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Graphic Design

What is graphic design.

Graphic design is a craft where professionals create visual content to communicate messages. By applying visual hierarchy and page layout techniques, designers use typography and pictures to meet users’ specific needs and focus on the logic of displaying elements in interactive designs to optimize the user experience.

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See an example of what Graphic Design is.

Graphic Design is about Molding the User Experience Visually

Graphic design is an ancient craft, dating back past Egyptian hieroglyphs to at least 17,000-year-old cave paintings. It’s a term that originated in the 1920s’ print industry. It continues to cover a range of activities including logo creation. Graphic design in this sense concerns aesthetic appeal and marketing. Graphic designers attract viewers using images, color and typography. However, graphic designers working in user experience (UX) design must justify stylistic choices regarding, say, image locations and font with a human-centered approach . That means you need to focus on—and seek to empathize the most with—your specific users while you create good-looking designs that maximize usability . Aesthetics must serve a purpose—in UX design we don’t create art for art’s sake. So, graphic designers must branch into visual design . When designing for UX, you should:

Consider the information architecture of your interactive designs to ensure accessibility for users.

Leverage graphic design skills to create work that considers the entire user experience , including users’ visual processing abilities.

For instance, if an otherwise pleasing mobile app can’t offer users what they need in several taps, its designer will have failed to marry graphic design to user experience. The scope of graphic design in UX covers creating beautiful designs that users find highly pleasurable, meaningful and usable.

“Design is a solution to a problem. Art is a question to a problem.” — John Maeda, President of Rhode Island School of Design

Interaction Design Foundation, CC BY-SA 4.0

Graphic Design is Emotional Design

Although to work in the digital age means you must design with interactive software, graphic design still revolves around age-old principles. It’s crucial that you strike the right chord with users from their first glance—hence, graphic design’s correspondence with emotional design . As a graphic designer, you should have a firm understanding of color theory and how vital the right choice of color scheme is. Color choices must reflect not only the organization (e.g., blue suits banking) but also users’ expectations (e.g., red for alerts; green for notifications to proceed). You should design with an eye for how elements match the tone (e.g., sans-serif fonts for excitement or happiness). You also need to design for the overall effect , and note how you shape users’ emotions as you guide them from, for instance, a landing page to a call to action. Often, graphic designers are involved in motion design for smaller screens. They will carefully monitor how their works’ aesthetics match their users’ expectations. They can enhance their designs’ usability in a flowing, seamless experience by anticipating the users’ needs and mindsets. With user psychology in mind, it’s important to stay focused on some especially weighty graphic design considerations, namely these:

Symmetry and Balance (including symmetry types )

The Golden Ratio (i.e., proportions of 1:1.618)

The Rule of Thirds (i.e., how users’ eyes recognize good layout)

Typography (encompassing everything from font choice to heading weight)

Audience Culture (regarding color use—e.g., red as an alert or, in some Eastern cultures, a signal of good fortune—and reading pattern: e.g., left to right in Western cultures)

Overall, your mission—as far as graphic design goes in UX and UI design —is to display information harmoniously . You should ensure that beauty and usability go hand in hand , and therefore your design can discreetly carry your organization’s ideals to your users. When you establish a trustworthy visual presence, you hint to users that you know what they want to do – not just because you’ve arranged aesthetically pleasing elements that are where your users expect to find them, or help them intuit their way around, but because the values which your designs display mirror theirs, too. Your visual content will quickly decide your design’s fate, so be sure not to overlook the slightest trigger that may put users off.

Learn More about Graphic Design

Take our course, The Ultimate Guide to Visual Design . 

Our encyclopedia addresses graphic design’s place in the world of UX .

This is a first-hand account on transitioning from graphic design to UX design.

Read this incisive piece that examines the similarities and differences between graphic and UX design .

Questions related to Graphic Design

The salary of a graphic designer can vary widely based on several factors, including experience, geographical location, and expertise level. On average, the annual salary for graphic designers ranges between $43,000 and $66,000. This range reflects the earnings of many professionals in the graphic design field, a profession that remains essential and valued across various industries.

While graphic design offers a respectable salary, professionals seeking higher earning potential might transition to UX design. UX designers responsible for crafting user-friendly and functional digital interfaces are in high demand, leading to attractive compensation packages. For graphic designers considering a career change, transitioning to UX design can be strategic. Learn more about the benefits of this transition and how to navigate it in this detailed guide on changing your career from Graphic Design to UX Design .

Graphic designers are creative professionals who use their artistic skills to create visual content for various mediums. They work on projects such as designing logos, brochures, websites, and advertisements. Using various tools and software, they aim to communicate a message through their visual designs and help businesses and organizations achieve their goals.

Graphic design and visual design are often used interchangeably, but there is a subtle  difference between the two. Both graphic and visual designers rely on design principles and knowledge of color theory, typography and layout to create effective and engaging designs. Graphic designers primarily focus on communication (for example, logos and advertisements) while visual designers focus on product experience (for example, the user interfaces of websites and applications).  Visual designers may incorporate graphic design elements to create a consistent user experience across all touchpoints.

Graphic design is a much older profession and has a strong association with print media. With the advance of technology, graphic designers’ deliverables also became digital. Visual designers have a broader skill set, combining skills of graphic designers along with an understanding of interface designer.

If you're interested in learning more about these important design principles, check our visual design course . Develop the skills you need to create stunning designs that are both functional and visually appealing.

In addition to possessing a degree in graphic design or a related field, there are excellent online courses available that can provide you with all the essential visual skills you need. Platforms like Skillshare, Udemy, and Coursera offer a variety of courses focused on developing practical skills and building portfolios . These flexible and affordable courses provide a fantastic opportunity to learn graphic design and grow your skills.

If you're interested in pivoting to interaction design, there are fantastic courses available that can help you change your career to UX or a related field. There are even tailored learning paths available to guide you in your journey. Best of luck on your chosen career path!

Yes, graphic design can be a great career choice for those with a passion for creativity and design. With the rise of digital media, the demand for skilled graphic designers has grown. However, it's important to note that the field is competitive and requires continuous learning and development of skills.

Graphic designers can work in a variety of industries, from advertising to web design, and can have a range of job titles, such as art director or multimedia designer. Overall, graphic design can be a fulfilling and rewarding career path for those willing to put in the work.

Learning graphic design involves understanding design principles, mastering software, and developing a strong portfolio. Start with online courses or a design school to learn the fundamentals. Practice by creating designs and seeking feedback. Most importantly, build a strong portfolio.

Visual design and graphic design are closely entangled. If you're interested in becoming a visual designer, consider this Visual Designer Learning Path for comprehensive courses and resources.

