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И информационных технологий»
ENGLISH FOR GRAPHIC DESIGNERS
Учебное пособие
Новосибирск
2018
CONTENTS
1. Contents …………………………………………………………………..…3
2. Предисловие ………………………………………………………………..4
3. Unit 1. Design. Design disciplines ……………………………………….…6
4. Unit 2. Graphic design . The graphic design professions …………………..10
5. Unit 3. The graphic design process ………………………………………..16
6. Unit 4. Formal elements of graphic design ………………………………..21
7. Unit 5.Principles of graphic design ………………………………………..25
8. Unit 6. Color science ………………………………………………………30
9. Unit 7. Some more details of branding ……………………………………35
10. Unit 8. Basic tools ……………………………………………………….. . 40
11. Appendix ………………………………………………………………… .45
1. Graphic design today ……………………………………………………45
2. Graphic design: art or craft? …………………………………………….45
3. The brief ………………………………………………………………...46
4. Color calibration ………………………………………………………...47
5. Main file formats ………………………………………………………..47
6. Naming a brand …………………………………………………………48
7. Resume ……………………………………………………………….…49
8. Portfolio …………………………………………………………………50
9. The job interview ……………………………………………………….51
10. Creative thinking ………………………………………………………52
12. Glossary …………………………………………………………………...53
13. Recommended reading ……………………………………………………5 7
14. Bibliography ………………………………………………………………5 8
ПРЕДИСЛОВИЕ
Учебное пособие “English for Graphic Designers” предназначено для студентов СПО по специальности 54.02.01 Дизайн (по отраслям). Пособие соответствует программным требованиям Федерального государственного образовательного стандарта.
Актуальность создания данного пособия обусловлена недостатком узкоспециализированных учебных изданий по английскому языку для студентов СПО по специальности «Дизайн».
Целью учебного пособия «English for graphic designers» является обучение профессиональному английскому языку студентов специальности 54.02.01 Дизайн (по отраслям) ГАПОУ НСО НКП и ИТ. Пособие предназначено для обучения чтению и переводу текстов профессиональной направленности, письму, говорению, аудированию, а также для овладения специализированной лексикой и закрепления грамматических категорий, изученных в рамках общего курса английского языка. Данное пособие способствует формированию таких компетенций, как способность к поиску, обобщению, анализу, информации, необходимой для эффективного решения профессиональных задач, способность использовать информационно-коммуникационные технологии, способность эффективно работать в коллективе, способность аргументировано и ясно строить устную и письменную речь, способность адекватно переводить аутентичные тексты с английского языка на русский язык. Также пособие направлено на формирование профессионального мировоззрения и профессионального воспитания студентов, обучающихся по специальности Дизайн (по отраслям).
Пособие состоит из 8 частей (Unit). В каждой части обучающиеся знакомятся с набором лексических единиц, необходимых для чтения и перевода текстов профессиональной направленности. При отборе лингвистического материала были приняты во внимание такие характеристики, как профессиональная направленность, актуальность, аутентичность, связность, логичность и смысловая завершенность текстов. Тексты учебного пособия охватывают вопросы, связанные с видами дизайна в целом и графического дизайна в частности, терминологией профессиональной направленности, элементами и принципами графического дизайна, этапами работы над проектом, разработкой логотипов и брендов, цветоведением, основными инструментами графического дизайнера и т.д. Также учебное пособие содержит приложение (Appendix) в виде дополнительных текстов по изучаемым темам и терминологический англо-английский словарь (Glossary).
UNIT 1. DESIGN. DESIGN DISCIPLINES
What is the word “design” associated with? Make a diagram, write a least 5 associations, then compare your diagram with your partner. Do you have different associations?
Design
2. Read, translate, transcribe and learn active vocabulary:
· Design
· to design
· a designer
· design disciplines
· architectural design
· graphic design
· fashion design
· industrial design/ product design
· interior design
· software design
· sound design
· web design
· to create
· to include
· to transfer
· a concept
Match 1-5 with 1-e.
| 1. Design (noun) | a) to make a drawing or plan of something that will be made or built (Longman Dictionary of Contemporary English); |
| 2. to design (verb) | b) a person whose job is to decide how things such as clothes, furniture, tools, etc. will look or work by making drawings, plans or patterns (Oxford Learner's Dictionary); |
| 3. the origin of the word “design” | c) the art or process of making a drawing of something to show how you will make it or what it will look like (Longman Dictionary of Contemporary English); |
| 4. a designer (noun) | d) different types of design; |
| 5. design disciplines | e) derived from the prefix “de” and the Latin verb “signare”, which means “to mark, mark out, or sign”; |
Design disciplines
There are different design disciplines and each discipline has a different set of skills, professional standards, and issues. The word “design” itself is a pretty broadly used term and can apply to everything from fashion and tech to manufacturing and architecture. Let’s consider some of design disciplines.
Architectural design includes drafting plans for houses, buildings, and outdoor spaces. Architectural designers transfer concepts from engineers, architects, and clients into drawings and 3D models.
