The visual dictionary of graphic design

290 Pages·18.315 MB·English

by  Gavin Ambrose, Paul Harris

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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
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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
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TheVisualDictionaryof Graphic Design
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An AVA Book
Published by AVA Publishing SA
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Distributed by Thames & Hudson (ex-North America)
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© 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: [phone]
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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.
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Gavin Ambrose/Paul Harris
The Visual Dictionary
of Graphic Design
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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
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This volume aims to provide a clear understanding of colour, format, image
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an overprint, a surprintand a reverse out. As you
might expect, The Visual Dictionary of Graphic Design
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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.
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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
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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.
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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.
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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.
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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.
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