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All these movements opposed to the decorative arts and popular as well as the Art Nouveau which under the influence of the new interest in geometry evolved into the Art Deco. All these movements were a revisionist and transgressive spirit in all arts of the time. This period also publications and manifestos proliferated through which artists and educators expressed their opinions. During the 1930s developed for the composition interesting aspects of graphic design. The graphic style change was significant because it shows a reaction against eclecticism ornamentalist organicism and the time and proposes a more stripped and geometric. This style connected with Constructivism Suprematism Neoplasticism De Stijl and Bauhaus exerted a lasting influence and inescapable in the development of twentieth century graphic design.
To exploit this power is necessary continuing education and practice as it is very difficult to acquire by intuition. Creativity innovation and lateral thinking are key skills for graphic designer job performance. Creativity in design exists within established frames of reference but more than anything is a cultivated skill to find unexpected solutions to seemingly intractable problems. This translates into design work of the highest level and quality. The creative act is the core of the design process manager but creativity itself is not an act of design. However creativity is not exclusive graphics performance and no profession although it is absolutely necessary for the proper performance of the design work. The role that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation organization and presentation of visual messages.
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After Gutenberg no significant changes were seen until the late nineteenth century particularly in Britain there was an effort to create a clear division between the fine and applied arts. In the 19th Century First page of the book "The Nature of Gothic" by John Ruskin published by the Kelmscott Press. The Arts and Crafts intended to revive the medieval art inspiration in nature and manual labor. During the nineteenth century visual message design was entrusted alternately two professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman often both in the same schools of arts and crafts. For the printer as art was the use of ornaments and selecting fonts printed in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.