

In [Mesopotamia](/source/Mesopotamia), writing (as an extension of graphic design) began with commerce. The earliest writing system, [cuneiform](/source/Cuneiform), began with basic pictograms representing houses, lambs, or grain.[19]

In the mid-15th century in Mainz, Germany, [Johannes Gutenberg](/source/Johannes_Gutenberg) developed a way to reproduce printed pages at a faster pace using [movable type](/source/Movable_type) made with a new metal alloy[20] that created a revolution in the dissemination of information.[21]

### Nineteenth century

In 1849, [Henry Cole](/source/Henry_Cole_(inventor)) became one of the major forces in [design education](/source/Design_education) in Great Britain, informing the government of the importance of design in his *Journal of Design and Manufactures*.[22] He organized the [Great Exhibition](/source/Great_Exhibition) as a celebration of modern industrial technology and Victorian design.

From 1891 to 1896, [William Morris](/source/William_Morris)' [Kelmscott Press](/source/Kelmscott_Press) was a leader in graphic design associated with the [Arts and Crafts movement](/source/Arts_and_Crafts_movement), creating hand-made books in medieval and Renaissance era style,[23] in addition to wallpaper and textile designs.[24] Morris' work, along with the rest of the [Private Press](/source/Private_Press) movement, directly influenced [Art Nouveau](/source/Art_Nouveau).[25]

Cover of the Thanksgiving 1895 issue of *The Chap-Book*, designed by [Will H. Bradley](/source/Will_H._Bradley)

[Will H. Bradley](/source/Will_H._Bradley) became one of the notable graphic designers of the late nineteenth century for creating art pieces in various Art Nouveau styles. Bradley created a number of designs as promotions for a literary magazine titled *The Chap-Book*.[26]

### Twentieth century

A Boeing 747 aircraft with [livery](/source/Livery) designating it as [Air Force One](/source/Air_Force_One). The cyan forms, the [US flag](/source/US_flag), [presidential seal](/source/Seal_of_the_President_of_the_United_States) and the [Caslon](/source/Caslon) lettering, were all designed at different times, by different designers, for different purposes, and combined by designer [Raymond Loewy](/source/Raymond_Loewy) in this one single aircraft exterior design.

This section needs expansion with: The developments of this period greatly influenced contemporary graphic design.. You can help by adding missing information. (talk) (September 2016)

In 1917, [Frederick H. Meyer](/source/Frederick_H._Meyer_(furniture_designer)), director and instructor at the [California School of Arts and Crafts](/source/California_School_of_Arts_and_Crafts), taught a class entitled "Graphic Design and Lettering".[27] Raffe's *Graphic Design*, published in 1927, was the first book to use "Graphic Design" in its title.[28] In 1936, author and graphic designer Leon Friend published his book titled "Graphic Design" and it is known to be the first piece of literature to cover the topic extensively.[29]

The signage in the [London Underground](/source/London_Underground) is a classic design example[30] of the [modern era.](/source/Modern_era) Although he lacked artistic training, [Frank Pick](/source/Frank_Pick) led the Underground Group design and publicity movement. The first Underground station signs were introduced in 1908, featuring a solid red disk with a blue bar in the center and the station name. The station name was in white sans-serif letters. In 1916, Pick enlisted the expertise of [Edward Johnston](/source/Edward_Johnston) to design a new typeface for the Underground. Johnston redesigned the Underground sign and logo, placing his typeface on the blue bar in the center of a red circle.[31]

Poster to promote the [Centennial of Argentina](/source/Argentina_Centennial) (1910)

In the 1920s, Soviet [constructivism](/source/Constructivism_(art)) 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](/source/Utilitarianism) purposes. They designed buildings, film and theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.[32]

[Jan Tschichold](/source/Jan_Tschichold) codified the principles of [modern typography](/source/Modern_typography) in his 1928 book, *New Typography*.[33] He later repudiated the philosophy he espoused in this book as fascistic, but it remained influential.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] Tschichold, [Bauhaus](/source/Bauhaus) typographers such as [Herbert Bayer](/source/Herbert_Bayer) and [László Moholy-Nagy](/source/L%C3%A1szl%C3%B3_Moholy-Nagy) and [El Lissitzky](/source/El_Lissitzky) greatly influenced graphic design. They pioneered production techniques[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia: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.[34]

The professional graphic design industry grew in parallel with [consumerism](/source/Consumerism). This raised concerns and criticisms, notably from within the graphic design community with the [First Things First manifesto](/source/First_Things_First_1964_manifesto). First launched by [Ken Garland](/source/Ken_Garland) in 1964, it was re-published as the [First Things First 2000 manifesto](/source/First_Things_First_2000_manifesto) in 1999 in the magazine *[Emigre](/source/Emigre_(magazine))* 51[35] 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. 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."[36]

## Applications

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2024) (Learn how and when to remove this message)

Colour

Graphic design can have many applications, from [road signs](/source/Traffic_sign) to technical schematics and reference [manuals](/source/User_guide). It is often used in [branding](/source/Brand) products and elements of company identity such as logos, colors, [packaging](/source/Packaging), [labelling](/source/Labelling) and text.

From scientific journals to news reporting, the presentation of opinions and facts is often improved with graphics and thoughtful compositions of visual information – known as [information design](/source/Information_design). 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 and information visualization](/source/Data_and_information_visualization), which involves using programs to interpret and present data in a visually compelling way, and can be tied to [information graphics](/source/Information_graphics).

## Skills

A graphic design project may involve the creative presentation of existing [text](/source/Writing), ornament, and images.[37]

The "process school" is concerned with communication; it highlights the channels and media through which messages are transmitted and the ways senders and receivers encode and decode them. The semiotic school treats a message as a construction of signs which, through interaction with receivers, produces meaning; communication as an agent.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

### Typography

Main article: [Typography](/source/Typography)

Typography includes type design, modifying type [glyphs](/source/Glyphs) and arranging type. Type glyphs (characters) are created and modified using illustration techniques. Type arrangement is the selection of typefaces, point size, tracking (the space between all characters used), [kerning](/source/Kerning) (the space between two specific characters) and leading (line spacing). In Typography fonts of different size can be easily made in such a way that the font smaller from the largest font size will be 1.618 times small, i.e, divide the larger size with 1.618 to make the size smaller.

Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the digital age, typography was a specialized occupation. Certain fonts communicate or resemble stereotypical notions. For example, the 1942 Report is a font that types text akin to a typewriter or a vintage report.[38]

### Page layout

Further information: [Grid (graphic design)](/source/Grid_(graphic_design))

Golden section in book design

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 materials and, more recently, has been extended to displays such as web pages. Elements typically consist of [type](/source/Typography) (text), [images](/source/Image) (pictures), and (with print media) occasionally place-holder graphics such as a [dieline](/source/Dieline) for elements that are not printed with ink such as [die](/source/Die_(manufacturing))/[laser cutting](/source/Laser_cutting), [foil stamping](/source/Foil_stamping) or [blind embossing](/source/Embossing_(paper)).

