Graphic Design, Translated: A Visual Directory of Terms for Global Design

434 Pages·2010·101.67 MB·English

by  Peter J Wolf

GRAPHIC DESIGN, ENGLISH
TRANSLATED
LE LANGAGE FRANÇAIS
DU GRAPHISME
GRAFIK DESIGN DEUTSCH
ÜBERSETZT
IL LINGUAGGIO ITALIANO
DELLA GRAFICA
EL LENGUAJE DEL ESPAÑOL
DISEÑO GRÁFICO
Text Job:01579 Title: Graphic Design Translated (Rockport)
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© 2010 by Rockport Publishers, Inc.
All rights reserved. No part of this book may be reproduced in any form without written permission
of the copyright owners. All images in this book have been reproduced with the knowledge and prior
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Library of Congress Cataloging-in-Publication Data
Wolf, Peter J.
Graphic design, translated : a visual directory of terms for global design / Peter J. Wolf.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-1-59253-595-8
ISBN-10: 1-59253-595-X
1. Graphic arts—Dictionaries—Polyglot. 2. Printing—Dictionaries—Polyglot. 3. Dictionaries,
Polyglot. I. Title. II. Title: Visual dictionary of terms for global design.
NC997.W65 2010
741.603—dc22
2009039499
ISBN-13: 978-1-59253-595-8
ISBN-10: 1-59253-595-X
10 9 8 7 6 5 4 3 2 1
Design: Traffi c Design Consultants
Cover Design: Traffi c Design Consultants
Book Layout: Megan Jones Design
Printed in China
Text Job:01579 Title: Graphic Design Translated (Rockport)
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PETER J. WOLF A VISUAL DIRECTORY OF
TERMS FOR GLOBAL DESIGN:
GRAPHIC DESIGN, ENGLISH
TRANSLATED
LE LANGAGE FRANÇAIS
DU GRAPHISME
GRAFIK DESIGN DEUTSCH
ÜBERSETZT
IL LINGUAGGIO ITALIANO
DELLA GRAFICA
EL LENGUAJE DEL ESPAÑOL
DISEÑO GRÁFICO
Text Job:01579 Title: Graphic Design Translated (Rockport)
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Page:3
Job:01579 Title: Graphic Design Translated (Rockport)
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55
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6
Table of Contents
Introduction 8 CLIP ART 30 F
How To Use This Book 14 CMYK 30 FACING PAGES 44
Pronunciation Guide 15 COATED PAPER 30 FIGURE-GROUND 45
Languages Table of Contents 16 COLLAGE 31 FLUSH-LEFT/FLUSH-RIGHT 45
English Terms 17 COLOR 31 FOCAL POINT 45
COLOR CORRECTION 31 FOIL STAMPING 46
A
COLOR-MATCHING SYSTEM 32 FONT 46
ACCORDION FOLD 18 COLOR MODEL 32 FOR POSITION ONLY (FPO) 46
ALIASING, ANTI-ALIASING 18 COLOR PALETTE 32 FORM-COUNTERFORM 46
ALIGNMENT 18 COLOR SPACE 32 FOUR-COLOR PROCESS 47
ALL CAPS 19 COLOR WHEEL 33 FRONT MATTER 47
ANALOGOUS COLORS 19 COLUMN 33 FUTURISM 47
ANIMATION 19 COMPLEMENTARY COLORS 33
APOSTROPHE 20 COMPOSITE 34 G
AQUEOUS COATING 20 COMPOSITION 34 GALLEY PROOF 47
ART DECO 20 CONDENSED TYPE 34 GRADIENT 48
ART NOUVEAU 21 CONSTRUCTIVISM 35 GRAYSCALE 48
ARTS AND CRAFTS 21 CONTRAST 35 GREEKING 48
ASCENDER 21 COPYFITTING 35 GRID 49
ASYMMETRY 22 COUNTER 36 GUTTER 50
CROP 36
B CUBISM 36 H
BACK MATTER 22 H&J 50
D
BALANCE 22 HALFTONE 50
BARREL FOLD 22 DADA 37 HANGING PUNCTUATION 51
