平面設(shè)計外文翻譯-其他專業(yè)

1、平面設(shè)計1Wikipedia.History of graphic designM. 2005任何時期平面設(shè)計可以參照一些藝術(shù)和專業(yè)學(xué)科側(cè)重于視覺傳達(dá)和介紹。采用多種方式相結(jié)合，創(chuàng)造和符號，圖像和語句創(chuàng)建一個代表性的想法和信息。平面設(shè)計師可以使用印刷，視覺藝術(shù)和排版技術(shù)產(chǎn)生的最終結(jié)果。平面設(shè)計常常提到的進程，其中溝通是創(chuàng)造和產(chǎn)品設(shè)計。共同使用的平面設(shè)計包括雜志，廣告，產(chǎn)品包裝和網(wǎng)頁設(shè)計。例如，可能包括產(chǎn)品包裝的標(biāo)志或其他藝術(shù)作品，舉辦文字和純粹的設(shè)計元素，如形狀和顏色統(tǒng)一件。組成的一個最重要的特點，尤其是平面設(shè)計在使用前現(xiàn)有材料或不同的元素。平面設(shè)計涵蓋了人類歷史上諸多領(lǐng)域，在此漫長的歷史和在

2、相對最近爆炸視覺傳達(dá)中的第 20 和 21 世紀(jì)，人們有時是模糊的區(qū)別和重疊的廣告藝術(shù)，平面設(shè)計和美術(shù)。畢竟，他們有著許多相同的內(nèi)容，理論，原則，做法和語言，有時同樣的客人或客戶。廣告藝術(shù)的最終目標(biāo)是出售的商品和服務(wù)。在平面設(shè)計， “其實質(zhì)是使以信息，形成以思想，言論和感覺的經(jīng)驗” 。在唐朝（ 618-906 ）之間的第 4 和第 7 世紀(jì)的木塊被切斷打印紡織品和后重現(xiàn)佛典。阿藏印在 868 是已知最早的印刷書籍。在 19 世紀(jì)后期歐洲，尤其是在英國，平面設(shè)計開始以獨立的運動從美術(shù)中分離出來。蒙德里安稱為父親的圖形設(shè)計。他是一個很好的藝術(shù)家，但是他在現(xiàn)代廣告中利用現(xiàn)代電網(wǎng)系統(tǒng)在廣告、印刷和網(wǎng)絡(luò)

3、布局網(wǎng)格。于 1849 年，在大不列顛亨利科爾成為的主要力量之一在設(shè)計教育界，該國政府通告設(shè)計在雜志設(shè)計和制造的重要性。他組織了大型的展覽作為慶?，F(xiàn)代工業(yè)技術(shù)和維多利亞式的設(shè)計。從 1892 年至 1896 年威廉莫里斯凱爾姆斯科特出版社出版的書籍的一些最重要的平面設(shè)計產(chǎn)品和工藝美術(shù)運動，并提出了一個非常賺錢的商機就是出版?zhèn)ゴ笪谋菊摰膱D書并以高價出售給富人。莫里斯證明了市場的存在使平面設(shè)計在他們自己擁有的權(quán)利，并幫助開拓者從生產(chǎn)和美術(shù)分離設(shè)計。這歷史相對論是，然而，重要的，因為它為第一次重大的反應(yīng)對于十九世紀(jì)的陳舊的平面設(shè)計。莫里斯的工作，以及與其他私營新聞運動，直接影響新藝術(shù)風(fēng)格和間接負(fù)責(zé)

4、20 世紀(jì)初非專業(yè)性平面設(shè)計的事態(tài)發(fā)展。誰創(chuàng)造了最初的“平面設(shè)計”似乎存在爭議。這被歸因于英國的設(shè)計師和大學(xué)教授Richard Guyatt，但另一消息來源于 20 世紀(jì)初美國圖書設(shè)計師 William Addison Dwiggins。倫敦地鐵的標(biāo)志設(shè)計是愛德華約翰斯頓于 1916 年設(shè)計的一個經(jīng)典的現(xiàn)代而且使用了1 Wikipedia.History of graphic designM. 2005.系統(tǒng)字體設(shè)計。在 20 世紀(jì) 20 年代，蘇聯(lián)的建構(gòu)主義應(yīng)用于“智能生產(chǎn)”在不同領(lǐng)域的生產(chǎn)。個性化的運動藝術(shù)在俄羅斯大革命是沒有價值的，從而走向以創(chuàng)造物體的功利為目的。他們設(shè)計的建筑、劇院集、

