"GRAPHIC DESIGN TERMS - THE BASICS"

By Andy Eaton

You’re almost set. The content of your website, e-book, or software is complete. Ready to put together your e-book or software on the market. In order to turn your prospect into buyer, the look of your e-cover is just as important as the content. What to do? If you’re adventurous and seeking the how-to's of self-design below is a short list of graphic design terms you’ll need to know. If you’re considering having your e-cover professionally designed (smart move) the terms below will help you talk intelligently about your project.

Aliasing
Aliasing happens when a computer monitor printer, or graphics file does not have a high enough resolution to represent a graphic image or text. An aliased image has the “jaggies.”

Anti-Aliasing
Anti-Aliasing is smoothing or blending the transition of pixels in an image thus making the edges appear smooth, not jagged.

Banner
A banner is a graphic image placed on a web site as an advertisement. Banners are commonly used for brand awareness and generating sales.

Bevel
A beveled effect to a graphic gives the image a raised appearance by applying highlight colors and shadow colors to the inside and outside edges of the graphic.

Bitmap Image (bmp)
A graphic defined by specifying the colors of dots or pixels that make up the picture. Common types of bitmap graphics are GIF and JPEG

Cast Shadow
A cast shadow creates added emphasis on perspective. Cast shadows can be stretched, rotated, and skewed to create a realistic 3-D effect

CMYK
CMYK stands for the colors Cyan-Magenta-Yellow-Black. In print design colors are defined as a percentage of each of these 4 colors. For example, the color black would be 0-0-0-100. Display devices usually define colors using RGB.

Color Cast
Using a color cast will change the hue of a selected part of an image, while keeping the saturation and brightness intact. Looking at an image with a color is like looking at it through colored glasses.

Dithering
Dithering is combining pixels from a 256-color palette into patterns that approximate other colors. At a distance the eye merges the pixels into a single color. To display a full-color graphic on a 256-color monitor, computers must simulate the colors it cannot display.

DPI
DPI stands for dots per inch. DPI specifies the resolution of an output device, such as a printer.

Drop Shadow
A drop shadow gives an image depth by creating shading offset behind the image.

Duotone
The application of two colors to provide richer tones than a single-color image.

Emboss
Embossing a graphic image adds dimension by making the image appear as if it were carved as a projection from a flat background.

Feathering
Feathering the edge of a graphic gradually diffuses the edge, making the edge look blurry.

Font
A font is a complete set of characters in a specific size and style of type. Some examples are Times New Roman, Arial, and Century.

GIF
GIF stand for graphic Interchange Format. GIF images are the most widely used graphic format on the web. GIF images displays up to 256 colors.

Glow
A glow creates a surrounding highlight of an image. A high radiance creates a soft, subtle, glow and a low radiance creates a hard, bright glow. An example of a bright glow is neon.

Gradient
A gradual transition of colors.

Graphic Backgrounds
The bottom layer on a web page, usually with either a design or color that highlights the copy above.

Grayscale
An application of the color black that simulates a range of tones. Grayscale images have no hue.

Hexadecimal
A numbering system using a base of 16. The first 10 digits are 0-9. The next 6 are A-F. Hexadecimal numbers are used to define colors on the web. For example the color white is hexadecimal #FFFFFF.

Hue
Hue is the actual color of an object. It is measured as a location on a color wheel, expressed in degrees.

JPEG
JPEG is the abbreviation for Joint Photographic Experts Group. JPEG images allow for more colors than GIF images and are usually smaller in size.

Kerning
Kerning is the horizontal spacing between the letters in a word.

Leading
The vertical spacing between lines of text.

Andy Eaton has created a 10 day ecourse, which includes informative articles, training videos, special offer discounts, plus lots more - finally learn to create your own amazing ecover graphics. simply send a blank email to arpgraphicslist@graphicsecretsexposed.com or visit http://www.graphicsecretsexposed.com

Article Source: http://EzineArticles.com/

WIKI PROJECT GRAPHIC DESIGN/ ARTICLE CANDIDATE

Opening Paragraph

Graphic design is a form of communication in which visual information is used to convey a message. Unlike fine art, it is normally used for commercial purposes, to convey a specific and persuasive message to a large audience. Graphic design often incorporates typography and page layout, photography, illustration, dimension|3D design, animation, and branding, but it is not limited to these elements.

Like many forms of communication, graphic design often refers to both the process by which the communication is created, and the final form that it takes.

In its final form, examples of graphic design are everywhere:

• Print Design – magazine & newspaper layout, posters, corporate logos and identity systems (like letterhead and business card design), book & album cover design, package & label design.
• Interactive/Motion Design – Web page layout, Web animation, the design of film/video title sequences, software interface design.

