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It also gives an indication of the effectiveness of teachers in producing a generation of students capable of dealing with the academic ethos and engaging with the requirements of the profession. This training provides the students with opportunities to polish and develop their skills by working along side established practitioners. Todays graphic design tools rely on information technology for producing visualisations of scientific developments. This visualisation requires an understanding of the scientific theory and the visualisation tools available which in turn relies on the expertise of graphic designers. In this paper I will focus on the profession of graphic design and its development by discussing its early development.
The Arabic library is condensed with other artistic methodological books in addition to some translated books which discuss the basics of design advertisement and other topics that fall within the framework of advertisement. The fact is that there is a short understanding of the comprehensive concept of Graphic Design. This concept is not sufficiently represented by advertisement and publicity or printing design because such specialization per se received little attention before the advent of computer to the Arab World and the return of unspecialized cadres living in the European countries and USA who brought with them the sophisticated technology and transferred it to us without defining its actual identity academically and vocationally. With the start of teaching this specialization dependence in determining the study plan was basically on the academic staff entrusted to teach such specialization. Some were distant from the roots of this specialization and others considered that any person with a specialization in art or architecture can play the role of planner. But after a careful review of the total study plans in most Arabic universities we realized how unbalanced and sometimes insufficient such attempts were; they have no identified identity; half of them were fine arts and the others tackled one part of Graphic Design but of no grass root.
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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.