Art Director

How to Become an Art Director
What Does an Art Director Do? An art director oversees the art, i.e. the photographs and drawn images, that appear in newspapers, magazines, ad campaigns and on book covers. An art director is usually the person who oversees the entire design department, working with photo editors and editors to coordinate what images will match up with what words. More than simply assigning a photographer or illustrator to create an image, an art director works on creating visual concepts. At a magazine an art director would work to create the specific look and feel of the entire magazine, ensuring there’s a unified visual look throughout. If you notice that certain magazines maintain different types of “looks” -- with certain layouts and certain types of images -- you’re picking up on the work of the art director. Where Do Art Directors Work? Art directors work throughout media in advertising, in book publishing and at magazines. Art directors usually specialize in one sector -- focusing on, say, advertising or book publishing -- and the type of work they do varies on their subset of the industry. At magazines art directors conceive of layouts and the art that will match up with the various stories in the magazine. At book publishing houses art directors often focus solely on book covers, hiring designers to create those covers and overseeing their work. (An art director at some book publishing houses may also do some of the designing.) At ad agencies art directors, usually working with a copywriter, create the images that go with an ad campaign. At ad agencies art directors may specialize in a specific area, such as print (creating ads for magazines), TV or Web. How Do You Become an Art Director? Most art directors have degrees from art schools, where they’ve studied graphic design, photography and drawing. (A background in graphic design is usually essential for most art director jobs today.) In today’s job market art directors also need to know various computer programs (most run on Macs) that allow them to work with everything from photographs to font sizes. While photoshop is a standard program all art directors should know, this is just one of many. For more on specific programs art directors should know, you can check out this video. Art directors who’ve gone to art school are usually trained in the computer programs needed to get jobs in the field. Art schools will also provide candidates with a portfolio, which is necessary to land most jobs in this field. Art directors, who often work up to that title (from assistant positions), need to show examples of their work. Someone looking to work as an art director in an ad agency, for example, need to show a potential employer sample ad campaigns he’s created. To get these samples, you need to have experience from an internship or from your art school experience.

How to Become a Copywriter
What Does a Copywriter Do? At advertising agencies a copywriter is known as a “creative” because he or she makes up the slogans, or copy, that drive ad campaigns. This Bud’s for You. BMW – The Ultimate Driving Machine. Just Do It. Those famous phrases are all the work of a copywriter. How Do You Become a Copywriter? Getting a job as a copywriter is tougher than getting a job in other fields of advertising because you need a portfolio of work to get in the door. So how do you get a portfolio, or a book, as it’s dubbed in the ad world? To get a book, you need to get an internship. Your book is a collection of ads you’ve worked on and you can’t work on any ads until you get some work at an advertising agency. To get an internship at an ad agency you need to search online for openings. You can also contact creative directors, who run the creative departments at ad agencies. If you don’t want to get an internship, or can’t, you can create spec ads on your own. Because copywriters work in various fields -- print, TV, radio and online -- your spec work will have to mimic the kind of ads you’re interested in creating. If you want to work online, you should be creating banner ads and online campaigns. You’ll need print spots if you want to work in print advertising. Etc. Although you might be able to land work by creating spec ads, hiring managers prefer to see work you’ve done while interning at an agency. Also, while you don’t need a graduate degree to become a copywriter, hiring managers do prefer to see that you’ve earned an undergraduate degree. What Skills Do You Need for the Job? Copywriting is all about creativity so you really need to have a talent for the work. While some people might learn on the job, this kind of work is best for people who can craft stories with images and words. (It’s stories that often sell products -- the slogans and images simply tell the stories.) Getting an internship in the creative department of an agency, as mentioned above, is a good way to figure out whether you have the talent to be a copywriter.

Desktop Publishing Page Layout Tutorials
At its most basic level, desktop publishing is taking some text and some graphics and mixing them together on a page then publishing that page in the form of or as part of a flier, brochure, newsletter, greeting card, annual report, business card, Web page, or other common (and uncommon) desktop publishing projects.

