The Best Graphic Design Laptops

If you’re a graphic designer, then you might be wondering what the best laptop for graphic design is. This is a question that can be easily answered when you take a look at the laptops hardware, rather than the software installed. The hardware will influence how well the laptop performs when running software programs.

Plenty of people tend to choose either Apple or Dell when it comes to notebooks, due to strong brand awareness. They usually employ a lot of marketing strategies which make it clear that you won’t ever regret choosing one of their products. These two brands are known pretty much anywhere you look as the top manufacturers for all things laptop related.

If we’re talking about laptops for graphic design, then we shouldn’t ignore these two brands either since their products usually integrate the best in the tech world, and the models they bring out on a regular basis will have the latest processor model, along with more RAM than the previous model and a better graphics card.

Let’s take a look at a few of the things that actually matter for graphic designers:

Screen Size and Resolution

When you choose a laptop, make sure you understand this spec. The screen resolution if the amount of actual pixels the laptop can output on the screen, and it won’t necessarily have to do with the actual screen size itself. There are certain ultra-portable laptop models with small screens but high resolutions. This doesn’t mean you should settle for a small screen laptop for your design work. A 13 inch laptop might be attractive at first sight, and it might bring a lot of portability to the table, but it gets rather difficult to do any editing on such a small screen.

Your aim should be at a laptop which carries a screen that’s at least 15.4 inches in diagonal screen size. Also, the pixel density, or DPI should be high. There are new laptop models which can output Full HD resolutions even on a standard 15.4inch screen.

Before you buy the thing, make sure you test it out. This means doing an actual resolution test and see which resolution works best for you. These newer notebooks are capable of decent resolutions and it would be wise to take your time and go through them.

You should open up several programs, like Adobe Photoshop or Illustrator and see how the overall layout of the software fits into the screen, how large the editing space really is and if the edited image is sharp enough for you to work with. After several tries, you should come to a point where you find a laptop that’s just perfect for the work you intend to do.

If there’s a laptop you might like, like one of those MacBook Air which are rather small both in resolution output and the screen size itself, it’s a good idea to get a monitor which you can use to extend the current laptop desktop, so you can store all the toolbars and dockers on your laptop screen and do the editing work on the big monitor where you can see it better.

System memory or RAM

The system memory is another crucial factor to look for when you’re picking a laptop for graphic design work. Graphic design programs tend to use a lot of RAM and that can lead to poor system performance if the laptop is not prepared for such a task. The more RAM your laptop has, the better it will run in the grand scheme of things. A lot of RAM means the added ability to run several design programs at once and easily switch between them. The amount of system memory installed will also impact pretty much anything else you might be running on your computer, from movies, games, browsing or actual office work.

Now I know a lot of graphic designers and they tend to run a lot of programs all at once. Of course, their computers are configured with a ton of system memory which makes it easier for the computer to handle running Photoshop, Illustrator and other vector graphic design programs all at once. The thing to remember here is that the amount of system memory directly impacts overall system performance.

Your aim should be in the 4GB range minimum, and that’s just for starters. If you’re on a budget, this is your starting point and you should plan to add more memory modules in the future.

If you want to heavily multitask and run several programs aside from the graphic design ones, you should think about laptops with about 8GB of RAM installed. Several laptops available in the current market allow you to purchase the standard model, with about 4GB of RAM but they include the possibility of adding more via the open memory slots available.

Now if you go for an Apple laptop, you might want to take into account the extra charge you might come across if you intend to upgrade your current model with more RAM. Some vendors do this, and they charge extra if you want to upgrade your laptop. If you don’t mind getting your hands dirty, you should try to get the RAM modules online and install them yourself, rather than pay extra for really easy screwdriver work.

Laptop CPU – Central Processing Unit – Processor

The CPU, or processor in the laptop is the part that makes all the calculations. It’s an essential piece of vector based design programs, where there are a lot of parameters to take into account. A decent CPU should be another thing on your list of things which make up the best laptop for graphic design.

There are several possible choices to be made here. A good starting point is to aim for laptops carrying at least a dual-core processor. This will allow you to run applications a lot better so you won’t suffer from system halts or sloppy operation.

If you opt for a laptop with a quad-core processor, you should have no trouble running pretty much any graphic design program out there.

Just remember – more cores means better laptop performance.

Graphics or Video Card

If you truly want the best laptop for graphic design, you will most likely never choose one which comes with an integrated graphics card. This is because integrated GPUs (Graphics Processing Unit) uses the available RAM to output the image on the screen, whereas a dedicated graphics card has its own RAM, or VRAM.