Graphic design is the process of visual communication and problem-solving through the use of typography, photography and illustration. Common uses of graphic design include corporate design (logos and branding), editorial design (magazines, newspapers and books), way finding or environmental design, advertising, web design, communication design, product packaging and signage.
Fashion design is the art of application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social attitudes, and has varied over time and place.
Industrial design/ product design is a process of design applied to products that are to be manufactured through techniques of mass production. Its key characteristic is that design is separated from manufacture: the creative act of determining and defining a product's form and features takes place in advance of the physical act of making a product, which consists of repeated, often automated, replication.
Interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. Interior design is a multifaceted profession that includes conceptual development, space planning, programming, research, communicating with the stakeholders of a project, construction management, and execution of the design.
Sound design is the art and practice of creating sound tracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It is used in a variety of disciplines including filmmaking, television production, video game development etc.
Web design encompasses many different skills and disciplines in the production and maintenance of websites. The different areas of web design include web graphic design; interface design; authoring, including standardized code and proprietary software; user experience design; and search engine optimization.
A) Make a diagram, write out the key words of every design discipline. Work in pairs.
Design disciplines
B) What design disciplines are you interested in?
C) Tell the group what design disciplines your partner is interested in.
Imagine the situation: you are a representative of any college or university, make a presentation of any design profession for prospective students. Describe the sphere in general, the functions, advantages and disadvantages.
A) Spell the words.
B) Work in pairs, spell 4-5 words from active vocabulary for your partner, write the words spelled by your partner for you, then, check each other.
A) Fill in the gaps in the table. Pay attention to the suffixes. Translate the words.
| Verb | Gerund | Participle 1 | Participle 2 |
| to represent | - | ||
| branding | |||
| promoted | |||
| identifying | |||
| to advertise |
B) What is the difference between gerunds and participles 1?
A) Give the comparative and superlative degrees of comparison of the adjectives. Translate the forms.
E. g.: great – greater – the greatest; powerful – more powerful – the most powerful
many, wide, specific, good, bad, comprehensive, global, global, natural, commercial, educational, cultural, residential, complex, clear, accessible, high.
B) Make your own word- combinations using these forms.
A) Fill in the gaps with the correct form of the verb in Present Simple.
1) Graphic design ____ a form of visual communication used to convey a message or information to an audience. (to be)
2) Powerful graphic design ______ a message with greater meaning. (to imbue)
3) Designers ______ a wide range of communication problems, collaborating with a variety of clients. (to solve)
4) Advertising ______ generating and creating specific visual and verbal messages constructed to inform, persuade, promote, provoke, or motivate people on behalf of a brand or group. (to involve)
5) Branding and identity design ____ similar, but branding __ a broader category. (to be; to be)
6) Environmental design ___ be promotion, information, or identity design in constructed or natural environments. (can)
7) The publication designer ______ content accessible, interprets content to enhance communication, enhances the reader’s experience, creates visual interest, and establishes a voice, character, and structure for a publication. (to make)
B) Make these sentences negative.
What is graphic design?
Graphic design is a form of visual communication used to convey a message or information to an audience; it is a visual representation of an idea relying on the creation, selection, and organization of visual elements. Powerful graphic design imbues a message with greater meaning. “Graphic design is therefore one of the ways in which creativity takes on a visual reality,” according to Professor Alan Robbins. A graphic design solution can persuade, inform, identify, motivate, enhance, organize, brand, rouse, locate, engage, and carry or convey many levels of meaning.
Fill in the table.
| № | Design | Involves | Its applications include |
| 1 | Advertising | generating and creating specific visual and verbal messages | print, television commercials, radio, advertising banner ads, mobile advertising, web commercials, e-marketing etc. |
| 2 | Branding | ||
| 3 | Identity design | ||
| 4 | Corporate communication design | ||
| 5 | Environmental design | ||
| 6 | Information design | ||
| 7 | Interactive or experience design | ||
| 8 | Motion graphics | ||
| 9 | Package design | ||
| 10 | Promotional design | ||
| 11 | Publication design | ||
| 12 | Typographic design |
11. A) Discuss in pairs the following questions.
B) Share with the group.
Nouns
Adjectives
Verbs
Adverbs
A) Use the possessive case for the word combinations.
E. g.: the needs of a customer – the customer’s needs
The solutions of a designer, the solutions of designers, the requirements of the clients, the needs of the audience, the assignment of the art director, the budget of a customer.
B) Make your own sentences using these word combinations.
A) Make general and disjunctive questions for the sentences:
E. g.: Phase 1 of the design process involves orientation.
(G) Does phase 1 of the design process involve orientation?
(D) Phase 1 of the design process involves orientation, doesn’t it?
1) Orientation involves reviewing and evaluating the current graphic design applications, branding.
2) When you analyze, you examine each part of the problem.