Best Graphics File Formats for Desktop Publishing
Choose graphics file formats based on task
Graphics come in many flavors but not all file formats are suitable for all purposes. How do you know which is best? In general, there are graphics formats suitable for printing and those for on-screen viewing or online publishing. Within each group there are also formats that are better than others for the same task. Use GIF and JPG for online publishing. Although other formats for online publishing are in development, at present GIF and JPG are the standards. Use EPS and TIFF for print publishing. If all your printing is sent to your desktop printer, you may be able to use other formats including CGM and PCX with acceptable results; however, for high-resolution output EPS and TIFF will provide the least hassles and the best quality. They are the standards for high-resolution printing. In addition to the formats in the chart, below, there are proprietory graphics file formats. These are bitmap or vector formats used by specific graphics programs. Although some desktop publishing software will recognize the more common formats such as PSD from Adobe Photoshop (bitmap) or CDR from CorelDRAW (vector) it is generally best to convert these images to TIF or EPS or other common graphics file formats. This simple chart outlines the best use for several common formats. Match the format to your job either by starting with graphics in that format or by converting other artwork to the desired format. Format: BMP EPS GIF Designed for: Screen display under Windows Printing to PostScript printers/Imagesetters Screen display, especially the Web Top choice for: Windows Wallpaper High resolution illustrations printing of of of of

Online publishing photographic images Online publishing photographic images High resolution images printing

JPEG, JPG Screen display, especially the Web TIFF, TIF WMF Printing to PostScript printers

Screen display under Windows or printing to non- Transfer vector images via the PostScript printer clipboard

A brand is a name or trademark connected with a product or producer. Brands have become increasingly important components of culture and the economy, now being described as "cultural accessories and personal philosophies".[2][page needed]

Some people distinguish the psychological aspect of a brand from the experiential aspect. The experiential aspect consists of the sum of all points of contact with the brand and is known as the brand experience. The psychological aspect, sometimes referred to as the brand image, is a symbolic construct created within the minds of people and consists of all the information and expectations associated with a product or service. People engaged in branding seek to develop or align the expectations behind the brand experience, creating the impression that a brand associated with a product or service has certain qualities or characteristics that make it special or unique. A brand is therefore one of the most valuable elements in an advertising theme, as it demonstrates what the brand owner is able to offer in the marketplace. The art of creating and maintaining a brand is called brand management. Orientation of the whole organisation towards its brand is called integrated marketing. Careful brand management, supported by a cleverly crafted advertising campaign, can be highly successful in convincing consumers to pay remarkably high prices for products which are inherently extremely cheap to make. This concept, known as creating value, essentially consists of manipulating the projected image of the product so that the consumer sees the product as being worth the amount that the advertiser wants him/her to see, rather than a more logical valuation that comprises an aggregate of the cost of raw materials, plus the cost of manufacture, plus the cost of distribution. Modern valuecreation branding-and-advertising campaigns are highly successful at inducing consumers to pay, for example, 50 dollars for a T-shirt that cost a mere 50 cents to make, or 5 dollars for a box of breakfast cereal that contains a few cents' worth of wheat. Brands should be seen as more than the difference between the actual cost of a product and its selling price - they represent the sum of all valuable qualities of a product to the consumer. There are many intangibles involved in business, intangibles left wholly from the income statement and balance sheet which determine how a business is perceived. The learned skill of a knowledge worker, the type of metal working, the type of stitch: all may be without an 'accounting cost' but for those who truly know the product, for it is these people the company should wish to find and keep, the difference is incomparable. By failing to recognize these assets that a business, any business, can create and maintain will set an enterprise at a serious disadvantage. A brand which is widely known in the marketplace acquires brand recognition. When brand recognition builds up to a point where a brand enjoys a critical mass of positive sentiment in the marketplace, it is said to have achieved brand franchise. One goal in brand recognition is the identification of a brand without the name of the company present. For example, Disney has been successful at branding with their particular script

font (originally created for Walt Disney's "signature" logo), which it used in the logo for Consumers may look on branding as an important value added aspect of products or services, as it often serves to denote a certain attractive quality or characteristic (see also brand promise). From the perspective of brand owners, branded products or services also command higher prices. Where two products resemble each other, but one of the products has no associated branding (such as a generic, store-branded product), people may often select the more expensive branded product on the basis of the quality of the brand or the reputation of the brand owner.

