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Upgrade WordPress – Should You Click the Button?

Upgrade WordPress – Should You Click the Button?

Many people with a WordPress website wonder what to do when they see the notice in the WordPress admin prompting them to upgrade to the latest version.

 

Upgrading WordPress yourself can be as simple as clicking a button, but things can go wrong. Many people take it for granted that all WordPress websites should use the latest version. There is some risk involved, so it’s worth considering why it’s worth bothering – and what you can do to minimize the risks.

 

The latest major release of WordPress was version 3.3, released in December 2011. As well as the new features for WordPress developers, there are loads of improvements to benefit the average blogger or website owner:

 

  • My favorite new feature is the hover menus in the WordPress admin navigation, which gives you single-click access to any screen. It sounds simple, but it’s a big improvement that rather than having to click – for example – pages, than wait for the page to load, THEN clicking ‘Add New’, NOW you can hover over pages and immediately click ‘Add New’ in the flyout menu. As a WordPress designer, this has already saved me a huge amount of time and it will help you too.
  • It’s easier than ever before to upload images and other media via the single upload button in the WordPress toolbar. The drag and drop media uploader allows you to drag and drop files directly from your computer into the WordPress admin, rather than having to browse to the file’s location.
  • Whenever you add a new feature, a pointer tip appears to provide useful information on how to use the feature.
  • Touch support has been improved for those using iPads or other tablets to manage their WordPress website.
  • Version control has been improved for larger companies with multiple users editing the same pages and posts – the improved co-editing support locks posts who are being edited by someone else.
  • And more.

 

Website security is constantly evolving. Hackers are constantly working to discover and exploit loopholes, and WordPress developers are continuously working to close them. The latest version will usually have a number of important security fixes to protect your website. The responsible thing to do is to update to the latest version and protect your WordPress website.

 

Upgrading WordPress should be as easy as clicking a button, but things aren’t always that simple. Things can sometimes go wrong – for example, the new version might not be compatible with your website theme or some of the plugins. The worst-case scenario is that upgrading WordPress could actually break your website.

 

Problems are most likely to occur if:

 

  • Your website is particularly complex or has a lot of plugins installed
  • You haven’t updated for a whole and are running a particularly old version of WordPress, your website theme or any of the plugins

 

If any of this applies to your website then it might be worth getting a professional WordPress designer to upgrade WordPress for you. This is less likely to be necessary for simpler sites.

 

Upgrading WordPress will affect all files and folders included in the main installation, including all the core files that run WordPress and the plugins that come pre-packaged with it. If you have made any customizations to these files then your changes will be lost.

 

It’s not best practice to modify the core WordPress installation anyway, so if you have done this then I suggest that you find an alternative way to achieve what you’re trying to do. If you don’t know how then any good WordPress designer can help you with this.

 

Follow the instructions in the WordPress Codex to upgrade WordPress with minimal risk. This includes instructions on backing up your WordPress website before upgrading, so you have something to roll back to if anything goes wrong.

 

I would add a further precaution to make things extra-safe. As well as backing up your site, create a separate test site – this is basically a duplicate of your live site that you can test any changes on (i.e. upgrading WordPress) before applying the same changes to the live site. Although backing up is a good backup option (excuse the pun), restoring your WordPress site to a backed-up version is a hassle so it’s best not to let things go wrong in the first place. Upgrading WordPress on a test site first is the way to do this – as with any other major changes you make to your site at any point.

 

I’d also recommend checking that each of your plugins is compatible with the new version. You can do this by finding the plugin in the WordPress Plugin Directory and checking the compatibility box in the right-hand column.

 

Another tip is to wait a week or so until after a new version is released before applying the upgrade to your website. This gives the WordPress plugin developers and theme designers a chance to test their work with the new version and to release a new version if needed, which you can upgrade to at the same time. Don’t leave it too long, though, as running on an old version of WordPress is too much of a security risk.

 

If you update WordPress and the worst does happen then there are some things you can do:

 

    • If you backed up your site then you can roll back to the previous version. If you didn’t, don’t panic! Your WordPress web host is likely to have made regular backups of your site. Although there may be a charge for this service, they should be able to roll the site back to a previous version before you made the upgrade. This will get your website working again, but you will still need to work out how to upgrade to the latest version without breaking it again.
    • You can try to identify the problem yourself by deactivating all the plugins and reactivating them one by one. If the problem re-occurs after activating a particular plugin then try deleting it and replacing it with something else.
  • If you can’t get to the bottom of the problem then you could ask a WordPress designer to get everything working properly again.

