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The visual dictionary of graphic design PDF

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vviiss ddiicc ggrraapphhiicc ddeessiiggnn ccoovveerr 00771100__..qqxxdd 77//16//1100 93::5131 PPMM PPaaggee 11 Publisher’s note oT G Gavin Ambrose/Paul Harris About the authors a Ethical practice is well known, taught f h vin and discussed in the domains of medicine, Ge A This book is a guide to the many and varied terms Gavin Ambrose MA is a practising graphic law, science and sociology but was, m until recently, rarely discussed in terms r V b used frequently within graphic design. From Abstract designer whose client base includes a ro to Zeitgeist, snl Bauhaus to Psychedelia, via Chroma the art sector, galleries, publishers and oisf btheec oAmpipnlgie adn V iinscuraela Asirntsg.l yY eint tdeegrsaigl np art pis se/ and Exquisite Corpse, this book will prove an invaluable advertising agencies. He has written P resource to anyone interested in graphic design. and designed several books on graphic of our everyday lives and its influence hu a u Each term is explained and contextualised, giving the design, branding and packaging. on our society ever-more prevalent. l ia H reader an enhanced understanding of graphic design AneVeAd sP uinbtleisghriitnyg; bthealite vthese trhaamt ifoiucar twioonrsld c Dl D arris tteerrmmisnaorloe gdy.i sMtiollreed tahnadn i2ll5u0s tcroamtemd.o Fnr ogmra pphriacc tdiecsailg tnerms Pajonauudrl n jHoaulasrr nraiansld iPs tnG.e PwDasiuppl a Fwprereiertslea,s nb fcooetr h wm irnait geLaroz nindeosn, of our actions upon others should be such as Asymmetry, Hierarchy and Tints to movements and New York, on a range of subjects, for the greatest happiness and benefit ei and styles such as Surrealism, Pointillism and of the greatest number. We do not set sc Postmodernism, from modern terminology and concepts from architecture to tourism. He is co-author and collaborator on several ourselves out as arbiters of what is ‘good’ it such as Bitmap, Mark Making and Vernacular to many gi books about graphic design. or ‘bad’, but aim to promote discussion of the traditional terms still in current usage. o in an organised fashion for an individual’s n n understanding of their own ethical inclination. AVA Publishing aims to help a a new generation of students, educators r and practitioners find a methodology for y structuring their thoughts and reflections The Visual Dictionary in the field of ethics. of Graphic Design ava publishing sa www.avabooks.com http://blog.avabooks.com [email protected] [email protected] £16.95 UK EDN (((AAAVVVAAA))) VVViiisssuuuaaalll DDDiiiccctttiiiooonnnaaarrryyy CCCDDD000777111000---222 /// 444222666999 vvdd__ffiinnaall__rrll__ffoorr SSGG__000011--005577..qqxxdd 77//22//1100 88::2402 AAMM PPaaggee 11 TheVisualDictionaryof Graphic Design ((AAVVAA)) VViissuuaall DDiiccttiioonnaarryy 22nndd TEXT CCDD00771100--22//44227700 PPrrooooff Black vd_final_rl_for SG_001-057.qxd 7/6/10 3:57 PM Page 2 An AVA Book Published by AVA Publishing SA Rue des Fontenailles 16 Case Postale 1000 Lausanne 6 Switzerland Tel: +41 786 005 109 Email: [email protected] Distributed by Thames & Hudson (ex-North America) 181a High Holborn London WC1V 7QX United Kingdom Tel: +44 20 7845 5000 Fax: +44 20 7845 5055 Email: [email protected] www.thamesandhudson.com Distributed in the USA & Canada by: Ingram