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ISC 100 > Midterm > Flashcards

Midterm Flashcards

1
Q

different forms working together and complimenting each other

A

integrated

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2
Q

based on research, planning, and goals

A

strategic

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3
Q

working towards effectively conveying ideas

A

communications

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4
Q

graphic component (image, color, type, or pattern)

A

visual

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5
Q

subset of ISC, driven by research, solves problems, commercial, meets clients needs

A

visual strategic communications

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6
Q

VSC ____ art

A

does not equal

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7
Q

combining old to create new in a way no one else has

A

creativity

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8
Q

peer judgement, all work & no play, avoiding ambiguity, the right answer, resistance to change, stopping at first decent idea, cultural blocks, “im not creative”

A

mental blocks to creativity

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9
Q

fear of messy unknown, being judged, first step, and losing control

A

barriers to creativity

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10
Q

a behavioral space where your activities and behaviors fit a routing that minimizes stress and risk

A

comfort zone

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11
Q

mental security, regular happiness, low anxiety and stress

A

comfort zone

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12
Q

optimal stress =

A

optimal performance

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13
Q

more productive, easier to deal with unexpected challenges, easier to push future boundaries, easier to brainstorm and harness creativity

A

sweet spot (growth zone)

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14
Q
  1. create a routine
  2. boundaries
  3. brainstorm
A

steps to creativity

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15
Q

visual culture =

A

language

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16
Q

elements =

A

words

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17
Q

principles =

A

grammar rules

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18
Q

elements of design

A

line, shape, pattern, space, text, color

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19
Q

a series of points grouped together

A

line

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20
Q

most stable and restful line

A

horizontal

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21
Q

strength line

A

vertical

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22
Q

dynamic, high energy, movement/action line

A

diagonal

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23
Q

convey tension

A

horizontal, vertical, and diagonal lines

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24
Q

convey feeling and mood

A

straight, curved, angular, light, dark, thin, thick lines

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25
Q

confident line

A

straight, dark, thick

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26
Q

unsure line

A

straight, light, thin

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27
Q

playful, calm, smooth movement

A

curved line

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28
Q

nervous, excited, erratic movement

A

angular line

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29
Q

what can lines do?

A
  1. organize
  2. connect info
  3. create pattern
  4. outline edges
  5. suggest emotion
  6. show motion
  7. highlight/stress
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30
Q

an automatically connected series of unconnected points

A

implied line

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31
Q

no real line, causes viewer to look in certain direction

A

physic line

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32
Q

a line bent back on itself to create a closed form

A

shape

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33
Q

most common shapes

A

geometric shape

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34
Q

represent things from natural world

A

natural shape

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35
Q

represent everyday people and objects

A

abstract shape

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36
Q

regular shape =

A

predictable

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37
Q

more angles =

A

more complex and dynamic

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38
Q

circle =

A

simplest

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39
Q

what can shapes do?

A
  1. create form
  2. tie to subject matter
  3. highlight info
  4. crop images
  5. create unity or repetition
  6. lead the eye
  7. imply letterforms
  8. create cool copy blocks
  9. show symbolism
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40
Q

tactile quality of surface or the representation of such a surface

A

texture

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41
Q

a consistent repetition of a single visual unit within a given area

A

pattern

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42
Q

what do lines do?

A
  1. create depth
  2. create visual interest
  3. add meaning
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43
Q

distance or area between or around things

A

space

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44
Q

what can space do?

A
  1. create depth
  2. create visual interest
  3. add meaning
  4. imply sophistication
  5. improve readability
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45
Q

more space =

A

less closely related

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46
Q

group related items together, physical closeness implies a relationship

A

proximity

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47
Q

items that are alike =

A

close together

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48
Q

items that are not alike =

A

not close together

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49
Q

separates groups or unifies elements

A

white space

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50
Q

what can proximity do?