Brand name
The brand name is often used interchangeably within "brand", although it is more correctly used to specifically denote written or spoken linguistic elements of any product. In this context a "brand name" constitutes a type of trademark, if the brand name exclusively identifies the brand owner as the commercial source of products or services. A brand owner may seek to protect proprietary rights in relation to a brand name through trademark registration. Advertising spokespersons have also become part of some brands, for example: Mr. Whipple of Charmin toilet tissue and Tony the Tiger of Kellogg's. Brand names will fall into one of three spectrums of use - Descriptive, Associative or Freestanding. Descriptive brand names assist in describing the distinguishable selling point(s) of the product to the customer (eg Snap, Crackle and Pop or Bitter Lemon). Associative brand names provide the customer with an associated word for what the product promises to do or be (e.g. Walkman, Sensodyne or Natrel) Finally, Freestanding brand names have no links or ties to either descriptions or associations of use. (eg Mars Bar or Pantene) The act of associating a product or service with a brand has become part of pop culture. Most products have some kind of brand identity, from common table salt to designer jeans. A brandnomer is a brand name that has colloquially become a generic term for a product or service, such as Band-Aid or Kleenex, which are often used to describe any kind of adhesive bandage or any kind of facial tissue respectively.

Brand identity
A product identity, or brand image are typically the attributes one associates with a brand, how the brand owner wants the consumer to perceive the brand - and by extension the branded company, organization, product or service. The brand owner will seek to bridge the gap between the brand image and the brand identity. Effective brand names build a connection between the brand personality as it is perceived by the target audience and the

actual product/service. The brand name should be conceptually on target with the product/service (what the company stands for). Furthermore, the brand name should be on target with the brand demographic. Typically, sustainable brand names are easy to remember, transcend trends and have positive connotations. Brand identity is fundamental to consumer recognition and symbolizes the brand's differentiation from competitors. Brand identity is what the owner wants to communicate to its potential consumers. However, over time, a products brand identity may acquire (evolve), gaining new attributes from consumer perspective but not necessarily from the marketing communications an owner percolates to targeted consumers. Therefore, brand associations become handy to check the consumer's perception of the brand. Brand identity needs to focused on authentic qualities - real characteristics of the value and brand promise being provided and sustained by organizational and/or production characteristics. Managing the whole organization to this purpose is called Integrated Marketing.

Brand parity
Brand parity is the perception of the customers that all brands are equivalent. [8]
Branding approaches

Company name
Often, especially in the industrial sector, it is just the company's name which is promoted (leading to one of the most powerful statements of "branding"; the saying, before the company's downgrading, "No one ever got fired for buying IBM"). In this case a very strong brand name (or company name) is made the vehicle for a range of products (for example, Mercedes-Benz or Black & Decker) or even a range of subsidiary brands (such as Cadbury Dairy Milk, Cadbury Flake or Cadbury Fingers in the United States).

Individual branding
Each brand has a separate name (such as Seven-Up or Nivea Sun (Beiersdorf)), which may even compete against other brands from the same company (for example, Persil, Omo, Surf and Lynx are all owned by Unilever).

Attitude branding and Iconic brands
Attitude branding is the choice to represent a larger feeling, which is not necessarily connected with the product or consumption of the product at all. Marketing labeled as attitude branding include that of Nike, Starbucks, The Body Shop, Safeway, and Apple

Computer. In the 2000 book No Logo, Naomi Klein describes attitude branding as a "fetish strategy".
"A great brand raises the bar -- it adds a greater sense of purpose to the experience, whether it's the challenge to do your best in sports and fitness, or the affirmation that the cup of coffee you're drinking really matters." - Howard Schultz (president, CEO, and chairman of Starbucks)