 

You may ask whether it’s worth the hassle, and I would say yes. Any upgrade carries a risk, but this is more than outweighed by the benefits.

 

Most WordPress designers offer a WordPress upgrade service and can do it for you, including full testing to make sure everything still works properly – this may be worth considering for complex sites with lots of plugins or custom features.

 

And if you do it yourself, follow the tips above in most cases, your upgrade will be successful.

 

Article Source: https://EzineArticles.com/expert/Katie_Keith/1370851

Sites

Why Your Business Should Upgrade to a Responsive Web Design Sooner Rather Than Later

Why Your Business Should Upgrade to a Responsive Web Design Sooner Rather Than Later

Why should my business have a responsive web design?

Responsive web design has become the go-to solution for businesses that want a user-friendly interface and higher customer retention. If your company has come this far without taking advantage of all the benefits it has to offer, you may have already begun to see lower visitor numbers and a disappointing conversion rate.

 

As a responsible business owner, you’ll probably need convincing before paying to upgrade your web presence to one that includes responsive design. However, by opting in you’ll soon see a return on investment that will make it worthwhile. In a nutshell, responsive design is just better than what has gone before and in order to keep up with the competition, you’ll need it too.

 

Responsive web design is crucial for the majority of businesses because it allows your users to achieve their goals quickly and smoothly. The important elements of your website can be pulled up on a smart phone and appear as a fully functional version of the original, complete with all the utility you’d offer to customers on a laptop or desktop computer. If you fail to provide a mobile-friendly experience like this for your visitors they won’t hang around, they’ll simply click away and complete the action or purchase on a rival site.

 

Unhappy customers are not good for business and neither is going up against a major search engine. Google have recently confirmed what many insiders have suspected for some time – sites that are not optimised for multiple users will slip down their search rankings. Google bases their rankings on how useful a page is for the query a user has entered, plus the utility of the site – for example, can a user complete the action they would like to?

 

Your page may be completely relevant to their search, but if visitors cannot access the content easily across a number of devices, your site may receive a less than positive review and be placed lower in the search results. If your company is reduced to a second or third page entry you’ll lose a considerable amount of traffic, as people naturally select links from the first page.

 

Google have also pointed out that companies which have a single responsive website – rather than one standard and one mobile version – are far easier for their bots to discover, because there is just one URL.

 

If your site is responsive and ready to service mobile customers, you can take advantage of many tools and helpful apps like the click-to-call button, this enables a web user to make a voice call to your company immediately. Potential customers can also read reviews about your business or even find you in a busy place using Google Maps, both keenly relevant to the needs of mobile users.

 

Branding is one of the ways in which we build a relationship of trust with a customer and keep them coming back for more of the same. This is pertinent to responsive design for two reasons, firstly, people do not feel confident in a site they cannot easily navigate and second, in order to create a uniform brand you’ll need responsive design to produce a consistent web appearance; however your clients reach you.

 

In today’s market there are only a handful of reasons why a company may choose to stick with static design on their web page. Those who do not rely in any significant way on web traffic to drive sales, or those who have few competitors, or those who have already looked into responsive design and found it was not right for them. For everyone else, if you want to stay ahead of the curve, responsive design is the only way forward for your website.

 

Responsive web design features

Until recently web designers created different pages depending on where they would be viewed, a tablet for example has a different screen resolution to a laptop, and so the content would be optimised for viewing on that particular device.

 

However, responsive web design has revolutionised the way in which users look at the internet, it has created an across the board experience allowing us to view pages on a PC, smart phone or notebook in exactly the same way. When they build a site, designers use the same coding on any number of resolutions, giving every device the same degree of functionality.

 

Responsive web designers believe that their clients’ web pages should be accessible to every visitor, giving them an optimal experience, regardless of the device they using. This kind of intelligent response to a web user’s actions keeps your company relevant in an ever changing online market place; it boosts your e-commerce figures and makes visiting your site an enjoyable experience.

 

In technical terms there are three key features of responsive web design, the secret ingredient is generally considered to be media queries. These are filters added on to the CSS or Cascading Style Sheets, affecting the look and feel of any individual page. CSS is a highly useful tool for web designers, but by tagging on a media queries adaption, the process of resizing, rendering and orienting a page becomes far easier.

