Graphic design, visual communications and visual design are all thoughtful names in current use. A variety of terms persist including commercial art, layout and graphics design. Unlike its venerable cousin architecture, graphic design is a very new design expression, a phenomena of the last hundred years.

A spontaneous response to the communication needs of the industrial revolution, graphic design was invented to sell the fruits of mass production to growing consumer societies in Europe and North America in the late nineteenth and early twentieth centuries. Rapidly expanding reproduction technologies provided the means for graphic design's participation in the vast economic, political, technological and social changes of that era.

Bookmaking, typesetting, and type design were an integrated craft and industry centered in publishing houses. This long tradition approached typography and book design as the visual presentation of verbal language, with a premium placed on clarity and legibility. Decisions in type design emphasized clarity rather than expression, relying on the words themselves for the expression of content.

Seeing and reading are two modes through which we traditionally think of receiving messages. Image and text are two carriers of those messages. Typically we think of seeing as a visual process connected with images-- we see the landscape, we see a painting. This process is intuitive, emotional and simultaneous, experienced almost involuntarily. Upon encountering a vivid color photograph of a fire.

The emerging graphic designers of the 1930s and 1940s, by the New York school of advertising, and again by recent PostModern artists and photographers dealing with text/image relationships. How an artist, designer or craftsman defines oneself has much to do with their use of these text/image processes.

American graphic design was finally born out of two new factors. As the 20th century got underway, an explosion of new reproduction technologies stimulated specialization, separating conception and formgiving from the technical production activities of typesetting and printing.

American designers grew into matured in the 1950s these men developed new approaches to composition, photography and text/image relationships. Many of their discoveries formed the basis of the "big idea" method of conceptualizing design solutions which placed a premium on the flash of intuition and the individual designer's creativity.

Unexpected combinations of images and/or contexts created ambiguity and surprise. This "picture is worth a thousand words" approach maximized the process of reading. Both text and image were to be decoded and read by the viewer.

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