### Grids

A grid serves as a method of arranging both space and information, allowing the reader to easily comprehend the overall project. Furthermore, a grid functions as a container for information and a means of establishing and maintaining order. Despite grids being utilized for centuries, many graphic designers associate them with Swiss design. The desire for order in the 1940s resulted in a highly systematic approach to visualizing information. However, grids were later regarded as tedious and uninteresting, earning the label of "designersaur." Today, grids are once again considered crucial tools for professionals, whether they are novices or veterans.[39]

## Tools

In the mid-1980s, [desktop publishing](/source/Desktop_publishing) and [graphic art software](/source/Graphic_art_software) introduced digital tools for image manipulation and creation, replacing many processes that were previously done by hand. 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](/source/Pencil) 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](/source/Creative_process).[40] Styluses can be used with tablet computers to capture hand drawings digitally.[41]

### Computers and software

See also: [Graphics software](/source/Graphics_software)

Designers disagree whether computers enhance the creative process.[42] Some designers argue that computers allow them to explore multiple ideas quickly and in more detail than can be achieved by hand-rendering or [paste-up](/source/Paste_up).[43] While other designers find the limitless choices from digital design can lead to paralysis or endless iterations with no clear outcome.

Most designers use a hybrid process that combines traditional and computer-based technologies. First, hand-rendered [layouts](/source/Comprehensive_layout) are used to get approval to execute an idea, then the polished visual product is produced on a computer.

Graphic designers are expected to be proficient in software programs for image-making, typography and layout. Nearly all of the popular and "industry standard" software programs used by graphic designers since the early 1990s are products of [Adobe Inc](/source/Adobe_Inc.). [Adobe Photoshop](/source/Adobe_Photoshop) (a [raster](/source/Raster_scan)-based program for photo editing) and [Adobe Illustrator](/source/Adobe_Illustrator) (a vector-based program for drawing) are often used in the final stage. [CorelDraw](/source/CorelDraw), a vector graphics editing software developed and marketed by [Corel Corporation](/source/Corel), is also used worldwide. Designers often use pre-designed [raster images](/source/Raster_graphics) and [vector graphics](/source/Vector_graphics) in their work from online design databases. Raster images may be edited in Adobe Photoshop, vector logos and illustrations in Adobe Illustrator and CorelDraw, and the final product assembled in one of the major page layout programs, such as [Adobe InDesign](/source/Adobe_InDesign), [Serif PagePlus](/source/PagePlus) and [QuarkXPress](/source/QuarkXPress).

Many free and open-source programs are also used by both professionals and casual graphic designers. [Inkscape](/source/Inkscape) uses [Scalable Vector Graphics](/source/Scalable_Vector_Graphics) (SVG) as its primary file format and allows importing and exporting other formats. Other open-source programs used include [GIMP](/source/GIMP) for photo-editing and image manipulation, [Krita](/source/Krita) for digital painting, and [Scribus](/source/Scribus) for page layout.

## Related design fields

### Print design

Main article: [Print design](/source/Print_design)

A specialized branch of graphic design and historically its earliest form, print design involves creating visual content intended for reproduction on physical substrates such as silk, paper, and later, plastic, for mass communication and persuasion (e.g., marketing, governmental publishing, [propaganda](/source/Propaganda)). Print design techniques have evolved over centuries, beginning with the invention of movable type by the Chinese alchemist [Pi Sheng](/source/Bi_Sheng), later refined by the German inventor [Johannes Gutenberg](/source/Johannes_Gutenberg). Over time, methods such as [lithography](/source/Lithography), [screen printing](/source/Screen_printing), and [offset printing](/source/Offset_printing) have been developed, culminating in the contemporary use of digital presses that integrate traditional print techniques with modern digital technology.

### Interface design

Main article: [User interface design](/source/User_interface_design)

Since the advent of personal computers, many graphic designers have become involved in [interface design](/source/Interface_design), in an environment commonly referred to as a [Graphical user interface](/source/Graphical_user_interface) (GUI). This has included [web design](/source/Web_design) and [software design](/source/Software_design) when [end user-interactivity](/source/End_user) is a design consideration of the layout or interface. Combining visual communication skills with an understanding of user interaction and online branding, graphic designers often work with [software developers](/source/Software_developer) and [web developers](/source/Web_developer) to create the [look and feel](/source/Look_and_feel) of a web site or [software application](/source/Software_application). An important aspect of interface design is [icon design](/source/Icon_design).

### User experience design

Main article: [User experience design](/source/User_experience_design)

User experience design (UX) is the study, analysis, and development of creating products that provide meaningful and relevant experiences to users. This involves the creation of the entire process of acquiring and integrating the product, including aspects of branding, design, usability, and function. UX design involves creating the interface and interactions for a website or application, and is considered both an act and an art. This profession requires a combination of skills, including visual design, social psychology, development, project management, and most importantly, empathy towards the end-users.[44]

### Experiential (environmental) graphic design

Experiential graphic design is the application of communication skills to the built environment.[45] It is also known as environmental graphic design (EGD) or environmental graphics.[46] This area of graphic design requires practitioners to understand physical installations that have to be manufactured and withstand the same environmental conditions as buildings. As such, it is a cross-disciplinary collaborative process involving designers, fabricators, city planners, architects, manufacturers and construction teams.

Experiential graphic designers try to solve problems that people encounter while interacting with buildings and space (also called environmental graphic design). Examples of practice areas for environmental graphic designers are [wayfinding](/source/Wayfinding), [placemaking](/source/Placemaking), branded environments, exhibitions and museum displays, public installations and digital environments.

## Occupations

Main article: [Graphic design occupations](/source/Graphic_design_occupations)

Graphic symbols are often [functionalist](/source/Form_follows_function) and anonymous,[47] as these [pictographs](/source/Pictograph) from the US [National Park Service](/source/National_Park_Service) illustrate.

Graphic design career paths cover all parts of the [creative spectrum](/source/Creative_industries) and often overlap. Workers perform specialized tasks, such as design services, publishing, advertising and public relations. As of 2023, median pay was $58,910 per year.[48] The main job titles within the industry are often country-specific. They can include [graphic designer](/source/Graphic_designer), art director, creative director, animator, and entry-level [production artist](/source/Production_artist). Depending on the industry served, the responsibilities may have different titles such as "[DTP associate](/source/DTP_associate)" or "[Graphic Artist](/source/Graphic_Artist)". The responsibilities may involve specialized skills such as [illustration](/source/Illustration), photography, animation, [visual effects](/source/Visual_effects) or [interactive design](/source/Interactive_design).

