The 1960s and 1970s also helped us better understand the bridge of Graphic Design and Communication. 

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​It was realized by this time that a person that has chosen this field as their career would need not only a strong visual art backgrond, but also skills of drawing, current technologies, and print reproduction.  “A designer would be shaping the overall concept, rather than executing the many specialized aspects of the work.  At most times, these efforts would be directed towards the solution of the problems existing beyond purely artistic concerns.”  By now, we have a much clearer understanding of what it takes to be classified as ‘Graphic Design’. (Roberts, 26-27)

The camera played a big role in the 1960s and 1970s.  Photography was able to complete the needs of reproduction, and the need for modernism at the time.  “The camera was able to depersonalize its subject and produce an objective image.  It also met the demands of modern aesthetic, which favored the machine-made over the hand-drawn.”  The profitable use of the camera allowed our designers of the time to “shoot, art-direct, or appropriate ready-made and found photographs.  By now, the use of photography became a crucial part of Graphic Design. (Roberts, 26-27)

Computers had been in existence since the 1930s.  The invention of the computer however, was not thought of an art form before this.  It was strictly a functional machine.  In 1969, a future tool of the modern Graphic Designer was created.  Douglas Engelbart had successfully created the world’s first computer mouse. (“Key Moments”)

The 1960s also brought us another great technological advancement of the time.  Photographic typesetting was created.  Photographic Typesetting was the process of “outputting text on file which was then photographically transferred to printing plates, began to replace hand-and-machine-set metal type.” (Roberts 28-29)

Typefaces also changed default preferences during this time period was well.  Sans-serif typefaces, once considered ‘grotesque’ were actually the preferred.  The birth of dry transfer lettering was also seen in the 1960s.  Dry transfer lettering or ‘rub-on’ lettering was created by a European company called Letraset and allowed a pathway for designers to display their own artwork.  These Dry Transfer lettering packs expanded and even helped develop typefaces such as Shatter, Block-up, and Countdown during the Pop era. (Roberts 28-29)

  In 1972, Paul Rand struck again and developed another logo for IBM.  This one was also revolutionary for its time.  It was made up of lines to create the three letters ‘IBM’.  Paul Rand lived on to become an Icon in Graphic Design. (“Key Moments”)