Graphic design is a profession focused on visually communicating ideas and information through design. It began emerging as a distinct profession in the late 19th century as new technologies developed and the need for visual communication grew. Some key developments in the history of graphic design include illuminated manuscripts from medieval times, the printing press in the 15th century which allowed mass production of books, William Morris and the Kelmscott Press in the late 19th century which helped establish graphic design as a profession, early 20th century art movements like Art Nouveau and the Bauhaus school which influenced design, and the modern period starting in the 1950s when pictograms and corporate identity design developed.

1. WHAT IS GRAPHIC DESIGN: HISTORY AND BEGINNINGS
Visual design is a occupation whose organization could be the behav e of designing, dev elopment, and produce aesthetic communications, ty pically
created by commercial means and meant to conv ey specif ic communications to certain cultural teams, with a clear purpose. This is actually the activ ity
that allows graphically speak ideas, details and v alues processed and sy nthesized with regards to ty pe and interaction, cultural, national, f inancial,
artistic and technological. Also called aesthetic interaction design, since some link the term f igure and then the printing business, and realize that
aesthetic messages are channeled through many media, not only print.
Prov ided the massiv e and quick dev elopment in the change of inf ormation, the demand f or v isual dev elopers is greater than actually , particularly due to
the progress of new technologies and the need to pay attention to the human f acets that are bey ond the competence of technicians who dev elop them.
Some classif ications are popular graphic sty le: adv ertising style, editorial sty le, corporate personality design, web sty le, presentation design,
ty pographic design, signage design, media sty le, among others.
Visual Sty le Record
The meaning of the graphic design job is quite new, in what issues their planning, their actions and goals. Ev en though there is number agreement on
the precise time of the deliv ery of visual style, some dating throughout the interwar period. The others recognize that start s to identif y theref ore to the
late nineteenth century .
Perhaps particular graphic communications applications hav e their source in Paleolithic cav e paintings and the deliv ery of prepared language in the
next millennium BC. C. But the dif f erences in f unctioning methods and education expected reliable sciences are such it is dif f icult to obv iously identif y
the present graphic custom with prehistoric man, with xy lograph f if teenth century or the lithographer 1890.
The v ariety of opinion ref lects the truth that some see as something of v isual sty le and all the graphic demonstration just those who dev elop as a result
of the apply ing of a sty le of industrial production, these v isible manif estations that hav e been "projected" considering want s of dif ferent kinds:
productiv e sy mbolic ergonomic contextual etc.
Background
A ty pical page f rom the Guide of Kells: Folio 114, with decorated text contains the Tunc dicit illis. A ty pical example of artwork and page lay out of the
Middle Ages.
The Guide of Kells - A Bible handwritten highly illustrated by Irish monks in the ninth century CE-is f or some a v ery wonderf ul and early exemplory
instance of v isual design concept. It is just a graphic demonstration of great creativ e price, good quality , and that ev en a sty le f or understanding how to
design-f or ev en surpasses in quality to most of the current-editorial productions, and also f rom an operating standpoint contemporary This graphic item
reacts to all or any wants shown the staf f of indiv iduals who made it, howev er others think that it will be v isual design solution, since they realize that
their sty le isn't adjusted to the thought of recent graphic sty le project.
The annals of ty pography -and by transitive, also the annals of the book-is strongly linked to v isual sty le, this might be since there are v irtually no
artwork sty les that not contain such products graphics. Hence, when ref erring to the history of graphic design, ty pography also of f ered the Trajan
column, old miniatures, Johannes Gutenberg's printing press, the dev elopment of the book business, the prints Parisian Arts Action and Craf ts (Arts
and Craf ts), Bill Morris, Bauhaus, etc.. "
The introduction of mov able f orm by Johannes Gutenberg produced books cheaper to produce, and aid their dissemination. The v ery f irst produced
publications (incunabula) won the position design to the twentieth century . Visual sty le with this age has become ref erred to as Prev ious Fashion
(especially the ty pef aces which these early ty pographers used), or Humanist, because of the prev alent philosophical school of the time.
Following Gutenberg, no substantial improv ements were seen bef ore the late nineteenth century , particularly in Britain, there was an ef f ort to produce a
distinct team between the f ine and applied arts.
In the 19th Century
First page of the book "The Character of Gothic" by John Ruskin, published by the Kelmscott Press. The Arts and Products designed to rev iv e the
ancient art, inspiration in nature and handbook labor.

2. During the nineteenth century aesthetic message sty le was entrusted alternately two prof essionals: the artist or the publisher. The initial was shaped
being an artist and the second as a contractor, f requently equally in the same colleges of arts and craf ts. For the printer as artwork was the utilization of
ornaments and selecting f onts printed in his compositions. The artist saw ty pography as a kid and spending more f ocus on ornamental and illustrativ e
elements.
Between 1891 and 1896, the William Morris Kelmscott Push printed some of the most signif icant v isual products Arts and Projects Mov ement (Arts and
Craf ts), and established a lucrativ e business on the basis of the design of books of great sty listic ref inement and of fering them to the upper lessons as
luxurious items. Morris shown a industry endured f or perf orms of visual design, establishing the div orce of design f rom production and the f ine arts.
The work of the Kelmscott Push is characterized by their recreation of old v ariations, specially mediev al.
First Vanguards
Poster f or the Moulin Rouge in Paris. Created by Henri de Toulouse-Lautrec with shade lithography in 1891. Thanks to Artwork Nouv eau, graphic
design and aesthetic quality receiv ed by the composition.
Isoty pe of the Bauhaus. Established in 1919 by Walt Gropius, is recognized as the birthplace of the graphic sty le prof ession.
Prov ided Poster f or Matinée. Created by Theo v ehicle Doesburg in January 1923. The f ree f ont company , conv eys the nature of t he Dada action,
irrationality , f or f lexibility and oppose the position quo and v isible expressions of the time.
Corporate identity sty le f or Luf thansa, by the Development Party 5 of the HFG Ulm. Ulm School was an inf lection place in the real history of sty le, since
there is outlined the design occupation through scientif ic methodology .graphic designers Brisbane
Recent pictograms sty le f or the National Park Serv ice of the United States. The idea to simplif y the icons f orms dev eloped during the 1950s.
The design of the f irst twentieth century , as well as the f ine arts of exactly the same period, was an ef f ect contrary to the decadence of ty pography and
sty le of the late nineteenth century .