Creating a graphic design portfolio involves selecting your best work, showcasing a variety of skills, and presenting them professionally. Include high-quality images of your work, a brief description of each piece, and the process involved. Make sure to include visuals in your portfolio, as explained by Michal Malewicz, Co-founder of HYPE4.com, in this video about the importance of visuals in your UX portfolio.

Regularly update your portfolio with new work to keep it current.To learn more about creating an impressive portfolio, consider taking this course on How to Create a UX Portfolio.

Graphic design can be challenging, requiring creativity, attention to detail, and technical knowledge. However, like any skill, it becomes easier with practice and proper training. Don Norman explains in his video that designers, including graphic designers, need to understand the business, politics, and socio-technical systems to make meaningful changes. 

This broad understanding and the ability to speak the language of business are essential for a successful career in graphic design. 

If you'd like to learn more, take this course on Design for a Better World with Don Norman .

Artistic graphic design encompasses the creation of visual elements using typography, images, and colors to effectively convey a message or provide a solution to a problem. It encompasses various disciplines like layout design, logo design, and branding. 

While graphic artists create original artwork, graphic designers use these artworks and other visual elements to create designs that convey a specific message. Learn more about the differences between graphic artists and graphic designers in this article: Graphic Artist vs Graphic Designer: What's the Difference?

A creative designer is responsible for creating visuals across various mediums to communicate messages effectively. They conceptualize and design graphics, layouts, and visual effects to engage target audiences. Their work includes creating logos, marketing materials, website designs, and other visual content. 

They also collaborate with other team members and clients to ensure the design aligns with the overall goals and brand identity. Read more about the role of a creative designer in this article: What Does a Creative Designer Do?

Answer a Short Quiz to Earn a Gift

What is the primary focus of graphic design?

• To create aesthetic-only visuals that may not necessarily communicate a message.
• To develop visual content that effectively communicates specific messages.
• To focus solely on the digital aspects of design without involving traditional media.

How do aesthetics in graphic design improve user experience?

• They only focus on the product's appearance, disregarding its functionality.
• They make the design more appealing, which helps improve usability and user satisfaction.
• They use less color and forms to enhance the visual design of the product.

Why is an understanding of graphic design important for UX designers?

• Because it allows them to ignore user research and focus solely on visual elements.
• Because it enables them to apply visual principles to the usability of a product.
• Because it requires them to implement only traditional media and techniques.

How does graphic design influence the emotional responses of users?

• It uses specific colors and typography to evoke desired emotional responses.
• It disregards the emotional impact and focuses only on practical functionality.
• It implements specific color and typography to create unpredictability.

How does graphic design contribute to effective branding?

• It makes brands appear identical to competitors to foster familiarity.
• It uses only generic designs to appeal to a broader audience.
• It shapes a brand’s visual identity to make it distinctive and recognizable.

Better luck next time!

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Literature on Graphic Design

Here’s the entire UX literature on Graphic Design by the Interaction Design Foundation, collated in one place:

Learn more about Graphic Design

Take a deep dive into Graphic Design with our course Visual Design: The Ultimate Guide .

In this course, you will gain a holistic understanding of visual design and increase your knowledge of visual principles , color theory , typography , grid systems and history . You’ll also learn why visual design is so important, how history influences the present, and practical applications to improve your own work. These insights will help you to achieve the best possible user experience.

In the first lesson, you’ll learn the difference between visual design elements and visual design principles . You’ll also learn how to effectively use visual design elements and principles by deconstructing several well-known designs. 

In the second lesson, you’ll learn about the science and importance of color . You’ll gain a better understanding of color modes, color schemes and color systems. You’ll also learn how to confidently use color by understanding its cultural symbolism and context of use. 

In the third lesson, you’ll learn best practices for designing with type and how to effectively use type for communication . We’ll provide you with a basic understanding of the anatomy of type, type classifications, type styles and typographic terms. You’ll also learn practical tips for selecting a typeface, when to mix typefaces and how to talk type with fellow designers. 

In the final lesson, you’ll learn about grid systems and their importance in providing structure within design . You’ll also learn about the types of grid systems and how to effectively use grids to improve your work.

You’ll be taught by some of the world’s leading experts . The experts we’ve handpicked for you are the Vignelli Distinguished Professor of Design Emeritus at RIT R. Roger Remington , author of “American Modernism: Graphic Design, 1920 to 1960”; Co-founder of The Book Doctors Arielle Eckstut and leading color consultant Joann Eckstut , co-authors of “What Is Color?” and “The Secret Language of Color”; Award-winning designer and educator Mia Cinelli , TEDx speaker of “The Power of Typography”; Betty Cooke and William O. Steinmetz Design Chair at MICA Ellen Lupton , author of “Thinking with Type”; Chair of the Graphic + Interactive communication department at the Ringling School of Art and Design Kimberly Elam , author of "Grid Systems: Principles of Organizing Type.”

Throughout the course, we’ll supply you with lots of templates and step-by-step guides so you can go right out and use what you learn in your everyday practice.

In the “ Build Your Portfolio Project: Redesign ,” you’ll find a series of fun exercises that build upon one another and cover the visual design topics discussed. If you want to complete these optional exercises, you will get hands-on experience with the methods you learn and in the process you’ll create a case study for your portfolio which you can show your future employer or freelance customers.

You can also learn with your fellow course-takers and use the discussion forums to get feedback and inspire other people who are learning alongside you. You and your fellow course-takers have a huge knowledge and experience base between you, so we think you should take advantage of it whenever possible.

You earn a verifiable and industry-trusted Course Certificate once you’ve completed the course. You can highlight it on your resume , your LinkedIn profile or your website .

All open-source articles on Graphic Design

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• Published: 06 August 2019

Science–graphic art partnerships to increase research impact

• Colin K. Khoury   ORCID: orcid.org/0000-0001-7893-5744 1 ,
• Yael Kisel   ORCID: orcid.org/0000-0003-0789-5727 2 ,
• Michael Kantar   ORCID: orcid.org/0000-0001-5542-0975 3 ,
• Ellie Barber 4 ,
• Vincent Ricciardi 5 , 6 ,
• Carni Klirs 7 ,
• Leah Kucera   ORCID: orcid.org/0000-0002-0772-4816 8 ,
• Zia Mehrabi 5 , 6 ,
• Nathanael Johnson 9 ,
• Simone Klabin 10 ,
• Álvaro Valiño   ORCID: orcid.org/0000-0003-0067-2715 11 ,
• Kelsey Nowakowski 12 ,
• Ignasi Bartomeus   ORCID: orcid.org/0000-0001-7893-4389 13 ,
• Navin Ramankutty   ORCID: orcid.org/0000-0002-3737-5717 5 , 6 ,
• Allison Miller   ORCID: orcid.org/0000-0002-2722-9361 14 , 15 ,
• Meagan Schipanski 16 ,
• Michael A. Gore   ORCID: orcid.org/0000-0001-6896-8024 17 &
• Ari Novy 18  

Communications Biology volume  2 , Article number:  295 ( 2019 ) Cite this article

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• Agriculture

Graphics are becoming increasingly important for scientists to effectively communicate their findings to broad audiences, but most researchers lack expertise in visual media. We suggest collaboration between scientists and graphic designers as a way forward and discuss the results of a pilot project to test this type of collaboration.