A
  1. organize your design
  2. signal relationship
  3. create hierarchy
  4. help readers navigate
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51
Q

proximity mistakes

A
  1. arranging elements to look good or fill space rather than forming logical relationships
  2. inappropriate relationships
  3. filling the corners
  4. spacing all elements evenly
  5. not using any white space
  6. trapping white space
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52
Q

critique

A
  1. description
  2. intent
  3. evaluation
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53
Q

every item should have a visual connection with something else on the page

A

alignment

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54
Q

a place for everything and everything in its place (less decisions made)

A

the grid

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55
Q

chose number of boxes and lines (customizable)

A

custom grid

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56
Q

12 column grid (vertical lines only)

A

hopkins & baumann grid

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57
Q

popular for book design (more expensive)

A

jan tshchichold grid

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58
Q

how text lines up with other objects, how blocks of text line up with eachother

A

text alignment

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59
Q

easiest to read, even starting point

A

left align/right ragged

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60
Q

worst to read

A

right align/left ragged

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61
Q

no consistent beginning or end line (new designers default)

A

center align

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62
Q

firm line on right and left (difficult to work with, creates rivers of white)

A

justified text

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63
Q

no alignment (good for titles)

A

asymmetrical

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64
Q

what can alignment do?

A
  1. create order
  2. create unity
  3. create connection
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65
Q

purposefully reusing an element more than once in a design

A

repetition

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66
Q

what can repetition do?

A
  1. creates unity
  2. builds consistency
  3. professional
  4. maintains identity
  5. ties together
  6. increase organization
  7. cues readers
  8. helps get job done
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67
Q

the visual differences between 2 or more elements in a composition

A

contrast

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68
Q

if its not contrast, its

A

repetition

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69
Q

theory of structural compositional oppositions (polar contrast)

A

johannes itten

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70
Q

what can contrast do?

A
  1. create interest
  2. organize info
  3. increase visual activity
  4. provides focus
  5. directs attention
  6. emphasize elements
  7. clarifies hierarchy
  8. guides through page
  9. creates drama
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71
Q

two different colors that over contrast

A

halation

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72
Q

the distribution of visual weight on a page

A

balance

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73
Q

the perceived weight of a design element

A

visual element

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74
Q

more weight toward bottom =

A

stable

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75
Q

more weight toward top =

A

unstable

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76
Q

symmetrical
- elegant, sophisticated, beautiful
- static, predictable, boring

A

formal balance (beginner default)

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77
Q

asymmetrical
- casual, modern, energetic
- more dynamic & interesting

A

informal balance (triangles)

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78
Q

strategically placed weight that helps balance another element

A

counterbalance

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79
Q

how to achieve informal balance?

A
  1. add something
  2. move stuff around
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80
Q

approximate symmetry
- elegant with flare
- fancy but fun

A

almost formal

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81
Q

extreme formal balance
- strong focus on center
- hot dog & hamburger fold

A

radial

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82
Q

crystallographic
- balanced chaos

A

mosaic

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83
Q

off balanced
- feels uncomfortable
- can repeat content
- can suggest motion or action

A

discordant

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84
Q

what can balance do?

A
  1. adds stability
  2. builds structure
  3. relaxes the eye
  4. creates emphasis
  5. creates unity
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85
Q

the relative size relationship between two visual elements or between a single element & the page

A

proportion

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86
Q

same size (repetition)
- calm, quiet order
- boring, static

A

equal proportion

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87
Q

different size (contrast)
- dynamic, interesting
- chaos, anxiety

A

varied proportion

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88
Q

phi =

A

1.618

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89
Q

commonly found in nature, unpredictable but aesthetically pleasing, organic, natural compositions

A

golden ratio

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90
Q

what can proportion do?

A
  1. divides space
  2. provide emphasis
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91
Q

how the eye is directed through a layout guides the viewer through the layout

A

direction

92
Q

how to create direction?

A
  1. use elements with directional shape
  2. understand eyes
  3. employ theory
93
Q

move from
big –>
darker –>
color –>
unusual –>
same –>

A

small
lighter
non color
usual shapes
same

94
Q

use grid to position focal points and accents (gets things out of middle)

A

rule of thirds

95
Q

slightly above geometric center, natural entry point

A

optical center

96
Q

takes advantage of natural eye pattern based on how we read in the west (cultural dependent, naturally enter at top left corner)

A

z-pattern

97
Q

used to attract the viewer’s attention and encourage them to look closer

A

focus (emphasis)

98
Q

area of interest, emphasis or difference within a composition that captures viewers attention

A

focal point

99
Q

how to create focus?

