Graphic design is an international language composed of signs and symbols, marks and logos, banners and billboards, pictures and words. As visual communicators, graphic designers maintain a delicate balance between clarity and innovation: if too much of the former is a snooze, too much of the latter yields chaos. In between lies a complex series of negotiations which lead, in turn, to a host of applications — the same logo engraved on an envelope one day, emblazoned on a truck the next — and therein lies the designer’s peculiar, if paradoxical challenge. Succeed, and the world works a little better as a result. Fail, and — well, you’ve got the butterfly ballot.
In addition to their role in the visual engineering of most printed matter, graphic designers today lend their expertise to a host of related disciplines including, but not limited to, strategy and consulting, information and experience design, branding and broadcast design, and signage and wayfinding systems. They are groomed to acquire a certain classic set of skills (which today demand a facility with software) including drawing, photography, composition and typography — the design and structural characteristics of letterforms, arguably graphic design’s lingua franca.
Long ago, to be a graphic designer was to distinguish yourself by defining your territory as fundamentally two-dimensional. Unlike artists, graphic designers had clients. Unlike architects, they delivered printed messages. Today, with the meteroric r