Employment in design of online projects was expected to increase by 35% by 2026, while employment in traditional media, such as newspaper and book design, expect to go down by 22%. Graphic designers will be expected to constantly learn new techniques, programs, and methods.[49]

Graphic designers can work within companies devoted specifically to the industry, such as design consultancies or branding agencies, others may work within publishing, marketing or other communications companies. Especially since the introduction of personal computers, many graphic designers work as in-house designers in non-design oriented organizations. Graphic designers may also work [freelance](/source/Freelancer), working on their own terms, prices, ideas, etc.

A graphic designer typically reports to the [art director](/source/Art_director), creative director or [senior media creative](/source/Senior_media_creative). As a designer becomes more senior, they spend less time designing and more time leading and directing other designers on broader creative activities, such as brand development and [corporate identity](/source/Corporate_identity) development. They are often expected to interact more directly with clients, for example taking and interpreting briefs.

### Crowdsourcing

Main article: [Crowdsourcing creative work](/source/Crowdsourcing_creative_work)

Jeff Howe of *[Wired Magazine](/source/Wired_Magazine)* first used the term "[crowdsourcing](/source/Crowdsourcing)" in his 2006 article, "The Rise of Crowdsourcing."[50][51] It spans such creative domains as graphic design, architecture, [apparel design](/source/Fashion_design), writing, illustration, and others. Tasks may be assigned to individuals or a group and may be categorized as convergent or divergent. An example of a divergent task is generating alternative designs for a poster. An example of a convergent task is selecting one poster design. Companies, startups, small businesses and entrepreneurs have all benefitted from design crowdsourcing since it helps them source great graphic designs at a fraction of the budget they used to spend before. Getting a [logo design](/source/Logo_design) through crowdsourcing being one of the most common. Major companies that operate in the design crowdsourcing space are generally referred to as design contest sites.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

## Role

Graphic design influences consumer behavior through the use of visual elements such as color, [typography](/source/Typography), and imagery. Studies have shown that certain colors can evoke specific emotions and behaviors in consumers, and that typography can influence how information is perceived and remembered.[52] For example, [serif](/source/Serif) fonts are often associated with tradition and elegance, while [sans-serif](/source/Sans-serif) fonts are seen as modern and [minimalistic](/source/Minimalism). These factors can affect consumers' perceptions of brands and their messaging.[53] Graphic design also affects consumer behavior by communicating complex information in clear, accessible ways. For example, [infographics](/source/Infographic) and [data visualizations](/source/Data_visualization) can help distill complex information into understandable and engaging formats for consumers.[54]

## Ethical consideration

This section is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it by rewriting it in an encyclopedic style. (August 2025) (Learn how and when to remove this message)

Ethics are an important consideration in graphic design, particularly when it comes to accurately representing information and avoiding harmful stereotypes. Graphic designers have a responsibility to ensure that their work is truthful, accurate, and free from any misleading or deceptive elements. This requires a commitment to honesty, integrity, and transparency in all aspects of the design process.

One of the key ethical considerations in graphic design is the responsibility to accurately represent information. This means ensuring that any claims or statements made in advertising or marketing materials are true and supported by evidence.[55] For example, a company should not use misleading statistics to promote their product or service, or make false claims about its benefits. Graphic designers must take care to accurately represent information in all visual elements, such as graphs, charts, and images, and avoid distorting or misrepresenting data.[56]

Another important ethical consideration in graphic design is the need to avoid harmful stereotypes. This means avoiding any images or messaging that perpetuate negative or harmful stereotypes based on race, gender, religion, or other characteristics.[57] Graphic designers should strive to create designs that are inclusive and respectful of all individuals and communities, and avoid reinforcing negative attitudes or biases.

## Future

### AI and automation

Advancements in areas such as [artificial intelligence](/source/Artificial_intelligence), [virtual](/source/Virtual_reality) and [augmented reality](/source/Augmented_reality), and automation are likely to transform the way that graphic designers work and create designs. Social trends, such as a greater focus on [sustainability](/source/Sustainability) and [inclusivity](/source/Inclusivity), are likely to impact the future of graphic design.[58]

Easily-accessible computer software using AI algorithms will complete many practical tasks performed by graphic designers, allowing clients to bypass human designers altogether.[59] For example, machine learning algorithms can analyze large datasets and create designs based on patterns and trends, freeing up designers to focus on more complex and creative tasks. Virtual and augmented reality technologies may allow designers to create immersive and interactive experiences for users.[60] Artificial intelligence has led to many challenges, including the maintenance of brand authenticity, [quality assurance](/source/Quality_assurance), issues of bias, and the preservation of creative control.[61]

Visual communication design education is ill-prepared for automation, artificial intelligence and [machine learning](/source/Machine_learning).[62]

As consumers become more conscious of environmental issues, there may be a greater demand for designs that prioritize sustainability and minimize waste. Similarly, there is likely to be a growing focus on inclusivity and diversity in design, with designers seeking to create designs that are accessible and representative of broader varieties of individuals and communities.[63]

## See also

- [Visual arts portal](https://en.wikipedia.org/wiki/Portal:Visual_arts)

### Related areas

- [Concept art](/source/Concept_art)

- [Copywriting](/source/Copywriting)

- [Digital illustration](/source/Digital_illustration)

- [Illustration](/source/Illustration)

- [Instructional design](/source/Instructional_design)

- [Landscape architecture](/source/Landscape_architecture)

- [Marketing communications](/source/Marketing_communications)

- [Motion graphic design](/source/Motion_graphic_design)

- [New media](/source/New_media)

- [Technical illustration](/source/Technical_illustration)

- [Technical writing](/source/Technical_writing)

- [User Experience Design](/source/User_Experience_Design)

- [User Interface Design](/source/User_Interface_Design)

- [Visual communication](/source/Visual_communication)

- [Communication design](/source/Communication_design)

- [Visual culture](/source/Visual_culture)

### Related topics

- [Aesthetics](/source/Aesthetics)

- [Color theory](/source/Color_theory)

- [Design principles and elements](/source/Visual_design_elements_and_principles_(disambiguation))

- [European Design Award](/source/European_Design_Award)

- ["First Things First 2000"](/source/First_Things_First_2000_manifesto)

- [Infographic](/source/Infographic)

- [List of graphic design institutions](https://en.wikipedia.org/wiki/Category:Graphic_design_schools)

- [List of notable graphic designers](/source/List_of_graphic_designers)

- [Logotype](/source/Logotype)

- [Material culture](/source/Material_culture)

- [Style guide](/source/Style_guide)

- [Value](/source/Value_(colorimetry))

- [Visualization (computer graphics)](/source/Visualization_(computer_graphics))

- [International Typographic Style](/source/International_Typographic_Style)

- [Swiss Style (design)](/source/Swiss_Style_(design))

## References

1. ^ [***a***](#cite_ref-Interdisciplinary_1-0) [***b***](#cite_ref-Interdisciplinary_1-1) Vise, Kristen. ["An Interdisciplinary Approach to Graphic Design"](https://web.archive.org/web/20210414232242/https://libarts.olemiss.edu/an-interdisciplinary-approach-to-graphic-design/). College of Liberal Arts. Archived from [the original](https://libarts.olemiss.edu/an-interdisciplinary-approach-to-graphic-design/) on 14 April 2021. Retrieved 13 October 2021.