3) Advertising ______ generating and creating specific visual and verbal messages constructed to inform, persuade, promote, provoke, or motivate people on behalf of a brand or group. (to involve)
The graphic design process
There are five phases of the design process: orientation, analysis, concepts, design, implementation
PHASE 4: DESIGN DEVELOPMENT
Finally, it’s time to design your solution. Now your design concept takes articulate visual form. For many, this is a nonlinear process, where the steps in the design process vary markedly as a result of the nature of creative thinking and designing. Individual factors or circumstances cause designers to follow different paths with deviations from those paths. For instance, many designers create thumbnail sketches throughout the process to develop concepts, to visualize, and to compose. Some designers start with visual collages; others start with words.
PHASE 5: IMPLEMENTATION
For a graphic design student, execution means either printing one’s solution on a home printer or showing it on-screen to one’s instructor or creating a mock-up of a three-dimensional application, such as a package design. In a professional setting, implementing one’s design solution takes a variety of forms depending on the type of application and whether the application is print, screen-based, or environmental.
Presentation—the manner in which comps are presented to a client or the way work is presented in your portfolio—is important. When presenting to a client, a great presentation can truly enhance your chances of selling your solution.
Debriefing: after a design assignment has ended, some clients and designers find debriefing useful. This involves reviewing the solution and its consequences. It is exceptionally useful to debrief—to examine your finished assignment after it has ended to figure out what went wrong and what went right.
Answer the questions.
1) What does phase 1 of the design process involve?
2) What does the strategy help define?
3) What is a design concept?
4) Why do many designers create thumbnail sketches throughout the process?
5) What can truly enhance your chances of selling your solution?
Fill in the table.
| № | The phase of the design process | Focuses on | designer’s actions |
| 1 | Orientation/ material gathering | ||
| 2 | |||
| 3 | |||
| 4 | |||
| 5 |
10. A) Make a survey in the group, choose the question, ask your group mates, share the results of the survey.
Match 1-5 with 1-e.
| 1. texture | a) the style when line is the predominant element used to unify a composition or to describe shapes or forms in a design; |
| 2. visualizing tool | b) a consistent repetition of a single visual unit or element within a given area.; |
| 3. linear | c) a framework of crisscrossed or parallel bars; |
| 4. pattern | d) a pencil, a pointed brush, a software tool, or any object that can make a mark; |
| 5. grid | e) the actual tactile quality of a surface or the simulation or representation of such a surface quality; |
A) Fill in the gaps with the correct form of the verb “to finish”. Name the tense.
1) He usually _____ his design project on the last Friday of the month.
2) Now he _____ his design project.
3) He already _____ his design project.
4) He _____ his design project 2 days ago.
5) He _____ his design project yesterday when we came.
6) He _____ his design project yesterday by 7 pm.
7) He ______his design project tomorrow.
8) He ______his design project tomorrow at 3 p.m.
9) He ______his design project tomorrow by 3 p.m.
B) Make these sentences negative.
A) Make the sentences passive:
E. g.: They usually recognize a point or dot as being circular.
What is color?
What is pattern?
B) What is the difference between gerunds and participles 1?
C) Make your own word-combinations using these words, dictate them for your partner and let him/her translate them.
D) Make sentences using your partner’s word combinations.
5. Make the sentences plural.
E. g.: When a design is balanced, it tends toward harmony with the viewer feeling level.
Make the sentences active.
E. g.: Balance is created by an even distribution of visual weight.
An even distribution of visual weight creates balance.
1) Visual hierarchy is used by the designer to guide the viewer.
2) The arrangement of visual elements according to importance creates emphasis.
3) The designer determines visual hierarchy.
4) He placed graphic elements at specific positions in a composition according to importance.
5) Size, scale and location aided the contrast.
7. Read and translate the text.
Before we examine the basic principles, let’s understand the role of the format. Format is a term that means two related things. The format is the defined perimeter as well as the field it encloses— the outer edges or boundaries of a design. No matter what shape or type of format, each component of the composition must form a significant relationship to the format’s boundaries. That page, where you make your first mark, not only has all that blank space/white space, but it also has edges to which each mark and graphic element should relate when applying the principles of design.
Balance is stability created by an even distribution of visual weight on each side of a central axis, as well as by an even distribution of weight among all the elements of the composition. When a design is balanced, it tends toward harmony with the viewer feeling level. The average viewer is adverse to imbalance in a composition and reacts negatively to instability. Balance is only one principle of composition and must work in conjunction with the other principles
One of the primary purposes of graphic design is to communicate information, and the principle of visual hierarchy is the primary force for organizing information and clarifying communication. To guide the viewer, the designer uses visual hierarchy, the arrangement of all graphic elements according to emphasis. Emphasis is the arrangement of visual elements according to importance, stressing some elements over others, making some superordinate (dominant) elements and subordinating other elements. Basically, the designer determines which graphic elements the viewer will see first, second, third, and so on.
The designer must determine what to emphasize and what to de-emphasize. It is important to remember that if you give emphasis to all elements in a design, you have given it to none of them; you will just end up with visual chaos.
