"An Enterprising Trades Union
"Cover of the Thanksgiving 1895 issue of The Chap-Book, designed by Will H. Bradley"
… The admittedly high standard of intelligence which prevails among printers is an assurance that with the elemental principles of design at their finger ends many of them will grow in knowledge and develop into specialists in graphic design and decorating. …"
William Addison Dwiggins is often credited with first using the term "graphic design" in a 1922 article, although it appears 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.
A decade later, the 1917–1918 course catalog of the California School of Arts & Crafts advertised a course titled Graphic Design and Lettering, which replaced one called Advanced Design and Lettering. Both classes were taught by Frederick Meyer.
In both its lengthy history and in the relatively recent explosion of 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 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."
The advent of printing
In China, during the Tang Dynasty (618–907) wood blocks 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 printing, making books widely available during the Song dynasty (960–1279).
In the mid-15th century in Mainz, Germany, Johannes Gutenberg developed a way to reproduce printed pages at a faster pace using movable type made with a new metal alloy that created a revolution in the dissemination of information.
Nineteenth century
In 1849, Henry Cole became one of the major forces in design education in Great Britain, informing the government of the importance of design in his Journal of Design and Manufactures. He organized the Great Exhibition as a celebration of modern industrial technology and Victorian design.
From 1891 to 1896, William Morris' Kelmscott Press was a leader in graphic design associated with the Arts and Crafts movement, creating hand-made books in medieval and Renaissance era style, in addition to wallpaper and textile designs. Morris' work, along with the rest of the Private Press movement, directly influenced Art Nouveau.
Will H. Bradley became one of the notable graphic designers in the late nineteenth-century due to creating art pieces in various Art Nouveau styles. Bradley created a number of designs as promotions for a literary magazine titled The Chap-Book.
Twentieth century
"A Boeing 747 aircraft with livery designating it as Air Force One. The cyan forms, the US flag, presidential seal and the Caslon lettering, were all designed at different times, by different designers, for different purposes, and combined by designer Raymond Loewy in this one single aircraft exterior design."
In 1917, Frederick H. Meyer, director and instructor at the California School of Arts and Crafts, taught a class entitled "Graphic Design and Lettering". Raffe's Graphic Design, published in 1927, was the first book to use "Graphic Design" in its title.
The signage in the London Underground is a classic design example of the modern era. Although he lacked artistic training, Frank Pick led the Underground Group design and publicity movement. The first Underground station signs were introduced in 1908 with a design of a solid red disk with a blue bar in the center and the name of the station. The station name was in white sans-serif letters. It was in 1916 when Pick used the expertise of Edward Johnston to design a new typeface for the Underground. Johnston redesigned the Underground sign and logo to include his typeface on the blue bar in the center of a red circle.
In the 1920s, Soviet constructivism 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 purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.
Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as fascistic, but it remained influential.[citation needed] Tschichold, Bauhaus typographers such as Herbert Bayer and László Moholy-Nagy and El Lissitzky greatly influenced graphic design. They pioneered production techniques[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.
The professional graphic design industry grew in parallel with consumerism. This raised concerns and criticisms, notably from within the graphic design community with the First Things First manifesto. First launched by Ken Garland in 1964, it was re-published as the First Things First 2000 manifesto in 1999 in the magazine Emigre 51[32] 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."
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