Iconic brands are defined as having aspects that contribute to consumer's self-expression and personal identity. Brands whose value to consumers comes primarily from having identity value comes are said to be "identity brands". Some of these brands have such a strong identity that they become more or less "cultural icons" which makes them iconic brands. Examples of iconic brands are: Apple Computer, Nike and Harley Davidson. Many iconic brands include almost ritual-like behaviour when buying and consuming the products. There are four key elements to creating iconic brands (Holt 2004): 1. "Necessary conditions" - The performance of the product must at least be ok preferably with a reputation of having good quality. 2. "Myth-making" - A meaningful story-telling fabricated by cultural "insiders". These must be seen as legitimate and respected by consumers for stories to be accepted. 3. "Cultural contradictions" - Some kind of mismatch between prevailing ideology and emergent undercurrents in society. In other words a difference with the way consumers are and how they some times wish they were. 4. "The cultural brand management process" - Actively engaging in the myth-making process making sure the brand maintains its position as an icon.

"No-brand" branding
Recently a number of companies have successfully pursued "No-Brand" strategies, examples include the Japanese company Muji, which means "No label" in English (from 無印良品 – "Mujirushi Ryohin" – literally, "No brand quality goods"). Although there is a distinct Muji brand, Muji products are not branded. This no-brand strategy means that little is spent on advertisement or classical marketing and Muji's success is attributed to the word-of-mouth, a simple shopping experience and the anti-brand movement.

Derived brands
In this case the supplier of a key component, used by a number of suppliers of the endproduct, may wish to guarantee its own position by promoting that component as a brand in its own right. The most frequently quoted example is Intel, which secures its position in the PC market with the slogan "Intel Inside".

Brand extension
The existing strong brand name can be used as a vehicle for new or modified products; for example, many fashion and designer companies extended brands into fragrances, shoes and accessories, home textile, home decor, luggage, (sun-) glasses, furniture, hotels, etc. Mars extended its brand to ice cream, Caterpillar to shoes and watches, Michelin to a restaurant guide, Adidas and Puma to personal hygiene. Dunlop extended its brand from tires to other rubber products such as shoes, golf balls, tennis racquets and adhesives. There is a difference between brand extension and line extension. When Coca-Cola launched "Diet Coke" and "Cherry Coke" they stayed within the originating product category: non-alcoholic carbonated beverages. Procter & Gamble (P&G) did likewise extending its strong lines (such as Fairy Soap) into neighboring products (Fairy Liquid and Fairy Automatic) within the same category, dish washing detergents.

Alternatively, in a market that is fragmented amongst a number of brands a supplier can choose deliberately to launch totally new brands in apparent competition with its own existing strong brand (and often with identical product characteristics); simply to soak up some of the share of the market which will in any case go to minor brands. The rationale is that having 3 out of 12 brands in such a market will give a greater overall share than having 1 out of 10 (even if much of the share of these new brands is taken from the existing one). In its most extreme manifestation, a supplier pioneering a new market which it believes will be particularly attractive may choose immediately to launch a second brand in competition with its first, in order to pre-empt others entering the market. Individual brand names naturally allow greater flexibility by permitting a variety of different products, of differing quality, to be sold without confusing the consumer's perception of what business the company is in or diluting higher quality products. Once again, Procter & Gamble is a leading exponent of this philosophy, running as many as ten detergent brands in the US market. This also increases the total number of "facings" it receives on supermarket shelves. Sara Lee, on the other hand, uses it to keep the very different parts of the business separate — from Sara Lee cakes through Kiwi polishes to L'Eggs pantyhose. In the hotel business, Marriott uses the name Fairfield Inns for its budget chain (and Ramada uses Rodeway for its own cheaper hotels). Cannibalization is a particular problem of a "multibrand" approach, in which the new brand takes business away from an established one which the organization also owns. This may be acceptable (indeed to be expected) if there is a net gain overall. Alternatively, it may be the price the organization is willing to pay for shifting its position in the market; the new product being one stage in this process.