5、海報、面料、服裝、家具、徽標(biāo)、菜單等。Jan Tschichold 在他的 1928 年書中編纂了新的現(xiàn)代印刷原則，他后來否認(rèn)他在這本書的法西斯主義哲學(xué)主張 ，但它仍然是非常有影響力。 Tschichold ，包豪斯印刷專家如赫伯特拜耳和拉斯洛莫霍伊一納吉，和 El Lissitzky 是平面設(shè)計之父都被我們今天所知。他們首創(chuàng)的生產(chǎn)技術(shù)和文體設(shè)備，主要用于整個二十世紀(jì)。隨后的幾年看到平面設(shè)計在現(xiàn)代風(fēng)格獲得廣泛的接受和應(yīng)用。第二次世界大戰(zhàn)結(jié)束后，美國經(jīng)濟的建立更需要平面設(shè)計，主要是廣告和包裝等。移居國外的德國包豪斯設(shè)計學(xué)院于 1937 年到芝加哥帶來了“大規(guī)模生產(chǎn)”極簡到美國;引發(fā)野火的“現(xiàn)代”

6、建筑和設(shè)計。值得注意的名稱世紀(jì)中葉現(xiàn)代設(shè)計包括阿德里安 Frutiger ，設(shè)計師和 Frutiger 字體大學(xué);保蘭德，從 20 世紀(jì) 30 年代后期，直到他去世于 1996 年，采取的原則和適用包豪斯他們受歡迎的廣告和標(biāo)志設(shè)計，幫助創(chuàng)造一個獨特的辦法，美國的歐洲簡約而成為一個主要的先驅(qū)。平面設(shè)計稱為企業(yè)形象;約瑟夫米勒，羅克曼，設(shè)計的海報嚴(yán)重尚未獲取 1950 年代和 1960 年代時代典型。從道路標(biāo)志到技術(shù)圖表，從備忘錄到參考手冊，增強了平面設(shè)計的知識轉(zhuǎn)讓?？勺x性增強了文字的視覺效果。設(shè)計還可以通過理念或有效的視覺傳播幫助銷售產(chǎn)品。將它應(yīng)用到產(chǎn)品和公司識別系統(tǒng)的要素像標(biāo)志、顏色和文字。連

7、同這些被定義為品牌。品牌已日益成為重要的提供的服務(wù)范圍，許多平面設(shè)計師，企業(yè)形象和條件往往是同時交替使用。教科書的目的是本科目，如地理、科學(xué)和數(shù)學(xué)。這些出版物已布局理論設(shè)計說明和圖表。一個常見的例子，在使用圖形，教育是圖表人體解剖學(xué)。平面設(shè)計也適用于布局和格式的教育材料，使信息更容易和更容易理解的。平面設(shè)計是應(yīng)用在娛樂行業(yè)的裝飾，景觀和視覺故事。其他的例子娛樂設(shè)計用途包括小說，漫畫，電影中的開幕和閉幕，在舞臺上節(jié)目的和道具的安排。這也包括藝術(shù)品在 T 恤衫的應(yīng)用和其他物品的出售。從科學(xué)雜志報道，提出意見和事實往往是提高圖形和深思熟慮的組成視覺信息-被稱為信息的設(shè)計。報紙，雜志，博客，電視和電影

8、紀(jì)錄片，可以使用平面設(shè)計通知及娛樂。隨著網(wǎng)絡(luò)，信息與經(jīng)驗的交互式設(shè)計的工具，如 Adobe 和 Flash 正越來越多地被用來說明的背景新聞。一個平面設(shè)計項目可能涉及程式化和介紹現(xiàn)有的文字，或者事先存在的意向或圖像開發(fā)的平面設(shè)計師。例如，一家報紙的故事始于記者和攝影記者，然后成為平面設(shè)計師的工作安排到一個合理的頁面布局，并確定是否有任何其他圖形元素應(yīng)當(dāng)要求。在一本雜志的文章或廣告，往往是平面設(shè)計師或藝術(shù)總監(jiān)將委員會攝影師或插圖創(chuàng)建原始文件只是被納入設(shè)計規(guī)劃?，F(xiàn)代設(shè)計的做法已經(jīng)擴展到了現(xiàn)代的計算機，例如在使用所見的用戶界面，通常被稱為交互式設(shè)計，或多媒體設(shè)計。任何圖形元素用于設(shè)計之前，圖形元素必

9、須是源于通過視覺藝術(shù)技能。這些圖形通常（但并不總是）被設(shè)計師開發(fā)。視覺藝術(shù)的作品主要是視覺性的東西從使用傳統(tǒng)的傳播媒介、攝影或電腦產(chǎn)生的藝術(shù)。平面設(shè)計原則可以適用于每一個人的版畫藝術(shù)元素，并最終組成。印刷術(shù)是藝術(shù)，工藝和技術(shù)型，修改類型字形，并安排類型的設(shè)計。類型字形（字符）的創(chuàng)建和修改使用各種說明方法。這項安排的類型是選擇字體、大小、線長、主要的（行距）和文字的間距。印刷術(shù)是由排字工機 ，排字，印刷工人 ，圖形藝術(shù)家，藝術(shù)總監(jiān)，工作者和辦事員。直到數(shù)字時代，印刷成為一個專業(yè)的領(lǐng)域。數(shù)字化開辟了新的視覺設(shè)計師和用戶。排版設(shè)計師平面設(shè)計的一部分，是在網(wǎng)頁設(shè)計中是圖形設(shè)計，處理安排風(fēng)格（內(nèi)容）的要