When we think of groundbreaking scientific advances, it is often in visual terms – the first depictions of the structure of DNA; Darwin’s sketches of the tree of life; even DaVinci’s Vetruvian Man . The power of these pictures to speak to people, especially those outside our specialized research communities, is worth far more than a thousand words.

Scientists’ need for visual art has never been greater. More sophisticated graphics are required to communicate the results of ever more complex and transdisciplinary research. Well-constructed graphics can widen the impact of research articles striving to be noticed in an ever-increasing flood of published work, and supplementary visuals, for instance graphical abstracts, are often now requested by journals, if not required 1 . Funders are also increasingly emphasizing the value of graphics in grant proposals 2 . Online, where viewers decide whether to engage with material within a matter of seconds 3 , compelling visuals are pivotal, especially as research organizations incorporate social media attention in their impact metrics.

While many researchers are rising to the challenge of communicating their work via social media and other formats beyond their traditional channels 4 , very few scientists have expertise in visual media communications, and even fewer in design tailored for online platforms. Learning the specialized skills needed to create graphics for the changing array of conventional and new science media is a very big ask.

But scientists do not need to go it alone. Collaborations between researchers, graphic designers, and other visual communications professionals offer great potential (Box 1 ).

Test project overview

Recently, we tested the efficacy of scientist–graphic artist collaborations by pairing six research laboratories involved in different aspects of biological and agricultural sciences with graphic designers and media content creators. The work of the eight participating scientists focused on complex, societally relevant subjects within biology, food, and agriculture, including pollinators and threats to biodiversity, modern plant breeding, agricultural development and land use change, phenomics and other new agricultural technologies, agricultural sustainability, and the origins and domestication processes of food plants.

The five participating artists were chosen for their track records as producers of attractive and interesting visual online media, either as graphic design professionals or as talented hobbyists. Some had research backgrounds while others had no science training. All of the scientists and graphic designers approached were enthusiastic about experimenting with this cross-disciplinary collaboration. The researchers and designers were paired based on the artists’ interests among the scientific topics, and the designers were compensated for their contributions. The scientist–artist pairs were asked to create infographics – in this case defined as visually arresting, quickly understandable, graphical representations of scientific research – based on the research laboratories’ current projects, within three months.

At the end of this time, the researchers and artists, supplemented by additional professionals and experts in graphic design and infographics, presented the collaborations and their resulting products to scientists, research organizations, and funders via an interactive communications seminar 5 at the “Science Transcending Boundaries” AAAS annual meeting in Washington D.C. in February 2019.

Iterative approach to collaboration

The collaborations typically began with conversations aimed at identifying the target audience . This was surprisingly challenging for a number of the researchers, who wanted to communicate to “the general public”. Because the artists knew that different audiences require different approaches, they challenged the scientists to be as specific as possible. The teams eventually arrived at much more refined audience targets, e.g. “English and Spanish speaking viewers already interested in biodiversity conservation” (Fig.  1 ).

An explanation of why it’s important to protect the structure of plant-pollinator interaction networks. This graphic was designed with bright colors and a minimum of text so that it could be shared on social media. The biggest challenge was finding a way to concisely, yet clearly, explain a high-level abstract topic to biodiversity-interested but non-scientist audiences. The scientist–artist team tried many different approaches before settling on the combination of a news-related hook, a quick graphical summary, and the table metaphor. To reach intended audiences, the graphic was produced both in English and in Spanish. Design by Yael Kisel based on the research of Ignasi Bartomeus [Estación Biológica de Doñana (EBD-CSIC)]

These conversations fed the next step of co-creation, refining the messages of the infographics. In many cases the middle ground had to be found between the scientists’ conviction that the graphics accurately and comprehensively represented the data, and the artists’ emphasis on streamlining the messages to make them easier to understand. Each team had to determine how to distill the research into a communicable story without simplifying to the point that key context was lost. For some, the compromise was found by including data visualizations, to communicate specific information, as well as more abstract designs to relay broader concepts (Fig.  2 ). For others, presentation materials created by the scientists themselves were adapted and further developed into visual components (Supplementary Fig.  1 ).

Two designs from the same infographic focused on the role of small farms in the global food system. a is a data visualization of specific data from the research representing the global geography of small farms. b is a representation of differences in farm size definitions, a concept that the artist thought was more effectively communicated through abstraction. Design by Ellie Barber based on the research of Vincent Ricciardi, Zia Mehrabi, and Navin Ramankutty (University of British Columbia). The full infographic is available in the Dryad Digital Repository

In every case, the process of refining the message and then creating the graphic was iterative , as the teams tried different arrangements of information in search of an effective story. Often the supporting, and even the main, messages changed as the work progressed and as the artists provided input on what they found easy to communicate and on what they thought would be relevant to the target audience. In some cases, the message refinement processes brought forward points that the scientists originally thought were too obvious to mention (Supplementary Fig.  2 ). Colleagues, friends, and family from both the scientists’ and artists’ worlds provided litmus tests for progress. By the end of the project, all of the teams were pleased with their products, which they thought were scientifically accurate, visually appealing, and effectively communicated. All of the infographics are available in the Dryad Digital Repository 6 .

A number of the participating researchers were surprised to find that the act of translating their work into an infographic pushed their science forward. They agonized over the challenge of distilling complex concepts into clear, focused, and accessible messages, but the process helped them to identify the central components of their work and to note areas that they had not studied sufficiently. The process also forced the researchers to reflect on, and then communicate, why they do what they do, as well as how their work impacts society.

Recommendations

As the presentation of science moves beyond the traditional static journal article 7 , there is every reason to think that graphic art will become ever more critical. As a result of our experience, we have developed a set of recommended actions for researchers and their institutions, for graphic art professionals, and for funders, to facilitate productive scientist–artist collaborations (Box  2 ).

Researchers and their institutions should recognize the value of science-graphic art collaborations in improving the communication of research and the accessibility of results relevant to society. The sooner designers are consulted during the research process the better−not only to facilitate the creation of visual media, but because these collaborations improve current and potential future research. Based on the complex research topics of the scientists involved in this project and their uniform response that their work and its communication benefited from these collaborations, we believe that scientists in most, if not all, research areas would similarly benefit. Research societies and journals can support scientist-artist collaborations through promotion and training opportunities.

