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| A shape that is unrecognizable or distorted from its literal representation. |
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| The result of a material or process such as an ink blot or other uncontrolled marking. |
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| Daily Acts sometimes translated as Daily Public Records were daily official Roman notices posted in public places. An early form of centralized communication that was meant to provide easy access to information so it could be shared. First human interest stories/ |
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| Screen-based or projected colors are light energy, produced from wavelengths of light energy. When equal amounts of Red, Green and Blue light are projected and blend, white is the result. RGB (red, green, blue) are the additive primaries. The absence of all additive color results in black. |
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| The position of visual elements relative to one another so that their edges or axes line up. |
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| Lighting, blocking, look-space, left/right vectors, color, in a film composition. |
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| A compositional strategy that lacks symmetry (see definition) but usually achieves balance through the careful positioning of unlike elements. |
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| Asynchronous sound effects are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. |
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Any individual or group on the receiving end of a communication; the "target audience" is a specific group of people identified as the recipient of the media message. Audience is often delineated by sex, income level, geographic area, political party, level of education or other attributes.
"Audiences negotiate meaning." The audience itself establishes how to de-code a media message and what meaning is taken away. |
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| Designs in balance have the parts of the design arranged in a planned, coherent visual pattern. "Balance" is a concept based on human perception and the complex nature of the human senses of weight and proportion. Humans can evaluate these visual elements in several situations to find a sense of balance. A design composition does not have to be symmetrical or linear to be considered balanced. It is also true that perfectly symmetrical and linear compositions are not necessarily balanced. Asymmetrical or radial distributions of text and graphic elements can achieve balance in a composition. |
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| Media bias occurs in the selection of which events and stories are reported and how they are covered. |
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| Bleed is the part of a printed document that is outside the bounds of the final trimmed size of the piece. It is used to make sure images and other design elements print all the way to the edge of the paper. It is the designer’s responsibility to set up the bleed in a document and an accepted standard is 1/8 to 1/4 of an inch, outside the size of the paper. When placing objects in a document that must go all the way to the edge of the page, make sure they extend to at least thisbleed mark. Photoshop and Illustrator do not have an automatic way to add bleed, so it must be taken into account when setting up the page size. In layout programs such as InDesign, the bleed is set up separately from the actual page size; in other words, the bleed is in addition to the defined page size. |
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| The sum total of all functional (tangible) and emotional (intangible) assets that differentiate a company or organization from all others. |
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| The entire developmental process of creating a brand, brand name, and visual identity for a company, service or organization. |
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| Words that urge the reader, listener, or viewer of a sales promotion message to take an immediate action, such as Write Now, Call, Vote, Buy. A response you want users to complete. The modern "call to action" is the "call to feel". |
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| The means used to transmit a message, including spoken words, print, radio, television, outdoor advertising, social media or the Internet. |
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| Low-key, atmospheric lighting, where intense light comes from natural, ambient sources, thus casting areas into deep shadow. |
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| The perceived intensity of a specific color; Saturation. |
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| The mind's tendency to connect individual elements to produce a completed form, unit, line or pattern in a composition. |
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| CMYK stands for Cyan, Magenta, Yellow and Black (or Key), the colors a printer works with to create most other printed color (ink or toner on paper). This is also known as process color. CMYK is a subtractive color space; in other words, to make white, you take away all the colors. Alternatively, the presence of cyan, magenta and yellow in equal amounts results in Black. |
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| A set of conventional principles and expectations that are considered binding on any person who is a member of a particular group. |
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| A property of light energy; the visible portion of the electromagnetic spectrum. Only with light do we see color. |
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| A wide range of colors can be created by the primary colors of pigment (cyan (C), magenta (M), yellow (Y), and black (K)), or in the RGB color space, Red, Green, Blue projected light. Those colors then define a specific color space. The color "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. |
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| A tool for understanding how colors relate to one another. Range of visible light made into a circle. |
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Oral Tradition- easily updated, easy to loose, not fixed, easily interpreted. organic
Storytellers were generational historians, produced localized versions with environmental filters
Concision. The audience is the content.
Written Tradition- linear, data driven, seems more believable, had caché.
Books served as a metaphor for knowledge. Law, Religious texts- If it is written, it must be true.
