abstract
As inventions go, the contrivance of design as a dynamic, fluid, operational
vehicle of human technology has always been subject to arguments and
debates. The digitalisation of graphic design is a comparative
...
abstract
As inventions go, the contrivance of design as a dynamic, fluid, operational
vehicle of human technology has always been subject to arguments and
debates. The digitalisation of graphic design is a comparatively new
field of research, a progressive process that evolves with technological
developments. Undoubtedly, the evolution of design practices has
transformed the entire design process in ways not deemed possible in
the past. The advantages of digitalisation are particularly tangible in the
range of possibilities generated by computer-based design tools. The main
argument for the increase in “design capital” has been the accessibility
of modern art tools to both design practitioners and the wider society,
through mass digital culture absorption and the emerging technologies
of production and reproduction. In presenting the fundamentals of
digitalisation in design practices, this paper retraces the key cornerstones
in the evolution of graphic design as an aesthetic medium from the 19th
- to 21st -century, while pointing out the expanding, reflexive relationships
between design and our environment. The researcher’s aim is to connect the
socio-historical developmental frames of social progress and the practical
uses of digitalisation in art and design today. The innovations in computermediated design work today grew from experimental platforms in the 20th
-century, inasmuch as technological diffusion in the 21st -century Information
Age derived from the widespread global embrace of the World Wide Web,
multimedia and graphical computing systems. As a result of this development
of the technological ‘canvas’, the production of design, aesthetic and
cultural objects has shifted from the traditional artist-craftsman-specialist
paradigm to reflect a more encompassing, diverse scope of ideas fostered
by the exposure to different facets of creative capital and inspirations.
KEy WoRDS
digitalisation, graphic design, technology, d
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