Publisher Services Inc. 1 Ingram Blvd. La Vergne TN 37086 USA Tel: +1 866 400 5351 Fax: +1 800 838 1149 Email: [email protected] English Language Support Office AVA Publishing (UK) Ltd. Tel: +44 1903 204 455 Email: [email protected] © AVA Publishing SA 2006 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder. ISBN 978-2-940373-43-7 10 9 8 7 6 5 4 3 Design and text by Gavin Ambrose and Paul Harris Original photography by Xavier Young www.xavieryoung.co.uk Production by AVA Book Production Pte. Ltd., Singapore Tel: +65 6334 8173 Fax: +65 6259 9830 Email: [email protected] All reasonable attempts have been made to trace, clear and credit the copyright holders of the images reproduced in this book. However, if any credits have been inadvertently omitted, the publisher will endeavour to incorporate amendments in future editions. (AVA) Visual Dictionary 3rd TEXT CD070-2/4269 Proof Black vvdd__ffiinnaall__rrll__ffoorr SSGG__000011--005577..qqxxdd 77//22//1100 88::2422 AAMM PPaaggee 33 Gavin Ambrose/Paul Harris The Visual Dictionary of Graphic Design ((AAVVAA)) VViissuuaall DDiiccttiioonnaarryy 22nndd TEXT CCDD00771100--22//44227700 PPrrooooff Black vd_final_rl_for SG_001-057.qxd 10/17/06 11:54 PM Page 4 How to get the most out of this book 4 This book is an easy-to-use reference to the key terms used in graphic design. Each entry comprises a brief textual definition along with an illustration or visual example of the point under discussion. Supplementary contextual information is also included. Key areas addressed in Introduction 6 7 this book are those terms Wa eblocookm teh taot Tprhoev Vidiessu atel xDtuicatli odneafirnyi toiof nGsr aanphdi cv isDueaslign, Tusheiss Fthreen tcehx tp aocscteern t(fsa.r left) commonly used in reference eifnrxo ptmhla ent hkaetei yow naidsr eefrao srw osoofr lmgdr eao pof hfg irtcah pdeh emsiciog arner t acsno. dm pmeortnin teenrmt esn ftoruiensd uf(Aolse rvef tetd)hr. nbisay cpSuitelucader iooty fM ppeya ecsrktsyaclgeoi nuisggh to typography, layout, This volume aims to provide a clear understanding of colour, format, image tshuec hm aasn yit atelircmssa tnhda to balrieq uoeftse,n o mr tihsue sdeidff eorre cnocne fbuestewdeen and artistic movements. an overprint, a surprintand a reverse out. As you might expect, The Visual Dictionary of Graphic Design pecuthxorseoana mvgtreieudpm loeleepsfs s ot v fyrooiapsfrr ou cytgaoh rldmae ee pmshxhipageinlcnraadc nslil aaitenutll igedwo mionoofsres ,kpn, ,artt osnopb drsilo luemldumcuashsctn reaysads uto ectbfh h ytte h hal eeees als clwdeiop iiransdrrgieoescw,ts, raGvhirrseeau tpeoahxrl piidccl e aadvinneicdseeid gsj un aix nnctdcoal mpuilodlmusinsiuttgniro iamnctaseot,dn ea.tsal ltg hoerfs ow,u chgoihcl lhaa, g raeansnd,g emm oeoftraep,hors, toor pphraondsu c&e athcec uhryapteh oteaxnt.d the correct usage of numerals Ade cslieganr wuinlld heerslpta ynoduin tgo obfe tthteer kaeryt icteurlmatse uasnedd f oinrm graalipsheic your ideas and ensure accuracy in the transfer of those ideas to others. Tprphaehergistseou ,w rafiaacsrr,i o tlpnehof.e ts )ta efrerta (otfufarceinsg Tlfheeihfaetitr)su a crsrrecpeshra eyatae. dsdi m(bfaypc lFienr otges pxt taDgees,ign PcdBoeiaclfuoitnuhuirarnesugd sa frnesiadgcth hustohr, oeapslp.r eiomsf atwhreyere Entries are presented in AApex 26 AAppropriation 27 alphabetical order to psyrostveidme. an easy reference Tlehfte apnodin rti gfhotr msterdo kaets t hmee