1. **[^](#cite_ref-2)** Quintela, Pedro. ["From the shadow to the centre: Tensions, contradictions and ambitions in building graphic design as a profession"](https://web.archive.org/web/20220807162655/https://eg.uc.pt/bitstream/10316/33004/1/From%20the%20shadow%20to%20the%20centre%20tensions%2C%20contradictions%20and%20ambitions%20in%20building%20graphic%20design%20as%20a%20profession.pdf) (PDF). University of Coimbra. Archived from [the original](https://eg.uc.pt/bitstream/10316/33004/1/From%20the%20shadow%20to%20the%20centre%20tensions%2C%20contradictions%20and%20ambitions%20in%20building%20graphic%20design%20as%20a%20profession.pdf) (PDF) on 7 August 2022. Retrieved 7 August 2022.

1. **[^](#cite_ref-3)** Khaled Nabil, Al-Momani (25 August 2020). ["Characteristics of Design as an Academic and Creative Discipline"](https://doi.org/10.18502%2Fkss.v4i11.7560). *Kne Social Sciences*. Ural Federal University: 294–298. [doi](/source/Doi_(identifier)):[10.18502/kss.v4i11.7560](https://doi.org/10.18502%2Fkss.v4i11.7560). [S2CID](/source/S2CID_(identifier)) [221710217](https://api.semanticscholar.org/CorpusID:221710217).

1. **[^](#cite_ref-4)** Bravo, Rafael Ángel (4 March 2016). ["Vigencia de la Bauhaus en la formación académica de los diseñadores gráficos"](https://web.archive.org/web/20220312145640/https://revistas.udistrital.edu.co/index.php/c14/article/view/10133) [Currency of the Bauhaus in the academic training of graphic designers] (in Spanish). Francisco José de Caldas District University. Archived from [the original](https://revistas.udistrital.edu.co/index.php/c14/article/view/10133) on 12 March 2022.

1. **[^](#cite_ref-5)** ["Graphic Design"](https://web.archive.org/web/20210922013152/https://catalog.cos.edu/areas-study/graphic-design/). College of the Sequoias. Archived from [the original](https://catalog.cos.edu/areas-study/graphic-design/) on 22 September 2021. Retrieved 26 August 2022.

1. **[^](#cite_ref-6)** ["Professional Graphics Design"](https://web.archive.org/web/20220826200407/https://scholaritinstitute.com/graphics-design-training/). Scholar IT Institute. Archived from [the original](https://scholaritinstitute.com/graphics-design-training/) on 26 August 2022. Retrieved 26 August 2022.

1. **[^](#cite_ref-7)** Ambrose, Gavin; Harris, Paul; Ball, Nigel (2020). [*The Fundamentals of Graphic Design*](https://doi.org/10.5040/9781474270304). [doi](/source/Doi_(identifier)):[10.5040/9781474270304](https://doi.org/10.5040%2F9781474270304). [ISBN](/source/ISBN_(identifier)) [978-1-4742-7030-4](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4742-7030-4).

1. **[^](#cite_ref-8)** Wong, Wucius (1995). *Principles of Form and Design*.{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: numeric names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_numeric_names:_authors_list))

1. **[^](#cite_ref-9)** [Eveleth, Rose](/source/Rose_Eveleth) (25 July 2014). ["How Graphic Design Can Make Flying Just a Little Bit Safer"](http://nautil.us/blog/how-graphic-design-can-make-flying-just-a-little-bit-safer). *nautil.us*. Nautilus. [Archived](https://web.archive.org/web/20201111171148/http://nautil.us/blog/how-graphic-design-can-make-flying-just-a-little-bit-safer) from the original on 11 November 2020. Retrieved 3 January 2021.

1. **[^](#cite_ref-10)** Junkunc, Ashley (22 October 2019). ["NASA needs more than just rocket scientists"](https://udayton.edu/blogs/artssciences/2019-stories/19-10-22-nasa-intern.php). *udayton.edu*. [University of Dayton](/source/University_of_Dayton). [Archived](https://web.archive.org/web/20211020233152/https://udayton.edu/blogs/artssciences/2019-stories/19-10-22-nasa-intern.php) from the original on 20 October 2021. Retrieved 14 October 2021.

1. **[^](#cite_ref-11)** Monaghan, Heather (4 March 2021). ["We Are NASA: Reese Patillo, Junior Animator/Graphic Designer (Contractor)"](https://www.nasa.gov/directorates/heo/scan/about/wearenasa/reese_patillo). *nasa.gov*. [National Aeronautics and Space Administration (NASA)](/source/NASA). [Archived](https://web.archive.org/web/20211014040040/https://www.nasa.gov/directorates/heo/scan/about/wearenasa/reese_patillo/) from the original on 14 October 2021. Retrieved 14 October 2021.

1. ^ [***a***](#cite_ref-History_12-0) [***b***](#cite_ref-History_12-1) [***c***](#cite_ref-History_12-2) [***d***](#cite_ref-History_12-3) Meggs, Philip B. ["Graphic design"](https://web.archive.org/web/20220313070810/https://www.britannica.com/art/graphic-design). Britannica. Archived from [the original](https://www.britannica.com/art/graphic-design) on 13 March 2022. Retrieved 16 March 2022.

1. **[^](#cite_ref-13)** Raffel, Burton; Thomson, Ellen Mazur (1 January 1997). [*The Origins of Graphic Design in America, 1870–1920*](https://books.google.com/books?id=_evKxbMgkycC&pg=PP1). Yale University Press. p. 85. [ISBN](/source/ISBN_(identifier)) [978-0-300-06835-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-300-06835-1). [Archived](https://web.archive.org/web/20230327080315/https://books.google.com/books?id=_evKxbMgkycC&pg=PP1) from the original on 27 March 2023. Retrieved 7 August 2022.

1. **[^](#cite_ref-14)** Frascara, Jorge (1988). *Diseño y Comunicación*.{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: numeric names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_numeric_names:_authors_list))

1. **[^](#cite_ref-15)** Paul Shaw, [Blue Pencil no. 46—Yet more on the early history of the term "graphic design"](https://www.paulshawletterdesign.com/2020/06/blue-pencil-no-46-yet-more-on-the-early-history-of-the-term-graphic-design/) [Archived](https://web.archive.org/web/20211127004214/https://www.paulshawletterdesign.com/2020/06/blue-pencil-no-46-yet-more-on-the-early-history-of-the-term-graphic-design/) 27 November 2021 at the [Wayback Machine](/source/Wayback_Machine), 1 June 2020.

