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Graphic Design II > Review > Flashcards

Review Flashcards

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
Q

margins

A

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

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26
Q

Audience

A

the targeted, specified group of people at whom you are aiming your visual communication

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27
Q

Design concept

A

the designer’s primary reasoning that forms the basis for a graphic design solution

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28
Q

Strategy

A

the core tactical underpinning of any visual communication

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29
Q

Design brief

A

a strategic plan that both the client and design studio or advertising agency agree upon

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30
Q

Comprehensive

A

a detailed representation of a design concept thoughtfully visualized and composed

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31
Q

Production

A

preparing digital files utilizing industry-standard software

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32
Q

Thumbnail sketches

A

preliminary, small, quick, unrefined drawings of your ideas in black and white or color

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33
Q

Roughs

A

larger and more refined than thumbnail sketches

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34
Q

Craftsmanship

A

refers to the level of skill, proficiency, and dexterity of the execution

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35
Q

Presentation

A

the manner in which comps are presented to a client or the way work is presented

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36
Q

Debriefing

A

This involves reviewing the solution and its consequences—examining your finished assignment to determine what went right and what went wrong

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37
Q

Orientation

A

the process of becoming familiar with your assignment, the graphic design problem, and the client’s business or organization, product, service, or group

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38
Q

Analysis

A

examining all you have unearthed to best understand, assess, and strategize to move forward with the assignment

39
Q

Creative thinking

A

the ability to stretch beyond the ordinary, to be original, innovative, and flexible in one’s thinking

40
Q

Mind map

A

a visual representation or diagram of the various ways words, themes, images, thoughts, or ideas can be related to one another

41
Q

Problem finding

A

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
Q

Attribute listing

A

a method for analyzing and separating data through observing and identifying various qualities

43
Q

Traditional brainstorming

A

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
Q

Automatic mapping

A

relies heavily on the surrealist strategy of spontaneous free association, trying to avoid conscious choices and allowing associations to flow freely

45
Q

Deliberate mapping

A

relies more on the natural growth of associations, revealing the way your mind instinctively organizes or makes associations

46
Q

Concept generation

A

the ability to form/think up an idea, cogently state the idea, and then evaluate it—demands creativity and critical thinking skills

47
Q

Images

A

a broad term encompassing a great variety of representational, abstract, or nonobjective images—photographs

48
Q

color scheme

A

a harmonious color combination employed by a designer

49
Q

sign

A

a visual mark or a part of the language that denotes another thing

50
Q

icon

A

a visual to represent objects, actions, and concepts

51
Q

index

A

a sign that signifies through a direct relationship between the sign and the object, without describing or resembling the thing signified

52
Q

symbol

A

a visual that has an arbitrary or conventional relationship between the signifier and the thing signified

53
Q

Classifying images

A

helps you understand the range and how to depict them to meet your communication goals

54
Q

pictograms

A

These graphics depict universal, immediately recognizable objects, places, human gestures, and actions

55
Q

Media and Methods

A

How the graphic components will be created, visualized, and displayed on screen or in print

56
Q

stock assets

A

available archives of preexisting illustrations or photographs

57
Q

found imagery

A

openly available imagery or objects in environments, public domain, or copyright-free images

58
Q

Alteration

A

a modification or change to the appearance of an image

59
Q

Combination

A

merging two or more different or related images into a unique whole

60
Q

Cropping

A

cut part of a photograph

61
Q

Exaggeration

A

a modification that embellishes, amplifies or overstates

62
Q

Silhouette

A

removing the background of an image leaving only the outline of an object or figure

63
Q

Sharpness

A

characterized by clarity of form

64
Q

Diffusion

A

characterized by blurred forms and boundaries

65
Q

Intricacy

A

based on complexity, on the use of many component parts and/or details to describe and visually communicate

66
Q

Subtlety

A

can be created through low contrast, muted color palettes or tints, static compositions, transparencies, layering, limiting typefaces and alignment, and atmospheric perspective

67
Q

Boldness

A

can be conveyed with big, brassy, aggressive movements and compositions, saturated color palettes, thick lines, high contrast, cropping, or images that are near

68
Q

Opaque

A

elements that are dense, seemingly solid, and not see through

69
Q

Transparent

A

which means see-through from one image to another, from one letterform to another, or from one color to another

70
Q

linear mode

A

is characterized by a predominant use of lines to describe forms or shapes within a composition

71
Q

painterly modes

A

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
Q

distant vision

A

the effect of the atmosphere between the artist’s (and viewer’s) vision and the thing seen is in evidence

73
Q

proximate vision

A

All images are rendered in focus and in detail

74
Q

pigment color wheel

A

diagrams basic color harmonies

75
Q

color palette

A

this basic group of pigment primaries is bold and elemental or expresses nostalgia or childlike innocence

76
Q

Color Temperature

A

The temperature of a color is not absolute but can fluctuate depending on the strength of the dominant hue of a color

77
Q

Monochromatic

A

employ only one hue

78
Q

Analogous

A

employ three adjacent hues

79
Q

Complementary

A

based on a relationship between any two opposing hues on the pigment color wheel

80
Q

Split complementary

A

include three hues: one color plus the two colors adjacent to its complement on the color wheel

81
Q

Triadic

A

include three colors that are at equal distance from each other on the color wheel

82
Q

Tetradic

A

are composed of four colors in two sets of complements (a double complementary)

83
Q

Cool colors

A

the blue, green, and violet hues are located approximately on the left half of the pigment color wheel

84
Q

Warm colors

A

the red, orange, and yellow hues located approximately on the right half of the color wheel

85
Q

Composition

A

the form, the whole spatial property and structure resulting from the arrangement of graphic elements—type and images—in relation to one another

86
Q

Composing

A

how you put all the components parts together—the visual organization of type and images in a graphic spatial arrangement

87
Q

closed composition

A

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
Q

open composition

A

the major directions and orientation within the composition oppose the edges (think diagonals) or direct our eyes past the boundaries of the format

89
Q

Symmetrical composition

A

arrange mirrored forms on either side of the midline

90
Q

Asymmetrical composition

A

you arrange forms to counterbalance each other’s visual weight without mirroring opposite visual weight and positioning

91
Q

Illusion of spatial depth

A

the appearance of 3D space on a 2D surface, where some things appear closer to the viewer and some things appear farther away

92
Q

Perspective

A

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
Q

Grouping

A

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
Q

poster

A

a two-dimensional, single-surface format used to inform (display information, data, schedules, or offerings)

Graphic Design II (1 decks)

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