Term
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Definition
| Concept + Form are ingredients that a designer uses to produce a composition that communicates meaning. The replacing between the Concept (idea) and the Form (process/result) produces the Content (meaning) |
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Definition
| A comprehensive idea or generalization that brings diverse elements into a clear relationship |
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| the organization of elements in a composition arranged according to principles that will support the communication of the concept |
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| 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. |
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Definition
| Basic assumptions that guide the design practice |
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Definition
| 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, middle-ground, background. |
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Definition
| the outermost limits of the picture plane. This boundary (rectangle, square, circle) is represented by the edges of the paper of the margins drawn within. |
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Definition
| The shape of a form that serves as a subject in a composition. |
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Definition
| the space surrounding a positive shape or form; sometimes referred to as ground, empty space, field or void |
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Definition
| 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. |
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Definition
| Elements in a composition that share visual qualities (value, hue, saturation, size, interval, shape, texture, etc.) |
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Definition
| 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. |
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Term
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Definition
| 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. |
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Term
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Definition
| occurs 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. |
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Definition
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Definition
| Balance without symmetry. It is possible to achieve balance without symmetry so that the placement of elements of varying |
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Definition
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Definition
| Methods for adjusting the position of objects or text in relation to each other. These are typically left, right, center, top, and bottom. |
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Definition
| 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. |
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Definition
| 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 |
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Definition
| A repeated sequence; occurring more than a few times. In design, repetition can create visual consistency and a sense of unity. |
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Definition
| Unbroken repetition, the repeating of a line, object or symbol |
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Term
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Definition
| Visual rhythm is often punctuated with variations 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. |
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Definition
| Without variety or change, excessive repetition can lead to boredom and uninteresting compositions. |
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Definition
| The space or pauses between elements or activity |
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Definition
| Rate or speed at which data, information, images are being delivered |
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Definition
| relationship between parts of a whole or related units |
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Definition
| Associations of size, related to a constant size, unit of measure, relative whole (such as the human body, or picture plane) |
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Definition
| 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. |
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Definition
| The special attention or importance given to one part of a composition. Emphasis can be achieved through placement, contrast, size, etc. |
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Definition
| The elements or objects on which the viewer's attention is focused |
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Term
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Definition
| Elements that command attention and prevail over other elements |
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Definition
| Objects close to one another are perceived by the viewer to be related or grouped together |
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Term
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Definition
| Whitespace provides visual breathing room for the eye and a contrast to the density of elements in a composition |
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Term
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Definition
| basic components used as part of any composition, independent of the medium |
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Definition
| 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 |
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Term
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Definition
| A 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. |
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Term
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Definition
| Created by the line (contour) or a grouping of points, it is an area that is separate from other areas, defined by its perimeter |
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| Shape that resembles the flowing contours of an organism |
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Definition
| such as circles, triangles or squares often have precise, uniform measurements |
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Definition
| the surface character of a physical material or the illusion of a physical material |
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Definition
| signifies the relative differences of light and dark |
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Term
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Definition
| the set of principles concerned with the qualities of appearance, visual appeal, good taste, and beauty |
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Term
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Definition
Steps in the process of design:
Research> Thumbnails> Roughs> Comps> Production Art> Printed Piece |
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Term
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Definition
Design brief early (often the beginning) statement of design goals
Analysis> Research> Specification (requirements) > Problem solving > Presentation |
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Term
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Definition
| Development > Implementation > Testing |
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Term
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Definition
| 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. |
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Term
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Definition
| Any of all stages in the design process repeated (with corrections made) at any time before, during, or after production |
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Term
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Definition
| gestalt of perception using both a receptively inductive mode of viewing as well as total immersion in the subjects or objects being viewed. All the senses are employed in viewing (sight, smell, hearing, touch, and the kinetic) as well as other 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. |
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Term
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Definition
| Movement from one thing to the next |
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Term
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Definition
| The order in which things happen |
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Term
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Definition
| 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 interative design, interaction with th 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. |
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Term
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Definition
| 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, volume, 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. |
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Term
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Definition
| 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. |
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Term
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Definition
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. |
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Term
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Definition
| analyzes positive and negative forms. |
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Term
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Definition
| examines how two- and three-dimensional forms create a feeling of space. |
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Term
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Definition
| explores the intuitive response of the audience to form, color and texture. |
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Term
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Definition
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. |
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Term
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Definition
consider various ways to create order in space. For example, grid system
is one way to create a sense of harmony and order. |
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Term
| Composition and visual framing |
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Definition
involves deciding what to include in an image and how
elements of an image contrast with one another. |
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Term
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Definition
looks at relationships among design elements, such as proportion, scale,
symmetry and contrast. |
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Term
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Definition
The point serves as the focus of a visual, highlighting or drawing attention to important
information. |
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Term
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Definition
Any mark connecting any two separate points. It can organize, direct, separate or suggest
emotion in a design. |
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Term
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Definition
| A surface or a flat area. |
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Term
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Definition
Images appearing on the page surface are positive, whilst anything appearing further
back in space is negative. Can be referred to as white space when the space between objects is
in a composition. The distance or area between or around things. Separates or unifies highlights
and gives the eye a visual rest. |
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Term
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Definition
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Term
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Definition
| A mirror image-a mirror image about a vertical axis |
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Term
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Definition
Size of something. The dimensional element defined by other elements of design size
relative to art, its surroundings, or in relation to humans. Scale is the size of an element as it