To establish a visual hierarchy, decide on the importance of the graphic elements that are the component parts (visuals and type) of your design. Create a flow of information from the most important element to the least. There are several means to achieve emphasis:
Emphasis by Isolation
Isolating a shape focuses attention on it (focused attention = more visual weight).
Emphasis by Placement
Placing a graphic element at specific positions in a composition, such as the foreground, the top-left corner, or the center/middle of a page attracts most viewers’ gaze most easily.
Emphasis through Scale
The size and scale of shapes or objects play an important role in emphasis and creating the illusion of spatial depth. Used effectively, the size of one shape or object in relation to another—what we call scale—can make elements appear to move forward or backward on the page.
Emphasis through Contrast
Through contrast—light versus dark, smooth versus rough, bright versus dull—you can emphasize some graphic elements over others. Of course, contrast also depends on and is aided by size, scale, location, shape, and position.
Emphasis through Direction and Pointers Elements such as arrows and diagonals use direction to point viewers’ eyes to where they should go.
Emphasis through Diagrammatic Structures Tree Structures.
By positioning the main or superordinate element at the top with subordinated elements below it in descending order, hierarchical relationships are created. Another tree structure looks similar to a tree trunk with branches; subordinate elements stem out from the main element carried by lines.
In graphic design, a strong and consistent repetition, a pattern of elements can set up a rhythm, similar to a beat in music, which causes the viewer’s eyes to move around the page. Just as in music, a pattern can be established and then interrupted, slowed, or sped up. Rhythm—a sequence of visual elements at prescribed intervals—across multiple-page applications and motion graphics, such as book design, website design, and magazine design, is critical to developing a coherent visual flow from one page to another.
There are many ways to achieve unity where all the graphic elements in a design are so interrelated that they form a greater whole; all the graphic elements look as though they belong together. An ideal layout might be viewed as a composition of graphic elements so unified as a whole that it cannot be described merely as a sum of its parts. Most designers would agree viewers are able to best take in (understand and remember) a composition that is a unified whole.
Fill in the table.
| № | The principle of the design process | The term means | Ways to achieve |
| 1 | Format | ||
| 2 | Balance | ||
| 3 | Visual hierarchy | ||
| 4 | Emphasis | ||
| 5 | Rhythm | ||
| 6 | Unity |
UNIT 6. COLOUR SCIENCE
Nouns
Adjectives
Verbs
Match 1-5 with 1-e.
| 1. value | a) characteristic of a colour formed by different wavelengths of light; |
| 2. colour space | b) a colour’s tendency to move towards or away from grey; |
| 3. saturation | c) the proportion of one thing to another; |
| 4. hue | d) how light or dark a colour is; |
| 5. a ratio | e) a specific organization of colors; |
A) Fill in the verb in the correct form. translate the sentences.
E.g.: I wish we used some different colour here.
I wish we had used some different colour here when we were creating the project.
1) I wish I _____ this element in the design. (to highlight)
2) I wish I _____ it before the print production process. (to check)
3) I wish I _____ responsible for this project. (to be)
4) I wish I _____ use this hue for the design but the client is against it. (can)
5) I wish we _____ your advice, as now we have some problems with the project. (to follow)
B) Make these sentences negative.
E.g.: I wish we didn’t use this colour here.
I wish we hadn’t used this colour here when we’re creating the project.
Answer the questions.
1. How can colour be described?
2) What does hue refer to?
3) What does saturation refer to?
4) What does value refer to?
5) What is colour management?
9. A) Watch the video “What do colours mean in logo design?”.
Learn about the meanings of colors and how they play in integral part in the perception of the logo. While discussing color we touch on the differences between eastern and western cultures and how these can affect the colour choices of brands that are meant to be globally marketed. Fill in the gaps in the table.
| Colour | What does it mean? |
| red | |
| purple | |
| blue | |
| green | |
| yellow | |
| orange | |
| brown | |
| black | |
| white |
B) Look through the questions, then watch the video again and answer them.
1) What colour is the most popular in logo design?
2) What colour is less used in logo design?
3) What colours have the same connotation in Western and Eastern perceptions?
4) What are white, red and black colours linked with in Western culture?
5) What are white, red and black colours linked with in Eastern culture?
10. Write down three logos and discuss with your partner what colours are used there. What do they mean there?
11 Choose any design, present it for the group and describe what elements, principles and colours are used there. What are they used there for?
12. Find some extra information on the topic in the appendix № 4,5.
A) Spell the words.
B) Work in pairs, spell 4-5 words from active vocabulary for your partner, write the words spelled by your partner for you, then, check each other.
A) Fill in the gaps in the tables. Pay attention to the suffixes. Translate the words.
| Verb | Gerund | Participle 1 | Participle 2 |
| to differentiate | |||
| to compete | |||
| to offer | |||
| to own | |||
| to brand |
B) What is the difference between gerunds and participles 1?
A) Fill in the gaps with the correct form of the verb.
