Design Vocabulary

Graphic Design Vocabulary

Graphic design is the art of visual communication through the use of images, words, and ideas

to give information to the viewers.

The Practice

Concept + Form are ingredients that a designer uses to produce a composition

that communicates meaning. The relationship between the Concept (idea) and the Form

(process/result) produces the Content (meaning).

Concept

A comprehensive idea or generalization that brings diverse elements into a clear

relationship.

Form

The organization of elements in a composition arranged according to principles that will

support the communication of the concept.

Content

The expression, essential meaning, significance, or aesthetic value derived from the

relationship between the concept and the form. Content refers to the sensory, subjective,

psychological, or emotional properties of a composition, as opposed to our perception of its

formal qualities.

The Principles

basic assumptions that guide the design practice.

Picture Plane

The imaginary plane represented by the physical surface of a two-dimensional

image, comparable to the glass through which one sees a view beyond a window. Artists use

relative position on the picture plane to create the illusion of space, such as foreground, middleground,

background.

Frame

The outermost limits of the picture plane. This boundary (rectangle, square, circle) is

represented by the edges of the paper or the margins drawn within.

Figure (positive space)

The shape of a form that serves as a subject in a composition.

Ground (negative space)

The space surrounding a positive shape or form; sometimes referred

to as ground, empty space, field, or void.

Figure/Ground

The relationship between positive and negative space.

Unity

Refers to the cohesive quality that makes a composition feel complete and finished. Unity

gives it the feeling that all the elements relate to each other in a compatible way to form a

unified whole.

Harmony

Elements in a composition that share visual qualities (value, hue, saturation, size,

interval, shape, texture, etc)

Contrast

Refers to the relative difference between elements, including value, hue, saturation,

size, interval, etc. Contrast adds variety to the overall composition and creates unity by directing

the viewer’s eye with visual hierarchy.

Balance

is the concept of visual equilibrium or equalized tension, used to create harmony, order,

and cohesion. While visual elements don’t have a physical weight, they do have visual

weight. Size, color, density, value, and whitespace affect weight.

Symmetrical balance

can occur in any orientation as long as the image is the same (weight,

form) on either side of the central axis. The result is formal, organized and orderly, but it is easy

to over emphasize the center axis.=PASSIVE, FORMAL SPACE

Asymmetrical balance 

means balance without symmetry. It is possible to achieve balance

without symmetry so that the placement of elements of varying “visual weight” will balance one

another around a fulcrum point. Use asymmetry to draw attention and create visual interest. = ACTIVE, DYNAMIC SPACE

Alignment

Methods for adjusting the position of objects or text in relation to each other. These

are typically left, right, center, top and bottom.

Grid

A framework and planning system that organizes elements in manageable chunks by order

of placement, scale, and similarity to help users understand the information presented; like a

visual filing cabinet.

Rhythm

Is a repeated pattern, such as what we hear in music. In different art forms, it can be a

very complex interrelationship or a regular, steady beat.

Repetition

A repeated sequence; occurring more than a few times. In design, repetition can

create visual consistency and a sense of unity.

Pattern

Unbroken repetition, the repeating of a line, object or symbol.

Variety

Visual rhythm is often punctuated with variations or changes in color, texture, or form.

Creating variety is easy. Too much variety can lead to chaos and confusion for the viewer. A

designer must effectively use pace and spacing to create rhythm and achieve unity in a

composition.

Monotony

Without variety or change, excessive repetition can lead to boredom and

uninteresting compositions

Interval

The space or pauses between elements or activity.

Pacing

Rate or speed at which data, information, images are being delivered.

Proportion

Relationship between parts of a whole or related units.

Scale

Associations of size, related to a constant size, unit of measure, relative whole (such as a

the human body, or picture plane)

Visual Hierarchy

The expression of visual and conceptual order that communicates degrees of

importance of the various parts of a composition. This can be achieved through proximity,

contrast, color, size, etc.

Emphasis

The special attention or importance given to one part of a composition. Emphasis

can be achieved through placement, contrast, size, etc.

Focal Point: The elements or objects on which the viewer’s attention is focused.

Dominance

Elements that command attention and prevail over other elements.

Proximity

objects close to one another are perceived by the viewer to be related or grouped

together.

Whitespace

Whitespace provides visual breathing room for the eye and a contrast to the

density of elements in a composition.

The Elements

basic components used as part of any composition, independent of the medium.

