Job No:01077 Title:The fundamentals og Graphic Design
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Job No:01077 Title:The fundamentals og Graphic Design
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Proof Page:188
Surprint
A method of reproduction from a single colour
using tints. Not to be confused with a reverse out,
which simply means the reversing out of a colour, or
an overprint.
Symmetry
A grid or layout in which the recto and verso pages
mirror one another. The inner margins of both pages
are the same width as are the outer margins,
providing a balanced visual appearance to the spread.
Thumbnail (previous page)
A collection of small-scale images of a publication’s
pages that enables designers and clients to get an
idea of its visual flow. Thumbnails serve as a ready
reference that can help fine-tune a publication.
Tip-in
A piece of stock bound into a publication. A tip-in
may be used to highlight, separate or organise
different types of information. For example, colour
plates on high-quality stock are commonly tipped into
a publication printed on lower-quality stock.
Trompe l'oeil
An image technique that tricks the eye into seeing
something that is not there. Images can be used to
create and produce different effects, particularly
when it is not immediately obvious that a person is
looking at an image.
Type detailing
Typographic adjustment to produce visually pleasing
and coherent text blocks. Proficient type detailing
can remove rivers of white space, rags (words that
appear to overhang the end of a line), and the
presence of widows and orphans in justified text.
Ty p o g r a m
Type used to visually express an idea by something
more than just the letters that constitute a word.
Characters can be arranged to create basic pictures
and shapes that also carry meaning, for example
‘adddition’.
Typographic colour (shown above)
Type can add colour to a page due to the ink coverage
on the substrate. As different typefaces have
different stroke widths, x-heights, serif styles,
leading, etc, they will colour a page differently.
Garamond
Augustus divinus senesceret cathedras, et
pretosius syrtes adquireret optimus adfabilis
chirographi, ut syrtes incredibiliter frugaliter
amputat Medusa. Perspicax oratori senesceret
agricolae, iam Caesar imputat apparatus bellis,
utcunque vix parsimonia quadrupei spinosus
conubium santet chirographi. Catelli satis
celeriter agnascor adfabilis saburre. Concubine
infeliciter corrumperet adlaudabilis fiducias.
Quadrupei iocari zothecas. Fiducias insectat
fragilis concubine, ut chirographi conubium
santet gulosus quadrupei, quod parsim
Helvetica
Augustus divinus senesceret cathedras,
et pretosius syrtes adquireret optimus
adfabilis chirographi, ut syrtes
incredibiliter frugaliter amputat Medusa.
Perspicax oratori senesceret agricolae,
iam Caesar imputat apparatus bellis,
utcunque vix parsimonia quadrupei
spinosus conubium santet chirographi.
Catelli satis celeriter agnascor adfabilis
saburre. Concubine infeliciter corrumperet
adlaudabilis fiducias. Quadrupei iocari
zothecas. Fiducias insectat fragilis
concubine, ut chirographi conubium
santet gulosus quadrupei, quod parsim
188 The Fundamentals of Graphic Design Appendix
Juxtaposing the Garamond and Helvetica
fonts highlights the difference in their
‘typographic colour’, which is due to their
physical characteristics (stroke and
weight). It is also noticeable that they
occupy different amounts of space even
though they have the same point size.
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Va r nish
A liquid shellac or plastic coating added to a printed
piece after the final ink pass in order to enhance its
appearance, texture or durability by sealing the
surface. A varnish may add a glossy, satin or dull
finish, and can also be tinted to add colour. Varnish
can be applied online or wet as a fifth or sixth colour
during printing on to a wet layer of ink. As the ink and
varnish dry, they absorb into the stock together,
which diminishes the impact of the varnish. Offline
varnishing applies the varnish as a separate pass
once the ink has dried and results in extra glossiness
as less varnish is absorbed by the stock.
Ve r n a c ul a r
The everyday language through which a group,
community or region communicates. Designers draw
on the vernacular by incorporating ‘found’ items,
such as street signs, into their designs and borrowing
slang and other low-culture forms of communication
from different communities and localities.
Visual continuity
Image elements that are grouped together in order
to emphasise a similarity or relationship between
them so that they are viewed and treated in the
same manner.
White space
The empty, unprinted and unused space that
surrounds the graphic and text elements in a design.
Swiss typographer Jan Tschichold (1902–1974)
advocated the use of white space as a modernist
design value, calling it ‘the lungs of good design’,
as it provides breathing space to the various
design elements.
X-height (shown above)
The height of non-ascending lower-case letters of a
given font (such as ‘x’), as measured by the distance
between the baseline and the mean line.
Glossary > Index 189
This example shows the different x-heights of the Garamond and Helvetica fonts even though both are set at the same
point size (140pt).
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