Newspapers - local stories, distant stories
Printed Matter - First mass produced product. Portable text- disconnected the public, created intellectualism.
Linear thought… presentation of connected and sequential facts or concepts
Electronic Tradition- fleeting, source is unclear, easily repeated, easily edited. |
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| Also known as comprehensives, these are the step after thumbnails in the creative process. This is usually where the designs are taken into the computer and the details such as backgrounds, color schemes and images are more thoroughly worked out. Comps are the “first draft” of design. Many times designers show several different styles in comps to a client and let the client decide on a look and feel that he or she desires. Then the comps go back to the designer with some feedback and changes from the client and usually several rounds of this feedback process occur. Sometimes the client may ask (or the designer may want to present) mock-ups. |
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| Colors that are opposite one another on the color wheel. Examples Red and Green; Yellow/Purple; Blue/Orange. |
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| The structure, arrangement and organization of elements within the picture plane. A compelling composition takes two-dimensional space and turns it into a 3-dimensional space. |
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| Including only a portion of a message because of the limitations of a particular medium. Information is edited to make it amenable to a particular medium, or amenable to a particular audience. A tenet of media literacy acknowledges that the restrictions of a particular medium determines the quality and quantity of a message being sent. |
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| Media messages are constructions. An audience negotiates or interprets the meaning of a message. |
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| Context governs all of the whys, hows and whats to visual communication. Just as design is a response to a set of needs or problems, context shapes the design response. Without context there cannot be any real design; only art or decoration (neither of which amounts to design.) |
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| Continuance, Continuation |
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| The eye's instinctive tendency to follow a path. The path can be imagined or literal. Part of Gestalt theory. |
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| An editing term in a film composition where one uses consistency and relational "anchors" within the frame to build continuance from cut to cut. Edits become invisible. |
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| Contrast is a fundamental tool of design and artistry. With contrast we can bring emphasis and attract the eye by making something conspicuous. But like every other principle and tool of design and artistry, contrast needs context in order to be most effective. 6 primary kinds of contrast: texture, size, position, color, orientation and shape. |
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| Exchanging thoughts and information; communications between one or more people in the following forms: written spoken, or visual. |
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| Copyright is legal protection your are extended for your intellectual property. You cannot use copyrighted material from others, without written permission from the creator of the material (or from its copyright holder). Material can be protected even if it does not display the © symbol. Even if no mention is made regarding copyright, you must assume that all material from another source is protected. |
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| The level of skill, proficiency and adeptness and or dexterity of the execution. |
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| A written document that outlines and strategizes a design project. Also called a design brief. |
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| An assessment or evaluation of work. |
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| A shared experience, thought or conversation amongst a group creates "culture". |
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| Curvilinear lines or shapes are formed by curves or dominated by flowing edges. |
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| The purposeful subordination of elements in a composition. |
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The scientific study of the distribution and abundance of life and the interactions between organisms and their natural environment.
(Media Ecology) |
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| Music is an example of embodied sound and is considered a "universal language." Music does not need to be decoded to be understood. |
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| Making a specific element stand out or draw attention to the eye. Emphasis can be achieved in design by placing elements on the page or in the frame in positions where the eye is naturally drawn, by using other principles such as contrast, repetition, or movement. Graphic elements gain emphasis through size, visual weight, color, complexity, uniqueness, placement on the picture plane. In music, this is achieved through volume, tone, pitch, etc. |
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| Speech is considered "encoded sound" because language needs to be learned to decode sound made by speech. The perceptual models used to estimate what a human ear can hear are generally somewhat different from those used for music. The range of frequencies needed to convey the sounds of a human voice are normally far narrower than that needed for music, and the sound is normally less complex. |
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Our environment changes according to the conversation and information that surround it. Groups of conversations can be considered "culture". Environment also includes "filters" of information.