Point

An element that has position (x,y), but no extension or mass. A series of points forms a

line, a mass of points becomes a shape.

Line

An series of points, which has length and direction, but no breadth. It can be the

connection between two points, the space between shapes, or the path of a moving point. A

closed line creates a shape.

Shape

Created by line (contour) or a grouping of points, it is an area that is separate from other

areas, defined by its perimeter.

Organic shape

 is one that resembles the flowing contours of an organism.

Geometric shapes

such as circles, triangles or squares often have precise, uniform

measurements.

Texture

The surface character of a physical material or the illusion of a physical material.

Value: Signifies the relative differences of light and dark

Aesthetics 

The set of principles concerned with the qualities of appearance, visual appeal,

good taste, and beauty and the rules that determine how beautiful or pleasing to the eye

something is. Design elements within this principle include shape, form, color, texture, finish,

environment, point, line, plane, proportion, contrast, pattern, movement, balance, harmony,

style, and rhythm.

Design process

Steps in the process of design: Research>Thumbnails>Roughs>Comps>Production Art>Printed Piece

Breaking the design process down in more detail:

Pre-production Design

Design brief early (often the beginning) statement of design goals

Analysis – analysis of current design goals

Research – investigating similar design solutions in the field or related topics

Specification – specifying requirements of a design solution for a product (product design

specification) or service.

Problem solving – conceptualizing and documenting design solutions

Presentation – presenting design solutions

Design during production

Development – continuation and improvement of a designed solution

Implementation and Testing – realizing then testing a designed solution

Post-production 

design feedback for future designs – introducing the designed solution into

the environment

Evaluation and conclusion – summary of process and results, including constructive criticism and

suggestions for future improvements

Redesign

any or all stages in the design process repeated (with corrections made) at any time

before, during, or after production.

Perceptual acuity 

is a gestalt of perception using both a receptively inductive mode of viewing as well as total immersion in the subjects and or objects being viewed. All the senses are employed in viewing (sight, smell, hearing, touch and the kinetic) as well as other subtle environmental cues. Intuition leads the way through the perceptual field while analysis cross references information from intuition’s lead. The result is a time-space analysis or the perceptual field yielding a wealth of information that can be utilized immediately.

Progression

Movement from one thing to the next

Sequence

The order in which things happen

Iterative design 

is a design methodology based on a cyclic process of prototyping, testing,

analyzing, and refining a product or process. Based on the results of testing the most recent

iteration of a design, changes and refinements are made. This process is intended to ultimately

improve the quality and functionality of a design. In iterative design, interaction with the

designed system is used as a form of research for informing and evolving a project, as successive

versions, or iterations of a design are implemented.

FORM Vocabulary

Designers think about visual forms and how they are put together to convey meaning. These

forms are a kind of visual language. Points, lines, planes, volumes, spaces, areas, textures and

colors, as well as how they are used to create symmetry, proportion and rhythm, are basic

aspects of the designer’s visual vocabulary.

Form

Form describes volume and mass, or the three-dimensional aspects of objects that take

up space. Forms can and should be viewed from many angles.

Counter form

the negative space in a form. Example: interior counters of a letterform [spaces

inside the letter o as opposed to the stroke that makes the circular shape.

Form and structure 

analyzes positive and negative forms.

Form analysis 

examines how two- and three-dimensional forms create a feeling of space.

Visual phenomena 

explores the intuitive response of the audience to form, color and texture.

Visual abstraction 

identifies the key features of an object and simplifies them.

Negative” spatial areas defined and shaped by letterforms, including both interior counters and

spaces between characters.

Structure and system 

consider various ways to create order in space. For example, grid system is one way to create a sense of harmony and order.

Composition and visual framing 

involves deciding what to include in an image and how elements of an image contrast with one another.

Unity of form 

looks at relationships among design elements, such as proportion, scale, symmetry and contrast.

Proportion

Proportion is the relationship of two or more elements in a design and how they

compare with one another. Proportion is said to be harmonious when a correct or desirable

relationship exists between the elements with respect to size, color, quantity, degree, or setting.

Good proportion adds harmony, symmetry, or balance among the parts of a design.

Contrast

Formal balance places elements on the page so that text and graphic elements are

evenly distributed. In layouts with an even balance the graphics don’t overpower the text and

the page doesn’t seem to tilt to one side or the other. Distinguishing by comparing/creating

differences. Some ways of creating contrast among elements in the design include using

contrasting colors, sizes, shapes, locations, or relationships. For text, contrast is achieved by

mixing serif and sans-serif on the page, by using very different type styles, or by using type in

surprising or unusual ways. Another way to describe contrast, is to say “a small object next to a

large object will look smaller”. As contrast in size diminishes, monotony is approached.