You can lose a lot of RAM if your laptop has an integrated GPU, and system memory is very important in graphic design laptops.

Such systems will run slower since they will split up the available RAM for running the actual programs and the integrated graphics card. This should be another item on your list – get a laptop which has a dedicated graphics card.

Now if you were a gamer, you would be concerned with the type of graphics card installed, since this is an important aspect in gaming laptops. But since the laptop will be used for graphic design work, a mid-range video card will do just fine. If your work implies doing 3D graphics work as well, then a high-end graphics card is needed as well.

Current laptops in this niche have good graphics cards with about 1-2GB of dedicated memory. These are good for both graphics design and a bit of gaming as well when you’re not in the mood for work.

If you do intend to play a lot of games, or start doing 3D modelling and renders, then you should take a look at Alienware laptops or the Republic of Gamers series from Asus, since these are configured to play the latest games at the highest possible visual settings.

Laptops for graphic design will carry a dedicated graphics card which has its own memory or VRAM.

Portability – This is what you sacrifice

If you think you’ll be buying a very portable laptop then you might be mistaken.

The best laptops for graphic design have a lot of powerful components installed and this might make it a bit hard for the laptop battery to last more than a couple of hours. You sacrifice portability for performance when you choose a laptop for this type of work, but it’s well worth it.

In conclusion

The best laptops for graphic design are configured with a decent-sized screen which allows a good native resolution so you can fit in all those toolbars, dockers and still have enough screen left for the image that’s being edited. Also, there’s a hefty amount of RAM installed, a dedicated graphics card and at least a dual-core processor, if not a quad-core.

Bad Graphic Design – A Must Read Guide For Serious Web Masters and Graphic Designers

Bad graphic design is obviously something you want to avoid at all costs. Sometimes when you hire an individual or a graphic design or web design agency or artist to do a graphic design job for you, as a client you end up with an unprofessional website or design, leaving you without a proper website or design and without the money you initially invested in the web project. If you are a graphic designer or web designer, then make sure to give a 100% on every design project that comes across your desk. If you get a reputation for creating awesome work, you’ll be able to charge a substantial amount more, which would then lead to the occasional referrals from the business’s. If you create poor web design or poor graphic designs than you probably won’t get any business or will have to retain your business at much lower rates than your competitors.

What you can do to beef up you’re graphic designs or web design business, in order to retain a larger clientele, is to start a small marketing campaign. Try experiment with new things, adjust what works and what doesn’t You can also create ads and distribute them through various mediums like e-mail, door 2 door, flyers, banner ads, etc. When doing so make sure you are targeting the correct audience. It’s important for every business to learn about demographics and analyze and research what you’re client’s are looking for and trying to fulfill your clients actual needs.

The method to obtaining business and retaining it is real simple; it’s a combination of many types of marketing strategies and having a great web presence and company Identity. Many companies have a professional web designer or graphic designer to design a corporate identity package for them because its permanent. You’re identity cannot be changed later down the road, if a company changed their logo or identity than customers would not recognize or identify the old company identity with the new one, this can be extremely damaging for a business. Having a poor Identity design or web design from the start can ruin a business for life and anyone who has a business should avoid having a non professional design their identity or website at all cost.

What set’s a great graphic designer apart from a poor graphic designer is the motivation and the willingness to complete the work that’s needed to be done. Ambition is the key to my success as a designer I enjoy what I do and am constantly investing in my skill by learning new graphic design and web design software, tips and tricks or whatever I need to know to make my designs better. It’s important that potential clients, or anyone in the web design or graphic design business understand that while some individuals may have been trained and hold degrees as graphic and web designers, It does not certify them as a good designer. A professional web designer or graphic designer already knows the concepts of good design this cannot be taught in a classroom. So if you are looking to hire someone to design websites or graphic design make sure you review their online graphic design or web design portfolio before you go into a contract for web design or graphic design services or pay them to complete any design services.

If you are looking to hire a graphic designer as a part of your full time staff, then a suggested practice is to give them a demo or dummy project to design as a test of skill. There is nothing worse than hiring an individual on the basis of their online portfolio but only later to find out they did not design what was In their portfolio. When hiring anyone its best to check their previous employment background and preferably you should require a letter of recommendation from either their University or their previous employer, this ensures you’re recruiting efforts are a successful one.

Why is bad graphic design all over the web? This is mainly because business do not want to invest the initial cost in creating a proper web presence or corporate identity. Many companies don’t realize how important the two really are. Bad graphic design or bad web design gives you’re customers a cheap impression. Would you buy from a physical store that was messy dirty or had an unprofessional look or feel? No you wouldn’t, you probably keep your physical place of business in tip top shape. So why wouldn’t you want to do the same for your web presence and Identity?

