Graphic design is a foundational part of design, both in industry and education. However, within academic research and in 21st century variations of design within business, such as design thinking, it has tended to be undervalued if not completely overlooked (Walker, 2017). There are disparities in how the practice has been treated. On the one hand, graphic design is foundational to design and, on the other, it has sometimes beens seen as having limited influence. This has contributed to its marginalisation in academia, in particular in the broader evolution of design methodologies and practices – resulting in an overall diminished influence.
In contemporary discussions the role and depth of graphic design are often underplayed, with undue emphasis placed on aesthetic aspects, at the expense of its strategic application, methods and practices across diverse industries. Such simplification and lack of research rigour is exacerbated by a recent reluctance within academia to use the term graphic design (despite the term’s dominant usage within industry) – often promoting courses with variations of terms such as ‘visual communication’ or ‘communication design’ (Harland & Meron 2024). This variability in how universities globally label and structure their graphic design programs adds to the confusion, diluting the discipline’s historical significance and breadth and leading to a fragmented understanding of graphic design’s place in the wider design landscape.
Richard Buchanan’s concept of the ‘four orders of design’ (Buchanan, 1992) places graphic design at the foundation of design thinking. This emphasised graphic design’s role in the communication of information through symbols, text and images. However, this notion does not keep pace with the discipline’s evolution into digital and interactive media. Today, it is imperative to recognise graphic design not merely as a relic of the print era but as a vibrant force in digital transformation and as a critical component of design thinking.
There has also often been an academic oversimplification of graphic design as purely print-oriented. Conversely, graphic design has always had a broader implementation, incorporating various media and technological advancements long before the digital age. Indeed, despite some common perceptions, graphic design has been a driving force in integrating new media technologies since the mid-20th century, influencing areas like television, digital publishing, as well as interactive design (after all, what is UI design if not an online implementation of graphic design). This rich history underscores the need to view graphic design as a dynamic and essential component of modern design practices, that has played a pivotal role in historical and contemporary contexts, including design thinking
Traditionally, academia has had sparse influence from graphic design – it has tended to be seen as a professional practice rather than an academic one. However, as graphic design (and the growing discourses around it) continue to evolve, recognising its key influence on design thinking and its potential for future contributions is essential for anyone involved in the broader field of design.
Buchanan, R. 1992, Wicked Problems in Design Thinking, Design Issues, 8, 5-21.
Harland, R. & Meron, Y. 2024, Design Thinking: Standing on the Shoulders of… Graphic Design!, Design Issues, 40, 49-61.
Walker, S. 2017, Research in Graphic Design, The Design Journal, 20, 549-559.
Communication & Graphic Design Research 