Hierarchy

the order in which the human eye perceives what it sees.

Gestalt theory

Sometimes considered a distinct principle of design, gestalt is the concept that “the whole is greater than the sum of its parts.” Gestalt is a concept from psychology, where theorists note the propensity of humans to conceptually group things together to make a meaningful whole. When viewing designs, humans apply this principle unconsciously by seeing connections and relationships among and between the elements in the design. The overall perception of gestalt in a design is created through harmony, unity, balance, proportion,

proximity, and other visual cues. Designers can use this principle to create visual connections and relationships that clarify and strengthen the overall “feel” and meaning of the design.

Rhythm

Rhythm is the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. There are many different kinds of rhythm, often defined by the feeling something evokes when viewed. Repeating visual elements such as line, color, shape, texture, value or image tends to unify the total effect of a work of art as well as create rhythm.

Regular: A regular rhythm occurs when the intervals between the elements, and often the

elements themselves, are similar in size or length

Flowing: A flowing rhythm gives a sense of movement, and is often more organic in nature

Progressive: A progressive rhythm shows a sequence of forms through a progression of steps

Pattern

Pattern uses the art elements in planned or random repetitions to enhance surfaces of a design. Patterns often occur in nature, and designers use similar repeated motifs to create pattern in their work. Pattern increases visual excitement by enriching surface interest.

Grids

a two-dimensional grid is a structure (usually) made up of a series of intersecting straight (vertical, horizontal, and angular) or curved guide lines used to structure content. The grid serves as an armature on which a can organize graphic elements ( in a rational, easy to absorb manner). A grid can be use to organize graphic elements in relation to a page, in relation to other graphic elements on the page, or relation to other parts of the shape.

Modularity

skids that subdivides a system into smaller parts (modules) that can be independently created and then used in different systems to drive multiple functionalities.

Layers

Layers are used in digital image editing to separate different elements of an image.

Transparency: Area on which imaging effects or images are applied and placed over or under

an image.

Conceptual thinking/Content analysis of images

To consider the idea of an image or use techniques to add meaning to a visual concept.

Juxtaposition

Put the familiar in an unfamiliar setting

Hue

the color quality identified by color names, such as “red”

Intensity

The purity of a hue. A hue at its highest intensity has no other color mixed with it. A hue loses its intensity as another color is added to it.

Primary Colors

Red, yellow, and blue. With these three colors (and black and white) all

other colors can be made. The primary colors themselves cannot be made by mixing other

colors.

Secondary Colors

Those colors which are created by the mixture of two primary colors in

approximately equal proportions. The secondary colors are orange, violet and green.

Tertiary Colors 

Those colors created by the mixture of an adjacent primary and secondary

color. The tertiary colors are named by combining the names of the two parent colors, with the

primary element listed first: orange + red = red-orange.

Analogous Colors

An analogous color scheme consists of any three or four adjacent

colors on the color wheel. Their proximity to one another assures that analogous colors will

contribute to a harmonious scheme, and where colors meet, they will blend beautifully.

Complementary Colors

Hues which are opposite each other on the colors wheel. The complement of red is green, the complement of yellow-orange is blue-violent, etc. When two complements are placed next to each other each color appears at its highest visual strength.

Warm Colors

Red, orange, yellow, (red-violet, yellow-green), warm color tend to advance in visual space.

Cool Colors

Violet, blue, green, cool colors recede in space.

Tint

Hue plus white (or water).

Shade

Hue plus black.

Value

The natural lightness or darkness of a hue or the amount of white or black in a color,

pink is a light value of red, navy-blue is a dark value of blue, etc.

Monochromatic

Variations of one hue; variations and values of blues, for example.

Saturation

or intensity; the relative purity of a color. The more gray mixed in a color, the lower The intensity or saturation of the color.

Tones

Color mixed with gray (low intensity)

Temperature

Warmth or coolness; the degree to which how “hot” or “cool” a color is

Subtractive Color

color made with pigments, when mixed it becomes darker. 

Examples: paints, markers, watercolors, colored pencils, printer ink.