relates to its usual physical size. |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
is also called formal balance because a form (formula) is used. The results
look formal, organized and orderly. |
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Term
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Definition
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Term
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Definition
is typically off-center or created with an odd or mismatched number of
disparate elements. When the left and right sides of the design are unequal it is said to have
asymmetrical balance. Asymmetrical does not necessarily mean unbalanced [informal balance]
and can be more dynamic and exciting. |
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Term
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Definition
| Closeness or distance of individual design elements. |
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Term
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Definition
creates a feeling of wholeness. Unity is usually achieved when the parts complement each
other in a way where they have something in common. Unity can be achieved by use of the
same color, or different tints of it, or using a similar graphic style for illustrations. |
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Term
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Definition
Elements are perceived as either figures [distinct elements of focus] or ground
[the background or landscape on which the figures rest]. |
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Term
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Definition
| Areas of a design devoid of text or graphics. |
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Term
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Definition
Cropping, borders, and margins affect how we perceive
information |
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Term
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Definition
Anything that has height and width. Shapes define objects, attract attention,
communicate ideas and add excitement |
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Term
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Definition
| the order in which the human eye perceives what it sees. |
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Term
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Definition
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. |
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Term
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Definition
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 |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
skids that subdivides a system into smaller parts (modules) that can be
independently created and then used in different systems to drive multiple functionalities. |
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Term
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Definition
| Layers are used in digital image editing to separate different elements of an image. |
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Term
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Definition
Area on which imaging effects or images are applied and placed over or under
an image. |
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Term
| Conceptual thinking/Content analysis of images: |
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Definition
To consider the idea of an image or use
techniques to add meaning to a visual concept. |
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Term
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Definition
| Put the familiar in an unfamiliar setting |
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Term
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Definition
| – the color quality identified by color names, such as “red” |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
Those colors which are created by the mixture of two primary colors in
approximately equal proportions. The secondary colors are orange, violet and green. |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
Red, orange, yellow, (red-violet, yellow-green), warm color tend to advance
in visual space. |
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Term
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Definition
| Violet, blue, green, cool colors recede in space. |
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Term
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Definition
| Hue plus white (or water). |
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Term
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Definition
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Term
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Definition
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. |
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Term
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Definition
| Variations of one hue; variations and values of blues, for example |
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Term
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Definition
or intensity; the relative purity of a color. The more gray mixed in a color, the lower
The intensity or saturation of the color. |
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Term
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Definition
| Color mixed with gray (low intensity) |
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Term
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Definition
| Warmth or coolness; the degree to which how “hot” or “cool” a color is |
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Term
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Definition
color made with pigments, when mixed it becomes darker
Examples: paints, markers, watercolors, colored pencils, printer ink. |
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Term
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Definition
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). |
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Term
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Definition
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) |
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Term
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Definition
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 |
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Term
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Definition
Use of 3 analogous colors and one of its complements in a
composition. Allows for harmony and contrast. |
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Term
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Definition
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 |
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Term
| Tetrad (Double-Complementary) |
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
colors chosen for their emotional impact rather than their fidelity to the
standard color |
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Term
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Definition
| the perceived color of an object under average lighting conditions |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
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). |
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Term
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Definition
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. |
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Term
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Definition
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. |
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Term
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Definition
A brand of color used and created for the universal numerical method of color
communication. |
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Term
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Definition
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. |
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Term
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Definition
is defined as the surface characteristics of a material that can be experienced through
the sense of touch or the illusion of touch. |
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Term
| Simulated or invented texture |
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Definition
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. |
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Term
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Definition
| The linear marks made with a pen or brush or the edge created when two shapes meet. |
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Term
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Definition
A shape is a self contained defined area of geometric (squares and circles), or organic
(free formed shapes or natural shapes). A positive shape automatically creates a negative shape. |
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Term
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Definition
| Size is simply the relationship of the area occupied by one shape to that of another. |
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Term
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Definition
| Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. |
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Term
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Definition
Color is light reflected off objects. Color has three main characteristics: hue or its name
(red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is). |
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Term
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Definition
Balance in design is similar to balance in physics. A large shape close to the center
can be balanced by a small shape close to the edge. Balance provides stability and structure to a
design. It’s the weight distributed in the design by the placement of your elements. |
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Term
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Definition
All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests
calmness, stability and tranquility. Vertical gives a feeling of balance, formality and alertness.
Oblique suggests movement and action. |
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Term
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Definition
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 |
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Term
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Definition
Proximity creates relationship between elements. It provides a focal point.
Proximity doesn’t mean that elements have to be placed together, it means they should be
visually connected in someway. |
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Term
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Definition
Allows us to create order and organisation. Aligning elements allows them to
create a visual connection with each other. |
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Term
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Definition
Repetition strengthens a design by tying together individual elements. It helps to
create association and consistency. Repetition can create rhythm (a feeling of organized
movement). |
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Term
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Definition
Space in art refers to the distance or area between, around, above, below, or within
elements. Both positive and negative space are important factors to be considered in every
design. |
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Term
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Definition
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. |
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Term
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Definition
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Term
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Definition
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Term
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Definition
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. |
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Term
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Definition
study of signs and symbols, their use and interpretation]. It is the study of how meaning is created not what is
created |
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