1. **[^](#cite_ref-16)** Paul Shaw, "[The Definitive Dwiggins no. 81—Who Coined the Term 'Graphic Design'?](https://www.paulshawletterdesign.com/2018/01/the-definitive-dwiggins-no-81-who-coined-the-term-graphic-design/) [Archived](https://web.archive.org/web/20211127002102/https://www.paulshawletterdesign.com/2018/01/the-definitive-dwiggins-no-81-who-coined-the-term-graphic-design/) 2021-11-27 at the [Wayback Machine](/source/Wayback_Machine)", *Blue Pencil*, 7 January 2018.

1. **[^](#cite_ref-17)** Meggs, Philip B., 'A history of graphic design'. New York: Van Nostrand Reinhold, 1983

1. **[^](#cite_ref-18)** Wilkinson, Endymion (2000). *Chinese History*. Cambridge: Harvard University Asia Center. p. 450. [ISBN](/source/ISBN_(identifier)) [0674002490](https://en.wikipedia.org/wiki/Special:BookSources/0674002490).

1. **[^](#cite_ref-19)** Bowen, Amanda (2013). ["Graphic design: a new history. Stephen F. Eskilson. 2nd edition. New Haven, CT: Yale University Press; London: Laurence King Publishing, 2012. 464 p. ill. ISBN 9780300172607 £29.99/$65.00 (hardcover)"](https://doi.org/10.1017/s0307472200018071). *Art Libraries Journal*. **38** (2): 51–52. [doi](/source/Doi_(identifier)):[10.1017/s0307472200018071](https://doi.org/10.1017%2Fs0307472200018071). [ISSN](/source/ISSN_(identifier)) [0307-4722](https://search.worldcat.org/issn/0307-4722).

1. **[^](#cite_ref-20)** ["Treasures of the McDonald Collection – Special Collections & Archives Research Center"](https://scarc.library.oregonstate.edu/omeka/exhibits/show/mcdonald/incunabula/gutenberg/). *scarc.library.oregonstate.edu*. [Archived](https://web.archive.org/web/20220630153024/https://scarc.library.oregonstate.edu/omeka/exhibits/show/mcdonald/incunabula/gutenberg) from the original on 30 June 2022. Retrieved 3 July 2022.

1. **[^](#cite_ref-21)** Hellinga, Lotte (24 August 2011). ["The Gutenberg Revolutions"](https://books.google.com/books?id=CFiDCjMcnvcC&pg=PP1). In Eliot, Simon; Rose, Johnathan (eds.). *A Companion to the History of the Book*. John Wiley & Sons. pp. 207–219. [ISBN](/source/ISBN_(identifier)) [978-1-4443-5658-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4443-5658-8). [Archived](https://web.archive.org/web/20230305041252/https://books.google.com/books?id=CFiDCjMcnvcC&pg=PP1) from the original on 5 March 2023. Retrieved 16 July 2022.

1. **[^](#cite_ref-22)** Simon (26 February 2023). ["Henry Cole (1808–1882) British Design Education Leader"](https://encyclopedia.design/2023/02/26/henry-cole-british-design-education-leader/). *Encyclopedia of Design*. Retrieved 18 August 2025.

1. **[^](#cite_ref-23)** ["V&A · William Morris: literature and book design"](https://www.vam.ac.uk/articles/william-morris-text). *Victoria and Albert Museum*. [Archived](https://web.archive.org/web/20220519122805/https://www.vam.ac.uk/articles/william-morris-text) from the original on 19 May 2022. Retrieved 3 July 2022.

1. **[^](#cite_ref-24)** ["V&A · William Morris textiles"](https://www.vam.ac.uk/articles/willam-morris-textiles). *Victoria and Albert Museum*. [Archived](https://web.archive.org/web/20220703213848/https://www.vam.ac.uk/articles/willam-morris-textiles) from the original on 3 July 2022. Retrieved 3 July 2022.

1. **[^](#cite_ref-25)** Fiona McCarthy, *William Morris*, London: Faber and Faber, 1996 [ISBN](/source/ISBN_(identifier)) [0-571-17495-7](https://en.wikipedia.org/wiki/Special:BookSources/0-571-17495-7)

1. **[^](#cite_ref-26)** Eskilson, Stephen J. (21 May 2019). [*Graphic Design: A New History, Third Edition*](https://books.google.com/books?id=5C57DwAAQBAJ&q=graphic+design+19th+century+book&pg=PA10). Yale University Press. [ISBN](/source/ISBN_(identifier)) [978-0-300-23328-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-300-23328-5). [Archived](https://web.archive.org/web/20210415031259/https://books.google.com/books?id=5C57DwAAQBAJ&q=graphic+design+19th+century+book&pg=PA10) from the original on 15 April 2021. Retrieved 11 December 2020.

1. **[^](#cite_ref-27)** [Shaw, Paul](/source/Paul_Shaw_(design_historian)). ["W.A. Dwiggins and "graphic design": A brief rejoinder to Steven Heller and Bruce Kennett"](https://www.paulshawletterdesign.com/2020/05/the-definitive-dwiggins-no-81a-w-a-dwiggins-and-graphic-design-a-brief-rejoinder-to-steven-heller-and-bruce-kennett/). www.paulshawletterdesign.com. [Archived](https://web.archive.org/web/20200808204420/https://www.paulshawletterdesign.com/2020/05/the-definitive-dwiggins-no-81a-w-a-dwiggins-and-graphic-design-a-brief-rejoinder-to-steven-heller-and-bruce-kennett/) from the original on 8 August 2020. Retrieved 23 May 2020.

1. **[^](#cite_ref-28)** Baker, Steve (1990). "The Sign of the Self in the Metropolis". *Journal of Design History*. **3** (4). [Oxford University Press](/source/Oxford_University_Press): 228. [doi](/source/Doi_(identifier)):[10.1093/jdh/3.4.227](https://doi.org/10.1093%2Fjdh%2F3.4.227). [JSTOR](/source/JSTOR_(identifier)) [1315763](https://www.jstor.org/stable/1315763).

1. **[^](#cite_ref-29)** Poole, Buzz (27 March 2013). ["The History of Graphic Design"](https://www.printmag.com/design-books/the-history-of-graphic-design/). *PRINT Magazine*. Retrieved 2 May 2023.

1. **[^](#cite_ref-30)** ["Designing Modern Britain – Design Museum Exhibition"](http://designmuseum.org/design/london-transport). [Archived](https://web.archive.org/web/20100107205325/http://designmuseum.org/design/london-transport) from the original on 7 January 2010. Retrieved 10 December 2009.

1. **[^](#cite_ref-31)** Meggs, Philip (1998). *A History of Graphic Design*. New York: John Wiley & Sons, Inc. pp. 229–230. [ISBN](/source/ISBN_(identifier)) [0-471-29198-6](https://en.wikipedia.org/wiki/Special:BookSources/0-471-29198-6).