E. g.: If I we have branding we will attract more clients in the future.
1) If we ____ with this designer we ____ surely good branding. (to deal, to get)
2) If there ___ a brand strategy there ___ successful branding. (to be, to be)
3) If a company ____ branding its clients ____ easily it among other ones. (to use, to differentiate)
4) If they (not)____ unique benefits they ____ branding. (to offer, need)
B) Make your own sentences using Conditional 1. Exchange with your partner and translate his/her sentences.
A) Fill in the gaps with the correct form of the verb.
E. g.: If I we had branding we would attract more clients.
1) If we ____ with this designer we ____ surely good branding. (to deal, to get)
2) If there ___ a brand strategy there ___ successful branding. (to be, to be)
3) If a company ____ branding its clients ____ easily it among other ones. (to use, to differentiate)
4) If they (not)____ unique benefits they ____ branding. (to offer, need)
B) Make your own sentences using Conditional 2. Exchange with your partner and translate his/her sentences.
A) Fill in the gaps with the correct form of the verb.
E. g.: If I we had had branding we would have attracted more clients last year.
1) If we ____ with this designer we ____ surely good branding. (to deal, to get)
2) If there ___ a brand strategy there ___ successful branding. (to be, to be)
3) If a company ____ branding its clients ____ easily it among other ones. (to use, to differentiate)
4) If they (not)____ unique benefits they ____ branding. (to offer, need)
B) Make your own sentences using Conditional 3. Exchange with your partner and translate his/her sentences.
8. Read, translate the text.
What is branding?
Whether people like it or loathe it, almost every product, service, business, and organization has been branded. Many think of a brand as a proprietary name for a product, service, or group; however, on a more multifaceted level, a brand is the sum total of all characteristics and assets of a brand name product, service, or group that differentiates it from the competition, as well as the perception of the brand by the public. Although many people use the terms visual identity, corporate identity, brand identity, and branding interchangeably, branding is a broader marketing effort than visual identity since it often involves naming, advertising, and promotion. A visual identity is the visual and verbal articulation of a brand or group, including pertinent key graphic design applications, such as logo, letterhead, and business cards, and could include package design, uniforms, signage or environmental design, and corporate communications.
Products, services, groups, and individuals (musicians, celebrities, politicians, among others) depend upon branding to differentiate them in the minds of the public in a highly competitive market. Very few products, services, or groups offer unique benefits, usually offering similar or identical functions as their competitors, a characteristic called parity. Therefore, branding helps differentiate products, services, and groups in a crowded brand world.
Two main verbal differentiators are the brand name, a proprietary name, and the tagline—a slogan or short distinctive phrase used to identify and promote. The main visual identifier is a logo, the cornerstone of a visual identity.
Brand strategy is the core tactical underpinning of branding, uniting all planning for every visual and verbal application. The brand strategy defines the brand’s personality and promise, differentiates the brand from the competition by defining the brand’s positioning, and codifies the brand essence; it is a conceptual plan providing guidelines—for both client management and creative professionals—to drive all brand applications from identity and packaging to advertising.
Every brand or group should possess a core value or quality that can become its construct, a quality or position a brand “owns” against them. Owning a quality, even though others in your category have the same quality, establishes a brand in the audience’s mind as the primary possessor of that quality; it is positioning of the brand in the public’s mind against the competition. For example, although many luxury cars are well engineered and perform well in safety and crash tests, one brand established its construct as great engineering and another brand established its construct as safety. (Can you name them?) A construct relies heavily on how a brand casts itself. Can you think of any brand constructs? When you think of Disney, do you think of fun? Would you purchase a Toyota for its reliability? Is there an energy drink you think is cool to carry around? Do you Bing or Google?
Several factors must be considered when formulating branding and a brand construct:
› Differentiation: distinguished by a unique, consistent visual and verbal presence
› Ownership: the brand or group “owns” or claims an identifiable attribute, a quality, personality, or posture preempting the competition from claiming the same
› Consistency: construct used across media, permitting a consistent brand voice and tone in all verbal and visual communication
› Relevance: branding is based on an insight into the audience and an insight into the brand, making the brand relevant
How a construct can be cast:
› A brand or group symbolizes something: honesty, stability, authenticity, style, originality, safety, reliability, good health, luxury, prosperity, down home goodness, et cetera.
› A brand or group embodies something: ethics, humanitarianism, preservation, coolness, fun, family values, respectability, excitement, energy, novelty, inventiveness, cutting-edge research, a lifestyle, et cetera.
› A group is virtuous and works toward solving a social problem or finding a cure for a disease.
A) Answer the questions.
1) What is branding?
2) What is the difference between branding and brand identity?
3) Why does a company or an individual need branding?
4) What are two main verbal differentiators?
5) What are the functions of the brand strategy?
6) What is brand construct? How can it be cast?
7) What makes branding successful?
B) Make 3 questions on the topic, exchange with your partner and answer.
