Abstract

Graphic design is a popular subject in art and design higher education, yet it does not have a research culture of its own. Other disciplinary perspectives provide an extended context for graphic design to borrow from but these seldom acknowledge the investigational craft skills associated with conceiving, planning and making graphic objects. They often apply a distant different disciplinary perspective that adds complexity and confusion in language use. For example, semioticians use of the words ‘sign’ and ‘image’ in critical theory and cultural studies is ambiguous. Where there might be close graphic synergies with geography, mathematics and engineering, these are overlooked.