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GraphicDesignMidterm
Chapters 3, 4, 7, 9 of Graphic Design Solutions
| Term | Definition |
|---|---|
| Type Family | Includes many style variations of a single typeface |
| Type Styles | Variations of a typeface which include variations in weight (light, medium, bold), width (condensed, regular, extended), and angle (roman, oblique, italic). |
| Display Type | Type that is used primarily for headlines and titles and more difficult to read as text type. |
| Text Type | Type that is 14 points or less used for setting text; also called body copy. |
| Character | A letterform, number, punctuation mark, or any single unit in a font. |
| Audience | Any individual group on the receiving end of a graphic design or advertising solution. |
| Design Brief | A written document outlining and strategizing a design project; also called a creative brief. |
| Composition | The whole spacial property and structure resulting from the intentional visualization and arrangement of graphic elements in relation to one another and to the format. |
| Margins | The blank space on the left, right, top, bottom edge of any printed or digital page. |
| Continuity (regarding organization) | Perceived visual paths or connections among parts; elements that appear to be a continuation of previous elements are perceived as linked, creating an impression of movement |
| Broadside | A large sheet of paper, typically printed on one side, used to communicate information. |
| Correspondence | A visual connection established when an element, such as color, direction, value, is repeated, or when style is utilized as a method of connecting visual elements, for example, a linear style. |
| Four stages of the design process | Analysis > Conception > Design > Implementation |
| Four-stage protocol for conception (as outlined in The Art of Thought by Graham Wallas) | Preparation, Incubation, Illumination, and Verification |
| Purpose of a poster | Communicate a message |
| The primary goals of poster design | 1. Stop somebody, 2. Communicate a clear and easily understood message, 3. Create a design that can be seen from a distance |
| Contrasting Type and Image Relationship | Type and images possess apparent differences |
| Sympathetic Type and Image Relationship | Type and images possess shared or similar characteristics |
| Supporting Partner Type and Image Relationship | A classic “neutral” typeface works cooperatively with the image, which has the starring role. |
| Static Composition | Vertical and horizontal movements are emphasized. |
| Active Composition | Diagonal or curved movements—directions that contradict or are in counterpoint to the edges of the format— are emphasized |
| Open Composition | If the major directions and orientations within the composition oppose the edges or direct our eyes past the boundaries of the format, that composition is considered open. |
| Closed Composition | If the internal elements’ directions and orientations echo the format’s edges to a great extent and the viewer’s focus is kept tightly within the format, that composition is considered closed. |
| Serif | A small element added to the upper or lower end of the main stroke of a letterform. |
| Baseline | Defines the bottom of capital letters and of lowercase letters, excluding descenders. |
| x-height | The height of a lowercase letter, excluding ascenders and descenders. |
| Counter | The space enclosed by the strokes of a letter |
| Orientation | The process of becoming familiar with your assignment, the graphic design problem, and the client’s business or organization, product, service, or group. |
| Analysis | In this phase, you are examining, assessing, discovering, and planning. You are not conceptualizing or designing during this phase of the design process. |
| Strategy | The core tactical underpinning of any visual communication. It unifies all planning for all design and copy within a strategic program or campaign. |
| Conception | The creative reasoning underpinning a design. It is the guiding idea that determines how you design—how you create or why you select imagery and typefaces or lettering and the reasoning for color palette selection. |
| Design | When your design concept takes articulate visual form. |
| Comprehensive (or Comp) | A detailed representation of a design concept thoughtfully visualized and composed. |
| Craftsmanship | The level of skill, proficiency, and/or dexterity of the execution. |
| Posters as Social Commentary | As a mass communication vehicle, the poster can voice dissent, incite, propagandize, or inform. Whether worrisome propaganda or in the service of the public good, a poster can influence many. |
Created by:
Susan Mackowiak
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