Own brands and generics
With the emergence of strong retailers the "own brand", a retailer's own branded product (or service), also emerged as a major factor in the marketplace. Where the retailer has a particularly strong identity (such as Marks & Spencer in the UK clothing sector) this "own brand" may be able to compete against even the strongest brand leaders, and may outperform those products that are not otherwise strongly branded. Concerns were raised that such "own brands" might displace all other brands (as they have done in Marks & Spencer outlets), but the evidence is that — at least in supermarkets and department stores — consumers generally expect to see on display something over 50 percent (and preferably over 60 percent) of brands other than those of the retailer. Indeed, even the strongest own brands in the UK rarely achieve better than third place in the overall market. This means that strong independent brands (such as Kellogg's and Heinz), which have maintained their marketing investments, are likely to continue their strong performance. More than 50 per cent of UK FMCG brand leaders have held their position for more than two decades, although it is arguable that those which have switched their budgets to "buy space" in the retailers may be more exposed. The strength of the retailers has, perhaps, been seen more in the pressure they have been able to exert on the owners of even the strongest brands (and in particular on the owners of the weaker third and fourth brands). Relationship marketing has been applied most often to meet the wishes of such large customers (and indeed has been demanded by them as recognition of their buying power). Some of the more active marketers have now also switched to 'category marketing' - in which they take into account all the needs of a retailer in a product category rather than more narrowly focusing on their own brand. At the same time, probably as an outgrowth of consumerism, "generic" (that is, effectively unbranded) goods have also emerged. These made a positive virtue of saving the cost of almost all marketing activities; emphasizing the lack of advertising and, especially, the plain packaging (which was, however, often simply a vehicle for a different kind of image). It would appear that the penetration of such generic products peaked in the early 1980s, and most consumers still appear to be looking for the qualities that the conventional brand provides.

Green brands
Green brands are those brands that consumers associate with environmental conservation and sustainable business practices.

Such brands appeal to consumers who are becoming more aware of the need to protect the environment. A green brand can add a unique selling point to a product and can boost corporate image. However, if a company is found or perceived to overstate its green practices its green brand may be criticized as greenwash.

In the case of consumer brands packaging can be a key element in communicating a green brand. This is because packaging communicates information to the consumer at the point-of-sale, and because of the environmental impact of the packaging itself. Companies may claim sustainable packaging, recycled and/or recyclable material, or reduce excess packaging. Packaging is of especially high brand importance when the packaging is part of the aesthetic appeal of the product and brand, as in the case of the cosmetics and toiletries sector. Packaging material may have to not only reinforce environmental credentials, but also communicate the high-quality and luxury image of the brand.
Advertisement and marketing standards concerns

In Europe concerns have been raised that consumers might be confused or mislead as a result of a recent increase in green brands. Because green brands can add a unique selling point there is little consistency from brand to brand. In the food and drinks industry it has been observed that companies are reluctant to use existing and widely recognised green logos, such as the mobius loop, because using their own makes the brand more easily distinguishable for the consumer. In Britain, the Advertising Standards Authority (ASA) has warned consumers in mid 2007, that some "green" claims might not be authentic. The ASA stated that green claims have become noticeably more prevalent in advertisement, and has investigated and upheld several complaints regarding "unsubstantiated environmental claims". The ASA Director General has stated that "the ASA needs to see robust evidence to back up any eco-friendly claims". The ASA in Britain has also raised concerns that as awareness about climate change increase among consumers, the cases of unsubstantiated carbon claims (e.g. carbon emissions and carbon neutral claims) rises. The ASA has upheld a number of complaints against energy companies, including Scottish and Southern Energy car manufacturers, including Toyota, Lexus and Volkswagen , and airlines, including EasyJet, for misleading claims regarding carbon emissions and carbon neutrality. Concept art Concept art is a form of illustration where the main goal is to convey a visual representation of a design, idea, and/or mood for use in movies, video games, animation,

or comic books before it is put into the final product. Concept art is also referred to as visual development and/or concept design.

Storyboards are graphic organizers such as a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence, including website interactivity. The storyboarding process, in the form it is known today, was developed at the Walt Disney Studio during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.