 

Another linchpin of responsive design is the flexible layout, this is based on a grid formation, ideal for formatting margins, positioning the key elements of a page and getting the spacing just right. This means a designer is not limited to a certain number of columns, they can choose as many or as few as is appropriate for the page. A flexible layout also removes the need to work out the layouts and text size based on pixels.

 

Instead, designers use percentages which enable them to adopt a far more fluid approach to producing each page. Pixels work well in photographic images, but are a clumsy tool to use over a number of devices. One pixel may be expressed as three dots on a phone, but ten dots on a desktop, changing the quality of an image considerably between devices.

 

The third component of responsive design involves the use of CSS or a dynamic resizing function to create flexible images, videos and other content. Text can flow relatively easily as the containing area resizes, but in order to spread this across more complex segments, web designers need to use different techniques. Dynamic resizing gives a web designer greater control over how a page behaves and enables them to add or remove components as needed.

 

Taken a whole, these multiple technologies mean visitors can enjoy the feeling of familiarity, regardless of what device they happen to be using, or will be using in the future.

 

When a mobile user changes from landscape to portrait mode, the intuitive design will ensure the page gets bigger or smaller. Furthermore, each element, be it an image, textbox or video will also resize itself to correspond with the different dimensions.

 

If you have ever tried to access a website and discovered that it was almost impossible to navigate around without shrinking and enlarging the text or buttons, you’ll understand why responsive design is considered good practice for the majority of website owners.

 

Responsive web design Vs Mobile web design

Until quite recently, mobile web design was considered far more relevant to modern consumers than it’s responsive counterpart, this approach sees designers using smart phones as a starting point and upgrading the technology progressively, through to notepads, desktop computers and beyond. This method meant that companies needed two websites, one for their mobile pages and one for PC users.

 

In the early golden years of mobile web design, there were a number of reasons why experts thought that web applications should always be designed first for use on a mobile device. Most important of these was the prevalence of smart phones and the fact that their popularity was continuing to skyrocket. By creating a platform that favoured these millions of users, companies could promote their service or product to what was seen as the next generation of computing consumers.

Secondly, mobile design was said to foster a cleaner concept without room for extraneous elements or unnecessary page clutter. In a screen the size of that on a mobile phone, there simply is not enough room to crowbar in extra buttons and widgets – instead, a design team had to focus on what was actually needed. By giving users a clear route to what they want, it was assumed that their experience would be better, faster, leave them more inclined to return or convert them into a paying customer.

 

Mobile applications were thought to have far more utility than PC based software, what users expected from their laptop paled in comparison to the capabilities offered on smart phones. From a digital compass, to gyroscopic effects, touch screen inputs and voice control, designers hoped to build on these tools to produce modern web design that was not limited by the constraints of a PC.

 

Although there are pros and cons for the adoption of a mobile site to run parallel to a main site, responsively designed pages are ideal for retailers who want a robust, homogenous website with plenty of utility for every user. A single site also simplifies marketing campaigns; there is only a need to manage one site and one SEO strategy. Therefore, a website which features responsive design can save companies time and money, but also provide a seamless, convenient way for customers to shop.

 

Responsive web design statistics

When a team of designers build you a responsive website you know it will adapt intuitively to whatever device it is accessed from, but where is the evidence that proves this is a factor in commercial success?

 

The content marketing company, Brand Point, found that over 90% of consumers buying decisions are affected by visual elements. In other words, if people land on your site and like the look of the place, they are more likely to stay and buy.

 

Screen resolutions are changing all the time as new devices reach the market, web developers Spyderweb found that in 2010 there were just 97 unique screen resolution sizes, but by 2013 that figure had leapt to 232. The only way of tackling this increase is to have a responsive website that is optimised for every customer, whatever device they favour.

 

Customers are driven away by high wait times and pages that take too long to appear; even way back in 2009, 47% of people expected a load time of just two seconds on a webpage. In a study carried out by cloud service providers, Akamai, it was also found that 40% of web users clicked away if they had not gained access to a page within 3 seconds. That is a pretty slim window of opportunity, and it’s fair to assume that people’s expectations have increased since this study was compiled.

 

Although external factors like a lack of Wi-Fi or 4G can also affect wait times, the importance of speed for business sites cannot be underestimated. Wed designers can write code for your responsive site that makes it selectively load the elements needed, or even bring in graphics at a later stage.