teotp. of a character, such as the ‘A’, where the Tdcinoaetnksoisi gnttnhrgu ecac r ptesiiatveyitcsleeetd. otbyf ypo oSngetru atdphihiony gM t aoyn eirdns sactopilup agly hfi entehgl aiintt gta oop fpa ernonopethrrigeayrt. e aPsn idce txiupmrremedse sidisvi aeac,y (cid:2)see Type Anatomy 259 (cid:2)see Constructivism 64 (AVA) Visual Dictionary 3rd TEXT CD1006-66/ 4255 Proof Black vd_final_rl_for SG_001-057.qxd 10/18/06 12:02 AM Page 5 5 MMedian 160 MMetallic 161 A highly reflective ink or foil with metallic characteristics. Metallic inks are special printing inks, which are outside of the standard gamut of the CMYK or Hexachrome colour spaces. These colours can also be applied to a design through the use of a foil stamp. Pictured is a brochure by SEA Design that features text produced with a metallic foil. A method of reducing the values of an image to remove detail without causing pixelation. (cid:2) (cid:2) see Filters 100 see CMYK 54, Gamut 113 (cid:2) Each page contains a single entry and, where appropriate, a printers’ hand symbol provides page references to other related and relevant entries. 278 279 A timeline of graphic design g helps to provide historical context for selected key moments in the discipline’s development. 1DAmdFtroabmbpicolPfwiTrinioeyeffiruervrri9nraa roa acoinsisveatlt1ds sns1dtvtlatut raeidti etu9itwc hceaaw6itplsrg aero1rioyimWdeiitihcupissndennsti p7atiotsm tbholid etim aleo ethTvctairsln na liodifs,il erilnzio c nsteifsdnt oarbata ond whfywd (tuananoertr, a W1le e lhanogfmdlaedena id9olrah.fe dcud od n e r 1usdrt uaeD twii ahtc .6nlniyttoual ahirraoie.ethD–i tsfnet ncuefZdve d2Deho,cahrgdd rer ü a3aeert dabeayme rtirm)bn,jsd a rloyh e iaoiaoootywctianbcieisnhfnumlthicth seiymsdadtigt ,r.ioethith caosnInehtttntes. 1DDSmasTSfcaPBdoaorsettih9luerocouiimylsem jjt1ovtumelliScou ugee6 nswuh tnrC mmrV,dnis esae hjfa eeedea osldanaamdtnm r iri nab mtrsDip‘se,n dcyt ttl oaht wa hofrahcGgeoeloayh reaes uencettislz b crn eodgRtdiaurhb mydn einerpr lrteedevegwdp ard Rc. e’i oot ,aa mtdl eDifbssoanDe ediyaetnptdtsehvriegioyeegudnlnldas.r. 1CAoicocoRitrabomCnnhehrrfrffluoo9 too fderirmatilm1ensg1aocannu hrins9ssnoukt8nuademei eat2dgsgacnam gur neTh0u.etnetntsu deseiar,i noP otn aicnr-cn trmiwtinsiilgltso icstns iea a-ih ttnent eirv fr loruunitaeo s Idiictr Tmsnrf ssptr m hi Meoemr bytmctret ude wymeo ywohotoorc ps dehseifnvamtbteos recohiesab,jn gvro eedmeatlranitwaict s saaoriuemtc msptinstnskcimoho.oae ta wdyanll.neaaldls, 1BT1rGtBafWotoohe n9h9aarafl na lro1uecru1ofnoe,p l9uh hw9oBws wi naaahsuuianudicneu stunetaso gh.sihddi pr o nUstae napnha orun m1rare usstot9cl teigh iaFhly3othn eciylii3pttrit th s .sd,ee rt wttcaniotti rhottcae We hi esdWncdfoe o tiefarriticonlsolidurtainecgst rneeodf 1HAHmdaetaHgPascfoyetxosl eiu9eeepfrrpocop nsor smor2phdtomcietbntbukgo5agrerrrsetnreeearseribi. remaatr nsstsaetwrdhntp titi tietbs Be a e choaBnigttldti sayeon rgts a ad y ah,e hdUaBt ysaeepdaaotn nae rsg hsn fss wrywiiere eiivdr eeaocwnismiee trdtn megr rh hdutbe elrUs oeeeeilpcolafne vt soe delcrrmeiif,w eaiavgio ntceadntesehnderueneetd s..rcttlasheyle, 1JGTadDnadsdofsSJtpoheid useeeieaaa9iezmroerecssswvctbnr e2in l hdiiioqmofaMi s nggg8e nticiTunn nnnfcefyeaoooaifesi, ,hunprne fdtfn atsceea oeiegroh est tnhdst e l Sgsyar fyudoT tin reon ptaaocbpfs yaatx n ibewd hypoa nppMspot.wod ggoart d ohrfTonP eonries leg yatsamdd mnii aisr)gptcgcapoem,oashuohht