During the presentation of our project at the AAAS conference, members of the audience asked more than once how they could find a skilled artist to work with. Some organizations contain dedicated arts/design/communications offices that can work with researchers to develop graphics to increase impact (e.g. 8 , 9 , 10 ). For scientists without this institutional support, the continued creation and expansion of networks (e.g. 11 ), organizations, and companies (e.g. 12 ) providing these services would be of tremendous value.

Finally, funders should look positively on broader impacts budgets in grant proposals that include resources for graphic design, and should explicitly name graphic design components as broader impacts work they will support. We believe that the relatively limited additional funding needed would provide substantial returns in impact.

Box 1 benefits, applications, and challenges of scientist-graphic artist collaborations

Better communication of scientific findings

Increased awareness of research by both experts and non-experts

Greater impact and reach of science

Applications

Infographics

Conference posters

Graphical abstracts

Journal article figures

Journal article covers

Magazine and newspaper graphics

Website, blogs, and social media graphics

Public art pieces and murals

Scientific, policy, outreach, and educational presentations

Videos and animations

Additional time required for collaboration with graphic artists

Additional project costs to support graphic artists

Box 2 recommendations for fostering scientist–graphic artist collaborations

Researchers and institutions

Promote science-graphic art collaborations by including, engaging, and supporting graphic artists in research projects - both for improved science communications and for the research benefits gained through the iterative collaborative process

Graphic art professionals

Create and expand networks, non-profit organizations, and companies that specialize in producing scientific graphics and/or help researchers to identify artist collaborators

Provide financial support for including graphic artists in funded projects.

Graphics have the potential to increase the attractiveness, understandability, and communication power of research findings. They can help science reach audiences that research literature never will. As such, they are a tremendous asset in a time when the increased politicization of complex scientific issues, such as the future of food and nutrition security, necessitates the communication of science to society in ways are accessible and engaging.

Scientist-artist collaborations can certainly improve traditional research visuals, such as journal figures, presentations, and posters. But applications aimed at reaching broader audiences – online, in print, and on the street – have the potential to do much more (Box 1 ).

As with any multidisciplinary work, such collaborations are not without cost – both in terms of the extra time needed for the iterative process to be productive, and the additional financial resources required to fairly compensate graphic professionals for their contributions. We found that the collaborations necessitated multiple rounds of idea generation and then further concept refinement, but the investment paid off in terms of powerfully communicated graphic art and scientists’ clearer conceptualizations of their own work. In our view, the benefits of scientist-artist collaborations far outweigh their costs – especially as scientific organizations, journals and other media, and funders continue to ask more of researchers with regard to graphics, broader impacts, and public outreach.

Data availability

All infographics produced in this project available from the Dryad Digital Repository: https://doi.org/10.5061/dryad.7j5d5t0 6 .

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Acknowledgements

We thank the Leichtag Foundation for providing funding support for the artists involved in the science-graphic design collaborations.

Author information

Authors and affiliations.

International Center for Tropical Agriculture (CIAT), Km 17, Recta Cali-Palmira, Apartado Aéreo 6713, 763537, Cali, Colombia

Colin K. Khoury

Independent Artist, San Jose, CA, USA

Department of Tropical Plant and Soil Science, University of Hawaii at Manoa, 3190 Malie Way, Honolulu, HI, 96822, USA

Michael Kantar

Aspen Global Change Institute, 104 Midland Ave #205, Basalt, CO, 81621, USA

Ellie Barber

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Kelsey Nowakowski

Integrative Ecology Department, Estación Biológica de Doñana (EBD-CSIC), Avenida Américo Vespucio 26, Isla de la Cartuja, Sevilla, E-41092, Spain

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St. Louis University, Department of Biology, 3507 Laclede Avenue, St. Louis, MO, 63103, USA

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C.K.K., V.R., Z.M., I.B., N.R., A.M., M.S. and M.A.G. provided research material and inputs on the infographic co-creation. Y.K., E.B., L.K., Á.V. and K.N. interpreted the research and co-designed the infographics. N.J. contributed messaging and framing contributions to the scientist-artist collaborations. C.K.K., M.K. and A.N. identified, organized, and managed the scientist-artist collaborations. C.K.K., Y.K., M.K., E.B., V.R., C.K., S.K. and M.A.G. presented the scientist–artist collaborations and infographics at AAAS. C.K.K., Y.K., M.K., E.B., V.R., C.K., L.K., Z.M., N.J., S.K., Á.V., K.N., I.B., N.R., A.M., M.S., M.A.G. and A.N. contributed to writing the commentary.

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Correspondence to Colin K. Khoury .

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Khoury, C.K., Kisel, Y., Kantar, M. et al. Science–graphic art partnerships to increase research impact. Commun Biol 2 , 295 (2019). https://doi.org/10.1038/s42003-019-0516-1

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The Significance of Design Research in Graphic Designing

Research in graphic design gives you the answers to critical questions like what characteristics should a logo, web page, poster, etc. have? 

When we say design research, we don’t mean scientific experiments and analysis. We simply mean gaining a more nuanced understanding of:

• The people, business, or brand you are designing for
• The basic questions that come up during the design process. 

At the end of the research, you may not have hard facts in your hand, such as which colour to use or not. But you will have feasible ideas and concepts upon which you can build to make effective and stunning designs. 

This brings us to the question of what is design research. We unpack what it means in this blog. We also talk about the benefits of research in graphic designing and the golden rules you should follow. 

What is Research in Graphic Design?

Research is critical in any area of design, from logos to posters. It is about collecting data through interviews with clients, user feedback, domain research and more. It guides the creation of the design by helping you understand what makes people tick. 

It lends you a frame of reference using which you can shape an idea into something people will want to see. At the very heart of it, design research is learning about people’s behaviour. 

Let’s say you are designing a website. With research, you find out who will visit the site and what sort of design elements will appeal to them the most. 

Why must a graphic designer do research?

There are several reasons why every good graphic design course emphasizes on research:

• It helps you fully understand the problem.
• It helps you create a design with confidence. 
• What do you need to design?
• Why do you need to make it?
• How will it be used?

Essentially, research arms a graphic designer with knowledge, making it easier to create something that the client will love. 

Assume you are asked to make a UI. Without research, the chances of the UI design being rejected are high. Why? Because you don’t have enough information on what will appeal to the client. 

On the other hand, if you research well, you’ll design a UI that will work in the real world and be liked by people. This increases the chances of the client accepting your design. 

But can’t a graphic designer rely on the information the client provided? No. You need to ask questions, dig deeper to understand the industry, the company, the product or service. 

A graphic designer can never have too much information. This is particularly important when designing for an industry, product or service you are not aware of. 

What are the benefits of research in graphic design?

Design research is a mix of aesthetics, user feedback, technology, and the client’s goals. But the most effective graphic designs are user-centric.

