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Jordanian specialists became serious competitors against other Arab countries which had previously monopolised the fields of design and printing. Jordan has developed so that it can meet the demand for design and printing within the country. Jordan has become a magnet for many publishing houses in the Arab region. Many production and publishing organisations were able to catch up to the levels of the latest technology. There is plenty of evidence to suggest that they will develop further using modern production tools and this will ensure there are enough local specialists who can continue to produce work of the highest quality. The pace of technological development made it necessary for the academic institutions to provide the Jordanian market with the skilled workers who can work to the high standards required.
Printing was brought to Jordan in the 1940s by people who had learnt the trade in other countries. Jordans printing evolution was similar to that of other countries. Printing started using wooden moulds then zinc clichés and letterpress as well as other printing tools symbols and shapes. It was the printing technology that restricted the scope for producing new designs. The range of items printed was limited to newspapers cards and stationary. Printing started mainly in black and white and was then developed to make photo made clichés through which the printers were able to print in full colour. Typolography or raised printing was the main method and is still used today. Offset printing enhanced the quality of production providing improvements in colour and picture reproduction.
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Until that time were not systematically taught these areas in any other European school. In the early 70s members of the Bund Deutscher Grafik-Designer (Association of German graphic designers) unveiled several features of their professional identity as in the case of Anton Stankowski among others. While in 1962 the official definition of the profession was directed almost exclusively to the advertising now extended to include areas located under the rubric of communication visual.4 corporate images produced by the Development Group 5 of the HFG Ulm such as those created for the firm Braun or airline Lufthansa were also critical to this new professional identity. Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from semantics.