Enabled by new software and hardware, the advent of digital design and publishing methods from the 1980s informed a technological revolution that continues to define the graphic/communication design industry. Initially united under the designation of desktop publishing (DTP) this ever evolving field now extends far beyond traditional print, encompassing diverse domains such as web design, mobile application design, social media, and even exploring burgeoning areas such as 3D printing and virtual and augmented reality (Hastreiter, 2017). More recently, the challenges of democratisation of design, automation and AI threaten further changes to design practice.
The rise of news technologies have not been without challenges. Increased technology-driven design capabilities have blurred the roles of professional designers and many stakeholders, leading to overlap in responsibilities and new challenges to design processes (Helfand, 2002, Drucker & McVarish, 2013). Such shifts challenge graphic designers to continually enhance their professional communication skills and adapt to the evolving environment.
Additionally, the emergence and growth of in-house design positions (Geraedts et al., 2012, Duggan, 2013, Silk & Stiglin, 2016) have further challenged traditional design practice, suggesting an urgent need for creative organisations to devise strategies to effectively manage these industry-wide changes.
Critics argue that the increased reliance on technology in design can diminish the role of the designer to a technically skilled implementer, merely executing minor design alterations. The outcomes of disruptive technologies’ increasing influence within graphic design practice can lead to the marginalisation of design, metaphorically suggestive of a surrender of control to computers (Helfand, 2002). This notion aligns with legendary graphic designer Milton Glaser’s perspective, that such a shift reduces professional designers to mere stylists (Lunenfeld, 2004), having handed over their design capital to stakeholders.
The influence of artificial intelligence (AI) presents a new set of potential challenges, but also opportunities for graphic/communication design. As AI develops, its role in the design process may extend beyond merely creating design artefacts to encompass the broader creative process, perhaps even including such activities as informing design briefs and even potentially liaising with stakeholders (Meron, 2022). However, the latter doesn’t appear to be on the immediate horizon). Indeed, more broadly, the future of AI and its impact on design may remain largely dependent on broader societal choices and acceptance. Certainly, it seems unlikely that many designers would object to AI taking over the more tedious tasks of design production, freeing designers to focus on the more creative aspects of design, which is the role that tools such as Photoshop’s Actions carry out. Similarly, within design education, AI tools such as ChatGPT may play a supportive role alongside experienced human design educators (Meron & Tekmen Araci, 2023).
The digital design revolution disrupted traditional designer roles as well as allied industries, such as pre-press and printing – often with damaging social and industrial outcomes such as job losses. Of course, the advent of online and interactive design practices also gave birth to new industries and roles. The potential role of AI’s integration into design workflows and the nature of this integration remains uncertain. However, it is likely to be significant. Professional design roles are likely to evolve within their existing workplaces, leading to increasingly interdisciplinary environments. Indeed, even prior to AI, creative software has become more accessible and affordable with many organisations bringing their design work in-house, while reserving external agencies for specialised big-picture or ‘high-end’ tasks. In this context, AI can be contextualised as just another step in this ongoing technological journey.
This introduction of AI raises legitimate concerns of potential further skill dilution in the profession, over and above existing technological challenges. On the other hand, it might prompt designers to leverage their unique skills and ways of thinking to master the use of AI technology for creative output. Thus, AI may actually empower designers to regain control over their work and creative destinies.
From the age of William Morris to Milton Glaser to David Carson, the tools used by designers have changed dramatically. Yet, the fundamental role remains essentially the same. Regardless of the technology – from 1980s DTP, to contemporary interactive design, to (all being well) the AI-driven tools of tomorrow – graphic/communication design (or whatever we choose to call it) lies in effective communication. That is, understanding the audience, the design requirements or brief, as well as the context of the design challenge. In short, effective communication through design.
Drucker, J. & McVarish E. (2013) Graphic design history : a critical guide, Boton: Pearson.
Duggan, B. (2013) The Rise of the In-House Agency.
Geraedts, J., Verlinden E. D. J. & Stellingwerff M. (2012) Three views on additive manufacturing: business, research, and education. In: Horváth, I., Albers, A., Behrendt, M. & Rusák, Z. (eds) TMCE 2012. Karlsruhe, Germany.
Hastreiter, N. (2017) What’s The Future Of Graphic Design?
Helfand, J. (2002) De Stijl, New Media, and the Lessons of Geometry. In: Heller, S., Bierut, M. & Drenttel, W. (eds) Looking closer 4, critical writings on graphic design. New York: Allworth Press.
Lunenfeld, P. (2004) Media design: new and improved without the new, New media & society, Vol. 6, No. 1, pp. 65–70.
Meron, Y. & Tekmen Araci Y. (2023) Artificial intelligence in design education: evaluating ChatGPT as a virtual colleague for post-graduate course development, Design Science, Vol. 9, No., pp. e30. 10.1017/dsj.2023.28
Meron, Y. (2022) Graphic design and artificial intelligence: Interdisciplinary challenges for designers in the search for research collaboration. DRS2022: Bilbao. Bilbao, Spain: Design Research Society.
Silk, A. J. & Stiglin M. M. (2016) Build It, Buy It Or Both? Rethinking the Sourcing of Advertising Services, International Journal of Marketing Studies, Vol. 8, No. 1, pp. 1-13.
Communication & Graphic Design Research 