"Environment as a processor (filter) of information is propaganda. Propaganda ends where dialogue (discussion) begins." —Marshall McLuahn, The Medium is the Message. |
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| A setting forth of meaning or intent. For a narrative, the exposition is the author's providing of some background information to the audience about the plot, characters' histories, setting, and theme. Exposition provides context. |
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| A basic principle of visual perception and refers to the relationship of shapes on a two dimensional surface. The figure, or positive shape is discerned from the ground or negative shape. The ground is the space between or around the figure. |
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| A way that information is sorted, separated, shortened and or mitigated by a particular "lens". Groups of similar conversations can introduce different sets of filters. |
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| Elements arranged in a design so that the viewer's eyes are led from one element to another, through the design; also called movement. |
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| A font is the complete collection of characters and glyphs, including numbers, symbols, accented characters, punctuation marks, etc. in a given face design. A font also includes the design in various weights, such as bold or italic. |
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| The formal elements of two-dimensional design are line, shape, color and texture. |
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| The range of color that is capable of being output within a particular color space. RGB and CMYK have different gamuts, each has its own range of viewable color. RGB has a wider gamut than CMYK. |
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| Geometric shape is created with straight edges, precise curves and measurable angles, usually constructed from man-made or machine tools. |
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| Psychologists in Austria and Germany developed a school of psychology called gestalt, which attempts to explain human behavior in terms of pattern seeking. Gestalt theory explains how the eye organizes visual experiences and how the brain interprets them. "The whole is more than just the sum of its parts" |
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| A proprietary file format from CompuServe. It is used in web graphics and is best for images that are made of solid colors, like logos. GIFs support transparency (however, pixels are either transparent or opaque, nothing in between) and they can be animated. GIFs are also considered a lossless format–meaning they do not suffer compression artifacts–as long as they do not exceed 256 colors. |
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| Golden Mean / Golden Section / Golden Proportion |
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| Mathematical relationship between elements of a composition. Found in great works of art, architecture, design and nature (such as in the nautilus shell). .618 to 1 ratio; 3/5; 16:9 |
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| A gradient is a fade from one color to another. Gradient are generally either linear (straight) or radial (round, where color fades from the center outwards or vice versa). Gradients are used to add depth or a highlight to a design element, but they can also be used simply to color an object. Gradients also appear in the natural world as in the sky or a landscape as the color or light changes. |
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| A guide or modular compositional structure usually made up of vertical and horizontal segments, dividing a format into columns, rows and margins. It is used to position elements consistently on a page or within a picture plane. |
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| Low-contrast pleasing color combinations. Analogous colors (next to one another on the color wheel) are harmonious and easy to work with. |
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| Agreement within a composition where elements are constructed, arranged and function in relation to each other in a pleasing way. |
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| A typographic or compositional term, hierarchy expresses the organization of content, emphasizing some elements and subordinating others. A visual hierarchy helps readers scan a text, knowing where to enter and exit and how to pick and choose among its offerings. Each level of the hierarchy should be signaled by one or more cues, applied consistently across a body of text. A cue can be spatial (indent, line spacing, placement) or graphic (size, style, color). |
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| The name of a color. Synonymous with color. |
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| A pictorial or symbolic visual that represents an object, action, and concept. An icon resembles the thing it represents and shares some essential quality with it. |
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| Noncontinuous line that the viewer perceives as continuous. |
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| I/A ratio describes the relationship between information and the action a consumer is expected to take. Described as "high" or "low". Localized information, relevant to a consumer is considered to have a high I/A. Information with little relationship to the consumer, where there is little reason to take action, has a low I/A. |
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| Intellectual property consists of anything an individual has written or created and made tangible (it can't just exist in your head). It might be music, text, an illustration, photograph, photographs, sounds, and so on. It must be minimally creative. |
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| We interpret visual objects based on our own experience and memories. |
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| An abbreviation for Joint Photographic Experts Group, the committee that created this file type. The file extension is .jpg. It is best used for photographs or images that have gradients. JPEGs do not support transparency, unlike GIF and PNG, and cannot be animated, unlike GIF. |
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| To pace or position elements close together for contrasting effect in a composition, resulting in a comparison or contrasting relationship. |
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| The visual organization of type and visuals on a printed or digital page. |
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| The movement of a viewer's eye as it scans a composition, also called a directional line or line of movement. |
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Becoming media literate involves:
Understanding the relationship of media form to content.
