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Chapters 3, 4, 7, 9 of Graphic Design Solutions

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