Article:

This article shows that graphic design’s power lies in the formal dimension of its productions. It is right there where cognitive structures are generated, and therefore semiotic and cultural possibilities. By reviewing some of the theoretical traditions in graphic design education, such as the ones provided by the early twentieth century avant-garde artists, some theories from the psychology of perception, and some from the cognitive science field such as the Conceptual Integration; we will be able to understand that the graphic design production is a communicational one. In this way, identifying both a sensory and a cognitive dimension of them, we may understand graphic design as a particular way of knowledge. Hence, graphic design education rather than focus in craft and technology, may understand by a critical and theoretical support that it is just there, in its production, where its communicational strength is. Also, getting support in other theoretical fields such as linguistics, literature, semiotics, or cognitive science, we could think on a consolidation of a discipline that transcends the visualization for communication, rather than one of communication.