The Importance Of Studying History In Graphic Designing

The graphic design history provides the extension of ideas

Question:

Discuss about the Contemporary High Performance Computing.

It is foolishly thought that the history comprises of dusty facts and various faded images. There is a notion that the history never matters and is irrelevant and inessential in growth. However studying history has actually proved that people could turn out to be a more efficient designer. They could create work with higher reason refined meaning and stringer justification (Holt, 2014).

In the following essay the notion is debunked. First of all the visualgraphic design is chosen as the instance to justify the theme. Three major reasons are demonstrated here. They states that the graphic design history has been providing with extending the ideas, direct references or borrowing ideas and developing critical judgment for success and failure.  

The graphic designing history has been providing the extension of the ideas. History has the same importance as that of the theory. The eyes and brains have been working in the same way through generations. The scenario alters but the visual communication principles survive (Howell & Christensen, 2013). Here history helps in understanding the principles. In order to understand and utilize the part of theory appropriately, there is a necessity to know why that has turned to be worth working. The conditions in which it was developed first and utilized, the reason behind its success and the original audience and purpose could be determined (Bass et al., 2015). Without the knowledge it could not be used effectively. Various ideas of the people have been well established. This has been concerned about the relationships between the text and image, balance and color, contrast and texture and many more could be assimilated in the infinite possibilities (Dongarra & Luszczek, 2013). Through the knowledge of why and how the ideas have been developed has been helping to use them currently. By knowing the context where they have been born originally helps to view same contexts of present day that the theory could be perfectly matching into.

Instead of borrowing the style simple, the concepts about the layout could be explained and learnt upon. What ideas have worked and what have not could be clearly seen. This permits to skip the prior mistakes and the forge forward. This has been treading on the latest ground in the shoes that are familiar with. The graphics designer must be literate enough in designing the history of graphic design. However able to design has not been always satisfied (Fallan, 2013). By knowing the origin of design has been needed to do away with the reinvention. This is no less than the inadvertent plagiarism.

The history provides with the direct references or borrowing ideas

The graphic or virtual design has been providing with the, direct references or borrowing of ideas. This is the eye that could look at part of work currently and understand whether it could be hold up in the next few years. Since the people producing aircrafts that have been lasting this period or more, this is a very powerful train to own.

That direct references or borrowing of ideas has been developed by the realization. People could view the tasks of the modernists and state that it is impossible to the present to be a sixty years old. Further there have been people like David Carson, who possess strict opinions whose tasks appeared to be somehow chaotic and insult to audience (Dongarra & Luszczek, 2013).  The most curious fact has been his wild designing comprises of some philosophical elements similar the open and clean pages of modernists. Here, both have been basically concerned regarding the interaction between the content and audience. Their sensibilities were very much different. However history has been permitting to seek the common ground on which they stood. Somehow the fade design still possessed the charm to it after a decade (Huppatz, 2015).

History has also been helping to recognize what have not worked. After flicking through the historical literatures, few blips of expression and style could be found. The tasks that have been purely tacky were considered cool, great and funky (Fineder & Geisler, 2010). Here history is useful to know what type of the funky existed only for any absurd moment. Moreover the work of the Carson could be considered where the absurd situations devoted the followers it has spawned (Gorman, 2003). This type of the historical education has been helping in understanding what we have been searching for and what the people might think of that in the following years. It also helps in noticing the fad from the endless time.

The history of graphic designing has provided with the developing critical judgment for success and failure. The connections made could be seen along with how an instantaneous time could lead to the following, how the ideas and styles have been evolved and what impact the social scenario has played. It has not been sufficient to view Modernism and state simply that they have been the sick of the ornaments (Fineder & Geisler, 2010). This has been a childish assumption. What the people have been able to do is to throw Meggs’ to couch and switch to Wikipedia. From there they learn regarding European, Germanic, Nazism and Facism, the role played by Blackletter, situation of Europe at that time and so on.

The history provides with developing critical judgment for success and failure

Then with this latest study in tow, people could better be aware why particular decisions simplicity and cleanliness, unclouded communication has been striving for. Armin Hoffman states that for after all, the poster have been doing more than just supplying data on the efficiency it has advertising, it also revealed the state of mind of the society. This has been neither awful nor poorly written (Sparke, 2013). However this has not been enough. None of the hungers for knowledge could be satisfied with this. And, a good designer is always hungry.

