Histories of Graphic Design

As described by Tony Fry history is selective in terms of the areas presented to the reader within a text. History is so vast it is impossible for an author to cover all aspects of a design movement, though this make it effective as by looking into a condensed down synopsis you can build up a quick picture of the style and politics of the time. This also opens up the possibility for new histories, the opportunity for other people to look into specific areas of a movement in more detail. In this lecture we were mainly looking at Meggs' History of Graphic Design compared with Graphic Design - A New History.  There is a series of graphic design history books called Looking Closer, of which examine the different arguments presented within the different design movements. 

Meggs' History of Graphic Design

When looking at Meggs’ History of Graphic Design we need to consider the bias towards certain viewpoints surrounding the history. It was only once in 1985 when this book was produced, did the words graphic design and history come together and this was due to the emergence of graphic design within universities. Previously graphic design had been considering very much a practical skill and until Meggs’ design book it wasn’t considered often. Steven Heller views this book as ambitious at tackling all aspects of the design history, while it still faces limitations. This view is due to the documentation of wide and far back roots of graphic design and its techniques, though hindered by a less explorative look at design in the digital age.  The approach this book takes in presenting the history isn’t in way of wrapping it up in stories but more looking at the technological and aesthetic features of such. Through this approach Meggs relates different technological advances together to demonstrate their similarity in purpose, while showing how it has developed. Aesthetic wise, he relates to the viewer reasoning behind methods and design choices throughout history, such as gold within the Illuminated manuscripts.

Meggs proceeds to talk through social relevance in relation to the designs and brings this on to its use in commercial applications. It is particularly the use of Graphic design within the commercial field in which Meggs was most concerned with. He mentions the arts and crafts guild and their aim of incorporating design into everyday life. This later co-insides with the idea of design becoming part of culture and dictating the way culture moves. This happens through design integrating within culture through sensitive aesthetics, which connect with how people at the present moment connect and communicate.

Heller examines the alternative covers to Meggs’ History of Graphic Design and the progression from elaborately collaged pieces throughout history and culture to a much more reserved and Swiss style inspired modernist cover, back into a colourful arrangement with a modern twist comprising of bright neon and classical imagery, reflecting upon Andy Warhol’s pop-art. Heller’s regards to the modern version of the cover to be of a better suiting shows us his own graphics preference.