Graphic Design Terms you should know
Part II I-Z
identity standards manual
guidelines for how the logo (and/or visual identity) is to be applied to numerous applications, from business cards to point-of-purchase materials to vehicles to websites; also called a graphic standards manual.
illusion of spatial depth
the appearance of three-dimensional space on a two-dimensional surface.
illustration
a visual rendering that accompanies or complements printed, digital, or spoken text to clarify, enhance, illuminate, or demonstrate the message of the text.
index
a visual that directs the attention of the interpreter (viewer), without describing or resembling the thing signified, due to its neighboring relationship to it.
information architecture
the careful organization of website content into hierarchical (or sequential) order.
information design
a highly specialized area of design that involves making large amounts of complex information clear and accessible to audiences.
integrated branding program
a comprehensive, strategic, unified, integrated, and unique program for a brand, with an eye and mind toward how people experience—interact and use—the brand or group.
interactive
graphic design and advertising for screen-based media; also called experience design.
intricacy
based on complexity, on the use of many component parts and/or details to describe and visually communicate.
kerning
adjustment of the letterspacing.
layout
the visual organization of type and visuals on a printed or digital page; also called spatial arrangement.
leading
in metal type, strips of lead of varying thickness (measured in points) used to increase the space between lines of type; also known as line spacing.
letterform
the particular style and form of each individual letter of an alphabet.
lettering
the drawing of letterforms by hand (as opposed to type generated on a computer).
lettermark
a logo created using the initials of the brand or group name.
letterspacing
spatial interval between letters.
light and shadow
employed to describe form; most closely simulates how we perceive forms in nature.
line
an elongated point, considered the path of a moving point; it also is a mark made by a visualizing tool as it is drawn across a surface.
line spacing or leading
spatial interval between two lines of type.
line type
(line attributes) refers to the way a line moves from its beginning to its end.
linear
line as the predominant element used to unify a composition or to describe shapes or forms in a design.
link
on a web page, a connection from one location to another location, or from one web-site to another website; also called hyperlink.
logo
a unique identifying symbol that represents and embodies everything a brand or group signifies. It provides immediate recognition; also called a brandmark, mark, identifier, logotype, or trademark.
logotype
a logo that is an identifying mark where the name is spelled out in unique typography; also called wordmark.
low contrast
a narrow range of values.
lowercase
the smaller set of letters. The name is derived from the days of metal typesetting when these letters were stored in the lower case.
map
a specific type of diagrammatical representation used to depict a route or geographical area—to show location.
margins
the blank space on the left, right, top, or bottom edge of any printed or digital page.
mind map
a visual representation, diagram, or presentation of the various ways words, terms, images, thoughts, or ideas can be related to one another.
mini-portfolio
a bound collection of copies of work, including anywhere from three to all of the pieces in the portfolio. It can be to size or at a reduced size.
mixed media
a visual resulting from the use of different media, for example, photography combined with illustration.
mock-up
a facsimile of a printed three-dimensional design piece; also called a dummy.
modern typeface
serif typeface, developed in the late eighteenth and early nineteenth centuries, whose form is more geometric in construction, as opposed to the Old Style typefaces, which stayed close to forms created by the chisel-edged pen.
modularity
a structural principle used to manage content using modules.
module
any single fixed element within a bigger system or structure, for example, a unit on graph paper, a pixel in a digital image, a rectangular unit in a grid system, or a fixed encapsulated chunk of a composition.
motion aesthetics
the process and consideration of how form creates impact over time in a design.
motion graphics
time-based visual communication that integrates visuals, typography, and audio; created using film, video, and computer software; including animation, television commercials, film titles, promotional, and informational applications for broadcast media and new media.
naturalistic
a visual created by full-color or tone using light and shadow that attempts to replicate an object or subject as it is perceived in nature; also called realistic.
navigation system
the visual design of information architecture on a website.
nonobjective
a purely invented visual, not derived from anything visually perceived; it does not relate to any object in nature and does not literally represent a person, place, or thing; also called nonrepresentational.
broadside
a large sheet of paper, typically printed on one side, used to communicate information; also called broadsheet.
poster
a two-dimensional, single-page format used to inform (display information, data, schedules, or offerings) and to persuade (promote people, causes, places, events, products, companies, services, groups, or organizations).
notation
a linear, reductive visual that captures the essence of its subject, characterized by its minimalism.
objectives statement
a clear, succinct description of design objectives, which summarizes the key messages that will be expressed in the design; for example, facts or information, desired personality or image, and position in the market.