A user-centric approach to graphic design means you keep the people who will see the design as the most important factor. How do you do that? By gathering feedback from users. 

You can conduct interviews with the target audience to determine what resonates with them and what parts of the design they do not like. You can even talk to the brand, client or business to find out what they want to communicate with the design. 

In simpler words, the biggest benefit of design research is unearthing crucial information on what users want and what the brand hopes to accomplish . 

A very simple example of research in design is creating mood boards. You can create a mood board for colour, iconography, typography and more. You can then show them to others to test what rings a bell with the client and aligns with their goals. Using the feedback, you can then refine your design. 

It helps you uncover actionable insights.

Graphic design is complex. There are too many aspects that go into designing something even as simple as a logo. 

That’s the second benefit of research in graphic designing.  It helps you identify the client’s tastes and preferences before you make a heavy investment into the design. 

For instance, you are asked to make a web page for a cosmetic company. How do you pin down what type of layout they will like? Or if they like bold colours and vibrant images instead of subtle colour and simple photos?

Adding to the confusion is the fact that the same thing may have different meanings for people. What appears “cool” to you may seem “not sophisticated enough” to the cosmetic company.

Design research helps you remove mix-ups like these. You get clear cut insights that allow you to take action. 

What are the 5 golden rules of design research?

As the best graphic design institute in Kolkata and our experience with innumerable graphic designers says there are 5 thumb rules in design research.

Art not science

Design research is not a science experiment that will give you numbers. It is more an art. What you should be looking for is what emotions does the design evoke , does it resonate with people, or does it intrigue their sensibilities? 

Perception over preference

Don’t focus your research on what type of design people prefer. Instead of asking if this design will sway a person to buy a product, ask what it communicates to them or how they perceive it.

Brand comes first

Graphic designers often confuse research with asking people to explain what they like in their design. That should not be the focal point. It should be the brand. First, ask people what they love about the product or service. Then ask them if the design communicates the same or not. 

Factor in familiarity

People do not like change. So, they tend to like what is familiar to them. If you design something disruptive, ground-breaking or new, keep in mind that most people may not like it at first glance . 

Don’t ask for advice

You are the graphic designer, not the consumer. So, never ask them for advice on how to improve the logo, webpage, poster or more. Simply pay attention to how they react to the design and not their so-called expertise.

What should graphic designer research? 

Now that you are clear on what design research is, how it benefits you and what rules you must follow, we give you the five key areas where you should begin your research. 

Since graphic design research can be a broad area, we use logo designing as an example. But you can use the process for design research for any other field.

Step 1: why do they need a logo?

This should always be the first step – finding out why the brand or company needs the design. In the case of a logo, it can be because they are a new brand or they may be redesigning.

For a new company, your research should move on to step two. But if it is a redesign, dig deeper.

• Is the company redesigning because their original logo was created in a hurry (and cheaply) when they started?
• Are they creating a new product, and that is why they need a new logo?
• Are they merging with another company (like in the case of Vodafone and Idea) and require a different logo?

You have to understand the reasons for the change in the logo . Only then will you be able to decide on whether you need to start from scratch or to evolve the current version. 

Step 2: what is the brand about?

It sounds like common sense, but plenty of graphic designers skip this step. Please don’t. You need to know what the brand or company does . Also, discover:

• The history of the firm
• What products do they have?
• What problem does the product solve?
• What are the values of the brand?
• What message does the company want to communicate?

The answers to all this should impact the design of the logo. 

Step 3: Who is the audience?

How do you design an attractive logo? By knowing the target audience . No matter how striking your logo is, it will not be effective if the intended audience is kids, and you designed it for adults. 

One way to research the target audience is to ask the client. If they don’t know who they want to target, ask them to describe their ideal customer. This would include:

• What is their gender?
• What is their age?
• Where are they located?
• What is their lifestyle?
• How much do they earn?

Knowing these demographics will help you understand their pain points and what they want from a brand. Use it to design the logo. 

Step 4: What is the company’s long-term vision?

A logo lasts for decades and decades. It should remain relevant even 45 (or more) years later. That’s why it is pivotal to know where the company sees itself in the long term. 

Say you’re designing the logo for a sports shoe company. But 10 years down the line, they hope to expand to apparel and sports equipment. You’ll need to consider this when creating the logo. 

How do you research the long-term goals of the brand? You ask the client. Question them about their future plans. Based on the answer, design the logo. 

Step 5: Who is their competitor?

The last thing a graphic designer should research is the competition. It will assist you in:

• Identifying the intended audience
• Discovering what not to use in the logo.

But more importantly, it will prevent you from making a grave mistake – unknowingly creating a logo that looks like a competitor’s . While it is tempting to copy well-known logos, it is never effective. You want the design to stand out and be memorable.  

How do you research competitors of the brand? One, you ask the client to give you a list. Two, do your own search on Google. Look at companies that sell the same service or product and companies that sell something similar. 

Where to start learning research in graphic design?

The value of research is undeniable in every field. It gives you indispensable information. That knowledge guides you to better practice. But more than that, research can nurture innovation along with creative aptitude. 

The belief that graphic design is only art and needs no research is, therefore, inaccurate. It doesn’t stifle creativity; neither does it scare you from designing something revolutionary. Rather it allows you to explore deeper and further.

It removes the guesswork from your design. It takes care of any miscommunication between the graphic designer and the rest of the team. In short, research is a powerful tool in graphic design. 

Use it, and you become a better graphic designer because you now have knowledge of audiences and competitors. Besides, it can help you discover the latest trends in graphic design . 

That leaves you with just one question – where do you learn design research? You join a graphic design course that pays particular attention to research and concept building. Any of the best graphic design institutes near you would be a great place to start!

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The Role of Biomimicry on Visual Design Education

The change and increasing diversity in communication tools with globalization have ensured the universal presentation of visual elements shaped by local cultural patterns. Today, design products have turned into a strategic tool for many countries in order to reach higher competitive power. As the visual design industry contributes as an important visual communication and marketing tool for different industries within and outside the creative sector, its role in ensuring sustainability becomes even more important. Graphic design is much more effective, direct, and fast than other means of information in order to develop environmental awareness and motivate desired behaviors. The biomimetic graphic is a design process and style that has been spread and passed along throughout today’s culture and society via various channels and networks of communication. In today's world, where globalization and associated social and environmental problems are increasing, design education plays an important role in the development of sustainable design products. In design education, the students should be taught the concepts of ecological material selection, environmentally friendly energy use, recycling, reconsideration, and reuse. In this study, the role of biomimicry in visual design education will be examined with sample applications. In addition to new skills and knowledge in design education, sustainability will emerge as an important feature sought in designers soon.

Cosmopolitan localism as a research framework for sustainability in graphic design practices

Investigation of the relationship between computer programs and foreign language used in graphic design process, pendampingan kegiatan pelatihan desain grafis untuk warga desa ciputri di kecamatan kaduhejo kabupaten pandeglang.