BASELINE 23 DE STIJL 37 HEADING 51
BAUHAUS 23 DEBOSS 37 HEADLINE 51
BÉZIER CURVE 23 DESCENDER 37 HIERARCHY 52
BINDING 24 DIE CUT 38 HUE 53
BITMAP 24 DINGBATS 38 HYPHEN 53
BLACKLETTER 24 DISPLAY TYPE 38 HYPHENATION 53
BLEED 25 DITHER 39
BODY COPY 25 DROP CAPITAL/CAP 39 I
BOLD/BOLDFACE 25 DUOTONE 39 ICON 53
BORDER 26 IDENTITY 54
E
BRANDING 26 IMPOSITION 54
BRIGHTNESS 26 EGYPTIAN 40 INDENT 54
BULLET 27 ELLIPSIS 40 INITIAL CAPITAL/CAP 55
EM 40 INTERACTION DESIGN 56
C
EM DASH 41 ITALIC 56
CALIPER 27 EM SPACE 41
CALLIGRAPHY 27 EMBOSS 41 J
CALLOUT 27 EN 42 JUSTIFIED TYPE/TEXT 56
CAP HEIGHT 28 EN DASH 42
CAPTION 28 EN SPACE 42 K
CASE BINDING 28 END MATTER 43 KERNING 57
CENTERED TYPE/TEXT 29 EXPERT SET 43 KISS DIE CUT 57
CHANNELS 30 EYE FLOW 43
CHROMA 30
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L PATH 70 SUBHEAD 86
LASER CUT 57 PERFECT BINDING 71 SUBSCRIPT 86
LAYER 58 PHOTOMONTAGE 71 SUPERSCRIPT 87
LAYOUT 58 PICA 71 SURREALISM 87
LEADING 58 PICTOGRAM 72 SWASH CHARACTERS 87
LEGIBILITY 59 PIXEL 72 SYMBOL 88
LETTER SPACING 59 POINT/POINT SIZE 72 SYMMETRY 88
LETTERFORM 59 POSITIVE SPACE 73
T
LETTERPRESS 60 POSTERIZATION 73
LIGATURE 61 POST-MODERNISM 73 TERTIARY COLORS 88
LINE 61 PRIMARY COLORS 74 TEXT WRAPPING 89
LINE BREAK 61 PROCESS COLORS 74 TEXTURE 89
LINE LENGTH 62 PROOF 74 THUMBNAIL 89
LINING NUMERALS/FIGURES 62 PROPORTIONAL 74 TINT 90
LITHOGRAPHY 62 PULL QUOTE 75 TRACKING 90
LOGO 63 TRAPPING 90
Q
LOREM IPSUM 63 TRITONE 90
QUOTATION MARKS 76 TYPE 91
M TYPE CLASSIFICATION 92
R
MAKEREADY 63 TYPE FAMILY 92
MARGIN 63 RAG 76 TYPEFACE 92
MASTER PAGE 64 RASTER GRAPHICS 76 TYPESETTING 93
MEAN LINE 64 READABILITY 76 TYPOGRAPHY 93
MEASURE 64 REAM 77
U
METAPHOR 65 RECTO/VERSO 77
MODERNISM 66 REGISTRATION 77 ULTRAVIOLET COATING 93
MOIRÉ 66 RESOLUTION 78
V
MONOCHROMATIC 66 REVERSE/REVERSE OUT 78
MONOSPACED 67 RGB 78 VALUE 93
MONTAGE 67 RHYTHM 79 VARNISH 94
MULTIMEDIA 67 RIVERS 80 VECTOR GRAPHIC 95
ROMAN TYPE 80 VERSO 95
N RULE 80 VICTORIAN 95
NEGATIVE SPACE 67 VISUAL ALIGNMENT 95
S
O SADDLE-STITCH BINDING 81 W
OBLIQUE 68 SANS SERIF 81 WHITE SPACE 96
OFFSET LITHOGRAPHY 68 SATURATION 81 WIDOW 96
OLD-STYLE NUMERALS/FIGURES 68 SCALE 82
X
OPTICAL ALIGNMENT 68 SCREEN PRINTING 83
ORPHAN 69 SCRIPT TYPE 83 X-HEIGHT 96
OUTLINE TYPE 69 SECONDARY COLORS 83
OVERPRINTING 69 SERIF 84 French terms 97
SHEET SIZES 84 German terms 177
P SIGNATURE 84 Italian terms 257
PACKAGING DESIGN 70 SMALL CAPITALS/CAPS 85 Spanish terms 337
PAGINATION 70 SPREAD 85 Index of terms 417
PANTONE MATCHING SYSTEM (PMS) 70 STANDING CAPITAL/CAP 85 About the Author 431
PAPER SIZES 70 STOCK PHOTOGRAPHY/IMAGES 86
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8
Introduction
For centuries now, graphic design has been used to
celebrate national identities. Aspects of a country’s
values and self-image (as well as its design sensibility)
are displayed daily in its currency, postage stamps, and
all manner of offi cial documents and communications.
Such examples are intended largely for Bauhaus and the International Typographic