Old Style
Roman typeface, introduced in the late fifteenth century, most directly descended in form from letters drawn with a broad-edged pen.
opaque
dense, solid seeming, not see-through.
open
a composition where the major movements within the composition oppose the edges (think diagonals) or direct our eyes past the boundaries of the format.
orientation
phase in the design process
the process of becoming familiar with an assignment, the graphic design problem, and the client’s business or organization, product, service, or group.
package design
the complete strategic planning and designing of the form, structure, and appearance of a product’s package, which functions as casing, promotes a brand, presents information, and becomes a brand experience.
parity products
products that are equivalent in value.
pattern
a consistent repetition of a single visual unit or element within a given area.
perspective
a schematic way of translating three-dimensional space onto the two-dimensional surface. This is based on the idea that diagonals moving toward a point on the horizon, called the vanishing point, will imitate the recession of space into the distance and create the illusion of spatial depth.
photography
a visual created using a camera to capture or record an image.
photomontage
a composite visual made up of a number of photographs or parts of photographs to form a unique image.
pictograph
an elemental, universal picture denoting an object, activity, place, or person, captured through shape; for example, the images denoting gender on bathroom doors.
picture plane
the blank, flat surface of a page.
plane
a two-dimensional surface bound by lines that defines the outside of a form; it has length and breadth, position and direction, but no thickness.
point
the smallest unit of a line and one that is usually recognized as being circular; also called a dot.
portfolio
a body of work used by the visual communication profession as the measure of one’s professional ability.
positive and negative
a basic principle of visual perception and refers to the relationship of shapes, of figure to ground, on a two-dimensional surface; also called figure/ ground.
presentation
the manner in which comps are presented to a client or in a portfolio.
problem-finding
the process of sketching or making marks that allows visual thinking, allows for discovery, for staying open to possibilities during the visual-making process; also called problem-seeking.
production
usually defined as preparing the electronic file, collecting and scanning all needed photographs and/or illustrations, then proofreading (with or without the client) and working with the printer.
promotional design
intended to introduce, promote, or sell brands (products and services), ideas, or events and to introduce or promote groups, not-for-profit organizations, and social causes.
proportion
the comparative size relationships of parts to one another and to the whole.
proximity
elements near each other, in spatial proximity, are perceived as belonging together.
public service advertising (PSA)
advertising that serves the public interest.
publication design
involves the design of editorial content for print or screen; also called editorial design and book design.
reflected color
colors that can be seen on the surfaces or objects in the environment; also known as reflected light or subtractive color.
repetition
occurs when one or a few visual elements are repeated a number times or with great or total consistency.
rhythm
a pattern that is created by repeating or varying elements, with consideration to the space between them, and by establishing a sense of movement from one element to another.
rhythmic relationships
can be created in screen-based media by the duration of each shot, and in print or screen-based media by the interaction of visuals with contrast and variation.
roughs
sketches that are larger and more refined than thumbnail sketches and show the basic elements in a design.
rules
thin stripe(s) or line(s) used for borders or for separating text, columns of text, or visuals.
sans serif
typefaces characterized by the absence of serifs.
saturation
the brightness or dullness of a color; also called intensity or chroma.
scale
the size of an element or form seen in relation to other elements or forms within the format.
script
typeface that most resembles handwriting. Letters usually slant and often are joined.
semiotics
the theory of signs and symbols that deals with their constructed function and meaning.
serifs
the ending strokes of characters.
shape
the general outline of something.
sharpness
characterized by clarity of form, detail, clean and clear edges and boundaries, saturated color, readable and legible typography, proximate vision, hyperrealism, photorealism, closed compositions, and limited type alignment.
sign
a visual mark or a part of language that denotes
another thing.
sign-off
includes the brand’s or group’s logo, a photograph or illustration of the brand, or both.
silhouette
the articulated shape of an object or subject taking its specificity into account (as opposed to the universal visual language of a pictograph).
similarity
like elements—those that share characteristics—perceived as belonging together. Elements can share likeness in shape, texture, color, and direction. Dissimilar
elements tend to separate from like elements.
slab serif
serif typeface characterized by heavy, slab-like serifs.
spatial relationships
the distance between the thing seen in relation to the viewer, how far/how close, and the shifts between near and far.
spatial zones
formed by grouping several grid modules, in order to organize the placement of various graphic components.
splash page
the first screen a visitor sees on a website; it serves as an introduction to the site, and usually features animation or an engaging visual.
storyboard
illustrates and narrates key frames of the television advertising concept.