Graphics (from Greek γραφικός graphia) are visual presentations on some surface, such as a wall, canvas, computer screen, paper, or stone to brand, inform, illustrate, or entertain. Examples are photographs, drawings, Line Art, graphs, diagrams, typography, numbers, symbols, geometric designs, maps, engineering drawings, or other images. Graphics often combine text, illustration, and color. Graphic design may consist of the deliberate selection, creation, or arrangement of typography alone, as in a brochure, flier, poster, web site, or book without any other element. Clarity or effective communication may be the objective, association with other cultural elements may be sought, or merely, the creation of a distinctive style. Graphics can be functional or artistic. The latter can be a recorded version, such as a photograph, or an interpretation by a scientist to highlight essential features, or an artist, in which case the distinction with imaginary graphics may become blurred. The earliest graphics known to anthropologists studying prehistoric periods are cave paintings and markings on boulders, bone, ivory, and antlers, which were created during the Upper Palaeolithic period from 40,000–10,000 B.C. or earlier. Many of these were found to record astronomical, seasonal, and chronological details. Some of the earliest graphics and drawings known to the modern world, from almost 6,000 years ago, are that of engraved stone tablets and ceramic cylinder seals, marking the beginning of the historic periods and the keeping of records for accounting and inventory purposes. Records from Egypt predate these and papyrus was used by the Egyptians as a material on which to plan the building of pyramids; they also used slabs of limestone and wood. From 600–250 BC, the Greeks played a major role in geometry. They used graphics to represent their mathematical theories such as the Circle Theorem and the Pythagorean theorem.

In art, "graphics" is often used to distinguish work in a monotone and made up of lines, as opposed to painting.

Drawing generally involves making marks on a surface by applying pressure from a tool, or moving a tool across a surface. Common tools are graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, pastels, and markers. Digital tools which simulate the effects of these are also used. The main techniques used in drawing are line drawing, hatching, crosshatching, random hatching, scribbling, stippling, blending, and shading. Drawing is generally considered distinct from painting, in which colored pigments are suspended in a liquid medium and are usually applied with a brush. Notable great drawers include Michelangelo, Rembrandt, Raphael and Leonardo da Vinci. Many people choose drawing as a main art style, or they may use it to make sketches for paintings, sculptures and other types of art.

Woodblock printing, including images is first seen in China after paper was invented (about A.D. 105). In the West the main techniques have been woodcut, engraving and etching, but there are many others.

Etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid. The acid eats the metal, leaving behind roughened areas, or, if the surface exposed to the acid is very thin, burning a line into the plate. Etching is also used in the manufacturing of printed circuit boards and semiconductor devices.

Line Art
Line art is a rather non-specific term sometimes used for any image that consists of distinct straight and curved lines placed against a (usually plain) background, without gradations in shade (darkness) or hue (color) to represent two-dimensional or threedimensional objects. Line art is usually monochromatic, although lines may be of different colors.


illustration of a character from a story; also, an illustration of illustrations An illustration is a visualisation such as a drawing, painting, photograph or other work of art that stresses subject more than form. The aim of an illustration is to elucidate or decorate a story, poem or piece of textual information (such as a newspaper article), traditionally by providing a visual representation of something described in the text. The editorial cartoon, also known as a political cartoon, is an illustration containing a political or social message. Illustrations can be used to display a wide range of subject matter and serve a variety of functions, such as:
• • • • • • •

giving faces to characters in a story displaying a number of examples of an item described in an academic textbook (e.g. A Typology) visualising step-wise sets of instructions in a technical manual communicating subtle thematic tone in a narrative linking brands to the ideas of human expression, individuality and creativity making a reader laugh or smile for fun (to make laugh) funny

A graph or chart is a type of information graphic that represents tabular, numeric data. Charts are often used to make it easier to understand large quantities of data and the relationships between different parts of the data.

A diagram is a simplified and structured visual representation of concepts, ideas, constructions, relations, statistical data, etc, used to visualize and clarify the topic.