A
  1. use directional elements
  2. use white space
  3. use design principles
100
Q

an agreement between parts that make up the whole

A

unity (harmony)

101
Q

unity is used to

A
  1. control contrast
  2. create associations
  3. promote order
  4. sustain attention
  5. reinforce likeness
102
Q

how to create unity?

A
  1. use elements of design
  2. use design principles
103
Q

RYB

A

red, yellow, blue

104
Q

how light absorbs or reflects color

A

subtractive

105
Q

paint, crayons, markers

A

pigments

106
Q

working with prisms, assigned musical note to each color

A

Sir Isaac Newton

107
Q

helps us understand color relationships, allow us to pick color palettes that work

A

color wheel

108
Q

colors we can not make (red, yellow, blue)

A

primary colors

109
Q

mix 2 primary colors (orange, green, purple)

A

secondary colors

110
Q

mix primary color & secondary color (red-orange, red-purple, yellow-orange)

A

tertiary colors

111
Q

have red or yellow as a base

A

warm colors

112
Q

connotation of warm colors

A

energizing, positive, passionate

113
Q

denotation of warm colors

A

fall, fire, sunrises, sunsets

114
Q

have blue as a base

A

cool colors

115
Q

connotation of cool colors

A

calming, relaxing, reserved

116
Q

denotation of cool colors

A

night, water, nature

117
Q

3 colors next to each other
- harmonious

A

analogous colors

118
Q

opposite on color wheel
- high contrast
- good as accent color
- high energy
- sports teams

A

complementary colors

119
Q

3 evenly spaced colors
- share no base color
- pretty high contrast

A

triad colors

120
Q

one color & the color on each side of its complement
- fairly high contrast
- sophisticated, unique, unexpected

A

split complement

121
Q

pure color

A

hue

122
Q

add white

A

tint

123
Q

add black

A

shade

124
Q

add gray

A

tone

125
Q

lighter colors =

A

higher values

126
Q

darker colors =

A

lower values

127
Q

the lightness and darkness of a color

A

value

128
Q

one hue & tints, shades, & tones
- subtle, peaceful contrast
- budget friendly

A

monochromatic

129
Q

how bright or intense the color is

A

saturation

130
Q

Munsell color system

A

A.H. Munsell

131
Q

context matters

A

true

132
Q

CMYK
- subtractive
- print
- rosette pattern

A

cyan, magenta, yellow, key

133
Q

RGB
- additive
- light
- adding colors on top of each other
- inverse of CMYK

A

red, green, blue

134
Q

pantone matching system

A

spot color
- guaranteed accuracy
- recipes for mixing inks
- reproduces images or type in a single, specific color
- pre-mixed ink

135
Q

when do you use pantone?

A
  • publication needs a color that can not be accurately reproduced with CMYK inks
  • need more vibrant colors or more exacting color matching than what CMYK inks produce
  • publication has no full color photos and uses only 1 or 2 colors
  • printing a specific color over multiple pages that requires page to page color consistency
  • printing over a large area
  • project requires special effects such as metallic or fluorescent spot inks
136
Q

color of the year

A

viva magenta

137
Q

why does color model matter?

A

color gamut

138
Q

the range of colors that can be produced by any given process or device

A

color gamut

139
Q

the strict dictionary meaning of word

A

denotation

140
Q

emotional or imaginative association surrounding a word

A

connotation

141
Q

color is culturally dependent
- different meaning in different situations
- different meaning in different cultures

A

true

142
Q

red

A

blood, fire, cues hunger
- anger, violence
- love, passion
- importance, elegant
- cupid, devil
- excitement, danger

143
Q

orange

A

autumn, fire, fruit
- energy
- cheerful, happy
- change
- cozy
- safety
- vitality, zest

144
Q

yellow

A

sun, warning in nature, quickly noticed, highest reflectivity
- happiness, cheerfulness
- hope
- positivity
- deceit
- caution