You must understand as a business your identity and web presence is just as important as your physical presence if not more important. Studies show that more than 90% of the population do online research of a business before they buy. If you’re business is non-existent or you’re site is poorly designed, chances are that potential client or business will not even consider buying anything from you.

Think about bad graphic design for a minute, than browse the web for at least an hour go ahead and randomly type different words in the search engine, visit as many sites as you can. Then go ahead and write down what the first thing comes into your mind when you see these sites copy the URLS as well. Then go back and review the information you collected.

You will realize from the study that opinions are formed based on the visually appeal of site and not necessarily on products offered. So having bad graphic design or web designs associated with you’re business identity is not a very profitable one at all. What is even more potentially damaging to a company is having no identity or online presence at all.

Bad graphic design and bad web design can be prevented by investing in the right graphic designer or web design freelance contractor, or graphic design agency. Bad graphic design or bad web design can potentially harm or put you at risk of losing potential customers or clients. Avoid bad graphic design or web design at all costs. For more information and more articles containing valuable free Graphic design Resources please visit 99 Graphic Design Resources.

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Charlotte Payan-salcedo has over 10 years of experience in web design, web development, and the Graphic design field. Please visit a popular blog created by the infamous Digital graphic artist Charlotte Payan-salcedo.

What Is Graphic Design: History And Origins

Graphic design is a profession whose business is the act of designing, programming, and create visual communications, generally produced by industrial means and intended to convey specific messages to specific social groups, with a clear purpose. This is the activity that enables graphically communicate ideas, facts and values processed and synthesized in terms of form and communication, social, cultural, economic, aesthetic and technological. Also known as visual communication design, because some associate the word figure only to the printing industry, and understand that visual messages are channeled through many media, not just print.

Given the massive and rapid growth in the exchange of information, the demand for graphic designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to the human factors that are beyond the competence of engineers who develop them.

Some classifications are widely used graphic design: advertising design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia design, among others.

Graphic Design History

The definition of the graphic design profession is rather recent, in what concerns their preparation, their activities and goals. Although there is no consensus on the exact date of the birth of graphic design, some dating during the interwar period. Others understand that begins to identify as such to the late nineteenth century.

Arguably specific graphic communications purposes have their origin in Paleolithic cave paintings and the birth of written language in the third millennium BC. C. But the differences in working methods and training required auxiliary sciences are such that it is not possible to clearly identify the current graphic designer with prehistoric man, with xylograph fifteenth century or the lithographer 1890.

The diversity of opinion reflects the fact that some see as a product of graphic design and all other graphical demonstration only those that arise as a result of the application of a model of industrial production, those visual manifestations that have been “projected” contemplating needs of different types: productive symbolic ergonomic contextual etc.

Background

A page from the Book of Kells: Folio 114, with decorated text contains the Tunc dicit illis. An example of art and page layout of the Middle Ages.

The Book of Kells – A Bible handwritten richly illustrated by Irish monks in the ninth century CE-is for some a very beautiful and early example of graphic design concept. It is a graphic demonstration of great artistic value, high quality, and that even a model for learning to design-for even surpasses in quality to many of the current-editorial productions, and also from a functional point of view contemporary This graphic piece responds to all needs presented the team of people who made it, however others believe that it would be graphic design product, because they understand that their design is not adjusted to the idea of current graphic design project.

The history of typography-and by transitive, also the history of the book-is closely linked to graphic design, this may be because there are virtually no graphics designs that do not include such items graphics. Hence, when talking about the history of graphic design, typography also cited the Trajan column, medieval miniatures, Johannes Gutenberg’s printing press, the evolution of the book industry, the posters Parisian Arts Movement and Crafts (Arts and Crafts), William Morris, Bauhaus, etc.. “

The introduction of movable type by Johannes Gutenberg made books cheaper to produce, and facilitate their dissemination. The first printed books (incunabula) scored the role model to the twentieth century. Graphic design of this era has become known as Old Style (especially the typefaces which these early typographers used), or Humanist, due to the predominant philosophical school of the time.

After Gutenberg, no significant changes were seen until the late nineteenth century, particularly in Britain, there was an effort to create a clear division between the fine and applied arts.

In the 19th Century

First page of the book “The Nature of Gothic” by John Ruskin, published by the Kelmscott Press. The Arts and Crafts intended to revive the medieval art, inspiration in nature and manual labor.

During the nineteenth century visual message design was entrusted alternately two professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman, often both in the same schools of arts and crafts. For the printer as art was the use of ornaments and selecting fonts printed in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.