Knowing the limitations of media forms (what messages fit which mediums).
becoming emotionally detached from the information. |
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| Light reflecting off of a surface. Level of luminosity is shade, tone and tint, all aspects of value. |
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| One sound inhibits the separation of a nearby sound. |
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| The procurement of the best possible placement and price of a piece of media real-estate within any given media. The main task of Media Buying lies within the negotiation of price and placement to ensure the best possible value can be secured for an advertiser. |
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| Study of the interaction of the media elements. To keep a balance or maintain an equilibrium in media messages. |
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Media literacy is the ability to access, analyze, evaluate, and create media.
The mass media serve as a system for communicating messages and symbols to the general populace. |
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| An intermediate venue through which a message is sent and received. Media might include radio, television, outdoor advertising, print (newspaper, magazine, direct mail), blogs. Think of it as a channel or means of general communication, information or entertainment in society. |
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| A close-to-reality rendition of a project. This is often used in packaging design to show how a proposed design would look on a box or other type of package. It is used to give the client/stakeholders a better idea of the final product. It can also be used in web design to show a rough approximation of what the final website would look like in a screen shot of a browser. |
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| Light, medium and dark values of a single color. |
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| A morgue file is the term designers and artists use to describe a personal collection of inspirational material that is built up, covering both research and post-production materials or an inactive job file. Illustrators, artists and designers use the term to describe a collection of clippings, tear sheets, digital files, fabric swatches, photos, etc. that are referenced during the creative process. It's important to organize this material by topic or job (whether in a drawer or in file folders on your computer). |
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| Empty, unused space in a composition. Negative space can be "activated" by strategically using this emptiness. In a sound composition, silence is the equivalent of negative space. |
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| 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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| Organic shape or line has a naturalistic feel, drawn without precision or plan; existing in nature. |
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| An international standardized ink system owned by the Pantone Corporation. Used to identify, specify color so that regardless of situation, colors can be mixed and applied consistently. PMS colors are part of the Pantone Matching System. PMS colors are typically SPOT colors (rather than CMYK) that are used when a specific color is necessary for reproduction. |
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| A consistent repetition of a visual unit within a given area. |
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| Portable Document Format. This file type is often used to send print materials electronically. It is also very useful for web, when there are multi-paged documents, reports, forms, etc. that have been designed in a specific format, which cannot be easily translated into HTML. Note: PDF can be generated through either an Acrobat file, or it can be an “Adobe” PDF file. Adobe is a company and the manufacturer of Acrobat, Photoshop, Illustrator, InDesign and many other programs related to media design and production. Most software applications can now produce a PDF through the export, save as or print to functions. |
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| A schematic way of translating three-dimensional space onto the two-dimensional surface. |
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The media messages most concerned with persuading us are found in advertising, public relations and advocacy. Commercial advertising tries to persuade us to buy a product or service. Public relations "sells" us a positive image of a corporation, government or organization. Politicians and advocacy groups (groups that support a particular belief, point of view, policy, or action) try to persuade us to vote for or support them, using ads, speeches, newsletters, websites, and other means. Some basic persuasive techniques are
Bandwagon: You are urged to do or believe something because everyone else does.
Testimonial: Famous people endorse a product or idea.
Emotional Appeal: Words or images that appeal to the audience's emotions are used. The appeal may be to positive emotions, such as desire for success, or to negative ones, such as fear.
Plain Folks: Ordinary people sell a message. You are to believe that because these people are like you, they can be trusted.
Bribery: This technique tries to persuade us to buy a product by promising to give us something else, like a discount, a rebate, a coupon.
Snob Appeal: This technique suggests that you can be like the expensively dressed, perfectly shaped people who use this product.
Twist: a surprising turn of events in the storyline. |
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| The blank, flat surface of a viewing area, page or two dimensional plane. |
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| Frequency of sound. High (short wavelengths) or low frequencies (long wavelengths). Humans can hear a range of sound between 20 and 20,000 Hz. 20 Hz has very low pitch while 20,000 Hz is a very high pitched sound. Pitch = Hue or color |
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| PIcture ELement. It is the basic digital component that makes up a raster/bitmap image. |
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Definition
The smallest unit of a line. Also called a dot. A line is created by two points, one at each end. In a screen based image, a point is a visible, single pixel of light.