1. **[^](#cite_ref-32)** Bowlt, John E. (1976). [""From Pictures to Textile Prints""](https://www.jstor.org/stable/44130037). *The Print Collector's Newsletter*. **7** (1): 16–20. [ISSN](/source/ISSN_(identifier)) [0032-8537](https://search.worldcat.org/issn/0032-8537). [JSTOR](/source/JSTOR_(identifier)) [44130037](https://www.jstor.org/stable/44130037). [Archived](https://web.archive.org/web/20220503110821/https://www.jstor.org/stable/44130037) from the original on 3 May 2022. Retrieved 3 May 2022.

1. **[^](#cite_ref-33)** White, Alex W. (21 September 2010). [*Advertising Design and Typography*](https://books.google.com/books?id=8CPmMRRx1DEC&pg=PT333). Allworth Press. [ISBN](/source/ISBN_(identifier)) [9781581158205](https://en.wikipedia.org/wiki/Special:BookSources/9781581158205). [Archived](https://web.archive.org/web/20210415035051/https://books.google.com/books?id=8CPmMRRx1DEC&pg=PT333) from the original on 15 April 2021. Retrieved 11 January 2018.

1. **[^](#cite_ref-34)** Crouch, Christopher. 2000. *Modernism in Art Design and Architecture*, New York: St. Martin's Press. [ISBN](/source/ISBN_(identifier)) [0-312-21830-3](https://en.wikipedia.org/wiki/Special:BookSources/0-312-21830-3) (cloth) [ISBN](/source/ISBN_(identifier)) [0-312-21832-X](https://en.wikipedia.org/wiki/Special:BookSources/0-312-21832-X) (pbk)

1. **[^](#cite_ref-35)** ["฿Emigre Essays"](http://www.emigre.com/Editorial.php?sect=1&id=14). Emigre.com. [Archived](https://web.archive.org/web/20120106152041/http://emigre.com/Editorial.php?sect=1&id=14) from the original on 6 January 2012. Retrieved 1 January 2012.

1. **[^](#cite_ref-36)** ["max bruinsma"](http://maxbruinsma.nl/index1.html?ftf2000.htm). Maxbruinsma.nl. [Archived](https://web.archive.org/web/20111219160927/http://maxbruinsma.nl/index1.html?ftf2000.htm) from the original on 19 December 2011. Retrieved 1 January 2012.

1. **[^](#cite_ref-PetterssonID4Texts_37-0)** Pettersson, Rune (2015). [Information Design 4: Graphic Design](https://www.iiid.net/PublicLibrary/Pettersson-Rune-ID4-Graphic-Design.pdf) (PDF) (Report). Revised edition. Tullinge, Sweden: Institute for infology. [ISBN](/source/ISBN_(identifier)) [978-91-85334-29-2](https://en.wikipedia.org/wiki/Special:BookSources/978-91-85334-29-2). [Archived](https://web.archive.org/web/20220308022027/https://www.iiid.net/PublicLibrary/Pettersson-Rune-ID4-Graphic-Design.pdf) (PDF) from the original on 8 March 2022. Retrieved 2 January 2026. Graphic design may be described as the art and craft of bringing a functional, aesthetic, and organized structure to different kinds of texts and illustrations.

1. **[^](#cite_ref-38)** Butterick, Matthew. "Butterick's Practical Typography." Butterick's Practical Typography. *Jones McClure*, 2010–14. Web. 17 February 2015.

1. **[^](#cite_ref-39)** Tondreau, Beth (2009). *Layout essentials 100 design principles for using grids*. Quarto Publishing Group USA. [ISBN](/source/ISBN_(identifier)) [978-1-63159-630-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-63159-630-8). [OCLC](/source/OCLC_(identifier)) [1143849931](https://www.worldcat.org/oclc/1143849931).

1. **[^](#cite_ref-40)** Jacci Howard Bear, [desktoppub.about.com](http://desktoppub.about.com/cs/basic/a/thumbnails.htm?terms=squiggle) [Archived](https://web.archive.org/web/20131206171848/http://desktoppub.about.com/cs/basic/a/thumbnails.htm?terms=squiggle) 6 December 2013 at the [Wayback Machine](/source/Wayback_Machine) Retrieved 19 March 2008

1. **[^](#cite_ref-41)** [Milton Glaser Draws & Lectures](https://vimeo.com/6986303) [Archived](https://web.archive.org/web/20140321100020/http://vimeo.com/6986303) 21 March 2014 at the [Wayback Machine](/source/Wayback_Machine). Retrieved 31 January 2011

1. **[^](#cite_ref-42)** [Designtalkboard.com](http://www.designtalkboard.com/designtalk/index.php/topic,1030.0.html) [Archived](https://web.archive.org/web/20070629214914/http://www.designtalkboard.com/designtalk/index.php/topic,1030.0.html) 29 June 2007 at the [Wayback Machine](/source/Wayback_Machine), topic 1030 and [Designtalkboard.com](http://www.designtalkboard.com/designtalk/index.php/topic,1441.msg6356.html#msg6356) [Archived](https://web.archive.org/web/20180612135842/http://www.designtalkboard.com/designtalk/index.php/topic,1441.msg6356.html#msg6356) 12 June 2018 at the [Wayback Machine](/source/Wayback_Machine), topic 1141. Retrieved 18 March 2007

1. **[^](#cite_ref-43)** Jann Lawrence Pollard and Jerry James Little, *Creative Computer Tools for Artists: Using Software to Develop Drawings and Paintings,* November 2001 Introduction

1. **[^](#cite_ref-44)** Hamm, Matthew, J. (2014). *Wireframing Essentials*. ProQuest Ebook Central, CSULB: Packt Publishing, LimitedProQuest Ebook Central,. [ISBN](/source/ISBN_(identifier)) [9781849698542](https://en.wikipedia.org/wiki/Special:BookSources/9781849698542)

1. **[^](#cite_ref-45)** ["1.0 Experiential Graphic Design: A Physical Relationship"](http://faculty.wwu.edu/schadeb/dsgn480/website/images/1.0_XGD.pdf) (PDF). [Archived](https://web.archive.org/web/20210413230504/http://faculty.wwu.edu/schadeb/dsgn480/website/images/1.0_XGD.pdf) (PDF) from the original on 13 April 2021. Retrieved 13 April 2021.

1. **[^](#cite_ref-46)** ["Environmental Graphic Design"](https://www.commarts.com/features/environmental-graphic-design). *Communication Arts*. 6 March 2008. Retrieved 14 April 2025.

1. **[^](#cite_ref-47)** Currie, Nick. ["Design Rockism"](http://www.aiga.org/content.cfm/design-rockism). [Archived](https://web.archive.org/web/20070405135726/http://www.aiga.org/content.cfm/design-rockism) from the original on 5 April 2007.

