To what extent do Technological developments in production and
distribution impact on Graphic design ?
To what extent do Technological developments in production and distribution impact on Graphic Design ? Technology is profound in its influences on graphic design, shaping the way in which we see and read, from the creation of movable type around 1450 by Johannes Gutenberg this paved the ways for a new kind of printing everywhere. This made printing more accessible to everyone and the creation of more and more typefaces. Following on from this in post war modernism a creation of less decorative typography geared toward universal communication put forward by the work of Jan Tschichold in ‘The New Typography’. Then the rejection of modernism forming post modernism and an emphasis on communication being about feeling and emotion over form and function. More recently the shift from printed material to digital content has seen again the need for new ways of seeing, reading and communicating, due to the accessibility of technology the creation typefaces has accelerated at a unbelievable rate, I would like to look at the influences this has on contemporary culture and communication. My interests lie mainly within evolution of typography and how not just printing processes but new media and the digital sphere influences communication. As well as the changes in distribution through the power of internet, graphic design can today communicate with the whole world. With a new language of symbols quickly becoming the standard form of communication I would like to look at the influences that new technologies will have on graphic design and its place in the future.
Typography Print / Digital New Media Design Emojis & Pictograms Infographics Automated Design
new normal I’m with Umberto Eco when he says: “The “ Print never died, and I don’t believe that was “The “ In an interview published in Computer Arts book is like the spoon, scissors, the hammer, what Carson was predicting. His slogan was in 2018, Jessica Walsh told an editor bot: ‘It’s only me and Stefan now, plus two robots (Gigi and Lulu). They draw type very well, even on bodies and complex sets. The rest of our branding work has mostly disappeared, as the bots do incredibly cool work. Times have changed … Stefan is definitely not happy.’ Walsh continued: ‘We are lucky to be recognised globally, so we have clients who still support us, but the younger generations don’t really see the difference between my work and Gigi’s … especially because she does it instantly!’ They photographed Gigi and Lulu naked to launch a new service, but she notes that, ‘the bots didn’t get the joke.’
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Eye Magazine | Blog | Ghosts of designbots yet to come. 2017. Eye Magazine | Blog | Ghosts of designbots yet to come. [ONLINE] Available at: http://www. eyemagazine.com/blog/post/ ghosts-of-designbots-yet-to-come.
the wheel. Once invented, it cannot be improved. You cannot make a spoon that is better than a spoon... The book has been thoroughly tested, and it’s very hard to see how it could be improved on for its current purposes.”
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Design Observer. 2017. Books. Still not dead. Thoughts from a publisher, author, editor, and occasional designer of printed books.: Design Observer. [ONLINE] Available at: http://designobserver. com/feature/books-still-notdead/39123
do we avoid the seemingly inevitable? “The discussion of typography and the new “How What these systems are not good at is difmedia has mainly to do with the possibilities ference, idiosyncrasy or seemingly illogical departures from the norm. Creativity, in other words. The more designers and art directors spend their time endlessly recycling ‘inspiration’ from the same online sources, the more they become complicit in the possibility of their own extinction. Survival, if that’s not too dramatic a term, depends on thinking for ourselves.
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Creative Review. 2017. AI and creatives’ complicity in their own extinction - Creative Review. [ONLINE] Available at: https:// www.creativereview.co.uk/ai-andcreatives-complicity-in-their-ownextinction/.
and limitations of the production technique, and only to a lesser extent with the expectations and behavior of the reader. In fact it doesn’t really make much difference whether he reads his text from paper or from a screen. We are witnessing a development in which printed and electronic texts are growing closer and closer together, and as a result the changes are really minor. Naturally, the digital context offers new possibilities for typography that call for the development of a new standard. But before we can speak of a new standard we first ought to consider the principal values
more of a challenge to the status quo, but was picked up by others and used in a more literal sense. Thirteen years ago I published my book magCulture, in which I was arguing against the idea that print was dying. Print was and is changing, just as it always has been. As a delivery system, it has both benefited and suffered from societal and technological changes ever since a piece of print was first christened a “magazine” (in 1731, by the way).
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Design Observer. 2017. It’s A Mag World: Massimo Pitis chats with Jeremy Leslie of Mag Culture about magazines and the never-ending story of printed matter.: Design Observer. [ONLINE] Available at: http://designobserver.com/feature/ its-a-mag-world/39474
that are at the heart of effective typography. Especially now, when people are reading more than ever, there is a need for typographic design that provides the best possible support for the practice of reading—regardless of the medium, the application, or the page size.
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Design Observer. 2017. The Future of Typography: Design Observer. [ONLINE] Available at: http:// designobserver.com/feature/thefuture-of-typography/39206.
SPIN/Adventures in Typography
FUSE 1–20 Neville Brody and Jon Wozencroft
Just My Type Simon Garfield Looking Closer: Bk. 5: Michael Bierut
Seventy-nine Short Essays on Design Michael Bierut
http://www.eyemagazine.com/blog/post/ ghosts-of-designbotsyet-to-come
http://www.eyemagazine.com/blog/post/ information-is-everywhere
http://designobserver. com/feature/booksstill-not-dead/39123
http://designobserver. com/feature/its-a-magworld/39474
https://www.creativer- https://www.creaeview.co.uk/inventtivereview.co.uk/ ing-the-future/ ai-and-creatives-complicity-in-their-own-extinction/
Letraset
The Man With The Golden Arm (1955) Saul Bass
Colors Magazine NO WORDS ISSUE #13 Oliviero Toscani, Tibor Kalman
BBC News Website.