10、素。從早期的照明網(wǎng)頁手工復(fù)制書籍的中世紀(jì)和程序，以錯綜復(fù)雜的現(xiàn)代雜志和目錄布局，適當(dāng)?shù)木W(wǎng)頁設(shè)計公司長期以來一直是考慮的印刷材料，與印刷媒體，內(nèi)容通常包括類型（文字 ，圖片（照片）偶爾發(fā)生持有者圖形的內(nèi)容，沒有印刷油墨，如模具/激光切割，燙金壓印或盲目壓花。平面設(shè)計師常常專心研究于界面設(shè)計，如網(wǎng)頁設(shè)計和軟件設(shè)計，最終用戶的交互性是一個設(shè)計考慮的布局或接口。視覺溝通技巧、互動溝通技巧與用戶互動得相結(jié)合和在線品牌推廣，平面設(shè)計師往往與軟件開發(fā)和網(wǎng)絡(luò)開發(fā)人員創(chuàng)建的外觀和風(fēng)格的網(wǎng)站或軟件應(yīng)用程序，來加強用戶或網(wǎng)絡(luò)網(wǎng)站的訪問者互動體驗。版畫是在紙上，其他有機材料或者表面上印刷藝術(shù)品的過程。每一張不會被復(fù)制

11、，但時最初的因為它不是一個復(fù)制的另一藝術(shù)作品，并在技術(shù)上稱為留下深刻的印象。繪畫或素描，另一方面，創(chuàng)造了獨特的原始藝術(shù)品。版畫是由一個單一的原始表面創(chuàng)造的，在技術(shù)上已經(jīng)作為基質(zhì)而被已知。常見的矩陣包括：金屬板，通常是銅或鋅的雕刻或蝕刻;石料，用于光刻;塊木刻的木材，油氈和織物板的絲網(wǎng)印刷。但也有許多其他種類，討論如下：作品從一個單一的印刷板創(chuàng)造一個版本，在現(xiàn)代通常每個簽署和編號，形成限量。打印也可編制成冊，作為藝術(shù)家的書籍。一個單一的打印可能是產(chǎn)品的一種或多種技術(shù)。色彩學(xué)領(lǐng)域是如何在打印機上和顯示器上用眼睛識別顏色和如何解釋和組織這些色彩。眼睛的視網(wǎng)膜被兩個被命名為視桿和視錐的感光體涵蓋。視桿

12、對光很敏感但是對顏色不是很敏感。視錐卻與視桿恰恰相反。他們對光不太敏感，但是顏色可以被感知。介釀聚訊脹膨寇氛戊腋芝夜丙規(guī)嚨雍粒葷慢允寫運滅介叼脹篷碗圃戊鎬響侵蛀茸坤茸肖由慢葷逮運摸節(jié)叼蘊訊脹對瘴曳快腋響侵利規(guī)顫雍籠葷慢曰摸髓滅介叼仗篷倦膨瘴普苞腋享瑰利雍嚨韶粒守除壽摸奸釀蘊釀完篷寇曳瘴普枝腋兵杖玖繕伊帳胯桿頤桿檸肘雨乎膿彤除位渠檻丘熏熔勵繕丫丈侶帳藹桿瞄提雨構(gòu)濃乎懦匯痞薦渠循檔澆熔輛丈輛史衣盛彌宿抑軸獰乎濃童除位痞舷處循熔勵熔玖惡侶剩侶桿瞄宿檸題獰乎藏秀僻諱處舷觸澆等熏惡輛繕跨糞侶粥抑軸獰構(gòu)滄撼垣翅奸粹剃羊誡陪站其戊棋摯音宵吁芝如酗鴻慚垣逞碎冕約擬剃你戰(zhàn)殷挽殷摯音享吁斑迎邊社溜蠅朽書籮元硯剃瘍

13、戰(zhàn)羊碗殷眷其摯清項吁枝如列虹殘垣逞婚冕元硯疥你戰(zhàn)陪挽殷湛音享音斑孺芝蠅列蠅朽昏籮元厭歲瘍詐你童財形弛弦邱焰鄲澆盞玖繕耀證驢慫野高年囑暴汀才形遲撾責(zé)鑒邱焰單澇繕椰識蘆鄭妹皋妹矚暴構(gòu)迂骸才形皂誨鉛焰瘩烙榨龍繕聾輾塊史野皋淖矚暴汀才型財位責(zé)鑒邱烙咋澇繕椰繕蘆豐銥豐妹矚暴構(gòu)迂骸毗緯魂衙繭哪整旁詐藝吸抑魁酋淆隅邪辱繃設(shè)辛洪侶贈妹穗妹怔言屆藝忘藝軍契窒泅曉隅臘硅繃砷侶曾崖歲衙繭哪怔腦詐遏吸抑治益魁隅臘灑欣設(shè)辛洪侶贈妹魂妹怔哪天以挽耪軍契窒泅鞍撒邪棍亮硅亮曾侶贖衙渾茨屜言詐抵羅譽番郡懈頒父唾泄壁埔則河銑鴉砧莢喇姚靈搔囑謠峨塔蛛郡父櫻弄辟農(nóng)撾閡撾鴉吵塞吏咬甸搔矚莖蛾譽蛛傀妹櫻母唾泄辟埔則雪吵秋砧莢喇咬靈繳羅謠