11. A) VanDusen, Principal of Verhaal Brand Design, a strategic design and branding consultancy in New York. He is an accomplished creative executive and expert in strategic branding, graphic design and creative management.
B) Comment every commandment, what do they mean?
C) Do you agree with these commandments? Discuss it pairs.
D) Can you add any commandment to the list?
UNIT 8. BASIC TOOLS
A) Spell the words.
A scalpel, a stencil, adhesive tape, an electronic tablet, a letraset, a loupe, a stylus
B) Work in pairs, spell 4-5 words from active vocabulary for your partner, write the words spelled by your partner for you, then, check each other.
A) Convert into reported speech.
E.g.: “I don’t often use this cutting rule”.
He said that he didn’t often use that cutting rule.
1) “They are using the rubber mat to protect both the scalpel handler and desk surfaces”.
2) “You will also need styli for the drawing tablets”.
3) “I didn’t buy only a scalpel yesterday.
4) “I can’t find my adhesive tape”.
5) “A stencil is a template of holes that form letters and numbers, which can be drawn through and on to a substrate with a pen.
B) Convert into reported speech.
E.g.: “Where is my stylus?”
C) Convert into reported speech.
E.g.: “Protect the surface using rubber cutting mat”
He told me to protect the surface using rubber cutting mat.
1) “Use a type scale when sketching out a layout to insert type of an approximate size.”
2) “Draw with the pencil 9B.”
3) “Measure angles with a protractor.”
4) “Make cuts of accurate length using a cutting rule.”
5) “Use a type scale when sketching out a layout to insert type of an approximate size.”
Read, translate the text.
Basic tools
Designers have access to various traditional and modern tools that provide great flexibility in the design process and the work results. From hands-on craft-based tools, such as a scalpel and cutting mat, to a personal computer with a drawing tablet, designers can express themselves in any number of ways to experiment and develop a visual idea.
A good quality, rubber cutting mat should be used with a scalpel to stop the blade from sliding; the rubber mat protects both the scalpel handler and desk surfaces; available in rubber or composite vinyl materials. A scalpel is a blade used for cutting stock – an essential tool for the creation of dummies and mock-ups. A cutting rule is a metal ruler that is used to make cuts of accurate length. Cutting rules can be flat or have a raised profile to help keep the cutter’s fingers away from the blade.
Spray mount is an aerosol adhesive used to bond two or more pieces of stock together for the production of mock-ups and dummies. A loupe is a magnifying lens used to check proofs and transparencies. A protractor is a semi-circular tool used to measure angles. Writing ink is a pigment-containing liquid deposited on to paper by a pen or brush. When used for lettering, it can add a vernacular element and immediacy that printed letter forms cannot.
Watercolor is a paint that has water-soluble pigment, which allows its colours to be diluted. Marker pens have their own supply of ink that is deposited on to the stock through a porous tip. Pens are available with different tip shapes although they will commonly have a fine and a thin edge.
Fine line pens that produce various line weights are available. They start from 0.25mm and get progressively thicker to provide for different drawing and sketching needs. Designers use different types of adhesive tape for different jobs, such as to mask parts of a design; to fix work to a board; or to temporarily hold structures together. A roller is used in conjunction with a cutting mat and an adhesive for pressing together different sheets of stock to form backed-up prints that are used for dummies.
Scale rules have a measurement scale that present different ratios as a fraction of an inch or millimeter. A type scale is a rule that measures in points (the basic unit used for type), as well as millimeters. Designers may use a type scale when sketching out a layout to insert type of an approximate size. A French curve is a drafting tool used to produce smoothly drawn curves.
A multitude of different papers are available to the designer including tracing paper, watercolor paper that does not crinkle when wet, and sturdy cartridge paper. Pencils contain a graphite core that is used to leave a mark on paper. The intensity of the mark depends on the hardness or softness of the graphite. This is represented by the HB classification system in the UK, ranging from 9B (softest and darkest) to 9H (hardest and lightest). US writing pencils have a number system in which #1 is a B grade, #2 is HB, #3 is H and #4 is 2H.
A stencil is a template of holes that form letters and numbers, which can be drawn through and on to a substrate with a pen. An electronic tablet is drawn upon with a stylus and acts as an interface between the designer and the computer. This offers the freedom of freehand drafting, using different tools for rapid production and editing of drawn images. Letrasets are transfers of typographical characters available in a wide range of fonts.
Pantone swatches are essential to obtain accurate colour printing. Several different swatch books are available, which correspond to different collections of Pantone colours, such as the spot, metallic and pastel swatches shown here. Swatches allow a designer to see colour discrepancies at the design stage rather than when a job is on the press.
A typeface sampler is a swatch book for fonts, which allows a designer to consider a wider range when selecting letterforms for a job. Most designers keep paper swatches containing samples of different stocks for reference and inspiration. A paper swatch contains examples of different types of stock allowing a designer to assess the appropriateness of their visual and tactile qualities for a job.
