Editing Graphic design (section)

===Twentieth century===
[[File:VC-25(040616-F-5677R-002).jpg|thumb|right|A Boeing 747 aircraft with [[livery]] designating it as [[Air Force One]]. The cyan forms, the [[US flag]], [[Seal of the President of the United States|presidential seal]] and the [[Caslon]] lettering, were all designed at different times, by different designers, for different purposes, and combined by designer [[Raymond Loewy]] in this one single aircraft exterior design.]]{{Expand section|The developments of this period greatly influenced contemporary graphic design.|talksection=Expand Twentieth Century Design|date=September 2016}}

In 1917, [[Frederick H. Meyer (furniture designer)|Frederick H. Meyer]], director and instructor at the [[California School of Arts and Crafts]], taught a class entitled "Graphic Design and Lettering".<ref>{{cite web|last=Shaw|first=Paul|author-link=Paul Shaw (design historian)|url=https://www.paulshawletterdesign.com/2020/05/the-definitive-dwiggins-no-81a-w-a-dwiggins-and-graphic-design-a-brief-rejoinder-to-steven-heller-and-bruce-kennett/|title=W.A. Dwiggins and "graphic design": A brief rejoinder to Steven Heller and Bruce Kennett|publisher=www.paulshawletterdesign.com|access-date=23 May 2020|archive-date=8 August 2020|archive-url=https://web.archive.org/web/20200808204420/https://www.paulshawletterdesign.com/2020/05/the-definitive-dwiggins-no-81a-w-a-dwiggins-and-graphic-design-a-brief-rejoinder-to-steven-heller-and-bruce-kennett/|url-status=live}}</ref> Raffe's ''Graphic Design'', published in 1927, was the first book to use "Graphic Design" in its title.<ref>{{cite journal|last=Baker|first=Steve |year=1990|title=The Sign of the Self in the Metropolis |journal=Journal of Design History|publisher=[[Oxford University Press]] |volume= 3|jstor=1315763|issue= 4|page=228|doi=10.1093/jdh/3.4.227}}</ref> In 1936, author and graphic designer Leon Friend published his book titled "Graphic Design" and it is known to be the first piece of literature to cover the topic extensively.<ref>{{Cite web |last=Poole |first=Buzz |date=2013-03-27 |title=The History of Graphic Design |url=https://www.printmag.com/design-books/the-history-of-graphic-design/ |access-date=2023-05-02 |website=PRINT Magazine |language=en-US}}</ref>

The signage in the [[London Underground]] is a classic design example<ref>{{cite web | title = Designing Modern Britain – Design Museum Exhibition | url = http://designmuseum.org/design/london-transport | access-date = 10 December 2009 | url-status = live | archive-url = https://web.archive.org/web/20100107205325/http://designmuseum.org/design/london-transport | archive-date = 7 January 2010}}</ref> of the [[Modern history|modern era.]] Although he lacked artistic training, [[Frank Pick]] led the Underground Group design and publicity movement. The first Underground station signs were introduced in 1908 with a design of a solid red disk with a blue bar in the center and the name of the station. The station name was in white sans-serif letters. It was in 1916 when Pick used the expertise of [[Edward Johnston]] to design a new typeface for the Underground. Johnston redesigned the Underground sign and logo to include his typeface on the blue bar in the center of a red circle.<ref>{{Cite book|last=Meggs|first=Philip|title=A History of Graphic Design|publisher=John Wiley & Sons, Inc.|year=1998|isbn=0-471-29198-6|location=New York|pages=229–230}}</ref><!-- Why is this a classic design example? Who is Edward Johnston? What distinguishes his typeface? -->

In the 1920s, Soviet [[Constructivism (art)|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 for [[Utilitarianism|utilitarian]] purposes. They designed buildings, film and theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.<ref>{{Cite journal |last=Bowlt |first=John E. |title="From Pictures to Textile Prints" |date=1976 |url=https://www.jstor.org/stable/44130037 |journal=The Print Collector's Newsletter |volume=7 |issue=1 |pages=16–20 |jstor=44130037 |issn=0032-8537 |access-date=3 May 2022 |archive-date=3 May 2022 |archive-url=https://web.archive.org/web/20220503110821/https://www.jstor.org/stable/44130037 |url-status=live}}</ref>

[[Jan Tschichold]] codified the principles of [[modern typography]] in his 1928 book, ''New Typography''.<ref>{{Cite book|url=https://books.google.com/books?id=8CPmMRRx1DEC&pg=PT333|title=Advertising Design and Typography|last=White|first=Alex W.|date=21 September 2010|publisher=Allworth Press|isbn=9781581158205|language=en|access-date=11 January 2018|archive-date=15 April 2021|archive-url=https://web.archive.org/web/20210415035051/https://books.google.com/books?id=8CPmMRRx1DEC&pg=PT333|url-status=live}}</ref> He later repudiated the philosophy he espoused in this book as fascistic, but it remained influential.{{Citation needed|date=July 2007}} Tschichold, [[Bauhaus]] typographers such as [[Herbert Bayer]] and [[László Moholy-Nagy]] and [[El Lissitzky]] greatly influenced graphic design. They pioneered production techniques{{Citation needed|date=January 2011}} and stylistic devices<!-- These stylistic devices should be described further, like the use of grids, preference for minimalism/aversion against ornaments, left-aligned text, sans-serif fonts, geometric shapes etc.  --> used throughout the twentieth century. The following years saw graphic design in the modern style gain widespread acceptance and application.<ref>Crouch, Christopher. 2000. ''Modernism in Art Design and Architecture'', New York: St. Martin's Press. {{ISBN|0-312-21830-3}} (cloth) {{ISBN|0-312-21832-X}} (pbk)</ref>

The professional graphic design industry grew in parallel with [[consumerism]]. This raised concerns and criticisms, notably from within the graphic design community with the [[First Things First 1964 manifesto|First Things First manifesto]]. First launched by [[Ken Garland]] in 1964, it was re-published as the [[First Things First 2000 manifesto]] in 1999 in the magazine ''[[Emigre (magazine)|Emigre]]'' 51<ref>{{cite web |url=http://www.emigre.com/Editorial.php?sect=1&id=14 |title=฿Emigre Essays |publisher=Emigre.com |access-date=1 January 2012 |url-status=live |archive-url=https://web.archive.org/web/20120106152041/http://emigre.com/Editorial.php?sect=1&id=14 |archive-date=6 January 2012}}</ref> stating "We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication – a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design."<ref>{{cite web |url=http://maxbruinsma.nl/index1.html?ftf2000.htm |title=max bruinsma |publisher=Maxbruinsma.nl |access-date=1 January 2012 |url-status=live |archive-url=https://web.archive.org/web/20111219160927/http://maxbruinsma.nl/index1.html?ftf2000.htm |archive-date=19 December 2011}}</ref>