Between 1891 and 1896, the William Morris Kelmscott Press published some of the most significant graphic products Arts and Crafts Movement (Arts and Crafts), and established a lucrative business based on the design of books of great stylistic refinement and selling them to the upper classes as luxury items. Morris proved that a market existed for works of graphic design, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is characterized by its recreation of historic styles, especially medieval.

First Vanguards

Poster for the Moulin Rouge in Paris. Made by Henri de Toulouse-Lautrec with color lithography in 1891. Thanks to Art Nouveau, graphic design and visual clarity gained by the composition.

Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, is considered the birthplace of the graphic design profession.

Given Poster for Matinée. Made by Theo van Doesburg in January 1923. The free font organization, expresses the spirit of the Dada movement, irrationality, for freedom and oppose the status quo and visual expressions of the time.

Corporate identity design for Lufthansa, by the Development Group 5 of the HFG Ulm. Ulm School was an inflection point in the history of design, since there is outlined the design profession through scientific methodology.

Current pictograms design for the National Park Service of the United States. The idea to simplify the symbols forms developed during the 1950s.

The design of the early twentieth century, as well as the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth century.

The interest in ornamentation and the proliferation of measurement changes and typographical style one piece design, synonymous with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau, with its clear desire stylistic was a movement that contributed to higher order visual composition. While maintaining a high level of formal complexity, did so within a strong visual consistency, discarding the variation of typographic styles in one graphic piece.

Art movements of the second decade of the twentieth century and the political turmoil that accompanied them, generated dramatic changes in graphic design. The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and created a new vision that influenced all branches of the visual arts and design. 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. 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. He put the subject “Advertising” in the education program including, among other things, the analysis of advertising media and the psychology of advertising. Notably, the first to define the term Graphic Design was the designer and typographer William Addison Dwiggins in 1922.

Thus Tschichold, Herbert Bayer, László Moholy-Nagy, and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that have been using later. Today, computers have dramatically altered production systems, but the approach that contributed to experimental design is more relevant than ever dynamism, experimentation and even very specific things like choosing fonts (Helvetica is a revival, originally a Typography design based on the nineteenth-century industrial) and orthogonal compositions.

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. 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. In a seminar held at the HFG Ulm in 1956, Maldonado proposed modernizing rhetoric, classical art of persuasion. Maldonado Bonsiepe and then wrote several articles on semiotics and rhetoric for Uppercase English publication and Ulm magazine that would be an important resource for designers to that area. Bonsiepe suggested that it was necessary to have a modern system of rhetoric, semiotics updated as a tool to describe and analyze the phenomena of advertising. Using this terminology, could expose the “ubiquitous structure” of a message publicitario.5

The idea of simplicity and good design feature continued this for many years, not only in the design of alphabets but also in other areas. The tendency to simplify influenced all means at the forefront of design in the 1950s. 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. He had a massive influence on a new generation of graphic designers, contributing to the emergence of publications such as Emigre magazine.

Another notable designer of the late twentieth century is Milton Glaser, who designed the unmistakable I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture of the sixties and seventies.

The advances of the early twentieth century were strongly inspired by technological advances in photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first it was a step back. Zuzana Licko began using computers to compositions soon, when computer memory was measured in kilobytes and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the pioneering Emigre magazine and type foundry of the same name. They played with the extraordinary limitations of computers, releasing a great creative power. Emigre magazine became the bible of digital design.

David Carson is the culmination of the movement against contrition sobriety and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to be more visual than literary experiences.

Present Times

Today, much of the work of graphic designers is assisted by digital tools. The graphic design has changed enormously because of computers. From 1984, with the appearance of the first desktop publishing systems, personal computers gradually replaced all analog in nature technical procedures for digital systems. Thus computers have become indispensable tools and, with the advent of hypertext and the web, its functions have been extended as a means of communication. In addition, the technology also has been noted with the rise of telecommuting and special crowd sourcing has begun to intervene in work arrangements. This change has increased the need to reflect on time, motion and interactivity. Even so, the professional practice of design has not been essential changes. While the forms of production have changed and communication channels have been extended, the fundamental concepts that allow us to understand human communication remain the same.

Job performance and skills

The ability to design is not innate, but acquired through practice and reflection. Still, it remains an option, one thing potentially. To exploit this power is necessary continuing education and practice, as it is very difficult to acquire by intuition. Creativity, innovation and lateral thinking are key skills for graphic designer job performance. Creativity in design exists within established frames of reference, but more than anything, is a cultivated skill to find unexpected solutions to seemingly intractable problems. This translates into design work of the highest level and quality. The creative act is the core of the design process manager but creativity itself is not an act of design. However, creativity is not exclusive graphics performance and no profession, although it is absolutely necessary for the proper performance of the design work.