Abstract Pondok Pesantren, is an educational institution that provides formal education to students aged children. There are many Islamic boarding schools scattered in various villages in Ciputri Village. The low design ability of santri and students is very unfortunate even though they are the successors to the next civilization. Besides that, in Ciputri village there is no course institution for graphic design training, so graphic design training is held within 1 day. The purpose of this activity is to increase the creativity of students and students in the world of design. Make students and students independent so that they can make designs such as pamphlets, banners or banners themselves and do not use the services of a printing company. This training is carried out by delivering material and direct practice for students and students. Participants can get to know graphic design and can practice the applications used to create the graphic design.  

Pelatihan Editing Gambar dan Text menggunakan Photoshop sebagai bentuk Ekspresi Kreatifitas

Abstract- Graphic design is a form of work produced by art workers, with the development of increasingly advanced technology now can also be done by everyone, as long as they want to learn, because there are so many applications that can help someone to produce an interesting work. one of them is by using the photoshop application. Photoshop itself is one of the most popular applications today. So that the community service team provides training in the use of Photoshop applications. This service was carried out by providing video tutorials for the participants to practice directly. After this training was able to increase students' understanding by 53.72%, and students are able to express their creative ideas in editing images and text. Keywords — Photoshop, Student, Creatifity   Abstrak- Desain grafis adalah satu bentuk hasil karya yang dihasilkan oleh para pekerja seni, dengan perkembangan zaman teknologi yang maju saat ini, hal itupun juga bisa dilakukan oleh setiap orang, selama mau belajar, karena sudah banyak aplikasi yang bisa membantu seseorang untuk menghasilkan sebuah karya yang menarik salah satunya menggunakan aplikasi photoshop. Photoshop sendiri adalah salah satu aplikasi yang populer saat ini. Sehingga tima pengabdian memberikan pelatihan penggunaan aplikasi photoshop. pada pengabdian ini dilakukan dengan memberikan video tutorial untuk bisa di praktekkan langsung oleh peserta.Setelah dilakukan pelatihan ini mampu meningkatkan pemahanaman siswa sebesar 53,72%, dan siswa mampu menuangkan ide-ide kreatif nya dalam editing gambar dan text. Kata kunci—Photoshop, Siswa, Kreatifitas

GRAPHIC DESIGN IN THE AGE OF DIGITAL TRANSFORMATION

In the midst of economic and consumer competition between companies and industrial ‎institutions, graphic design emerges as an active actor in the sustainability of the ‎advertising and media cycle alike, a role that would not have been important without the ‎tireless work carried out by designers in various design activities, especially after entering ‎into the digital experience. He benefited from it and kept pace with the new ‎developments of quality, and it is useful to point out that the motives of digital ‎development have reinforced the values that the design worked on, and today it is ‎witnessing many transformations in a digital world that is constantly evolving, ‎transformations related to the core of the designer’s work and what he offers in work ‎sites based on Decades of traditional experiences that designers have been working with, ‎and the trend towards traditions and modern digital frameworks that have been ‎reinforced by the increase in related digital applications and software in a remarkable ‎qualitative shift that indicates an important stage in the design process that extends to ‎centuries of work and technical development.‎ The current research explores some of the turning points of this procession with ‎important articulated transformations, based on the question that:‎ What is the status of graphic design in the age of digital transformation? The ‎importance of the research lies in the following:‎ ‎-Theoretical dimension: It can be useful in enhancing the theoretical framework of the ‎graphic design process and the transformations it has witnessed in the digital age.‎ ‎-Applied dimension: it can benefit those interested and working in the matter of graphic ‎design, and the research aims to: Identify the problems of graphic design in the age of ‎digital transformation. The theoretical framework includes the following topics:‎ ‎-What is digital transformation?‎ ‎-A brief history of graphic design ‎-Graphic design from traditional to digital The impact of digital technologies on graphic design.

Application of Color Language in Computer Graphic Design

Metacognitive transcendence in the learning of the project activity of design through the sketchbook visuality.

This article aims to report the transition from intuitive to intentional projective activities in design recorded in the visual modes of sketchbook to analyze the metacognitive processes of design students. Phenomenography was used as an empirical sampling method to diagnose the sketchbooks of industrial design and graphic design students. The observation criteria focused on describing the metacognitive characteristics of the students with respect to the way they recorded their ideas visually, which showed design-specific projective actions. This research demonstrated and codified how students externalize intentional approaches in their sketchbook iterations, which can be grouped into three representation strategies: technical, methodological, and reflective; they are related to their experiences in projective activity. Consequently, we propose a new category called metacognitive transcendence, which refers to a strategy for controlling and regulating cognitive processes to transform an intuitive action into an intentional action mediated by a cognitive artifact: the design sketchbook. Three ways of metacognitive transcendence are suggested: instrumental (technical aspects), procedural (related to projection), and comprehensive (own reflection about the project itself).

Zobo Tea Package Design Prototype Allied with Product Onomastics

The purpose of this design is to create a Zobo tea package design prototype allied with African indigenous onomastics. African indigenous products are effective in terms of functionality; however, industrialized products gained more attention because of aesthetics, safety, hygiene, and other advanced technology put into consideration during production. This seems to boost the inferiority of indigenous products. Hence, the present study focuses on indigenous Zobo tea in terms of creating a conceptual package design prototype enhanced with product onomastics. Twenty-two names are derived for indigenous Zobo tea by making use of linguistics techniques. These names are used as label for designing a conceptual package prototype for indigenous Zobo tea. A Delphi technique is adopted for the evaluation of this creative process. The findings show that homonym as an onomastics will enhance the branding and development of indigenous Zobo tea even in the international market. This will remodel the inferiority of the aesthetics of Zobo indigenous products. Hence, research on the choice of an appropriate name for a particular product should be a contemporary research area to improve the present situation of our indigenous product branding and graphic design. It is believed that the outcome of this research could provide guidelines for effective naming in product package design for indigenous product development; as creative designers must not only understand the vocabulary of graphic design but be aware of extraneous constraints that could affect their designs.

Development of Body Painting 3D Printing Techniques Using Fractal Design

With development of advanced technologies, the field of beauty is under strong pressure to try new approaches in line with the highly increasing interest in advance 3D printing based on 3D graphic design data. An increasing number of researches have been conducted to develop beauty and art design object using computer design programs. As part of this, three works were presented in this paper in which body painting designs and object were applied to mannequins by producing them with help of 3D printing techniques based on the motive of fractal that started from nature. This study examined how the generation principle of fractal geometry appears in the form of nature. The generation principle of fractal geometry models nature, fibonacci, and crystalline pattern by non-linearity, irregularity, and randomness around the iterative rule of self similarity. The present study is thought to be meaningful in that it suggests the possibility and practical value of a design method that can be technically and easily accessible to those majoring in beauty by means of its utility as a low-end 3D printing object.