A point is also a unit of measure (in print applications, 72 points equals 1) inch. |
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| Also known as CMYK_ Printing inks are cyan, magenta, yellow and black used to simulate a full range of printed color on paper. |
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| Propaganda is a form of communication that is aimed at influencing the attitude of a community toward some cause or position by presenting only one side of an argument. Propaganda is usually repeated and dispersed over a wide variety of media in order to create the chosen result in audience attitudes. |
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| This indicates the relative visual size and weight of particular graphical elements in a design composition. |
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| Psychological Triggers: designed to take the audience on a mental journey, designed to engage the audience. This journey create a mental energy that drives motivation within the audience. They include Storytelling; Sense of Urgency; Desire to Belong; Human Relationships; Mental Engagement; Specificity: who what when why how; Familiarity and Hope. |
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| A raster or bitmap image is made out of pixels. Raster images are typically photos, but they can also be illustrations that have been turned from vectors into pixels. |
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| Lines or shapes composed of straight lines and angles, usually square corners. |
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| A render is a rendition or draft of a project. When someone talks about render, it can mean the project’s appearance: “It’s a pencil render” means it’s a sketch. A render can also be a draft: “I’m waiting for the 3D model to render” means the computer is calculating the appearance of the model, which can include textures, lighting, transparency, etc. A “final render” is the finished project, ready to be presented, printed or shipped. |
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| Repeating a sequence; having it occur more than a few times. In design, repetition creates visual consistency in page designs, such as using the same style of headlines, the same style of initial capitals, or repeating the same basic layout from one page to another. In music, it can be a unifying element. Excessive repetition (monotony) may lead to boredom and uninteresting compositions. If one cannot avoid excessive repetitions for any reason, do not forget to add some visual breaks and white spaces where eyes can rest for a while. |
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| Representational shapes are recognizable and reminiscent of actual objects. |
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| Red, Green and Blue are projected light, also screen-based light; monitor’s color space. RGB is considered an additive color space, meaning to make white you add all the colors together. The absence of all RGB color is black. |
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Definition
| Successful compositions have an effective ebb and flow. Visual elements such as text and graphics should seem to be paced and patterned. Spacing is an effective application of this principle. Human beings are more comfortable with variation in general. Psychologically, a lack of variation or rhythm of anything (a line, a sound, a situation) can become very boring or static. Adding a little variation at non-specific intervals (every now and again) gives most any composition more appeal. |
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Definition
| Sketches that are larger and more refined than thumbnail sketches and show the basic elements in a design. |
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| The compositional use of a grid that divides the picture plane into 9 compartments. |
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Definition
| The purity, brightness or dullness of a hue or color. |
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| A hue or color with black added. |
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| A two-dimensional element situated on a horizontal and vertical plane. It is usually defined by a closed path or form. |
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| In a sound composition, silence is similar to "negative" space you'd find in a visual composition. Emptiness, absence of sound. Can be quite powerful, and in some cases is just as important as sound. |
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| Volume within a sound mix is created by Foreground- dialogue or encoded sound; Mid-ground- music/embodied sound; Background- texture |
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| Full range of sound is represented in the sound spectrum. Compare to color wheel. Shortest wavelength is violet, longest wavelength is red. Range of sound that humans hear includes 20,000 Hz through 20 Hz. A balanced sound design includes the entire range of the sound spectrum between embodied through encoded. |
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Definition
| The empty, open area between, above, below or within elements in a composition. |
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Definition
| Inks that are not mixed from the four process colors. They are used for items, like logos, that need to be a consistent color no matter how or where they are printed. Any time you add an extra ink to a print job, it increases the price. Metallic inks are also spot colors. Pantone is a color matching system and ink manufacturer/distributor that specializes in supplying spot color printing inks. |
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| The paper stock that a project is printed upon. |
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Term
| Stock (photo or illustration) |
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| Stock refers to something that is pre-made – photos that have already been taken in a variety of general scenarios with a general selection of smiling people, illustrations or icons with a general or abstract theme. Notice the term general here; you probably won’t ever find that perfect image, but it may be close enough and less expensive than staging a photo shoot. Typically there is a charge for the use of stock images. Industry wide, is considered generic and one-size-fits-all. |
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| Graphic organizers in the form of sketches or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, or interactive sequence. |
