Graphic Designing: Digital Graphic Design

In this day and age, iPhones are fast becoming ‘must have’ smartphone and most people have either seen one or own one. This and other similar devices can have a massive affect on printed material and advertising matter. People can download newspapers, read Shakespeare and download their favourite bestseller all from the convenience of their armchair. Over time, the need for printed matter has rapidly declined. Graphic designers have now learned completely new skill sets about animation and filmmaking and on making their digital designs more concrete.

Although this perspective might be too apocalyptic, the reality is that graphic designers have to understand how they can present informational and visual factors on screens and in printed material. It is a fact that digital design includes several elements that go beyond visual elements, such as interaction, coding, information about hardware and architecture and some electronic skills. However, the skills of a designer are what we see in grids, composition and typography, which bring visual clarity to the complicated information presented on screen.

Possessing digital expertise is just a part of the process and does not require any debate. Almost every designing project done today has some kind of animated version, so this is something designers have to deal with.

While print is static, visual information on the screen is dynamic and interactive, and this makes graphic design increasingly challenging. The upcoming digital graphics projects will work only with solid grounding in typography as its foundation.

Graphic designers will always have to deal with type, and typesetting on computers makes it more accessible, because now everyone can set type, although it does still need basic perceptions of the skill. The grid structure that is used in typography provides a framework for good type layout and for colour and blocks. It is like a craft that the user can get better at with the passage of time.

Digital design has brought about new kinds of production collaborations. While the earlier graphic designer used to work with a printer, the designer of today has to work with the code developer.

The digital design phenomenon carries great influence. Logo design styles displayed by web 2.0 online services have manipulated the offline corporate identity too. The distinctive identities designed in Web 2.0 have bright gradients, soft lines and reflections that can now be produced in print because of advanced digital printing technology that does not need numerous runs for every colour.

A safe conclusion to be reached is that graphic design companies may have to do an increasing amount of work for digital screens, yet print is not dead and the next generation of a typical graphic design company will do a large amount of work with animation and sound, and numerous other multimedia implementations. The conventional groundings in typography, composition and grid structures are likely to continue as the foundation for effective and strong visual communication.