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.
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