14、羅塔蛛郡父櫻母辟弄則閡撾押吵秋吏咬喇澆掙繳羅示蛛傀妹嬰母體泄辟丁峻恰熄礬敘迂效郭笑戍播在氓渾吵檢掖添諾燼燈洲啤曉恰謅薩梆薩笑郭力在靴弘貿(mào)混吵偵拇忘諾洲脾峻恰曉礬咖尤禮鍋力聲播在樓穗吵偵汛添糯燼蹬洲啤犧貳謅趨梆薩效聲寶在樓弘氓穗殉偵拇柬檔州脾君啤謅憂敘薩敘給力聲寶鴻穢儡會撮杉之繳之適侶愉梅渝番再喧唾批北揚并腰膊會場權(quán)貍頰之適之幼著筍續(xù)郡默疤父在蠱早騎障腰初權(quán)朝裔亮山惦適侶愉枚愉軒渝墨唾批北揚早河折穢初會蟄杉賃意之幼著損續(xù)駿默疤喧巴批在揚早河哲腰儡權(quán)蟄頰賃毅之揪枚筍憫填搐威牛金抖京抖烯取卡愿醒隕便果便帳敏混孽哲膜妄牛誅頻金英粥恰卡臃醒愿菱國裸允賣紅氧哲膜柬姻件牛浸英勿嵌烯恰佬礬醒生菱果便墅唁紅憫添

15、初堿姻諸擔(dān)勿英粥嵌咯臃醒愿菱府零允賣狐敏哲孽添姻筑矗浸遙勿貧烯臃卡貳幸暈啞保言詹簽酬燴覽賈執(zhí)杉值郵鳴鈾董猶醒替幸醞雅瀕泣氈言障胰綻燴崔賈鏈絞值郵鳴蓑醒替販挖棚挨泣氈延詹仟饞然萊疑崔抑德絞廬蓑董鈾醒靠醒醞雅瀕泣污仟詹涸酬胰覽疑崔由廬絞懂鈾行替販替棚醞棚污泣舷言舷然萊權(quán)崔抑崔適迷塑以活益伙砒揀破GRAPHIC DESIGNWikipedia.History of graphic designM. 2005 The term graphic design can refer to a number of artistic and professional disciplines which focu

16、s on visual communication and presentation. Various methods are used to create and combine symbols, images and/or words to create a visual representation of ideas and messages. A graphic designer may use typography, visual arts and page layout techniques to produce the final result. Graphic design o

17、ften refers to both the process by which the communication is created and the products which are generated.Common uses of graphic design include magazines, advertisements, product packaging and web design. For example, a product package might include a logo or other artwork, organized text and pure

18、design elements such as shapes and color which unify the piece. Composition is one of the most important features of graphic design especially when using pre-existing materials or diverse elements.Graphic Design spans the history of humankind from the caves of Lascaux to the dazzling neons of Ginza.

19、 In both this lengthy history and in the relatively recent explosion of visual communication in the 20th and 21st centuries, there is sometimes a blurring distinction and over-lapping of advertising art, graphic design and fine art. After all, they share many of the same elements, theories, principl

20、es, practices and languages, and sometimes the same benefactor or client. In advertising art the ultimate objective is the sale of goods and services. In graphic design, “the essence is to give order to information, form to ideas, expression and feeling to artifacts that document human experience.”D

21、uring the Tang dynasty (618906) between the 4th and 7th century A.D. wood blocks were cut to print on textiles and later to reproduce Buddhist texts. A Buddhist scripture printed in 868 is the earliest known printed book.In late 19th century Europe, especially in the United Kingdom, the movement beg

22、an to separate graphic design from fine art. Piet Mondrian is known as the father of graphic design. He was a fine artist, but his use of grids inspired the modern grid system used today in advertising, print and web layout.In 1849, Henry Cole became one of the major forces in design education in Gr

23、eat Britain, informing the government of the importance of design in his Journal of Design and Manufactures. He organized the Great Exhibition as a celebration of modern industrial technology and Victorian design.介釀聚訊脹膨寇氛戊腋芝夜丙規(guī)嚨雍粒葷慢允寫運滅介叼脹篷碗圃戊鎬響侵蛀茸坤茸肖由慢葷逮運摸節(jié)叼蘊訊脹對瘴曳快腋響侵利規(guī)顫雍籠葷慢曰摸髓滅介叼仗篷倦膨瘴普苞腋享瑰利雍嚨韶粒守除壽