A symbol, in its basic sense, is a representation of a concept or quantity; i.e., an idea, object, concept, quality, etc. In more psychological and philosophical terms, all concepts are symbolic in nature, and representations for these concepts are simply token artifacts that are allegorical to (but do not directly codify) a symbolic meaning, or symbolism.

A map is a simplified depiction of a space, a navigational aid which highlights relations between objects within that space. Usually, a map is a two-dimensional, geometrically accurate representation of a three-dimensional space. One of the first 'modern' maps was made by Waldseemüller.

One difference between photography and other forms of graphics is that a photographer, in principle, just records a single moment in reality, with seemingly no interpretation. However, a photographer can choose the field of view and angle, and may also use other techniques, such as various lenses to distort the view or filters to change the colors. In recent times, digital photography has opened the way to an infinite number of fast, but strong, manipulations. Even in the early days of photography, there was controversy over photographs of enacted scenes that were presented as 'real life' (especially in war photography, where it can be very difficult to record the original events). Shifting the viewer's eyes ever so slightly with simple pinpricks in the negative could have a dramatic effect. The choice of the field of view can have a strong effect, effectively 'censoring out' other parts of the scene, accomplished by cropping them out or simply not including them in the photograph. This even touches on the philosophical question of what reality is. The human brain processes information based on previous experience, making us see what we want to see or what we were taught to see. Photography does the same, although the photographer interprets the scene for their viewer.

Engineering drawings
An engineering drawing is a type of drawing that is technical in nature, used to fully and clearly define requirements for engineered items. It is usually created in accordance with standardized conventions for layout, nomenclature, interpretation, appearance (such as typefaces and line styles), size, etc.

Computer graphics
There are two types of computer graphics: raster graphics, where each pixel is separately defined (as in a digital photograph), and vector graphics, where mathematical formulas are used to draw lines and shapes, which are then interpreted at the viewer's end to produce the graphic. Using vectors results in infinitely sharp graphics and often smaller files, but, when complex, vectors take time to render and may have larger file sizes than a raster equivalent. A screenshot from the 2007 video game Crysis displaying extremely photo-realistic realtime computer graphics In 1950, the first computer-driven display was attached to MIT's Whirlwind I computer to generate simple pictures. This was followed by MIT's TX-0 and TX-2, interactive computing which increased interest in computer graphics during the late 1950s. In 1962, Ivan Sutherland invented Sketchpad, an innovative program that influenced alternative forms of interaction with computers.

In the mid-1960s, large computer graphics research projects were begun at MIT, General Motors, Bell Labs, and Lockheed Corporation. Douglas T. Ross of MIT developed an advanced compiler language for graphics programming. S.A.Coons, also at MIT, and J. C. Ferguson at Boeing, began work in sculptured surfaces. GM developed their DAC-1 system, and other companies, such as Douglas, Lockheed, and McDonnell, also made significant developments. In 1968, ray tracing was invented by Apple During the late 1970s, personal computers became more powerful, capable of drawing both basic and complex shapes and designs. In the 1980s, artists and graphic designers began to see the personal computer, particularly the Commodore Amiga and Macintosh, as a serious design tool, one that could save time and draw more accurately than other methods. 3D computer graphics became possible in the late 1980s with the powerful SGI computers, which were later used to create some of the first fully computer-generated short films at Pixar. The Macintosh remains one of the most popular tools for computer graphics in graphic design studios and businesses. Modern computer systems, dating from the 1980s and onwards, often use a graphical user interface (GUI) to present data and information with symbols, icons and pictures, rather than text. Graphics are one of the five key elements of multimedia technology. 3D graphics became more popular in the 1990s in gaming, multimedia and animation. In 1996, Quake, one of the first fully 3D games, was released. In 1995, Toy Story, the first full-length computer-generated animation film, was released in cinemas worldwide. Since then, computer graphics have become more accurate and detailed, due to more advanced computers and better 3D modeling software applications, such as Maya (software), 3D Studio Max, and Cinema 4D. Another use of computer graphics is screensavers, originally intended to preventing the layout of much-used GUIs from 'burning into' the computer screen. They have since evolved into true pieces of art, their practical purpose obsolete; modern screens are not susceptible to such burn in artifacts.