domestic consumption, however. For Style spread far beyond their origins in
“branding” a nation globally, visual com- Western Europe, with an unprecedented
munication efforts are focused outward— reach across the globe.
and few opportunities compare to the
Olympic Games. Their sophisticated International borders are defi ned not just
identity systems become forever associ- by geographical and physical barriers,
ated not just with a particular time, but however, but also by culture and language.
also a particular place. Otl Aicher’s highly It was precisely these barriers that the
systematic approach to the graphics for Austrian philosopher Otto Neurath, along
the 1972 Games in Munich, to take just with his wife Marie Reidemeister and
one example, is considered by many to be illustrator Gerd Arntz, sought to overcome
quintessential German design, refl ecting with their Isotype (International System of
the rich legacies of the Bauhaus and the Typographic Picture Education) system
Ulm School. More recently, the brand- of pictograms. First developed during the
ing of the 2008 Summer Games in China 1920s—the First World War having brought
presented a carefully crafted image of the international issues suddenly into sharp
country to the rest of the world, using the focus—the goal of Isotype was noth-
Games as a “global coming out party.”1 ing less than “a world language without
words.”2 The extensive Isotype system,
Yet the history of graphic design is one of with approximately 4,000 illustrations
transcending international borders, too. credited to Arntz alone, eventually spread
During the fi fteenth century, following the throughout Europe to North America and
invention of the printing press, ideas about beyond—transcending cultural and lan-
typography and illustration fi ltered quickly guage barriers, and paving the way for the
from Germany into the rest of Europe—just information graphics with which designers
in time for the Italian Renaissance, a and the general public are now so familiar.
period of great innovation in typeface and
book design. Nineteenth-century Victorian Today, of course, such transcendence
design, a response to the excesses of is easier than ever; international design
the Industrial Revolution, was adopted teams routinely collaborate using little
widely—especially by advertisers—across more than a fl uid network of Web-cruising
Europe and America. And the twentieth laptops (often via increasingly ubiquitous
century saw the powerful infl uences of the wireless connections). And thanks to the
1 Quelch, John. “How Olympics Branding Is Shaping China,” 2008. http://blogs.harvardbusiness.org
2 Meggs, Philip B. & Purvis, Alston W., Meggs’ History of Graphic Design. Fourth ed. Hoboken, NJ:
John Wiley & Sons, 2006.
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9
Examples of the extensive identity system developed by Otl Aicher for the 1972 Munich Olympics
Collection of Joe Miller; Photography: Joe Miller
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