The role that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation, organization and presentation of visual messages. 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. The designer is often a coordinator of various disciplines that contribute to the production of the visual message. Thus, coordinates its research, design and production, making use of information or specialists in accordance with the requirements of different projects.

Graphic design is interdisciplinary and therefore the designer needs to have knowledge of other activities such as photography, freehand drawing, technical drawing, descriptive geometry, psychology of perception, Gestalt psychology, semiology, typography, technology and communication.

The professional graphic design is a visual communications specialist and his work is related to all steps of the communication process, in which context, the action of creating a visual object is only one aspect of that process. This process includes the following:

Defining the problem.

Targeting.

Conception of communication strategy.

Display.

Schedule Production.

Monitoring Production.

Evaluation.

This process requires the designer to possess an intimate knowledge of the areas of:

Visual communication.

Communication.

Visual Perception.

Management of financial and human resources.

Technology.

Media.

Assessment techniques.

The four guiding principles of graphic design are variables that graphic design professional should consider when facing a project, these are:

  • The Individual: conceived as ethical and aesthetic unit that integrates society which is part and to whom the visual space is uniform, continuous and connected.
  • The advantage: because it responds to a need for information and this is communication.
  • The atmosphere: because it requires knowledge of physical reality to contribute to the harmony of the habitat, and the reality of other contexts for understanding the structure and meaning of the human environment.
  • The economy: it encompasses all aspects related to the study of the cost and streamlining of processes and materials for the implementation of the elements.

Accomplished Graphic Designers Expand Into the Digital Media Market

The definition of graphic design is expanding as new technologies grow. Skilled graphic designers solve visual communication problems or troubles. Proficient in design, drawing, color, typography, production, and rendering methods, off-set printing, as well as common software used in the graphic-design market such as Photoshop, Illustrator, and InDesign are necessary. With the development in new media, a comprehension about photography, and time-based and interactive media including film, video, and computer multimedia also are of great importance to keep abreast of technology. Although graphic-designers find solutions primarily for print, advertisements, annual reports, packaging, business stationery, brochures, flyers, catalogues, logos, and just about anything you can think of to help businesses stand out, their design “eye” is also used in electronic media sources such as video and audio recordings, multimedia presentations, slide presentations, CD-ROM and website content.

Determining the social and cultural norms of a specific audience helps graphic artists efficiently construct visual solutions. They need to identify the communication’s issue, then collect and examine information related to the issue, and finally crank out numerous approaches to solve the problem. Effective graphic design is perceived as understandable, appropriate, and useful. We see graphic design everywhere in our daily lives in magazines, newspapers, and books, in hand made work, on painted canvas, expressed through photography, or in pure text. The work of graphic artists and its impression has been around for many years.

While in art school, students take graphic and design courses aimed at both print and multimedia design. It is in the best interest of graphic artists to be introduced to both areas, because many designers work in the visual development of web design. If artists want to remain competitive, graphic / web designers must keep up to date with the latest software and computer technologies. In the constantly changing field of graphic design, there are website designers who also are graphic designers and vice versa. However, there are other artists who have decided to specialize only in print related graphic design or only in web site design and its development with a concentration on the technical side of web site building.

It’s fascinating to note that currently many people associate graphic artists only with the print medium. But the times are changing. Even though website designers are not able to exist without the web, and graphic artists really don’t need the web to practice their profession, there are numerous artists involved in the visual creation of websites. Within just the commercial art field there are discussions among artists about the differences between graphic and web designers. Many feel that website design is a sub category of graphic-design.

However, website designers have to take into consideration content design and usability, user experience, and other functional criteria which all relate to the particular features of the Web medium. Website designers need more skills beyond those of traditional graphic artists, whereas the conventional graphic designer continues to find answers to communication problems by deciding on color, font, and images. The conventional graphics job may call for branding such as logo design that showcase a particular idea or identity to be used in a business enterprise’s advertising and other marketing strategies, or almost anything you can think of to enable a group stand out, or it may require constructing posters, signs, brochures, books, or incredible images in the digital media.

Discerning graphic artists do become knowledgeable about the wants for elegant web design while working closely with the web developers, who will turn their visual web designs into the code which enables them to be displayed on the Internet. For the artists who also welcome the technical side of web site creation, they may end up either exchanging their graphic artists’ role for website designer hats or just using both simultaneously!