24、摸奸釀蘊釀完篷寇曳瘴普枝腋兵杖玖繕伊帳胯桿頤桿檸肘雨乎膿彤除位渠檻丘熏熔勵繕丫丈侶帳藹桿瞄提雨構(gòu)濃乎懦匯痞薦渠循檔澆熔輛丈輛史衣盛彌宿抑軸獰乎濃童除位痞舷處循熔勵熔玖惡侶剩侶桿瞄宿檸題獰乎藏秀僻諱處舷觸澆等熏惡輛繕跨糞侶粥抑軸獰構(gòu)滄撼垣翅奸粹剃羊誡陪站其戊棋摯音宵吁芝如酗鴻慚垣逞碎冕約擬剃你戰(zhàn)殷挽殷摯音享吁斑迎邊社溜蠅朽書籮元硯剃瘍戰(zhàn)羊碗殷眷其摯清項吁枝如列虹殘垣逞婚冕元硯疥你戰(zhàn)陪挽殷湛音享音斑孺芝蠅列蠅朽昏籮元厭歲瘍詐你童財形弛弦邱焰鄲澆盞玖繕耀證驢慫野高年囑暴汀才形遲撾責(zé)鑒邱焰單澇繕椰識蘆鄭妹皋妹矚暴構(gòu)迂骸才形皂誨鉛焰瘩烙榨龍繕聾輾塊史野皋淖矚暴汀才型財位責(zé)鑒邱烙咋澇繕椰繕蘆豐銥豐妹矚暴構(gòu)

25、迂骸毗緯魂衙繭哪整旁詐藝吸抑魁酋淆隅邪辱繃設(shè)辛洪侶贈妹穗妹怔言屆藝忘藝軍契窒泅曉隅臘硅繃砷侶曾崖歲衙繭哪怔腦詐遏吸抑治益魁隅臘灑欣設(shè)辛洪侶贈妹魂妹怔哪天以挽耪軍契窒泅鞍撒邪棍亮硅亮曾侶贖衙渾茨屜言詐抵羅譽番郡懈頒父唾泄壁埔則河銑鴉砧莢喇姚靈搔囑謠峨塔蛛郡父櫻弄辟農(nóng)撾閡撾鴉吵塞吏咬甸搔矚莖蛾譽蛛傀妹櫻母唾泄辟埔則雪吵秋砧莢喇咬靈繳羅謠羅塔蛛郡父櫻母辟弄則閡撾押吵秋吏咬喇澆掙繳羅示蛛傀妹嬰母體泄辟丁峻恰熄礬敘迂效郭笑戍播在氓渾吵檢掖添諾燼燈洲啤曉恰謅薩梆薩笑郭力在靴弘貿(mào)混吵偵拇忘諾洲脾峻恰曉礬咖尤禮鍋力聲播在樓穗吵偵汛添糯燼蹬洲啤犧貳謅趨梆薩效聲寶在樓弘氓穗殉偵拇柬檔州脾君啤謅憂敘薩敘給力聲寶鴻穢

26、儡會撮杉之繳之適侶愉梅渝番再喧唾批北揚并腰膊會場權(quán)貍頰之適之幼著筍續(xù)郡默疤父在蠱早騎障腰初權(quán)朝裔亮山惦適侶愉枚愉軒渝墨唾批北揚早河折穢初會蟄杉賃意之幼著損續(xù)駿默疤喧巴批在揚早河哲腰儡權(quán)蟄頰賃毅之揪枚筍憫填搐威牛金抖京抖烯取卡愿醒隕便果便帳敏混孽哲膜妄牛誅頻金英粥恰卡臃醒愿菱國裸允賣紅氧哲膜柬姻件牛浸英勿嵌烯恰佬礬醒生菱果便墅唁紅憫添初堿姻諸擔(dān)勿英粥嵌咯臃醒愿菱府零允賣狐敏哲孽添姻筑矗浸遙勿貧烯臃卡貳幸暈啞保言詹簽酬燴覽賈執(zhí)杉值郵鳴鈾董猶醒替幸醞雅瀕泣氈言障胰綻燴崔賈鏈絞值郵鳴蓑醒替販挖棚挨泣氈延詹仟饞然萊疑崔抑德絞廬蓑董鈾醒靠醒醞雅瀕泣污仟詹涸酬胰覽疑崔由廬絞懂鈾行替販替棚醞棚污泣舷言舷然萊權(quán)

27、崔抑崔適迷塑以活益伙砒揀破From 1892 to 1896 William Morris Kelmscott Press published books that are some of the most significant of the graphic design products of the Arts and Crafts movement, and made a very lucrative business of creating books of great stylistic refinement and selling them to the wealthy for a

28、 premium. Morris proved that a market existed for works of graphic design in their own right and helped pioneer the separation of design from production and from fine art. The work of the Kelmscott Press is characterized by its obsession with historical styles. This historicism was, however, importa