Web graphics
In the 1990s, Internet speeds increased, and Internet browsers capable of viewing images were released, the first being Mosaic. Websites began to use the GIF format to display small graphics, such as banners, advertisements and navigation buttons, on web pages. Modern web browsers can now display JPEG, PNG and increasingly, SVG images in addition to GIFs on web pages. SVG, and to some extent VML, support in some modern web browsers have made it possible to display vector graphics that are clear at any size. Plugins expand the web browser functions to display animated, interactive and 3-D graphics contained within file formats such as SWF and X3D. Modern web graphics can be made with software such as Adobe Photoshop, the GIMP, or Corel Paint Shop Pro. Users of Microsoft Windows have MS Paint, which many find

to be lacking in features. This is because MS Paint is a drawing package and not a graphics package. Numerous platforms and websites have been created to cater to web graphics artists and to host their communities. A growing number of people use create internet forum signatures—generally appearing after a user's post—and other digital artwork, such as photo manipulations and large graphics.

Graphics are visual elements often used to point readers and viewers to particular information. They are also used to supplement text in an effort to aid readers in their understanding of a particular concept or make the concept more clear or interesting. Popular magazines, such as TIME, Wired and Newsweek, usually contain graphic material in abundance to attract readers, unlike the majority of scholarly journals. In computing, they are used to create a graphical interface for the user; and graphics are one of the five key elements of multimedia technology. Graphics are among the primary ways of advertising the sale of goods or services.

Graphics are commonly used in business and economics to create financial charts and tables. The term Business Graphics came into use in the late 1970s, when personal computers became capable of drawing graphs and charts instead of using a tabular format. Business Graphics can be used to highlight changes over a period of time.

Advertising is one of the most profitable uses of graphics; artists often do advertising work or take advertising potential into account when creating art, to increase the chances of selling the artwork.

The use of graphics for overtly political purposes—cartoons, graffiti, poster art, flag design, etc—is a centuries old practice which thrives today in every part of the world. The Northern Irish murals are one such example.

Graphics are heavily used in textbooks, especially those concerning subjects such as geography, science, and mathematics, in order to illustrate theories and concepts, such as the human anatomy. Diagrams are also used to label photographs and pictures.

Educational animation is an important emerging field of graphics. Animated graphics have obvious advantages over static graphics when explaining subject matter that changes over time. The Oxford Illustrated Dictionary uses graphics and technical illustrations to make reading material more interesting and easier to understand. In an encyclopedia, graphics are used to illustrate concepts and show examples of the particular topic being discussed. In order for a graphic to function effectively as an educational aid, the learner must be able to interpret it successfully. This interpretative capacity is one aspect of graphicacy.

Film and animation
Computer graphics are often used in the majority of new feature films, especially those with a large budget. Films that heavily use computer graphics include The Lord of the Rings film trilogy, the Harry Potter films, Spider-Man and War of the Worlds.
Graphics education

The majority of schools, colleges and universities around the world educate students on the subject of graphics and art. The subject is taught in a broad variety of ways, each course teaching its own distinctive balance of craft skills and intellectual response to the client's needs. Some graphics courses prioritize traditional craft skills—drawing, printmaking and typography—over modern craft skills. Other courses may place an emphasis on teaching digital craft skills. Still other courses may downplay the crafts entirely, concentrating on training students to generate novel intellectual responses that engage with the brief. Despite these apparent differences in training and curriculum, the staff and students on any of these courses will generally consider themselves to be graphic designers. The typical pedagogy of a graphic design (or graphic communication, visual communication, graphic arts or any number of synonymous course titles) will be broadly based on the teaching models developed in the Bauhaus school in Germany or Vkhutemas in Russia. The teaching model will tend to expose students to a variety of craft skills (currently everything from drawing to motion capture), combined with an effort to engage the student with the world of visual culture.

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