Instead of this the statement of Meggs regarding Hoffman could be considered. He stated that as the time moved on Hoffman evolved the philosophy of design in the basis of the primary graphic-form language of the line, point, plane, replacing the conventional pictorial concepts with the modernistic aesthetic (Howell & Christensen, 2013). In the work Hoffman has continued to search the dynamic harmony where every part of the design has been unified. He saw the relationship of the contrasting elements in mean of the visual design that is invigorating. The contacts included the curved to the straight and the light to the dark lines. This also included the form to the counter-form, from soft to hard and from the dynamic to the static. This has been with the resolution gained as the designer brought the total to the absolute harmony (Meggs & Purvis, 2016).

Thus it is seen that what Hoffman has pieced together have not just due to the reason that it was pretty or nice. The main reason was that it was the part of the broader philosophy. Thus it provided the idea how one could develop their philosophy for exploring.

A few more studying of history has been leading to know that the philosophy assimilated with the others from area developed and came to be known as the Swiss design internationally. These ideas have been pushed forward by the 1959 publication named New Graphic Design. Josef Muller-Brockman was one of the editors. Here the connections and the origin of the work-changing movement have been found. These threads have been almost limitless as one dive into deeper and deeper (Bass et al., 2015).

The history has been generally the awful boring topic for subject the people to. This has not been the fault of the events that took place. However this also been those who have been speaking of them (Howell & Christensen, 2013). The truth is that it has been often up to the people to seen interest in history. Hence people must pick at the loose end where they find interest, tug and tear and pull that. This is to be done till the threads that must run through the decades of ideas. This also involves the beauty from where one could learn volume and witness how the profession is evolving (Heskett, 2005). As the past is understood, people would continue the culture legacy of the beautiful format and efficient communication better. As this legacy is ignored, people run the risk to become buried in the mindless morass of the communication. Its mole-like perspective neglects the human needs and values as that burrows forward towards darkness.

The importance of history has been underestimated largely and it has not been about memorizing the dates. It has been regarding the making sense of relationships in the events and people to achieve greater context around time. The design theory has not been different. Any history is usually told via the people who are considered vital to that subject. The design history is stated by the ideas and works of the designers that have been considered among the best and those who moved the improved the design by important contribution. It has been worth understanding the long term patterns and repetitions in trends. The more instances of the good design is observed in history, the more confident the people become to decide what has been good or bad for themselves.

References:

Bass, S., Beall, L., Bernbach, B., Chwast, S., Crouwel, W., Glaser, M., ... & Muller-Brockmann, J. (2015). The Life of Artist Edward Sorel. Life.

Dongarra, J., & Luszczek, P. (2013). HPC challenge: design, history, and implementation highlights. Contemporary High Performance Computing: From Petascale Toward Exascale, 13-30.

Fallan, K. (2013). De-tooling Design History: To What Purpose and for Whom Do We Write?. Design and Culture, 5(1), 13-19.

Fineder, M., & Geisler, T. (2010). Design Criticism and Critical Design in the Writings of Victor Papanek (1923–1998). Journal of Design History, 23(1), 99-106. doi: 10.1093/jdh/epp067

Gorman, C.R. (ed)(2003). The industrial design reader. New York: Allworth Press.

Heskett, J. (2005). Design: a very short introduction. Oxford: Oxford University Press.

Holt, A. (2014). Designers on Design: Research into Graphic Design History.

Howell, B., & Christensen, K. (2013). Out of the lecture and into the studio: a new take on teaching design history. In DS 76: Proceedings of E&PDE 2013, the 15th International Conference on Engineering and Product Design Education, Dublin, Ireland, 05-06.09. 2013.

Huppatz, D. J. (2015). Globalizing Design History and Global Design History. Journal of Design History, 28(2), 182-202.

Meggs, P. B., & Purvis, A. W. (2016). Meggs' History of Graphic Design. John Wiley & Sons.

Raizman, P. (2010). History of Modern Design: Graphics and Products since the Industrial Revolution. 2nd edition. London: Lawrence King

Sparke, P. (2013). An Introduction to Design and Culture: 1900 to the Present, 3rd edition. London: Routledge.