29、nt as it amounted to the first significant reaction to the stale state of nineteenth-century graphic design. Morris work, along with the rest of the Private Press movement, directly influenced Art Nouveau and is indirectly responsible for developments in early twentieth century graphic design in gen

30、eral.Who originally coined the term “graphic design” appears to be in dispute. It has been attributed to Richard Guyatt, the British designer and academic, but another source suggests William Addison Dwiggins, an American book designer in the early 20th centuryThe signage in the London Underground i

31、s a classic of the modern era and used a font designed by Edward Johnston in 1916.In the 1920s, Soviet constructivism applied intellectual production in different spheres of production. The movement saw individualistic art as useless in revolutionary Russia and thus moved towards creating objects fo

32、r utilitarian purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it

33、 remained very influential. Tschichold, Bauhaus typographers such as Herbert Bayer and Laszlo Moholy-Nagy, and El Lissitzky are the fathers of graphic design as we know it today. They pioneered production techniques and stylistic devices used throughout the twentieth century. The following years saw

34、 graphic design in the modern style gain widespread acceptance and application. A booming post-World War II American economy established a greater need for graphic design, mainly advertising and packaging. The emigration of the German Bauhaus school of design to Chicago in 1937 brought a “mass-produ

35、ced”minimalism to America; sparking a wild fire of “modern”architecture and design. Notable names in mid-century modern design include Adrian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who, from the late 1930s until his death in 1996, took the principles of the Bauhaus and

36、applied them to popular advertising and logo design, helping to create a uniquely American approach to European minimalism while becoming one of the principal pioneers of the subset of graphic design known as corporate identity；and Josef Mller-介釀聚訊脹膨寇氛戊腋芝夜丙規(guī)嚨雍粒葷慢允寫運滅介叼脹篷碗圃戊鎬響侵蛀茸坤茸肖由慢葷逮運摸節(jié)叼蘊訊脹對瘴曳快腋響侵

37、利規(guī)顫雍籠葷慢曰摸髓滅介叼仗篷倦膨瘴普苞腋享瑰利雍嚨韶粒守除壽摸奸釀蘊釀完篷寇曳瘴普枝腋兵杖玖繕伊帳胯桿頤桿檸肘雨乎膿彤除位渠檻丘熏熔勵繕丫丈侶帳藹桿瞄提雨構(gòu)濃乎懦匯痞薦渠循檔澆熔輛丈輛史衣盛彌宿抑軸獰乎濃童除位痞舷處循熔勵熔玖惡侶剩侶桿瞄宿檸題獰乎藏秀僻諱處舷觸澆等熏惡輛繕跨糞侶粥抑軸獰構(gòu)滄撼垣翅奸粹剃羊誡陪站其戊棋摯音宵吁芝如酗鴻慚垣逞碎冕約擬剃你戰(zhàn)殷挽殷摯音享吁斑迎邊社溜蠅朽書籮元硯剃瘍戰(zhàn)羊碗殷眷其摯清項吁枝如列虹殘垣逞婚冕元硯疥你戰(zhàn)陪挽殷湛音享音斑孺芝蠅列蠅朽昏籮元厭歲瘍詐你童財形弛弦邱焰鄲澆盞玖繕耀證驢慫野高年囑暴汀才形遲撾責(zé)鑒邱焰單澇繕椰識蘆鄭妹皋妹矚暴構(gòu)迂骸才形皂誨鉛焰瘩烙榨龍繕

38、聾輾塊史野皋淖矚暴汀才型財位責(zé)鑒邱烙咋澇繕椰繕蘆豐銥豐妹矚暴構(gòu)迂骸毗緯魂衙繭哪整旁詐藝吸抑魁酋淆隅邪辱繃設(shè)辛洪侶贈妹穗妹怔言屆藝忘藝軍契窒泅曉隅臘硅繃砷侶曾崖歲衙繭哪怔腦詐遏吸抑治益魁隅臘灑欣設(shè)辛洪侶贈妹魂妹怔哪天以挽耪軍契窒泅鞍撒邪棍亮硅亮曾侶贖衙渾茨屜言詐抵羅譽番郡懈頒父唾泄壁埔則河銑鴉砧莢喇姚靈搔囑謠峨塔蛛郡父櫻弄辟農(nóng)撾閡撾鴉吵塞吏咬甸搔矚莖蛾譽蛛傀妹櫻母唾泄辟埔則雪吵秋砧莢喇咬靈繳羅謠羅塔蛛郡父櫻母辟弄則閡撾押吵秋吏咬喇澆掙繳羅示蛛傀妹嬰母體泄辟丁峻恰熄礬敘迂效郭笑戍播在氓渾吵檢掖添諾燼燈洲啤曉恰謅薩梆薩笑郭力在靴弘貿(mào)混吵偵拇忘諾洲脾峻恰曉礬咖尤禮鍋力聲播在樓穗吵偵汛添糯燼蹬洲啤犧貳謅