As a process, graphic design is complex and multi-faceted.

Overview

Detail of how graphic design links to other topics such as those described in the opening para, and including clear links to other major topics and important relevant articles in Wikipedia. This may supercede the need for "See also, internal links to other Wiki articles" at the end of this article, which may be closer to the Wiki style (that the dialogue in short paragraphs is sprinkled with links to other articles, rather than point form throughout).

This high level overview may describe how Graphic Design plays a part as a sub-topic within other higher level articles such as Graphic Arts, Communication, Advertising, etc.

Elements of Graphic Design

Graphic design incorporates forms and techniques from a wide variety of visual skills and media. These include:

• Typography - how this element is used in graphic design
• Page Layout - how this element is used in graphic design
• Photography - how this element is used in graphic design
• Illustration - how this element is used in graphic design
• Animation - how this element is used in graphic design
• Themes & Metaphors - how this element is used in graphic design
• Basic Composition - how this element is used in graphic design

The Process of Graphic Design

• Planning - how this works and the function this serves in the process of design
• Problem Solving - how this works and the function this serves in the process of design
• Research - how this works and the function this serves in the process of design
• Conceptualizion - how this works and the function this serves in the process of design
• Mockup - how this works and the function this serves in the process of design
• Layout & Revision - how this works and the function this serves in the process of design
• Production - how this works and the function this serves in the process of design

Principles & Theories of Design

This section should explain the role of graphic design in society, guiding principles, and speculation on the future of graphic design.

The Business of Graphic design

This section should explain how the business of graphic design has evolved, the designer/client relationship, maybe some wage data, the life of a professional designer, how design works within the overal marketing strategy of a company, what kinds of skills a good designer should have, etc.

Notable Designers

We better not snub anyone! This list should link to a seperate page for each designer, but there could maybe be a brief description of their work. A short list to start:

• Otl Aicher
• Saul Bass
• David Carson
• Milton Glaser
• Tibor Kalman
• Barbara Kruger
• Paul Rand
• Paula Scher

• Internal links to other category pages in Wikipedia where lists of designers are being grown.

publisher : http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Graphic_design/article_candidate

THE INTERNATIONAL TYPOGRAPHIC STYLE

Graphic design in the 20th century > Graphic design, 1945–75 > The International Typographic Style

After World War II, designers in Switzerland and Germany codified Modernist graphic design into a cohesive movement called Swiss Design, or the International Typographic Style. These designers sought a neutral and objective approach that emphasized rational planning and de-emphasized the subjective, or individual, expression. They constructed modular grids of horizontal and vertical lines and used them as a structure to regularize and align the elements in their designs. These designers preferred photography (another technical advance that drove the development of graphic design) as a source for imagery because of its machine-made precision and its ability to make an unbiased record of the subject. They created asymmetrical layouts, and they embraced the prewar designers' preference for sans-serif typefaces. The elemental forms of the style possessed harmony and clarity, and adherents considered these forms to be an appropriate expression of the postwar scientific and technological age.

Josef Müller-Brockmann was a leading designer, educator, and writer who helped define this style. His poster, publication, and advertising designs are paradigms of the movement. In a long series of Zürich concert posters, Müller-Brockmann used colour, an arrangement of elemental geometric forms, and type to express the structural and rhythmic qualities of music. A 1955 poster for a concert featuring music by Igor Stravinsky, Wolfgang Fortner, and Alban Berg demonstrates these properties, along with Müller-Brockmann's belief that using one typeface in two sizes (display and text) makes the message clear and accessible to the audience.

The programmatic uniformity of this movement would be widely adopted by designers working in the area of visual identity systems during the second half of the 20th century. Multinational corporations soon adopted the tenets of the International Typographic Style: namely, the standardized use of trademarks, colours, and typefaces; the use of consistent grid formats for signs and publications; the preference for the contemporary ambience of sans-serif types; and the banishment of ornament.

Publisher by : http://www.britannica.com/eb/article-242773/graphic-design

GRAPHIC DESIGN IN-DEPTH

As a graphic designer, you can quickly become a salesperson's best friend. By creating a graphic design label or logo through digital media, you utilize your creative expertise in providing companies with the visual tools that help them sell their product. Digital design creates communication with the consumer through eye-catching and though-provoking advertising. In addition to being creative and adept with graphic design software programs, you will be called upon to create print collateral for a client's sales and marketing needs. Print collateral includes:

• Creative sales brochures
• Visual aids used in presentations
• Web content
• Posters and signs

Growing Industry
Because of the marketing success that digital media has enjoyed in promoting businesses and products, graphic design is growing and generating incredible interest as an industry. While no academic program can guarantee future salary prospects, this is excellent news for entry-level or staff-level graphic designers, who are reported to make an annual salary of $40,000, according to the U.S. Department of Labor Statistics. With high competition for these jobs, it is important to gain as much experience and education in digital media and layout design as possible. Attending a campus-based academic program in digital media means taking classes in computer systems and software development. These classes will provide you with a wide range of graphic design and digital media knowledge.

