The Complete Graphic Designer
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.
Large spaces between words in consecutive lines of
copy that often occurs in blocks of justiﬁ ed text
The vertically occurring spaces from the top to the bot-
tom of a page or spread in a grid structure.
A method of binding by stitching through the centerfold
of nested signatures.
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
The study of signs and symbols.
Letterforms that have serifs or “feet.” They are generally
easier to read when used with large amounts of copy.
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).
Graphics that help direct a viewer to a destination.
A method of printing where ink is forced through a
stencil adhered to a screen. Also called serigraphy and
Pages within a bound document that when opened are
side by side.
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.
Brands where a parent organization has a branded
subsidiary or division.
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.
The intended receiver of a visual message.
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.
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.
Provision-Complete Graphic Designer
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