 

Design matters because it can have a huge impact on the number of new visitors to your pages, these are people who have reached you through typing in a specific search criteria and decided to click on the link to your site. Web designers, Domain7, have reported that in the case of their client Regent College, there was a leap of 99% in unique visitors after a revamp of their responsive web design.

 

If your mobile pages leave an unpleasant taste in the mouth of your visitors, they are far less likely to view your entire organisation favourably, and they’ll tell their friends. Industry experts at the Search Engine Journal discovered that 57% of people would never recommend a company that had poorly designed pages, strengthening the case for a consistent web strategy that performs the way your customers want it to – wherever they happen to be.

 

Article Source: https://EzineArticles.com/expert/Duncan_Maund/1375090

 

Support Sunday

How To Ask For Tech Support The Right Way

We all have had to face a tech problem in the past that required us to seek tech support. The problem can range all over the place, it could be a problem with your printer, computer or who knows maybe even your cell phone. When it’s time to try and find tech support, in order to get the support you want, here are a few tips on things to do when submitting requests for tech support, or even just doing a quick web search for it.

 

Be More Specific

 

This is the main one. If someone came to me and said “my computer isn’t working, how do I fix it?” I could not help them. This request is too generic. It has no detail what so ever. I can already start asking questions like, what is it showing you? When did this happen? What were you doing at the time? These are just a couple things I might ask the person asking for my tech support. You got to actually tell me what’s not working. After I get the answers to these questions I would still have to ask more such as, what OS does it run? How long have you had it? What OEM made the computer? Of course, if you are using something else than a computer trying to get tech support adjust the questions you will need to answer in your request to suit that piece of technology. Another good thing to include here would be the specs. of the computer. Tech support will want to know things like what the CPU of the computer is and how much RAM you have. These are all important in case maybe someone else has had the same issue with that same RAM company or something like that. If someone had the same issue, it will be much quicker for tech support to troubleshoot it.

 

Include Model Numbers In Your Tech Support Request

 

This can help tech support a lot if they can get the model number of the computer, printer, etc. you are trying to get tech support for. In fact, if you include this they may not even need to ask for the specifications of the computer. They will be able to research your model number and find all that and more about the computer. This is also something super useful to use when searching Google or other search engines for tech support. You can get help or advice from people who know your technology exactly and maybe have encountered this issue in the past and learned how to troubleshoot it.

 

Don’t Be Afraid to Write a Little

 

If you are posting your request on a Q&A site or support forum for example don’t be afraid to write a good paragraph or two on what exactly is up with this certain piece of technology you need support for. If the site has some good people they will read it and will be able to provide much better support to you because they actually know at least what is happening.

 

Include Screenshots or Video

 

If it is possible, try including screenshots or pictures with your requests. If the error has a sequence, maybe even try getting a video up on YouTube so people can see what is happening. A visual can always help people know so they don’t have to make their own visual in their head. If you have to, don’t be afraid to use a camera and just take a picture of the screen if you can’t get a screenshot. The quality obviously won’t be as good if you go down this path, but at least you have a visual for those trying to aid you with tech support.

 

Overall the main idea here is detail, detail and you guessed it, more detail! If you can get this idea down you will be on your way to submitting better tech support requests that will get you the answers you need faster. After all, everyone wants the problem fixed, now! I truly believe that following these tips can get you closer to that. Though, one more thing, if you can get on phone support, do it! That is a very good thing! Phone support allows you to explain, using the power of your voice, in real-time. So, if that is an option, use it! Do you have some tips? Leave them as a comment!

 

Article Source: https://EzineArticles.com/expert/Ryan_R_A/1370383

 

graphic design, elula, elula design, design
Graphic Design

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 channelled 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 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 was handwritten richly illustrated by Irish monks in the ninth century CE-is for some a very beautiful and early example of a 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 a 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 in 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

 

The 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 labour.

 

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 colour 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 inflexion 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 the twentieth-century graphic design. Another important element concerning professional practice was the increasing use of visual form as a 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, a 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. In 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, modelled 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. Bonnie 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 analogue 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. Besides, the technology also has been noted with the rise of telecommuting and special crowdsourcing 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 for 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 the 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 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, the 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 following the requirements of different projects.

 

Graphic design is interdisciplinary and therefore the designer needs to know about other activities such as photography, freehand drawing, technical drawing, descriptive geometry, the 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.
  • The 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 an 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.

 

For graphic design services visit: Elula Graphic Design

 

Article Source: https://EzineArticles.com/expert/James_Pichardo/1561384