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At that time developed a consensus that simple not only was the equivalent of good but was also more readable equivalent. One of the hardest hit areas was the design of symbols. The designers raised the question of how they could be simplified without destroying its informative function. However recent investigations have shown that the shape simplification only one symbol does not necessarily increase readability. Second Vanguards Reaction to the sobriety growing graphic design was slow but inexorable. The origins of postmodern fonts back to the humanist movement of the fifties. In this group highlights Hermann Zapf who designed two typefaces today ubiquitous Palatino (1948) and Best (1952). Blurring the line between serif fonts and sans serif and reintroducing organic lines in the lyrics these designs served more to ratify the modern movement to rebel against him. An important milestone was the publication of the Manifesto first things first (1964) which was a call for a more radical form of graphic design criticizing the idea of design in series worthless.
Another important element in relation to professional practice was the increasing use of visual form as communication element. This item appeared mostly in the designs produced by the Dada and De Stijl. The symbol of modern typography is the sans serif font or serif inspired by industrial types of the late nineteenth century. Highlights include Edward Johnston author of the font for the London Underground and Eric Gill. Design Schools Jan Tschichold embodied the principles of modern typography in his 1928 book New Typography. He later repudiated the philosophy presented in this book calling it fascist but remained very influential. Herbert Bayer who dirigó from 1925-1928 the typography and advertising workshop at the Bauhaus created the conditions for a new profession: the graphic designer.
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The production of personal computers by competitors of Apple Macintosh as well as the ease with which film can be processed through its programs created a huge increase in the number of professionals interested in graphic design. This became evident by the growth in the number of agencies design offices publishing houses and service centres. Personal computers affected the technical and artistic aspects of production. Some production centres were able to develop their skill base and by recruiting experienced designers and developing them by organising training courses. These highly trained individuals achieved high standards of work within and outside Jordan and were able to compete with others in the Arab regions and captured a share of these markets producing many publications.