Situation: Graphic design education is subject to substantial changes. Changes in professional practice and higher education aggravate insecurities about the contents and structure of courses, assessment criteria, relations between practice, research and theory and teaching methods. Assumption: Graphic design education (visual communication design…

The following paper assesses the roles played by semiotics in graphic design and in graphic design education, which both reflects and shapes practice. It identifies a series of factors; graphic design education methods and culture; semiotic theories themselves and their application to graphic design; the two wings of Peircian semiotics and…

This paper considers a sequence of failures in the design of information. It focuses on the Safe and Sustainable Indoor Cleaning study (SASI Clean), a 2007 government-funded study into cleaning practices in Australian childcare centers. Empowerment through participation was integral to the study, childcare workers being seen as collaborators in…

The pace of commercial graphic design practice presents very few opportunities to conduct user research after a project's launch. This makes the design team's ability to anticipate and address risks during the design development phase even more important, recognized in the astute observation from Tim Brown, CEO of leading international design…

Discusses the history of Greek typography, focusing on the first book to be entirely printed in Greek in 1476 and the series of new typefaces that resulted. Cites Milan as a center of Greek printing in the early history of Greek typography. Describes a revival of one of these typefaces created under the name of Milan Greek. (PA)

An area of visual communication that might be classified as a "design failure" is the visual presentation of information about "prescription-only medicines" for patients. This information is provided on packaging, leaflets, brochures, labels and websites. The practical issue is that there are problems in convincing patients to…

States that in "The New Typography," Jan Tschichold explicates a functionalist and information-based theory of typographic design and demonstrates its application in numerous typographic examples of varied genres. Outlines Tschichold's typographic position; analyzes his style of visual communication; and considers subsequent developments…

Graphic design's messages can reach across streets and across the globe; they can bring together countries, communities and strangers for a common cause; they can also serve to divide otherwise amenable neighbors. Design students must fully understand this potential reach and thus the responsibility they have to create tolerant, informed messages.…

Argues that, given the functional relation between typography and language, histories of typography must be informed by those disciplines which bear upon language and its manifestations. Suggests that failing this, chronicles of "natural," untheorized objects will continue to assume the role and claim the status of history-writing. (RS)

Sees new demotic typography as the reinvention of many older punctuation devices in terms of "marginal reuse." Argues that it can represent the fluid fields of type and image that will induce reverie, often a precondition for metaphoric, nonlinear thought, thus helping to fuse widely separated information and aid lateral thinking. (SR)

Discusses three major accounts (by Philip Meggs, Enric Satue and Richard Hollis) of graphic design history. Notes that these texts address the history of graphic design, but each raises questions about what material to include, as well as how graphic design is both related to and distinct from other visual practices such as typography, art…

Presents examples of logotypes of the word "Mexico" by second-semester typography students from the Universidad de las Americas in Puebla, Mexico. Analyzes each according to its unity, coherence, and emphasis. Discusses the context, syntactic and semantic rhetorical figures, metaphor, and the denotation and connotation of each. (CR)

Inspired by the 1980s interest in graphic design history, an initially productive, but difficult to sustain, collaboration among three American universities from the late 1980s to the mid-1990s, is the subject of this case study. The ideas behind a much-needed archival consortium, its organization and its difficulties in sustaining collaboration…

Argues that designers must learn to use language to communicate ideas instead of sell products in consumer oriented western societies. (RB)

Proposes that the work of the French feminist writers Helene Cixous and Luce Irigaray could serve as the basis for devising a more imaginative form of critical writing that might help to draw the history and practice of graphic design into a closer and more purposeful relation. (SR)