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Graphic Design II > Review > Flashcards

Review Flashcards

(94 cards)

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1
Q

Typography

A

the design of letterforms and the arrangement of them in two-dimensional space (for print and screen-based media) and in space and time (for motion and interactive media)

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2
Q

Display type

A

functions as a dominant typographic component and is usually large or bold—functioning as titles and subtitles, headlines and subheadlines, headings and subheadings

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3
Q

Text type

A

the main body of written content, usually in the form of paragraphs, columns, or captions

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4
Q

letterform

A

the particular style and form of each individual letter of our alphabet

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5
Q

typeface

A

the design of a single set of letterforms, numerals, and signs unified by consistent visual properties

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6
Q

font

A

a complete set of letterforms, numerals, and signs, in a particular face, size, and style, that is required for written communication

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7
Q

type family

A

several font designs contributing a range of style variations based upon a single typeface design

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8
Q

type style

A

a collection of modifications to a typeface that create design variety while retaining the essential visual character of the face

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9
Q

serif

A

a small element added to the upper or lower end of the main stroke of a letterform

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10
Q

sans serif

A

a typeface with no serifs

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11
Q

counterform

A

includes counters, the shapes defined within the forms, as well as the negative shapes created between adjacent letterforms

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12
Q

typographic texture

A

refers to 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

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13
Q

Left-aligned

A

text that aligns on the left side and is uneven on the right side

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14
Q

Right-aligned

A

text that aligns on the right side and is uneven on the left side

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15
Q

Justified

A

text that aligns on the left and right sides

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16
Q

Centered

A

lines of type centered on an imaginary central vertical axis

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17
Q

Runaround

A

type wraps around an image, photograph, or graphic element; it is also called text wrap

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18
Q

Asymmetrical

A

lines composed for asymmetrical balance— not conforming to a set, repetitive arrangement

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19
Q

Spatial intervals

A

occur between letters, between words, and between two lines of type

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20
Q

Spacing

A

is about transitions—from letter to letter, from word to word, from line to line, from paragraph to paragraph, from page to page, from screen to screen

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21
Q

Letter Spacing

A

the spatial interval between letters

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22
Q

Word spacing

A

the spatial interval between words

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23
Q

Line spacing

A

the spatial interval between two lines of type measured vertically from baseline to baseline, which is traditionally called leading

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24
Q

Pacing

A

involves creating a visual sense of rhythm, syncopation—creating variation and allowing the reader’s eyes a rest somewhere in the text