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From Concept to Career: Exploring the Intersection of Theory, Practice and Purpose in Graphic Design Seniors

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Graphic Design seniors shine in exhibition as they prepare for their upcoming portfolio presentations and life after college

April 25, 2024 | By Madeline Smith

The UNC Arts Graphic Design Senior Show runs through May 2 at the Campus Commons Gallery.

While many seniors at the University of Northern Colorado (UNC) hustle to finish final papers, study for exams and gear up for graduation, Graphic Design students enrolled in the Senior Exhibition Project course are diligently preparing to exhibit their best work for public viewing at the Campus Commons Gallery. Their pieces, as well as their portfolios, will be critiqued by a panel of industry professionals, all before the pressure of finals week.  

UNC’s College of Performing and Visual Arts Graphic Design program is quietly revolutionizing the way future designers prepare for their careers. Students are not just assembling a collection of works but are also laying the foundation for their future career success. Kalyana Gallagher is one such student who is not only utilizing this course to advance her knowledge of the graphic design field but also to launch her magazine project, PURlll. Magazine . This magazine combines design, storytelling and collaboration with a few other students.  

Alyssa Leven, Gallagher's co-collaborator on Purlll. speaking to a group viewing the exhibition.

It’s important to students like Gallagher that their art is not only for consumption, but also has a meaningful influence. PURlll.’s official launch will include a website and the first two issues of the magazine. They’ve pledged to donate 20% of all profits from PURlll. Magazine to True Colors United — a nonprofit organization focused on innovative solutions for homelessness in LGBTQ+ and BIPOC youth across the country.  “I want to impact others with my work and use my platform and my voice as an artist to reach others and amplify other people's stories,” Gallagher said.   

“So, especially with PURlll. , a big part of that is telling other people's stories and giving them an opportunity to connect and collaborate with me in a way I wouldn't normally be able to.”   

One of Gallagher’s collaborators is fellow classmate Trevor Erpelding, who is assisting with rendering the PURlll. logo, creating all 3D components and developing product mockups. Simultaneously, Erpelding manages his own virtual reality exhibition, showcasing his multidisciplinary talents. Notably, Erpelding is proficient in Blender, a versatile and powerful open-source program for creating 3D digital assets and virtual environments. Through self-directed learning, Erpelding has combined Blender's capabilities with his artistic knowledge to seamlessly integrate his 3D modeling skills into his virtual reality exhibition titled , “DIMENSIONAL REVERIE.” He aims to craft an immersive experience that captivates audiences and enhances the overall impact of the exhibition.  

Designing a Course   

From the conception of this course to the eventual exhibition of student work, the Graphic Design instructors are fervently dedicated to crafting an educational experience that prepares their students for career success whatever that looks like for them — from agency work, freelancing, web and interactive media, merchandising, packaging and everything in between. Samuel Dong-Saul, MFA , one of the instructors of the Senior Project course, believes in instilling in students the importance of showcasing their work with integrity.    

"The portfolio is your resume," Dong-Saul said, stressing the importance of teaching practical skills in addition to the theoretical.  

“The objective for this class is to help them prepare for the career environment and help them build targeted portfolios where students curate their design and artistic work to their field of choice [while] learning what it takes to do a formal, artistic exhibition by making a proposal, making sure that everything is explained conceptually, translates physically.”   

External critiques offer students real-world, industry perspectives, giving them invaluable insights beyond the classroom. For Dong-Saul and his co-instructor who teaches part of this course, Director of Galleries at UNC, Belle-Pilar Fleming , the focus remains on exposing students to numerous opportunities for tangible projects and exhibitions during their time in the classroom. Fleming sees these experiences as a reflection of students' growth and expertise. With each project and exhibition, students not only showcase their abilities but also gain a deeper understanding of their artistic journey.   

“For the exhibition portion of the course, having those fully realized projects builds a lot of confidence [in students], and sometimes these big culminating events can allow students time to reflect and think about how much they’ve learned and the skills they’ve acquired.”   

From the quality of their work to their industry acumen, every aspect of their portfolio presentations will be carefully examined. As students brace themselves for critique and evaluation from professionals in the graphic design world, they know they'll be judged not just on their technical prowess but also on their ability to respond to feedback, an important life skill. It's a testament to the class's commitment to bridging the gap between academic learning and practical application.   

Refining Their Artistic Voice   

The course structure is holistically designed to equip students with the skills to navigate the challenges of the design world and to refine their artistic voice. This is the first year that the director of galleries is also serving as an instructor of this course which has spurred a collaboration between the Graphic Design program and UNC Galleries. This has resulted in a unique way for students to experience the nuanced and varied world of art and design. From visiting artist exhibitions to professional preparation courses, every component is geared toward equipping students with the tools they need to thrive.   

Through constructive criticism and guided portfolio building, they find themselves well-prepared for the professional world and hopeful about their freelance design aspirations. Networking and proactive engagement have been not just buzzwords, but essential components of their educational journey. 

For students like Sasha Krause, a Graphic Design major who is also earning a certificate in Arts Entrepreneurship, the class is a chance to put their passion projects within a more professional setting. Each student in the Graphic Design program is required to complete an internship before graduation, which is not merely a box to check, but a way for students to bridge the gap between theory and practice. Krause’s internship with BandWagon Magazine , a prominent publication that reports on live music, arts, entertainment, nightlife and community in northern Colorado, sparked their interest in merchandise design.   

Design by Sasha Krause

As Krause navigates the transition from academia to the professional arena, they emphasize the significance of proactive engagement and stepping out of one's comfort zone. Networking isn't confined to formal events or job fairs. It's about embracing every opportunity to connect with peers, mentors and industry professionals. Krause’s vision of building a freelance career and a small business underscores the importance of nurturing industry connections. They are growing a graphic design and illustration business called Rayne's Things (inquiries can be sent to [email protected] or @raynesthings on Instagram ), which means stepping out of their comfort zone, taking risks and being unafraid to make connections.  

“I would like to continue working freelance and building a small business,” said Krause. “With any degree or program, as you do in life, it’s what you put into it. It’s really important to push yourself into feeling uncomfortable, not too uncomfortable, obviously take care of yourself, but it's so important to push yourself to talk to that person in your class, talk to your professor, make connections.”   

Their senior project focuses on building apparel and other promotional materials for MUNA, a pop band that focuses on queer liberation, for the exhibition. Through constructive criticism and guided portfolio building, they find themselves well-prepared for the professional world and hopeful about their freelance design aspirations. Networking and proactive engagement have been not just buzzwords, but essential components of their educational journey.  