po hnrenwulpadititneree ddc-setrhoethdairc eeh odsrai tid taeldecnJotya chinnis h nlpfanhr(iddtta tesnoigrewn.fhseuirseeadg-ssh (AVA) Visual Dictionary 3rd TEXT CD1006-66/ 4255 Proof Black vd_final_rl_for SG_001-057.qxd 10/1/06 7:46 AM Page 6 Introduction 6 Welcome to The Visual Dictionary of Graphic Design, a book that provides textual definitions and visual explanations for some of the more common terms found in the key areas of graphic design and pertinent entries from the wider world of graphic arts. This volume aims to provide a clear understanding of the many terms that are often misused or confused such as italics and obliques, or the difference between an overprint, a surprint and a reverse out. As you might expect, The Visual Dictionary of Graphic Design provides visual explanations, and many of these are examples of commercial work, produced by leading contemporary design studios, to illustrate the correct usage of typographical elements such as the ellipsis, the rules for the handling of problems such as widows, orphans & the hypho and the correct usage of numerals to produce accurate text. (AVA) Visual Dictionary 2nd TEXT CD906-116 / 4255 Proof Black vd_final_rl_for SG_001-057.qxd 9/12/06 3:34 PM Page 7 7 This French poster (far left) uses the text accents. A vernaculartype style is used by Studio Myerscough for this piece of packaging (left). Graphic design communicates through a range of visual devices including montages, collages, metaphors, rhetoric and juxtapositions, all of which, and more, are explained and illustrated. A clear understanding of the key terms used in graphic design will help you to better articulate and formalise your ideas and ensure accuracy in the transfer of those ideas to others. This war poster (facing page, far left) features rhetoric, the art of persuasion. This spread (facing page, left) created by Frost Design features a simple text hierarchy. Pictured right, primary colours and shapes were defining features of the Bauhausschool. (AVA) Visual Dictionary 1st TEXT D906-30 / 4255 Proof Black vd_final_rl_for SG_001-057.qxd 10/1/06 7:46 AM Page 8 8 This poster (right), from typography magazine Fuse, features a distorted, filter- inspired typeface by Brett Wickens. This poster design (far right) by Peter and Paul features typography that has been reversed out. This (facing page) slab serif capital letter was created by Vasava Artworks. Graphic design is a discipline that continues to evolve. The timeline (page 274) shows how changes in technology have dramatically affected communications in the past, and how technological advancement continues to do so. Coupled with this is the ever changing taste and preference of society, which gives rise to numerous schools of thought about how information should be presented. In the twentieth century, for example, the rise of modernism embraced technological advances and adopted cleaner, less adorned forms, and in doing so rejected the decorative nature of design in Victorian times. However, with time, this too changed and postmodernism saw a move away from industrial nature as designers once again embraced more elaborate and softer visual concepts. (AVA) Visual Dictionary 2nd TEXT CD906-116 / 4255 Proof Black vd_final_rl_for SG_001-057.qxd 9/12/06 3:34 PM Page 9 9 (AVA) Visual Dictionary 1st TEXT D906-30 / 4255 Proof Black

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