strategy
the core tactical underpinning of any visual communication, unifying all planning for every visual and verbal application within a program of applications.
style
the quality that makes something distinctive.
symbol
a visual having an arbitrary or conventional relationship between the signifier and the thing signified.
symbol mark
a logo that is an abstract or nonrepresentational visual or a pictorial visual.
symmetry
mirroring of equivalent elements, an equal distribution of visual weights, on either side of a central axis; also called reflection symmetry.
tactile texture
a quality that can be physically touched and felt; also called actual texture.
tagline
catchphrase that conveys the brand benefit or spirit and generally acts as an umbrella theme or strategy for a campaign or a series of campaigns; also called a claim, endline, strap line, or slogan.
temperature
the perception of a hue as warm or cool.
template
a compositional structure with designated positions for the visual elements.
temporal relationship
in screen-based media, the relationship or interplay between two separate events or images.
text type
type that is 14 points and less is used for setting text; also called body copy.
texture
the tactile quality of a surface or the representation of such a surface quality.
thumbnail sketches
preliminary, small, quick, unrefined drawings of ideas, in black and white or color.
transitional
a serif typeface, originating in the eighteenth century, that represents a transition from Old Style to Modern, exhibiting design characteristics of both.
transparent
see-through from one image to another, from one letterform to another, from one texture to another.
trompe l’oeil
literally, “to fool the eye”; a visual effect on a two-dimensional surface where the viewer is in doubt as to whether the object depicted is real or a representation.
type alignment
the style or arrangement of setting text type.
type design and lettering
a highly specialized area of graphic design focusing on the creation and design of fonts, type treatments, and the drawing of letterforms by hand (as opposed to type generated on a computer).
type family
several font designs contributing a range of style variations based upon a single typeface design.
type font
a complete set of letterforms, numerals, and signs, in a particular face, size, and style, that is required for written communication.
type style
the modifications in a typeface that create design variety while retaining the essential visual character of the face. These include variations in weight (light, medium, bold), width (condensed, regular, extended), and angle (Roman or upright, and italic), as well as elaborations on the basic form (outline, shaded, decorated).
typeface
the design of a single set of letter-forms, numerals, and signs unified by consistent visual properties. These properties create the essential character, which remains recognizable even if the face is modified by design.
typographic color
the overall density or tonal quality of a mass of type on a field, page or screen—usually referring to the mass of text type; also called typographic texture.
typographic design
a highly specialized area of graphic design focusing on the creation and design of letterforms, typefaces, and type treatments.
typography
the design and arrangement of letterforms in two-dimensional space (for print and screen-based media) and in space and time (for motion and interactive media).
unconventional advertising
advertising that “ambushes” the viewer; often it appears or is placed in unpaid media in the public environment—places and surfaces where advertising doesn’t belong, such as the sidewalk or on wooden construction site walls; also called guerrilla advertising, stealth marketing, and nontraditional marketing.
unity
when all the graphic elements in a design are so interrelated that they form a greater whole; all the graphic elements look as though they belong together.
uppercase
the larger set of letters, also called capitals. The name is derived from the days of metal typesetting when these letters were stored in the upper case.
value
refers to the level of luminosity—lightness or darkness—of a color.
value contrast
the relationship of one element (part or detail) to another, in respect to lightness and darkness.
variation
established by a break or modification in the pattern or by changing elements, such as the color, size, shape, spacing, position, and visual weight.
viral marketing
the use of a self-perpetuation mechanism, such as a website, to grow a user base in a manner similar to the spread of a virus; it also means a marketing phenomenon that facilitates and encourages people to pass along a marketing message.
visual
a broad term encompassing many kinds of representational, abstract, or nonobjective depictions—photographs, illustrations, drawings, paintings, prints, graphic elements and marks, elemental images such as pictograms, signs, or symbols; also called images.
visual hierarchy
arranging graphic elements according to emphasis.
visual identity
the visual and verbal articulation of a brand or group, including all pertinent design applications, such as letterhead, business cards, and packaging, among many other possible applications; also called brand identity and corporate identity.
visual texture
the illusion of texture or the impression of texture created with line, value, and/or color.
visual weight
the illusion of physical weight on a two-dimensional surface.
volume
the representation of mass on a two-dimensional surface.
wayfinding system
visual system that incorporates signs, pictograms, and symbols to assist and guide visitors and tourists to find what they are looking for in museums, airports, zoos, and city centers.
webisode
in advertising, a short audio or video presentation on the web, used to promote a brand or group, preview music, and present any type of information.
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