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61 Cards in this Set

  • Front
  • Back
Graphic Design
Most wide-spread art form.
Art of communication- combines art and technology to communicate messages vital to our daily lives.
Design Process
1. Define the problem and establish objectives.
2. Do the research.
3. Develop your ideas by brainstorming.
4. Analyze your ideas.
5. Implement the final.
Visualization Phase
Part of the design process, in which the overall look and feel of the piece is determined.
Planned arrangement of visual elements organized and prioritized into a cohesive whole.
Good Design Thinking
Developed through investigation, experimentation, and genuine curiosity.
The subject matter or the information to be communicated to the viewer.
The visual aspect of the content-how you chose to say it.
full-sized sketch of the design area detailing its placement of type, images, and color.
A well-developed thought, the primary idea on which your message will be based.
Visual Language
The basic elements of 2D and 3D design:

And how they combine to create:
Making size relationships.
Relative lightness or darkness of an area or object (demension or depth)
Occurs when all the design elements and equally distributed throughout the design. Two types: symmetric and asymmetric
achieved when all the design elements relate to one another and project a sense of completeness
Focal point
the emphasized visual element in a design
Pattern created by repeating elements (also denoted movement of gaze)
used to refer to the viewing order of the elements and to determine the flow of a multi-page publication.
the visual differences in size, shape, and color between the elements to enhance the perception of the message intended.
Gestault Theory
The theory of the pyschological process by which a viewer united disparate design elements into a whole form that is greater than the sum of its parts. (vase or face example)
Principles of Design
Applied Media Aesthetics
-art and life are mutually dependent and interconnected
-a process where we examine media elements and reactions to them
-analysis and synthesis
(analyze and make)
Evaluating art within its context.
Selective seeing
isolating and focusing on particular things we like to stabalize the environment.
Also dictated by event context.
Associative context
Apply our prejudices and experiences to what we see. Also, culture-bound
Medium as a structural agent
Medium content, similar to facial expressions/tone having to do with what you are saying.
Graphic image elements
2D space
3D space
art of designing type.
Has form and function.
Graphic as well as a readable element in design.
Is a visual graphic language when used correctly.
Term used for letters of the alphabet, numbers, and punctuation
The design of the characters.
Force directions
Horizontal (calming)
Vertical (dynamic)
Canting/Tilting (destabalize a scene, make dynamic, or denote stress)
Magnetism of frame
The borders and corners of the frame act like magnets. Exert a pull or force on an object. Attract objects near them.
Attraction of mass
larger the mass, the greater the graphic weight and prominence in the layout.
Asymmetry of the frame
When the 2 sides of the frame seem structurally unequal.
Figure/ground principle
We tend to organize our environment into stable reference points, making background and figure important. They are very subjective.
Psychological closure
Tendency to mentally fill in the gaps of visual info. Need a minimum amount of information from the designer. Closure is used to engage the viewer.
Directional forces with magnitude.
Graphic Vector
Indicated direction, but is abiguous.
Low Magnitude.
Example: a line
Index Vector
Strongly indicated direction.
Ex: arrow, index finger
Motion Vector
Only in time based media, indicates direction created by a moving object.
High magnitude.
Vector directions
Continuing- same direction
Converging- looking at each other
Diverging- looking away from each other
Analyzing layout
1. Information Value
2. Salience
3. Framing
Information Value- Structural Systems
1. Left-right structure
(left: known, right: new)
2. Top-bottom structure
(top: ideal, bottom: real)
3. Center-margin structure
(center: most important)
Signaled by an item's appearing at the top of the layout, limiting left-right movement structure and subverting the conventional given-new structure.
How and which elements stand out.
The ways in which a layout connects or disconnects the elements within.
Relation to balance and unity.
Use lines or frames.
a form of radiant energy.
The key ingradient in visual perception.
orients in space and time and affects our emotions.
The deliberate manipulation of light for a specific communication purpose.
Articulates the environment.
Can only see light as a source or reflected.
Controlling falloff.
Reveal the specific shape and texture of people or things, and location.
Can also create mood.
Attached or cast shadows.
The contrast between the light and shadow of an object and the rate of change from light to shadow.
High contrast= fast falloff
Low contrast= slow falloff
Inner orientation of light
1. establishes mood
2. above/below eye level
3. high-key/low-key
4. Predictive lighting
5. Lighting as a structural agent
Outer orientation of light
1. shows where an object is in relation to other things
2. day or night
3. clock time
4. summer of winter
5. texture (tactile)
Property of light.
Divided into light waves by some object.
Color sensations/attributes
The color itself
The color richness and strength
How light or dark a color appears.
(aka: Value)
Color energy
The relative aesthtic impact a color has on us.
Aspect ratio
Relationship of screen width to height.
Important to understanding the parameters of the screen.
Can change aspect ratio through rearranging space.
Determining the size of an object
1. knowledge of object
2. looking at the relation of the object to screen area
3. looking at the relation of the object to other environmental factors.
4. referencing the object to a human being (BEST reference)
Observe the parts but perceive the whole.
Mentally complete that wich is incomplete based on our experiences.
"Filling in the gaps"
the space between two panels or images.
The pretext of moving images and their presentations.
Allows for fractured time and space.
Types of closure in comics
1. moment-to-moment
-next logical frame, implies motion
2. action-to-action
3. subject-to-subject
-same scene/context, visualize what happens
4. scene-to-scene
-makes transitions
5. aspect-to-aspect
-bypasses time, sets mood
6. non-sequitor
-no apparent relationship, look for meaning