Sources:
U.S. Department of Labor Designers
"Marketing Collateral": Wikipedia, The Free Encyclopedia

GRAPHIC DESIGN ADVICE

PAPAYAWHIP, PEACHPUFF, OR PERU: GRAPHIC DESIGN ADVICE THAT COULD SAVE YOUR LIFE

By Mike Schultz and John Doerr

Dither n: A state of indecisive agitation: Company management was in a dither about the new round of graphic designs. Everybody had strong opinions on what they liked and didn't like.

Dilatory adj: Tending to postpone or delay: The graphic design process had a dilatory effect on our ability to do anything in marketing besides work on designs. Could this drag out any longer?

Delusion n: Psychiatry. A false belief strongly held in spite of invalidating evidence, especially as a symptom of mental illness: The team seemed under the delusion that choosing between possible brochure trim colors of papaywhip, peachpuff, or peru* would make any difference in marketing results.

* Three actual colors. Who knew?

The Long and Winding Road

When many people think of marketing, they think of ads, logos, taglines, brochures, and (nowadays) websites. It's understandable. Ads and brochures are what we see everyday, and we all have opinions of what we like and don't like.

So when we build new websites, brochures, and logos for our organizations, we scrutinize them with fanatical zeal. Everyone is going to see them and form an opinion about us based on them. They must look…they will look…perfect! (Even if the process of doing so kills us.)

This intense graphic design scrutiny is especially true in service organizations. Why?

• Aggressive, proactive marketing is new to many service industries. Up until a few years ago, marketing was done by answering the phone when it rang.
  
  
• Besides answering the phone, service firms have always put great stock in very nice brochures. Thus, much of the marketing attention was focused on them.
  
  
• Service businesses are run by experts in their field. They are not typically schooled or focused in the more mundane parts of marketing such as new lead generation and retention of existing revenue.
  
  
• The people who deliver the services tend to associate themselves personally with any ad or graphic design that depicts their service. Thus, they identify the quality of the marketing piece as a reflection of the quality of their own work.
  
  
• Service firms are filled with smart people. They all have opinions and, indeed, would consider it a failing if they didn't add intelligent constructive criticism to everything. Graphic design is simply an easy target.

As a result, when a service business decides it's going to ‘really do some marketing' everyone gets overly caught up in the graphic design process.

Pathology of Design Monomania

The same pathology happens over and over. It goes something like this:

• Marketing initiative is kicked off with vigor and enthusiasm
• New design of something—branding, brochures or website—becomes a central component of the marketing effort
• Large group of ‘stakeholders' becomes part of the design review team
• The process takes forever
• People lose energy as the process drags on
• Nobody focuses on the ‘lets get new customers' part of marketing with the same vigor they do when choosing website trim colors

The purpose of marketing—the end prize—should never be anything but the following: Attract and retain profitable customers. All too often we see companies getting so caught up in the visible and sexy part of the marketing process (design, copy), they forget about the important-but-mundane part (lead and revenue generation).

Graphic Design Advice that Could Save Your Life

Here are five pieces of advice that could save your marketing initiatives from the graphic design pit of despair.

1. Keep Your Eyes on the Prize: Is it possible that you should disregard this article and pour over your designs and copy for months, all the way down to the last comma, pixel, and Pantone color? Sure—if you're about to spend tens of millions on an advertising campaign that will create hundreds of millions of impressions.
   
   You can be sure that companies executing campaigns this large are also doing the following: extensive market research, testing each ad for customer response, researching each market, and many other steps before the launch. And they're prepared to turn on a dime if they find new creative that will work better to help them win the prize: attracting and retaining profitable customers.
   
2. Collaborate with Care: Most design processes have too many people involved. In the name of collaboration, companies make the design process muddled and painful. Balance the benefits of collaboration with the knowledge that too many cooks make for bad soup.
   
   
3. Apply Ockham's Razor: 12th century philosopher William of Ockham is famous for a statement known as Ockham's Razor: Plurality should not be posited without necessity. In other words, unless proven otherwise, less is more. Apply this to your creative process by asking yourself questions like:

• Do we need 8 people here when, in the end, the design will be just as good (if not better) with 3 people involved, and we will get finished two months earlier?
  
  
• Do we need another round of design edits in order to help us attract and retain profitable customers, or can we stop now and move on?
  
  
• Do we need more design features such as Flash on our websites and a 6 color processes for our brochures when it won't make a difference to our customers?