1. **[^](#cite_ref-48)** ["Graphic Designers: Occupational Outlook Handbook: U.S. Bureau of Labor Statistics"](https://www.bls.gov/ooh/arts-and-design/graphic-designers.htm). *www.bls.gov*. [Archived](https://web.archive.org/web/20171027215647/https://www.bls.gov/ooh/arts-and-design/graphic-designers.htm) from the original on 27 October 2017. Retrieved 26 March 2023.

1. **[^](#cite_ref-49)** ["Graphic Designers : Occupational Outlook Handbook: : U.S. Bureau of Labor Statistics"](https://www.bls.gov/ooh/arts-and-design/graphic-designers.htm#tab-6). *www.bls.gov*. [Archived](https://web.archive.org/web/20171027215647/https://www.bls.gov/ooh/arts-and-design/graphic-designers.htm#tab-6) from the original on 27 October 2017. Retrieved 27 October 2017.

1. **[^](#cite_ref-50)** Howe, Jeff. ["The Rise of Crowdsourcing"](https://www.wired.com/wired/archive/14.06/crowds.html?pg=4&topic=crowds&topic_set=). *Wired*. WIRED Magazine. [Archived](https://web.archive.org/web/20140209044356/http://www.wired.com/wired/archive/14.06/crowds.html?pg=4&topic=crowds&topic_set=) from the original on 9 February 2014. Retrieved 24 October 2013.

1. **[^](#cite_ref-51)** Gilmour, Julia (15 August 2013). ["The Long History of Crowdsourcing – and Why You're Just Now Hearing About It"](http://www.crowdsource.com/blog/2013/08/the-long-history-of-crowdsourcing-and-why-youre-just-now-hearing-about-it/). *CrowdSource*. Crowdsource.com. [Archived](https://web.archive.org/web/20140829172727/http://www.crowdsource.com/blog/2013/08/the-long-history-of-crowdsourcing-and-why-youre-just-now-hearing-about-it/) from the original on 29 August 2014. Retrieved 24 October 2013.

1. **[^](#cite_ref-52)** Hassanien, A., Dale, C., Clarke, D., & Sinclair, M. (2020). The Impact of Graphic Design on the Effectiveness of Advertising. Journal of Advertising Research, 60(4), 419–433

1. **[^](#cite_ref-53)** Koukova, V. (2019). The Influence of Typography on Consumer Behavior. Proceedings of the International Scientific Conference "Contemporary Issues in Business, Management and Education", 153–158.

1. **[^](#cite_ref-54)** Lee, S. (2018). Visualizing Consumer Behavior and Decision Making in the Age of Big Data. Journal of Business Research, 85, 262–267.

1. **[^](#cite_ref-55)** AIGA. (2018). AIGA Standards of Professional Practice.

1. **[^](#cite_ref-56)** Crowell, K. (2019). Ethics and Advertising. In The Advertising Handbook (pp. 51–66). Routledge.

1. **[^](#cite_ref-57)** Berman, J. (2019). The Ethics of Graphic Design. The Design Journal, 22(3), 347–363.

1. **[^](#cite_ref-58)** Guffey, E. (2018). Building Bridges to the Future of Graphic Design Education. Visual Communication Quarterly, 25(2), 77–88.

1. **[^](#cite_ref-59)** Matthews, Benjamin; Shannon, Barrie; Roxburgh, Mark (24 May 2023). ["Destroy All Humans: The Dematerialisation of the Designer in an Age of Automation and its Impact on Graphic Design—A Literature Review"](https://doi.org/10.1111%2Fjade.12460). *International Journal of Art & Design Education*. **42** (3): 367–383. [doi](/source/Doi_(identifier)):[10.1111/jade.12460](https://doi.org/10.1111%2Fjade.12460). [hdl](/source/Hdl_(identifier)):[11541.2/35776](https://hdl.handle.net/11541.2%2F35776). [ISSN](/source/ISSN_(identifier)) [1476-8062](https://search.worldcat.org/issn/1476-8062).

1. **[^](#cite_ref-60)** Hassenzahl, M., Diefenbach, S., & Göritz, A. (2010). Needs, Affect, and Interactive Products: Facets of User Experience. Interacting with Computers, 22(5), 353–362.

1. **[^](#cite_ref-61)** Dhiya’ Zielfita Munzier et al., “Challenges Faced by Graphic Designers in Developing Brand Communication within the Realm of Artificial Intelligence” (World Conference on Governance and Social Sciences (WCGSS 2023), Atlantis Press, 2024), 639–49.

1. **[^](#cite_ref-62)** Matthews, Benjamin; Shannon, Barrie; Roxburgh, Mark (24 May 2023). ["Destroy All Humans: The Dematerialisation of the Designer in an Age of Automation and its Impact on Graphic Design—A Literature Review"](https://doi.org/10.1111%2Fjade.12460). *International Journal of Art & Design Education*. **42** (3): 367–383. [doi](/source/Doi_(identifier)):[10.1111/jade.12460](https://doi.org/10.1111%2Fjade.12460). [hdl](/source/Hdl_(identifier)):[11541.2/35776](https://hdl.handle.net/11541.2%2F35776). [ISSN](/source/ISSN_(identifier)) [1476-8062](https://search.worldcat.org/issn/1476-8062).

1. **[^](#cite_ref-63)** Rolston, M. (2017). Graphic Design and Social Change: Raising Awareness of Gender-Based Violence through Advocacy Design. Communication Design Quarterly Review, 5(1), 32–43.

## Bibliography

- Fiell, Charlotte and Fiell, Peter (editors). *Contemporary Graphic Design*. [Taschen](/source/Taschen) Publishers, 2008. [ISBN](/source/ISBN_(identifier)) [978-3-8228-5269-9](https://en.wikipedia.org/wiki/Special:BookSources/978-3-8228-5269-9)

- Wiedemann, Julius and Taborda, Felipe (editors). *Latin-American Graphic Design*. Taschen Publishers, 2008. [ISBN](/source/ISBN_(identifier)) [978-3-8228-4035-1](https://en.wikipedia.org/wiki/Special:BookSources/978-3-8228-4035-1)

## External links

Wikibooks has a book on the topic of: ***[Graphic Design](https://en.wikibooks.org/wiki/Graphic_Design)***

- Media related to [Graphic design](https://commons.wikimedia.org/wiki/Category:Graphic_design) at Wikimedia Commons

- [The Universal Arts of Graphic Design](https://www.pbs.org/video/-book-universal-arts-graphic-design/) – Documentary produced by [Off Book](/source/Off_Book_(web_series))

