The Complete Graphic Designer

The Complete Graphic Designer

182

Rights-managed

Stock photography or illustration that is licensed, not

sold, on a case-by-case basis. The designer may use

a licensed image for a certain period of time, for a

certain amount of printed collateral, and at a certain

size. The stock photo house pays a royalty fee to the

photographer or illustrator each time an image is

used, but retains the unlimited right to reproduce and

sell the image.

River

Large spaces between words in consecutive lines of

copy that often occurs in blocks of justifi ed text

Row

The vertically occurring spaces from the top to the bot-

tom of a page or spread in a grid structure.

Saddle stitch

A method of binding by stitching through the centerfold

of nested signatures.

Sans serif

Letterforms that do not have serifs or “feet.”

Secondary color palette

In corporate identity, these are accent colors that may

be used in conjunction with the primary corporate col-

ors. Typically, they are used for backgrounds or other

design elements.

Semiotics

The study of signs and symbols.

Serif

Letterforms that have serifs or “feet.” They are generally

easier to read when used with large amounts of copy.

Sign

Something that stands for something else. A sign is

composed of a signifi ed (the object or thing) and a sig-

nifi er (what is used to represent that thing or object).

Signage

Graphics that help direct a viewer to a destination.

Silk screen

A method of printing where ink is forced through a

stencil adhered to a screen. Also called serigraphy and

screen printing.

Spread

Pages within a bound document that when opened are

side by side.

Stock

Used in reference to illustration or photography that

is readily available for purchase or licensing. These

images are more “generic” looking and available for

anyone to purchase.

Subsidiary brands

Brands where a parent organization has a branded

subsidiary or division.

Symbol

In semiotics, this type of sign is an arbitrary signifi er

that has no apparent resemblance to an object or thing.

It typically has a meaning that must be learned through

culture or experience, such as a biohazard sign.

Target audience

The intended receiver of a visual message.

Thumbnail sketches

Quickly drawn sketches that communicate the de-

signer’s initial brainstorming of a visual solution. These

allow for quick exploration of many variations of an idea

in attempt to weed out the good ideas from the bad.

Tone-on-tone

An effect in which a design element appears to blend

in with the background it is on. The use of blind em-

bossing, spot varnishes, and other fi nishes are ways of

creating this subtle effect.

TB

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