145
Q

green

A

nature, spring, money
- new beginnings, growth
- abundance, wealth
- environmental
- poison
- jealousy

146
Q

blue

A

sky, sea
- sadness
- calm
- technology
- strength
- masculinity
- responsible, corporate

147
Q

purple

A

wine
- sensuality, decadence
- creativity
- royalty, luxury

148
Q

black

A

darkness
- mystery
- evil, ominous
- elegance
- unknown

149
Q

gray

A

urban
- impersonal
- modern
- technology
- drab
- conservative
- elegant, formal

150
Q

white

A

cleanliness
- purity
- lightness
- virtue

151
Q

vertical space occupied by a line of type plus the space between Z lines
- measure in points from baseline to baseline

A

line spacing

152
Q

line space - type size =

A

leading

153
Q

space separating Z lines of type
- measure in points

A

leading

154
Q

need more leading when…

A
  • large X-height
  • strong vertical stress
  • sans serif
  • small type size
  • longer line lengths
155
Q

10/12

A

type size/line spacing

156
Q

space between words in a line

A

word-spacing

157
Q

consistently manipulates the space between all letters

A

tracking

158
Q

reducing the space between specific letter pairs

A

kerning

159
Q

describes the posture (draw line through thinnest parts of letter)

A

axis

160
Q

change in thinkness

A

stroke variation

161
Q

devised a point system

A

Fournier & Didot

162
Q

heights of letters, space between two lines of type

A

points

163
Q

length of lines, column depths, margins, space between columns

A

picas

164
Q

type is measured from ascender to descender
- type can always be larger than you measure but never smaller
- x-height can change how big or small the type looks

A

true

165
Q

design of a set of characters

A

typeface

166
Q

the variation in weight, size, and style of a typeface

A

font

167
Q

where people design and produce typefaces (& fonts)

A

type foundry

168
Q

a piece of moveable type representing a particular character

A

sort

169
Q

uppercase, lowercase, etc.

A

case

170
Q

boldness of the stroke

A

weight

171
Q

relationship of vertical axis to baseline (italic)

A

posture

172
Q

all font variations and styles

A

font family

173
Q

typography exists to

A

HONOR CONTENT

174
Q

based on the decorative handwriting of monks
- the earliest type of typography
- used by Gutenberg
- never in all caps/never body copy

A

blackletter

175
Q

blackletter

A

design
- heavy, thick letters,
- ornate, sharp diagonal lines
connotations
- history, tradition, classical
- dangerous, ominous
common uses
- newspapers, beer labels, motorcycles

176
Q

based on carvings of ancient Romans
- all have serifs, some degree of stroke variation, and an axis

A

serifs

177
Q

old style serifs

A

design
- serif heavy with rounded ends
- brackets
- oblique axis
- rounded letters
connotations
- mellow, friendly, traditional
common uses
- long printed text

178
Q

transitional serifs

A

design
- wider, sharper serif with flat bases
- bracket
- vertical axis
connotations
- strong, stylish
- ubiquitous, innocuous
common uses
- long printed text (academic, legal applications)

179
Q

modern serifs

A

design
- hairline, flat serif
- no brackets
- vertical axis
connotations
- structured, elegant, modern
- cold, severe
common uses
- arts and culture applications

180
Q

slab serif

A

design
- thick, block-like serif
- no brackets
- vertical axis
connotations
- authoritative, friendly
- quirky
- wild west, wanted posters
common uses
- advertising, posters

181
Q

without serif
- more modern

A

sans serif

182
Q

humanist sans serif

A

design
- no serif
- no bracket
- mostly vertical axis
connotations
- warmer, personal
uses
- long reading, small text

183
Q

transitional sans serif

A

design
- none
connotations
-unassuming, no-nonsense, modern, ubiquitous, innocuous
uses
- technology, transportation

184
Q

geometric sans serif

A

design
- based on geometric shapes
connotations
- modern, objective, universal
uses
- science, architecture

185
Q

look like handwriting
- never in all caps/never body copy

A

design
- formal or informal
- connecting or non connecting
connotations
- personal
uses
- headlines or display type