Additive Color Theory

Adding light to color to illuminate it. Used by Multi-media designers

and any designer whose work will stay on the computer, television or movie screen. The primary

colors are RGB (Red/Green/Blue-violet).

Monochromatic Color Scheme

color combination based on variations in value and saturation of a single hue (adding white, black or gray to the color) Example: blue, navy blue, azure (color is changed by the addition of various amounts of white, black or gray mixed into the color)

Analogous Color Scheme

color combination based on 3 or 4 adjacent hues on the color wheel, creating a harmonious color scheme Example: Red-Orange, Red, Red-Violet and Violet

Analogous Complementary Color Scheme

Use of 3 analogous colors and one of its complements in a composition. Allows for harmony and contrast.

Complementary Color Scheme

color combination based on hues that lie opposite each other on the color wheel; when used together at highest intensity they create the highest level of contrast. When mixed together in various degrees they create neutrals

Examples: Red & Green, Yellow & Violet, Blue & Orange

Tetrad

Otherwise known as double-complementary. Made up of two pairs of complements, creating bold, balanced color schemes. Makes a rectangle or square on color wheel.

Triad

Three colors equidistant on the color wheel. Creates bold color schemes. Makes an

equilateral triangle on the color wheel. Example: the primary triad-red, yellow and blue.

Expressive Color

colors chosen for their emotional impact rather than their fidelity to the standard color

Local Color

the perceived color of an object under average lighting conditions

Color Forecasting

The study of trends in culture, history, politics and the arts, in order to

predict the coming color trends in fashion, interiors, home furnishings and computer design.

Harmony

Color harmony results from the relationship of similar color elements in a design, such

as monochromatic or analogous color scheme, or close values or color saturations. Harmonious

color schemes are based on similarities.

Contrast

Using color or colors to create emphasis, drama, in a design. Dynamic contrast

attracts attention to the most important area of your composition. Use value contrast for visual

sensation, and color contrast for emotional expression. Contrasting color schemes are based on

differences rather than similarities.

Saturation

Is the color intensity of an image. A color with high saturation will appear brighter

and more vibrant than the same color with low saturation. Colors in grayscale images have no

saturations (white, grays and black).

CMYK 

or four color process is created using the primary colors of pigment: Cyan (blue), Magenta (red), Yellow and Black. Black is designated the letter K to avoid confusion with B for blue. Because the inks used are translucent they can be overprinted and combined in a variety of different proportions to produce a wide range of colors.

PMS

Spot colors, also known as PMS colors, and officially as Pantone Matching System colors are specific color formulas that will reproduce accurately in print. Instead of simulating colors by combining primary colors (CMYK), spot (PMS) colors are pre-mixed with existing and published color formulas.

Pantone Color: A brand of color used and created for the universal numerical method of color communication. Also known as PMS (Pantone Matching System).

RGB

If you are reading this, you are reading an RGB display via your computer. RGB stands for Red, Green and Blue. These are the three colors that create every other tone of color that is visible on your screen. Whilst each monitor is capable of displaying a wide range of colors, there are still inconsistencies between computers. This is usually due to the fact that screens are not always accurately calibrated.

Texture 

is defined as the surface characteristics of a material that can be experienced through

the sense of touch or the illusion of touch. Simulated or invented texture gives the illusion of touch. Visual or implied texture can be for example, in drawing or painting of a cat where its fur is made to look like real fur. Invented texture is purely made up by the artist. It does look like “real” texture.

Opacity

The density of a color or tonal value. The opacity of an image or object can range

from transparent (0% opacity) to opaque (100% opacity). The ability to edit the opacity of

individual objects allows the designer to create images that seem to flow into and through one

another.

Bleed 

Allowing a graphic or some other element to extend beyond the actual margin of the

page. The element touches the side of the page, leaving no margin or white space at the edge.

DPI

or dots per inch

PPI

or pixels per inch, refers to the number of pixels per inch in an image

Resolution 

Number of dots per inch, or dpi, in an image. Images for the web are usually be around 72 dpi, or a low resolution, while images for print should be around 300 dpi, or a higher resolution.

Semiotic Theory in Design

the study of the images, their use, interpretation and meaning. Ferdinand de Saussure says that a sign is the whole that results from the association of the signifier with the signified. A sign is composed of 2 parts: the signifier and the signified. The complete sign is a result of the relationship between these two parts.

Negative space

The area on a page that is left without images and words is referred to as negative or white space. This negative or white space is very important in graphic design projects.

