26th Brno Biennial 2014 Ndash Publications Ndash Further Reading 006

Monday, December 31st 2018. | Graphic Design

26th Brno Biennial 2014 Ndash Publications Further Reading 006 Graphic Design Designer Education

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In the years following the modern style gained acceptance while stagnated. Notable names in modern design midcentury are Adrian Frutiger designer of the typefaces Univers and Frutiger and Josef Müller-Brockmann large poster of the fifties and sixties. The Hochschule für Gestaltung (HFG) in Ulm was another key institution in the development of the graphic design profession. Since its founding the HFG distanced himself from a possible affiliation with advertising. At the beginning the department concerned was called Visual Design but it quickly became clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication modeled Visual Communication Department at the New Bauhaus in Chicago.2 3 In the HFG Ulm decided to work primarily in the area of persuasive communication in the fields such as traffic sign systems plans for technical equipment or visual translation of scientific content.

His sensitivity to the form must be parallel to its sensitivity to the content. This work deals with the planning and structuring of communications with its production and evaluation. The design work is always based on customer demand demand which eventually established linguistically either orally or in writing. This means that the graphic design transforms a linguistic message in a visual demonstration. The professional graphic design rarely works with nonverbal messages. At times the word appears briefly and in other texts appears as complex. The editor is in many cases an essential member of the communications team. The design activity often requires the participation of a team of professionals such as photographers illustrators technical illustrators including professionals with less related to visual message.

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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.

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