- [Graphic Designers](http://www.bls.gov/ooh/Arts-and-Design/Graphic-designers.htm), entry in the *[Occupational Outlook Handbook](/source/Occupational_Outlook_Handbook)* of the [Bureau of Labor Statistics](/source/Bureau_of_Labor_Statistics) of the [United States Department of Labor](/source/United_States_Department_of_Labor)

v t e Visualization of technical information Fields Biological data visualization Chemical imaging Crime mapping Data visualization Educational visualization Flow visualization Geovisualization Information visualization Mathematical visualization Medical imaging Molecular graphics Product visualization Scientific visualization Social visualization Software visualization Technical drawing User interface design Visual analytics Visual culture Volume visualization Image types Chart Diagram Engineering drawing Graph of a function Ideogram Map Photograph Pictogram Plot Sankey diagram Schematic Skeletal formula Statistical graphics Table Technical drawings Technical illustration People Pre-19th century Edmond Halley Charles-René de Fourcroy Joseph Priestley Gaspard Monge 19th century Charles Dupin Adolphe Quetelet André-Michel Guerry William Playfair August Kekulé Charles Joseph Minard Francis Amasa Walker John Venn Oliver Byrne Matthew Sankey Charles Booth John Snow Florence Nightingale Karl Wilhelm Pohlke Toussaint Loua Francis Galton Early 20th century Edward Walter Maunder Otto Neurath W. E. B. Du Bois Henry Gantt Arthur Lyon Bowley Howard G. Funkhouser John B. Peddle Ejnar Hertzsprung Henry Norris Russell Max O. Lorenz Fritz Kahn Harry Beck Erwin Raisz Mid 20th century Jacques Bertin Rudolf Modley Arthur H. Robinson John Tukey Mary Eleanor Spear Edgar Anderson Howard T. Fisher Late 20th century Borden Dent Nigel Holmes William S. Cleveland George G. Robertson Bruce H. McCormick Catherine Plaisant Stuart Card Pat Hanrahan Edward Tufte Ben Shneiderman Michael Friendly Howard Wainer Clifford A. Pickover Lawrence J. Rosenblum Thomas A. DeFanti George Furnas Sheelagh Carpendale Cynthia Brewer Jock D. Mackinlay Alan MacEachren David Goodsell Kwan-Liu Ma Michael Maltz Leland Wilkinson Alfred Inselberg Early 21st century Ben Fry Jeffrey Heer Jessica Hullman Daniel A. Keim Gordon Kindlmann Aaron Koblin Christopher R. Johnson Manuel Lima David McCandless Mauro Martino John Maeda Miriah Meyer Tamara Munzner Ade Olufeko Hanspeter Pfister Hans Rosling Claudio Silva Moritz Stefaner Fernanda Viégas Martin Wattenberg Bang Wong Hadley Wickham Related topics Cartography Chartjunk Color coding Computer graphics in computer science CPK coloring Graph drawing Graphic design Graphic organizer Imaging Information art Information graphics Information science Misleading graph Neuroimaging Patent drawing Scientific modelling Spatial analysis Visual perception Virtual unfolding Volume rendering

v t e Design Outline Designer Disciplines Communication design Advertising Book design Brand design Exhibit design Film title design Graphic design Motion Postage stamp design Print design Illustration Information design Instructional design News design Photography Retail design Signage / Traffic sign design Typography / Type design Video design Visual merchandising Environmental design Architecture Architectural lighting design Building design Passive solar Ecological design Environmental impact design Garden design Computer-aided Healthy community design Hotel design Interior architecture Interior design EID Keyline design Landscape architecture Sustainable Landscape design Spatial design Urban design Industrial design Automotive design Automotive suspension design CMF design Corrugated box design Electric guitar design Furniture design Sustainable Hardware interface design Motorcycle design Packaging and labeling Photographic lens design Product design Production design Sensory design Service design Interaction design Experience design EED Game design Level design Video game design Hardware interface design Icon design Immersive design Information design Interactive design Sonic interaction design User experience design User interface design Web design Other applied arts Public art design Ceramic / glass design Fashion design Costume design Jewellery design Floral design Game art design Property design Scenic design Sound design Stage/set lighting design Textile design Other design & engineering Algorithm design Behavioural design Boiler design Database design Drug design Electrical system design Experimental design Filter design Geometric design Work design Integrated circuit design Circuit design Physical design Power network design Mechanism design Nuclear weapon design Nucleic acid design Organization design Process design Processor design Protein design Research design Social design Software design Spacecraft design Strategic design Systems design Test design Approaches Active Activity-centered Adaptive web Affective Brainstorming By committee By contract C-K theory Closure Configuration Contextual Continuous Cradle-to-cradle Creative problem-solving Creativity techniques Critical Design fiction Defensive Design–bid–build Design–build architect-led Diffuse Domain-driven Ecological design Energy neutral Engineering design process Probabilistic design Ergonomic Error-tolerant Evidence-based Fault-tolerant Feminist For assembly For behaviour change For manufacturability For Six Sigma For testing For the environment For X Framework-oriented Functional Generative Geodesign HCD High-level Hostile Inclusive Integrated Integrated topside Intelligence-based Iterative KISS principle Low-level Metadesign Mind mapping Modular New Wave Object-oriented Open Over Parametric Participatory Platform-based Policy-based Prevention through Process-centered Public interest Opinion poll Public opinion Rational Regenerative Reliability engineering Research-based Responsibility-driven RWD Safe-life Speculative Sustainable Systemic SOD Tableless web Theory of constraints Top-down and bottom-up Transformation Transgenerational TRIZ Universal Design for All Usage-centered Use-centered User-centered Empathic User innovation Value-driven Value sensitive Privacy by Quality by Secure by Design choice computing controls culture flow justice leadership management marker methods pattern research science sprint strategy theory thinking Tools Intellectual property Organizations Awards Tools AAD Architectural model Blueprint Comprehensive layout CAD CAID Virtual home design software CAutoD Design quality indicator Electronic design automation Flowchart Mockup Design specification Design system Prototype Sketch Storyboard Technical drawing HTML editor Website wireframe Intellectual property Clean-room design Community design Design around Design infringement Design patent Fashion design copyright Geschmacksmuster Industrial design rights European Union Organizations American Institute of Graphic Arts Chartered Society of Designers Design and Industries Association Design Council International Forum Design Design Research Society Awards European Design Award German Design Award Good Design Award (Museum of Modern Art) Good Design Award (Chicago Athenaeum) Graphex IF Product Design Award James Dyson Award Prince Philip Designers Prize Related topics Agile Concept art Conceptual design Creative industries Cultural icon .design Dominant design Enterprise architecture Form factor Futures studies Indie design Innovation management Intelligent design Lean startup New product development OODA loop Philosophy of design Process simulation Reference design Slow design STEAM fields Unintelligent design Visualization Wicked problem Design attributes brief change classic competition architectural student director education elements engineer firm history knowledge language life load museum optimization paradigm principles rationale review specification studies studio technology

Authority control databases National Japan Czech Republic Other Yale LUX

---
Adapted from the Wikipedia article [Graphic design](https://en.wikipedia.org/wiki/Graphic_design) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Graphic_design?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.