Omission

leave something out

Substitution

swap something for something else Insertion: add something

Semantics 

is the study of how people understand words and images.

Visual metaphor 

studies symbols. For example, a torch can signal the abstract ideas of victory or freedom.

Persuasion and information 

examines how to create a memorable visual statement.

Image, symbol and sign 

explores the ways in which graphic marks, such as handprint or a target, communicate.

Typography 

examines text messages created for information or expression.

Type and image 

explores the relationship between the two and the power of each to communicate in relation to the other. Type also becomes images in some applications.

Design systems 

serve to unify appearance and coordinate production. Visual characteristics, such as the 45-degree angle, the square on its tip, the color and the torn paper, are played out over many pieces to guarantee an easily recognizable relationship.

Symbol and identity systems 

seek to specifically identify an object for the public and to use that identity in all communications.

Information design 

clarifies data, helps orient the viewer and guides the search for what is important by establishing a clear visual hierarchy. These qualities are particularly useful in computer interface design.

Diagrams, graphs and maps  

distill information to make it easily understood. For instance, a three-dimensional form can show the relationships of solid, liquid and gas.

Publication and print design  

explores the overall structure-pacing, sequence and hierarchy of information-as well as the particular use of text and image found, for example, in the editorial material of magazines and newspapers.

Book design 

is concerned with both the exterior package of the book (the cover) and its interior contents (the pages).

Poster design 

combines words and images in a powerful public announcement, whether for an art exhibit, an election campaign, or a circus.

Film and video graphics 

organize ideas dynamically in time. They communicate by using images in sequence with narration, music and text.

Computer graphics 

explores the digital world of highly manipulated imagery.

Package design 

serves multiple functions: to protect, display, dispense, store and announce the identity and qualities of a product.

Environmental graphics and signage  (EGD)

helps people find their way through streets and buildings and gives clues to the nature of the environment people find themselves in.

Exhibition and display design 

seeks to involve an audience in exploring an idea in space and time through the use of graphics, objects, text, sound effects and participatory opportunities.

Advertising design is calculated to attract attention, make a compelling pitch to an audience

and create a desire for the product.

Alignment

The placement of images and components of the presentation so that they line up along an axis, border or common centre

Contour

The outline of an object.

Emphasis

Exists where an element or elements within a composition contain a hierarchy of visual importance.

Focal Point

Is the visual point /centre of interest in a composition. Visual elements and principles are used to direct the viewer’s eye to this point.

Proximity

The placement of elements in relation to each other in a composition. Elements that are close together are perceived to be more related than those are more widely spaced apart.

Repetition

Repetition of shapes, color, texture, size etc. in a composition that can be used to strengthen the presentation, develop the organization of the image and make the presentation

more unified.

Typography 

The art of arranging type, which includes letters, numbers and symbols, so that it is pleasing to the eye. This includes not only the font that is used but how it is arranged on the page: letter by letter, size, line spacing, etc. Typography is an important part of creating a pleasing final graphic design product.

Font

Name of a typeface, Example: Helvetica, Georgia

Point

A measure of size used principally in typesetting. One point is equal to 1/12 of a pica, or approximately 1/72 of an inch. It is most often used to indicate the size of type or amount of leading added between lines.

Kerning

Adjusting the lateral (horizontal) space between letters. Kerning is the adjustment of space between pairs of letters. Some pairs of letters create awkward spaces. Kerning adds or subtracts space between letters to create more visually appealing and readable text.

Tracking

Overall Letter spacing. Tracking differs from kerning in that tracking is the adjustment of space for groups of letters and entire blocks of text. Use tracking to change the overall appearance and readability of the text, making it more open and airy or more dense.

Leading

The vertical spacing (measured in points) between lines of text.

Serif

Type with feet [like Caslon or New Century Schoolbook]

San Serif

Type without feet [like Helvetica or Arial]

x-height

the height of the lowercase letter x. It affects the feel of a typeface, how many characters fit on a line, and depending how the type is set, how easily you can read the text.

Type family

Generally has at least 3 variation on the regular face: italic, bold and bold italic. Many families have been designed to include variation in weight from ultra light to ultra black, condensed to extended and multiple character sets like small caps, swash caps etc. [Garamond Bold, Garamond Regular, Garamond Italic are part of the Garamond type family].

Typographic Color

Spacing concerns and the design of the font affect type color. It has nothing to do with actual color like red, blue, green but refers to grey value or density of a mass of type on the page.