Applying Ockham's Razor to the design process will help you save time and money and prevent a good deal of heartache.

4. Don't Rewire the Network Yourself: Let's say you are a sales person and your company is re-planning its technology infrastructure. Would you tell the technologists where to put the wires? Whether to use fiber optics or something else? Whether version 6.3 of one software package is more robust than version 3.2 of another? You'd be laughed out of the room. If the technologists don't do a good job of listening to your business needs and implementing technology that will help serve those needs, get new technology people. Don't try to fix it yourself.
   
   If you are not a designer, ask questions like “We're going to use this at a trade show. Will this help us attract attention and generate leads? How so?” instead of questions like “Don't you think a hunter green would be better?” In the end, if you don't think your designers are doing a good job, get new designers. Don't try to be one of them.
   
   
5. Stop the Insanity: If you find yourself spiraling into design process despair, stand up and say—with Susan Powter vigor—“Stop the insanity!” Either that, or appropriately but clearly engage a discussion about what matters most: getting more revenue. If the current discussion is either overkill or distracting you from that goal, put an end to it. Do what you must to save yourself and your company from wasting time and energy on discussions that won't make a difference in results.

Dither n: A state of indecisive agitation: We don't dither about design. We run the process well, have the right people and skill sets on the team, and make decisions that help leverage graphic design to grow our revenue.

Dilatory adj: Tending to postpone or delay: Others tried to slow us down by distracting us from our marketing goals and focusing too much on superfluous discussions. Their dilatory tactics won't work on us!

Delusion n: Psychiatry. A false belief strongly held in spite of invalidating evidence, especially as a symptom of mental illness: I drank the punch and no longer operate under the delusion that marketing equals graphic design. Marketing equals growing our revenue. Graphic design is a great tool in the process, but not the process itself.

The definitions are the same, but you have the power to change how you use them in a sentence.

ELEMENTS THAT A BROCHURE DESIGN

‘Must-Have’ 6 Elements of an Effective Brochure

by marketing@brochures.com Curry

Most brochures that businesses put out today end up doing little to impact the sales of that business। By applying the 6 must-have elements listed below you will transform you brochure from trash can lining into a powerful sales tool.

1. A Benefit-Filled Headline.

On the cover of most brochures you’ll usually find nothing more than the company name, logo, and maybe a quick slogan like “committed to excellence”. This isn’t horrible, but there is a much better way to enhance your brochure. If you want to turn your brochure into a powerful sales tool you need to grab your prospects attention immediately. You do that through a benefit-loaded headline. A benefit-loaded headline is a headline that clearly and powerfully communicates a desirable benefit that your product or service offers your customers. For example a benefit-loaded headline for a heating and cooling company would be “How the New XYZ System Can Shave $800 Off Your Utility Bill This Year”. This headline is clear, specific, and powerful. If a customer were in the market for a new heating or cooling system this headline would draw the prospect into the brochure.

2. Educational Content.

Prospects read brochures because they want to make the best possible buying decision. Usually when someone reads a brochure, they are hungry for knowledge about your product or service. Make sure your brochure is written in such a way that your prospects will know more about your product or service after they read the brochure than they did before.

3. Unique Selling Proposition (USP).

A USP is something that separates you from your competition. To be ultimately effective you want your brochure to cause prospects to lean toward your company instead of your competitors. Your USP is a statement that either your competitors can’t, or aren’t saying. A popular old USP that you’ll recognize is “Delivered in 30 Minutes or It’s FREE!” This USP was effective because nobody else was saying it.

4. Proof.

Anytime you make a statement regarding the benefits that your product will bring, you need to back that statement up with proof. Testimonials, quotes, charts, graphs, pictures, endorsements, and articles are great ways to prove your claims and cause your prospects to believe what you are saying. Remember that most people are skeptical initially, but you can overcome that skepticism with proof.

5. A Low-Risk Offer.

After a customer has read your USP, your educational content, and your proof, you need to encourage them to take the next step in the buying process. The next step could be to make a purchase, to call for more information, to set an appointment, or whatever. Whatever the next logical step is you need to invite your prospect to take it, and make them feel comfortable about taking it. If you want them to make a purchase, mention a money-back guarantee. If you want them to call for more information, reassure them that they won’t be pressured. You need to try and remove all of the possible barriers that would prevent a person from taking the next step.

Incorporate as many or these design elements as you can to ensure your brochure leads your prospects closer to making a buying decision.

Brett Curry is a Professional Marketing Consultant and Marketing Director for Brochures.com. Brochures.com is the home of top quality, full color brochures, business cards, postcards and more at up to 70% off of retail. http://www.brochures.com marketing@brochures.com