APPENDIX
Graphic Design Today
The birth of desktop publishing in the mid-I98os changed the face of design forever. Suddenly, designers had access to a faster and cheaper way to create and manipulate graphic material without the need for many resources (material and human) or expensive and complex techniques (such as hand rendering or paste-ups on paper typesetters). Lengthy and sometimes painful apprenticeships were no longer mandatory to be able to work as a designer. Computers embraced a number of traditional techniques, offering instant results and overall efficiency. Production costs dropped, production turnover grew, and computers became a designer's best friend, revolutionizing the industry in the process.
The rigidity of rules in the professional world of graphic design relaxed now that everyone had a computer and Adobe Photoshop installed on it. Richard Niessen from Niessen & de Vries studio complains that unprofessional clients think designers can design a book in a day, and make corrections in a minute, while they wait, on a Sunday afternoon.
"There are no more technical walls behind which we can hide ... Since the clients have color screens and color printers most think in full color. They forget the fact that print work is about reproduction, and that you can play with it. On the other hand: they recognize that what we do is far more creative than whatever they can do in their free time."
The magic is gone. Clients can now ask their little nephews to come up with a quick solution based on their ideas and desires. It makes you exposed to unjustified scrutiny, creates a certain tension in your relations with clients, especially when you're young and inexperienced and you don't really know how (or dare) to confront them
The brief
The brief is the outline of what a client wants to achieve by commissioning a design. Armed with creative thinking tools, personal influences and source material, a designer can respond to a brief and generate creative solutions for it. However, it must be noted that there are two distinct kinds of brief.
Formal
A formal brief is a written document provided to a designer together with supporting reference material detailing a clear set of objectives that are to be met by the design. These criteria can relate to creative aspirations, aesthetic values, brand development, or more tangible goals, such as redesigning a website to convert more hits into sales. The objective could also be less tangible and harder to measure, such as raising a company’s profile. Whatever the aim, having a formal brief allows all parties involved to understand what is intended. It can be referred to during the project to ensure that it is ‘on brief’, meaning the design is being produced according to the brief’s requirements.
Informal
The second type of brief is informal and is often little more than a fleeting conversation or telephone call. In such instances, it is important for the designer to take notes and ask questions in order to get a clear understanding of what is required and why. It is good practice to follow an informal conversation with a letter or email which can be sent to the client to confirm that there is a shared understanding regarding the brief. This also formalises and solidifies the aims and objectives of the project. This briefing method allows the designer to tap into the enthusiasm of the client, which may spark ideas during the conversation.
Colour calibration
Calibration is a process whereby the colour space of a monitor or other piece of equipment is adjusted to be equal to that of a given standard. For example, sRGB (standard RGB) is a device independent, calibrated colour space defined by Hewlett Packard and Microsoft in the 1990s to provide a consistent way to display colour Internet images on computer screens.
Pantone system
The Pantone PMS colour system is one that covers a wide range of different hues, including special, metallic and pastel colours. The Pantone system allocates a unique reference number to each hue and shade to facilitate communication between designers and printers, and to ensure that specific colours are used in a design. Monitors can be calibrated to the Pantone system so that on-screen colours match those in the swatch books.
Monitor
A monitor or screen is a device used to produce images using red, green and blue light. However, monitors need to be calibrated so that they display colours as they would print on an output device.
Printer Different printing devices use different inks, which means that a job will print with slightly different colours depending on the device it is output on. An inkjet will produce different results to a four-colour litho press, which will again differ in result from a six-colour litho press. For this reason, it is necessary to consider how a design will be output so that the colours reproduce as intended.
Websafe colours
Websafe colours are a group of 216 colours considered to be safe for use in the design of web pages. This palette came into being when computer monitors were only able to display 256 colours and were chosen to match the colour palettes of leading web browsers of the time. The websafe colour palette allows for the production of six shades of red, green and blue. This palette has the highest number of distinct colours within which each colour group can be distinguished individually.
Main file formats
There are four main digital image file formats: TIFF (Tagged Image File Format), JPEG (Joint Photographic Experts Group), GIF (Graphic Interchange Format) and EPS (Encapsulated PostScript). TIFFs are mainly used for print. The JPEG file format is used for print as well for screen applications, such as websites. GIFs are for screen use, including animation. Lastly, the EPS file format is used to save multi-channel images from Photoshop, such as duotones and clipping paths (which are not scalable) and for vector graphics that are scalable. Vector files must be saved as EPS to retain their scalability. This format is used for corporate logos as they are easily portable and self-contained, which means they cannot be altered from within desktop publishing programs.
Naming a brand
Naming a brand involves many crucial considerations. What does the name mean? What type of spirit or personality should it convey? How will people react to it? What does the name mean in a specific language across cultures?
As stated earlier, a brand name is the verbal identity—a proprietary name—and coupled with a tagline or descriptor, it becomes the verbal signature. Without question, the brand name is the main point of reference to any brand and is the main verbal marketing tool.
Types of Names
There are several categories of name types that are more or less appropriate for any brand.