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25
margins
borders aids in respectfully framing text, giving enough distance from the boundaries of a page, in print, or on screen to allow a reader to focus
26
Audience
the targeted, specified group of people at whom you are aiming your visual communication
27
Design concept
the designer’s primary reasoning that forms the basis for a graphic design solution
28
Strategy
the core tactical underpinning of any visual communication
29
Design brief
a strategic plan that both the client and design studio or advertising agency agree upon
30
Comprehensive
a detailed representation of a design concept thoughtfully visualized and composed
31
Production
preparing digital files utilizing industry-standard software
32
Thumbnail sketches
preliminary, small, quick, unrefined drawings of your ideas in black and white or color
33
Roughs
larger and more refined than thumbnail sketches
34
Craftsmanship
refers to the level of skill, proficiency, and dexterity of the execution
35
Presentation
the manner in which comps are presented to a client or the way work is presented
36
Debriefing
This involves reviewing the solution and its consequences—examining your finished assignment to determine what went right and what went wrong
37
Orientation
the process of becoming familiar with your assignment, the graphic design problem, and the client’s business or organization, product, service, or group
38
Analysis
examining all you have unearthed to best understand, assess, and strategize to move forward with the assignment
39
Creative thinking
the ability to stretch beyond the ordinary, to be original, innovative, and flexible in one’s thinking
40
Mind map
a visual representation or diagram of the various ways words, themes, images, thoughts, or ideas can be related to one another
41
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
42
Attribute listing
a method for analyzing and separating data through observing and identifying various qualities
43
Traditional brainstorming
is conducted with a group of people so that one contributor’s thought builds on or triggers another’s, although it may even work better when modified for individual use
44
Automatic mapping
relies heavily on the surrealist strategy of spontaneous free association, trying to avoid conscious choices and allowing associations to flow freely
45
Deliberate mapping
relies more on the natural growth of associations, revealing the way your mind instinctively organizes or makes associations
46
Concept generation
the ability to form/think up an idea, cogently state the idea, and then evaluate it—demands creativity and critical thinking skills
47
Images
a broad term encompassing a great variety of representational, abstract, or nonobjective images—photographs
48
color scheme
a harmonious color combination employed by a designer
49
sign
a visual mark or a part of the language that denotes another thing
50
icon
a visual to represent objects, actions, and concepts
51
index
a sign that signifies through a direct relationship between the sign and the object, without describing or resembling the thing signified
52
symbol
a visual that has an arbitrary or conventional relationship between the signifier and the thing signified
53
Classifying images
helps you understand the range and how to depict them to meet your communication goals
54
pictograms
These graphics depict universal, immediately recognizable objects, places, human gestures, and actions
55
Media and Methods
How the graphic components will be created, visualized, and displayed on screen or in print
56
stock assets
available archives of preexisting illustrations or photographs
57
found imagery
openly available imagery or objects in environments, public domain, or copyright-free images
58
Alteration
a modification or change to the appearance of an image
59
Combination
merging two or more different or related images into a unique whole
60
Cropping
cut part of a photograph
61
Exaggeration
a modification that embellishes, amplifies or overstates
62
Silhouette
removing the background of an image leaving only the outline of an object or figure
63
Sharpness
characterized by clarity of form
64
Diffusion
characterized by blurred forms and boundaries
65
Intricacy
based on complexity, on the use of many component parts and/or details to describe and visually communicate
66
Subtlety
can be created through low contrast, muted color palettes or tints, static compositions, transparencies, layering, limiting typefaces and alignment, and atmospheric perspective
67
Boldness
can be conveyed with big, brassy, aggressive movements and compositions, saturated color palettes, thick lines, high contrast, cropping, or images that are near
68
Opaque
elements that are dense, seemingly solid, and not see through
69
Transparent
which means see-through from one image to another, from one letterform to another, or from one color to another
70
linear mode
is characterized by a predominant use of lines to describe forms or shapes within a composition
71
painterly modes
are characterized by the use of color and value to describe shapes and forms, relying on visible, broad, or a sketchy description of form
72
distant vision
the effect of the atmosphere between the artist’s (and viewer’s) vision and the thing seen is in evidence
73
proximate vision
All images are rendered in focus and in detail
74
pigment color wheel
diagrams basic color harmonies
75
color palette
this basic group of pigment primaries is bold and elemental or expresses nostalgia or childlike innocence
76
Color Temperature
The temperature of a color is not absolute but can fluctuate depending on the strength of the dominant hue of a color
77
Monochromatic
employ only one hue
78
Analogous
employ three adjacent hues
79
Complementary
based on a relationship between any two opposing hues on the pigment color wheel
80
Split complementary
include three hues: one color plus the two colors adjacent to its complement on the color wheel
81
Triadic
include three colors that are at equal distance from each other on the color wheel
82
Tetradic
are composed of four colors in two sets of complements (a double complementary)
83
Cool colors
the blue, green, and violet hues are located approximately on the left half of the pigment color wheel
84
Warm colors
the red, orange, and yellow hues located approximately on the right half of the color wheel
85
Composition
the form, the whole spatial property and structure resulting from the arrangement of graphic elements—type and images—in relation to one another
86
Composing
how you put all the components parts together—the visual organization of type and images in a graphic spatial arrangement
87
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
88
open composition
the major directions and orientation within the composition oppose the edges (think diagonals) or direct our eyes past the boundaries of the format
89
Symmetrical composition
arrange mirrored forms on either side of the midline
90
Asymmetrical composition
you arrange forms to counterbalance each other’s visual weight without mirroring opposite visual weight and positioning
91
Illusion of spatial depth
the appearance of 3D space on a 2D surface, where some things appear closer to the viewer and some things appear farther away
92
Perspective
a schematic way of translating three-dimensional space onto a two-dimensional space on the idea that diagonals moving toward a point on the horizon
93
Grouping
a fundamental Gestalt concept, proposing that when graphic elements appear similar—share characteristics, are arranged close together, are connected, or are enclosed in a common spatial area—people perceive them as belonging together
94
poster
a two-dimensional, single-surface format used to inform (display information, data, schedules, or offerings)

Graphic Design II (1 decks)

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