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| Subtext is an underlying message or content of media which is not announced explicitly but is implicit or becomes something understood by the audience. |
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Definition
| Pigment-based reflective color where light energy is absorbed into an object or surface. The colors we see on the surfaces of objects in our environment are perceived as reflected light or color. The presence of all color in the subtractive model is black. |
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Definition
| An organizational rule where the elements are arranged as two complementary halves reflecting along an axis. Axis can be horizontal, vertical, diagonal or radial |
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| Synchronous sounds are those sounds which are synchronized or matched with what is viewed. |
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| A catchphrase or slogan that conveys the brand benefit or spirit and generally acts a a theme or strategy for a campaign. |
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| Temperature (color or sound) |
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Definition
| The color temperature (hot or cold) of a hue or sound is perceived, not actually seen, through memory or association. |
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| The actual tactile quality of a surface or the simulation or representation of such a surface quality. Visual textures are created, and are illusions of real textures, used to create depth and provide contrast to solid areas of value or color. |
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| Small scale rough sketches of a design concept. They are among the first stages of the creative process. Before thumbnails, designers often collect a design or creative brief, do research and/or word associations and sometimes wire frames as a separate step. Thumbnailing is a process that designers use to quickly illustrate ideas for a design. The longer a designer spends in the thumbnail stage, the more detail that is put into these sketches, the faster the next stage, comps, goes. Thumbnails are to design what an outline is to writing a paper. |
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| The purity or complexity of pitch. Sound "quality" or "timbre" describes those characteristics of sound which allow the ear to distinguish sounds which have the same pitch and loudness. Timbre is general term for the distinguishable characteristics of a tone. Timber = Saturation (color) |
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| A hue with white added. Pink is a tint of red. |
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| What is exchanged between the sender and the viewer such as time, money, attention. |
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| A typeface is the design or look of letters and maybe numbers. It does not include glyph and character variations or weights like bold (think display or ornamental faces such as Grave Ornamental or Willow), and may not even include numbers or upper or lower case letters (obviously it would have to include either upper or lower case letters, but not necessarily both). A typeface also does not mean that a design is complete; many movie title treatments are merely typefaces (only the letters in the title have been created), though some have been developed further into fonts. |
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| The bringing together of two different elements to produce a continuity of purpose. |
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| The lightness or darkness of a color; contrasts between light and dark. Color with a low value is nearly black; color with a high value is pure, highly saturated color. Light, medium, dark are values of a single hue. In sound, loudness = value. |
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| Important and enduring beliefs or ideals shared by the members of a culture about what is good or desirable and what is not. Values exert major influence on the behavior of an individual and serve as broad guidelines in all situations. |
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| Vectors can most readily be recognized as illustrations, particularly from programs like Illustrator. But not all illustrations are necessarily vector-based. Vectors work by defining points and what fills the space between those points in a document and they are stored as mathematical formulas. Vector files (like Illustrator files) are fractions the size of raster files because there is less data needed to create the images. |
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| Human voice is given dominance, usually, in sound design. Voice is generally mixed above other tracks. "Voice-Over" |
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| Voice-over (also known as off-camera or off-stage commentary) is a production technique where a voice which is not part of the narrative is used in a presentation. The voice-over may be spoken by someone who appears elsewhere in the production or by a specialist voice actor. |
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| Both sound and color can be identified by wavelength. |
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| All sounds of the spectrum combined. The combination of all sound at a given power density. White noise is used as a reference in acoustics. The "bias" of the room will reflect deficiencies in sound reproduction. |
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| Areas of a composition devoid of text or graphics. White space includes margins, gutters, space between lines of type, and any other part of the page that is empty. White space is also analogous to "negative space" where "positive space" is defined as images, blocks of text, and other graphical elements. In graphic design, the white space, or negative space, is considered an important element of the overall design. It is used - and evaluated - based on the same criteria as the rest of the elements in the design. White space can add to or detract from the balance, unity, harmony, rhythm, and overall success of a design. White space can give emphasis, contrast, and movement. It can be used for repetition and pattern, and work within various relationships with other elements of the positive and negative spaces in the design. In music it can be thought of as the absence of sound, or the rests between beats. |
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