186
Q

everything “catch-all”
- rarely in all caps/never body copy

A

design
- varies
connotation
- varies
uses
- headline or display type

187
Q

one font family
- calm, formal, dull

A

concordant

188
Q

similar typeface but not the same
- disturbing, distracting, avoid

A

conflicting

189
Q

typefaces clearly distinct
- visually appealing, exciting

A

contrasting

190
Q

bad ideas with type pairing

A
  1. similar typefaces
  2. typefaces from same classification
  3. mixing moods
  4. more than 3 typefaces
191
Q

classic mistakes with type pairing

A
  1. two decorative typefaces
  2. two script typefaces
  3. detailed script & serif
  4. script & italic
192
Q

good ideas with type pairing

A
  1. one font family
  2. two different type classifications
  3. very different typefaces
  4. distinct and neutral
  5. two typefaces
193
Q

classic combos of type pairing

A
  1. serif & sans serif
  2. script & sans serif
  3. decorative & sans serif
194
Q

Not all graphic design has type

A

true

195
Q
  • the ease with which one letter can be told from the other when reading
  • related to typeface and shape of characters
  • controlled by the type creator
A

legibility

196
Q
  • refers to how the font is arranged
  • factors: type size, type case, line spacing, color
  • controlled by designer
A

readability

197
Q

how we read

A
  • we read in saccadic jumps
  • we depend largely on the shape of words (coastlines) when we read
  • we do not want too many or too few jumps per line
198
Q

clusters of words and sentence fragments

A

saccadic jumps

199
Q

all caps erase…

A

coastline

200
Q

line length

A

50-75 characters (including spaces and punctuation)
(2.5 alphabets)

201
Q

left alone at end

A

widows

202
Q

left alone at beginning

A

orphan

203
Q

father of gestalt psychology

A

Max Wethelmer

204
Q
  • German word for form
  • a way of organizing visual information
  • the whole is different and more important than the sum of its parts
  • explains how the eye and brain organize elements into patterns into a whole
  • based on what objects look like…not what they are like
A

gestalt

205
Q

individual elements in a design can be separately evaluated, analyzed and considered

A

olhew

206
Q

the click factor

A

whole

207
Q

changing one part forces a reorientation of all parts and changes the whole

A

whale

208
Q
  • German word for good figure
  • our brains organize patterns in the simplest manner possible
A

law of prognanz

209
Q
  • deals with positive and negative space
  • figure (positive space) = object that stands out from the field
  • ground (negative space) = background or field behind the object
  • cannot be seen simultaneously only sequentially
  • people look at figures first
A

law of figure and ground

210
Q
  • have more meaning and power in design
  • boundaries
  • denser and closer than ground
  • occupy less space
  • simpler shapes
  • seen in symmetrical
  • seen brighter
A

figures

211
Q

unchanging relationship of object against background
- figure and ground are clear

A

stable figure/ground relationship

212
Q

relationship is ambiguous
- interpretation alternates between figure and ground

A

unstable figure/ground relationship

213
Q

we visually group similar objects

A

law of similarity

214
Q

an object can be emphasized if it is dissimilar to the others

A

anomaly

215
Q

we visually group objects that are closer together

A

law of proximity

216
Q

elements placed close together with few interruptions will be perceived as moving in the same direction
- an element in the opposite direction creates tension

A

law of continuation

217
Q

we group nearly complete familiar shapes so they form complete shapes

A

law of closure

218
Q

study of signs

A

semiotics

219
Q
  • signified (meaning)
  • signifies (object)
A

Ferdinand de Saussure

220
Q

object, representation, interpretant

A

Charles Sanders Pierce

221
Q

sign resembles the object it stands for

A

iconic

222
Q

sign suggests a logical connection to something that can be figured out (facial expressions)

A

indexical

223
Q

the sign’s meaning must be learned (peace sign, words, brands & logos)
- most important in ISC

A

symbolic

224
Q

image manipulation stretches for across historical timelines, even dating back to portrait paintings

A

portrait paintings

225
Q

used to engender myths about certain parts of the country often regarding agriculture

A

tall tale postcards

ISC 100 (1 decks)

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