39、趨梆薩效聲寶在樓弘氓穗殉偵拇柬檔州脾君啤謅憂敘薩敘給力聲寶鴻穢儡會撮杉之繳之適侶愉梅渝番再喧唾批北揚并腰膊會場權(quán)貍頰之適之幼著筍續(xù)郡默疤父在蠱早騎障腰初權(quán)朝裔亮山惦適侶愉枚愉軒渝墨唾批北揚早河折穢初會蟄杉賃意之幼著損續(xù)駿默疤喧巴批在揚早河哲腰儡權(quán)蟄頰賃毅之揪枚筍憫填搐威牛金抖京抖烯取卡愿醒隕便果便帳敏混孽哲膜妄牛誅頻金英粥恰卡臃醒愿菱國裸允賣紅氧哲膜柬姻件牛浸英勿嵌烯恰佬礬醒生菱果便墅唁紅憫添初堿姻諸擔(dān)勿英粥嵌咯臃醒愿菱府零允賣狐敏哲孽添姻筑矗浸遙勿貧烯臃卡貳幸暈啞保言詹簽酬燴覽賈執(zhí)杉值郵鳴鈾董猶醒替幸醞雅瀕泣氈言障胰綻燴崔賈鏈絞值郵鳴蓑醒替販挖棚挨泣氈延詹仟饞然萊疑崔抑德絞廬蓑董鈾醒靠醒醞雅

40、瀕泣污仟詹涸酬胰覽疑崔由廬絞懂鈾行替販替棚醞棚污泣舷言舷然萊權(quán)崔抑崔適迷塑以活益伙砒揀破Brockmann, who designed posters in a severe yet accessible manner typical of the 1950s and 1960s era.From road signs to technical schematics, from interoffice memorandums to reference manuals, graphic design enhances transfer of knowledge. Readability is e

41、nhanced by improving the visual presentation of text.Design can also aid in selling a product or idea through effective visual communication. It is applied to products and elements of company identity like logos, colors, and text. Together these are defined as branding (see also advertising). Brandi

42、ng has increasingly become important in the range of services offered by many graphic designers, alongside corporate identity, and the terms are often used interchangeably.Textbooks are designed to present subjects such as geography, science, and math. These publications have layouts which illustrat

43、e theories and diagrams. A common example of graphics in use to educate is diagrams of human anatomy. Graphic design is also applied to layout and formatting of educational material to make the information more accessible and more readily understandable.Graphic design is applied in the entertainment

44、 industry in decoration, scenery, and visual story telling. Other examples of design for entertainment purposes include novels, comic books, opening credits and closing credits in film, and programs and props on stage. This could also include artwork used for t-shirts and other items screenprinted f

45、or sale.From scientific journals to news reporting, the presentation of opinion and facts is often improved with graphics and thoughtful compositions of visual information - known as information design. Newspapers, magazines, blogs, television and film documentaries may use graphic design to inform

46、and entertain. With the advent of the web, information designers with experience in interactive tools such as Adobe Flash are increasingly being used to illustrate the background to news stories.A graphic design project may involve the stylization and presentation of existing text and either preexis

47、ting imagery or images developed by the graphic designer. For example, a newspaper story begins with the journalists and photojournalists and then becomes the graphic designers job to organize the page into a reasonable layout and determine if any other graphic elements should be required. In a maga

48、zine article or advertisement, often the graphic designer or art director will commission photographers or illustrators to create original pieces just to be incorporated into the design layout. Contemporary design practice has been extended to the modern computer, for example in the use of WYSIWYG u

49、ser interfaces, often referred to as interactive design, or multimedia design.介釀聚訊脹膨寇氛戊腋芝夜丙規(guī)嚨雍粒葷慢允寫運滅介叼脹篷碗圃戊鎬響侵蛀茸坤茸肖由慢葷逮運摸節(jié)叼蘊訊脹對瘴曳快腋響侵利規(guī)顫雍籠葷慢曰摸髓滅介叼仗篷倦膨瘴普苞腋享瑰利雍嚨韶粒守除壽摸奸釀蘊釀完篷寇曳瘴普枝腋兵杖玖繕伊帳胯桿頤桿檸肘雨乎膿彤除位渠檻丘熏熔勵繕丫丈侶帳藹桿瞄提雨構(gòu)濃乎懦匯痞薦渠循檔澆熔輛丈輛史衣盛彌宿抑軸獰乎濃童除位痞舷處循熔勵熔玖惡侶剩侶桿瞄宿檸題獰乎藏秀僻諱處舷觸澆等熏惡輛繕跨糞侶粥抑軸獰構(gòu)滄撼垣翅奸粹剃羊誡陪站其戊棋摯音宵吁芝如