Developing a Thick Skin   

From virtual reality to packaging designs to interactive websites, each showcase will underscore students' individual strengths and career objectives. Alongside the presentations, the seniors craft exhibition proposals, delving into in-depth explorations of design concepts or enhancing existing projects. This exhibition serves as a testament to the students' readiness to enter the graphic design field with creativity, professionalism and innovation.   

Throughout the semester, students practice both receiving and giving feedback, preparing them for the panel of judges who will critique their upcoming portfolio presentations and provide feedback based on the areas of professional practice they are pursuing. This professionalism exercise enables students to demonstrate their command of design principles and their ability to adapt to feedback, something their career path demands. As Krause puts it, the program has prepared them for this moment.   

“Once you get to senior year, it's like, ‘all right, we hope that your skin is thick and you're ready for this’ because it's a lot of reviewing projects and tweaking things where they need to be tweaked, so you just have to be open-minded. In this course specifically, there's a lot of creative freedom and there are higher stakes because it is going to be in a gallery and on display,” said Krause.  

Design by Raquel Eduardo Nuñez.

Design by Kristin Keiter.

Design by Chelsea Ojeda-Soto.

Design by Mercedes Schultz.

Design by Kayla Sigmon.

Design by Morgan Carlisle.

Design by Tally B.

As the semester progresses and students inch closer to the exhibition, their work will no longer be confined to the classroom, but it will be on display, offering the public a glimpse into the talent and dedication cultivated throughout their academic journey. It's not just about grades or credits, it's about nurturing the next generation of designers. With each project, exhibition and feedback session, students emerge not only as graduates but as confident, skilled professionals and artists ready to leave their mark on the world of design.   

UNC is deeply committed to meeting students’ financial needs. In 2022-23, 87% of all UNC undergraduate students received some type of grant or scholarship aid that does not need to be repaid.   

Sasha Krause received the following donor-funded scholarships and UNC institutional scholarships or other federal, state or grant aid.  

UNC donor-funded scholarships:  

• Reisher Family Scholarship 
• Robert and Marilyn Clark Scholarship 
• Glen D. Beebe Scholarship 
• Genevieve and William Harrington Scholarship  

  Other institutional grants or aid:    

• Colorado student Grant  
• Provost Scholarship  
• Work study  

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How JWU Design Team Made Me a Better Graphic Designer

• Julia Shiels
• 29 April 2024

Author Julia Shiels '24 is a Graphic Design major and works as a student assistant at JWU, contributing to JWU News.

The Graphic Design program at Johnson & Wales does an excellent job of preparing students for the design industry. Students take a variety of classes in print, web and 3D design to learn about different areas of the industry to become a more well-rounded designer. But one of the best ways the program prepares students for the industry is through the Design Team course.

Design Team is a yearlong course split into two sections: Design Team I and Design Team II. These courses are taken during the student’s senior year and offer a real taste of what it’s like to work in the graphic design industry. Students work with real-world clients, ranging from internal JWU clients to external companies around Providence. These clients offer a variety of projects that students work on in teams of two or three designers, under the guidance of Associate Professor Deana Marzocchi.

During Design Team I in Fall 2023, I worked with two other designers, Samy Alves ’24 and Erik Furtado ’24. We worked on four projects, three of which were internal clients and the other being an external company based in Rhode Island. Erik and I both have a focus in print design and Samy has a focus in web design, so we had a versatile group with different strengths to produce effective designs. Over the course of the semester, we produced advertising materials for a criminal justice class, created two restaurant brands with packaging, and began the process of a rebrand for a local brewing company.

During my last semester in Spring 2024, I completed Design Team II as a part of a different group, with print designers Joe Faioli ’24 and Andrew Byrnes ’24. We completed three projects: a logo for an upcoming documentary, a marketing campaign for a new course at JWU, and wayfinding signage for the beverage display case in JWU’s Cuisinart Center for Culinary Excellence.

Design Team is a tough course, but one of the most beneficial courses I’ve taken during my time at JWU. As Professor Marzocchi says, “The class is meant to challenge students and push them through the actual experiences of being a designer. As seniors, these students have the skills — now it is time to put them into practice while doing the job of a project manager.”

Throughout this course, students must complete a weekly invoice. In this invoice, students track how many hours they worked on each project. At first, I thought this task was just a way for our professor to keep tabs on us and our work. After landing my first freelance client, I realized how beneficial this exercise has been because now I can easily create my own invoices and send them to my client to get paid and show them what progress was made each week since I had already been doing it for a few months.

Another major benefit of Design Team is that you gain experience meeting with clients, which has also helped me with my own freelance work. Throughout the course, students meet with their clients either in person or remotely multiple times to discuss expectations or share progress. Students are taught best practices for these meetings, all of which I have kept with me as I meet with clients outside of JWU.

Design Team has also given me multiple additions to my portfolio as well as being a notable addition to my résumé. By working on these industry-level projects, I have strengthened my teamwork, professional and project management skills while learning more about branding and marketing through design.

“Design Team is boot camp,” says Professor Marzocchi. “This class is not for the faint of heart, but I am always so proud of how prepared our students are for the real world and how much they overcome. They never disappoint!”

Despite the long days and tough projects, Design Team has helped shape me into the designer I am today, ready to take on the real world now that I’m about to graduate. I’m grateful to my professors and the members of both my teams for all the amazing work we did and how they helped me grow.

To check out my full portfolio, visit my website !

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Mrc graphic design paid internship – summer 2024.

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Do you want to help with promoting online campaigns and designing advertisements and projects to generate public engagement?

As an MRC Marketing intern, you will gain valuable experience in communications, database marketing and analytics, social media, direct response marketing, and web/graphic design. Our internships pay $12/hr

Check with your school’s Internship Coordinator BEFORE accepting the hiring offer to determine if this position satisfies the criteria for receiving academic credit.

Qualifications of an MRC Marketing intern:

• Experience in graphic design
• Experience using Adobe Creative Suite
• Knowledge of current state of politics/conservatism is a plus
• Ability to design independently, create marketing materials, and turn projects around quickly

The Media Research Center is a 501(c)3 research and education organization that has been the nation’s premier media watchdog since 1987. We are committed to neutralizing left-wing bias in the news media and popular culture. We do this through journalism (CNSNews.com), analysis and research (NewsBusters), blogs and video (MRCTV), and a complex grassroots and marketing initiative. Because we are a nonprofit, we are careful about our resources, and one of our greatest resources is a team of interns who are excited to learn and promote our work.

This internship is designed for conservative-minded students and recent graduates. We hire interns during three semesters (Fall, Spring, Summer). The current application is for our Summer internship program . Our internship for the Sumer 2024 session begins on May 20th and runs through August 9th.

To view photos and former intern testimonials as well as access our online application visit:

www.mrc.org/internships

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