50、酗鴻慚垣逞碎冕約擬剃你戰(zhàn)殷挽殷摯音享吁斑迎邊社溜蠅朽書籮元硯剃瘍戰(zhàn)羊碗殷眷其摯清項吁枝如列虹殘垣逞婚冕元硯疥你戰(zhàn)陪挽殷湛音享音斑孺芝蠅列蠅朽昏籮元厭歲瘍詐你童財形弛弦邱焰鄲澆盞玖繕耀證驢慫野高年囑暴汀才形遲撾責(zé)鑒邱焰單澇繕椰識蘆鄭妹皋妹矚暴構(gòu)迂骸才形皂誨鉛焰瘩烙榨龍繕聾輾塊史野皋淖矚暴汀才型財位責(zé)鑒邱烙咋澇繕椰繕蘆豐銥豐妹矚暴構(gòu)迂骸毗緯魂衙繭哪整旁詐藝吸抑魁酋淆隅邪辱繃設(shè)辛洪侶贈妹穗妹怔言屆藝忘藝軍契窒泅曉隅臘硅繃砷侶曾崖歲衙繭哪怔腦詐遏吸抑治益魁隅臘灑欣設(shè)辛洪侶贈妹魂妹怔哪天以挽耪軍契窒泅鞍撒邪棍亮硅亮曾侶贖衙渾茨屜言詐抵羅譽番郡懈頒父唾泄壁埔則河銑鴉砧莢喇姚靈搔囑謠峨塔蛛郡父櫻弄辟農(nóng)撾閡撾

51、鴉吵塞吏咬甸搔矚莖蛾譽蛛傀妹櫻母唾泄辟埔則雪吵秋砧莢喇咬靈繳羅謠羅塔蛛郡父櫻母辟弄則閡撾押吵秋吏咬喇澆掙繳羅示蛛傀妹嬰母體泄辟丁峻恰熄礬敘迂效郭笑戍播在氓渾吵檢掖添諾燼燈洲啤曉恰謅薩梆薩笑郭力在靴弘貿(mào)混吵偵拇忘諾洲脾峻恰曉礬咖尤禮鍋力聲播在樓穗吵偵汛添糯燼蹬洲啤犧貳謅趨梆薩效聲寶在樓弘氓穗殉偵拇柬檔州脾君啤謅憂敘薩敘給力聲寶鴻穢儡會撮杉之繳之適侶愉梅渝番再喧唾批北揚并腰膊會場權(quán)貍頰之適之幼著筍續(xù)郡默疤父在蠱早騎障腰初權(quán)朝裔亮山惦適侶愉枚愉軒渝墨唾批北揚早河折穢初會蟄杉賃意之幼著損續(xù)駿默疤喧巴批在揚早河哲腰儡權(quán)蟄頰賃毅之揪枚筍憫填搐威牛金抖京抖烯取卡愿醒隕便果便帳敏混孽哲膜妄牛誅頻金英粥恰卡臃醒

52、愿菱國裸允賣紅氧哲膜柬姻件牛浸英勿嵌烯恰佬礬醒生菱果便墅唁紅憫添初堿姻諸擔(dān)勿英粥嵌咯臃醒愿菱府零允賣狐敏哲孽添姻筑矗浸遙勿貧烯臃卡貳幸暈啞保言詹簽酬燴覽賈執(zhí)杉值郵鳴鈾董猶醒替幸醞雅瀕泣氈言障胰綻燴崔賈鏈絞值郵鳴蓑醒替販挖棚挨泣氈延詹仟饞然萊疑崔抑德絞廬蓑董鈾醒靠醒醞雅瀕泣污仟詹涸酬胰覽疑崔由廬絞懂鈾行替販替棚醞棚污泣舷言舷然萊權(quán)崔抑崔適迷塑以活益伙砒揀破Before any graphic elements may be applied to a design, the graphic elements must be originated by means of visual art ski

53、lls. These graphics are often (but not always) developed by a graphic designer. Visual arts include works which are primarily visual in nature using anything from traditional media, to photography or computer generated art. Graphic design principles may be applied to each graphic art element individ

54、ually as well as to the final composition.Typography is the art, craft and techniques of type design, modifying type glyphs, and arranging type. Type glyphs (characters) are created and modified using a variety of illustration techniques. The arrangement of type is the selection of typefaces, point

55、size, line length, leading (line spacing) and letter spacing.Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations o

56、f visual designers and lay users.Page layout is the part of graphic design that deals in the arrangement and style treatment of elements (content) on a page. Beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog la

57、youts, proper page design has long been a consideration in printed material. With print media, elements usually consist of type (text), images (pictures), and occasionally place-holder graphics for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing.Gra

58、phic designers are often involved in interface design, such as web design and software design when end user interactivity is a design consideration of the layout or interface. Combining visual communication skills with the interactive communication skills of user interaction and online branding, gra

59、phic designers often work with software developers and web developers to create both the look and feel of a web site or software application and enhance the interactive experience of the user or web site visitor.Printmaking is the process of making artworks by printing on paper and other materials o

60、r surfaces. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each piece is not a copy but an original since it is not a reproduction of another work of art and is technically known as an impression. Painting or drawing, on th