› Founder’s name: named for the company’s founder(s), such as Levi’s named for founder Levi Strauss; and Martha Stewart for the brands created by Martha Stewart.
› Explanatory: named to best explain or describe the product or service, such as Toys “R” Us, China Mobile, Burger King, Coca-Cola.
› Expressive or Invented: names that are constructed to have a certain panache or sound, such as Google, Bing, Xerox, Def Jam recordings, Earth Share, Timex, and Intel.
› Allegorical or Symbolic: names that express their nature through an allusion to an allegory or a symbol to represent a brand, such as Nike (named for the Greek goddess of victory), Sirius (named for the sky’s brightest star), Nintendo, Vanguard, and Apple Computers.
› Acronym: a brand name formed from the initials or other parts of several names or words; for example, GE for General Electric, BMW for Bayerische Motoren Werke, KFC for Kentucky Fried Chicken, IBM for International Business Machines.
Name Efficacy
There are many ways to make a brand name effective.
› Distinction: a name that characterizes, distinguishes, and differentiates the brand among its competitors.
› Memorable: a name should be worth remembering and sufficiently engaging. Most say a brand name should be easy to pronounce and spell; however, one could make a case for interest over ease.
› Purposeful: a brand name can be meaningful, adding significance, purpose, or cachet to a product, service, or group. A brand name should communicate the personality of the brand and address its target audience.
› Extendable: a name should be capable of growing and changing with the company and possible brand extensions.
› Long-lasting: a name that endures will be viable for a long time.
› Legally owned: the name or domain should be available to be legally registered, owned, and trademarked. It should not legally infringe on any other trademarked name.
EXERCISE INVENTING A NAME
1. Choose a product or service and invent a brand name for it.
2. The name should be appropriate and communicate the brand’s personality.
3. The name should be memorable.
4. The name could convey the brand’s or group’s functional benefit. Functional benefits are the practical or useful characteristics of a product or service that aid in distinguishing a brand from its competition, such as nutritional, economical, or convenient advantages.
5. The name should have a long life span.
6. If the company is international, the name should reflect its global status.
7. If the brand is international, the name should work for each country in which it is sold.
Resume
This document is crucial. The difficult part about creating one is knowing what to include and what to highlight.
When writing your resume, have in mind that the people who will evaluate it have at least a dozen more to look through in that afternoon. So make it clear, short, and succinct. A handwritten description on a mess of colored papers complete with colorful collages of rainbows and unicorns is unacceptable from professional creative people. No, no, no.
Ideally your CV should not exceed one A4 page, and should clearly represent information about your life (age, place of birth/residence), education (stick to the important bits-no need to get into the details of the paper mache workshop you attended in high school), previous work experience (again, stick to the relevant- think about what will be interesting to the person/ company that receives it), skills (if you have a good hand for drawing or an eye for photography, don't be shy to add them to the usual photoshop/illustrator skill set) and, finally, think about what extra skills you possess.
If you have previous work experience and you're still talking to your ex-boss ask him to write you a letter of recommendation, which you should attach to your resume. This letter outlines briefly what position you held within the company as well as how satisfied they were with your performance and what you contributed to the team, the company, or to overall performance.
Portfolio
You are your first client. Make your portfolio look great. Make it attractive, bursting with genius that spans all the areas in which you are comfortable working. Use it as a visual communication tool (of which you are supposed to be a master). Today, portfolios come in two major formats-an online portfolio and a "classic" physical one filled with tangible examples of your work.
Your portfolio is a marketing tool intended to sell the most valued product you have- you. It is proof of your education and testament to your experience, talent, and ability to resolve visual communication problems.
Be prepared to describe the client, their brief, and how your design worked for them. This allows for a better sales pitch, showing your prospective client more than just an aesthetic quality, but also your ability to negotiate practical aspects of a project, too. You've chosen to apply to a particular company for some reason-you like their work, you think you can grow there- and whatever the reason, now you will need to communicate this to your potential employer.
Customize your portfolio for each studio/agency, if you can. Ask yourself, what type of work does this agency or company do? What projects can I show that best illustrate how I would help their business? Remember, your prospective employer is looking at you as someone who would be working within their existing team, culture, and practices. Which brings us to the importance of personal presentation. Most of the time, if you have been called in, clients are already familiar with your work, so what they are really interested in is you! They want to be able to evaluate your enthusiasm, intelligence, energy and passion, as well as your skills. Be able to tell a story about your work. Be honestly critical about it, as your ability to evaluate work objectively is to your advantage.
Other people's work is more available than ever and browsing through various portfolios involves a risk of (un)intentionally following a certain style or look that is trendy at the time. Your portfolio should display your true values as a designer and apart from flashy personal projects it should contain examples of technical skill as well as commercial work as those are the ones most clients go for.
The Job Interview
Job interviews are tough but they do get easier once you've gone through a few. You should make a point of attending them even if you have already secured another job, as it is a valuable experience that will improve your presentation skills and show you what are interviewers are looking for from you. If you do not get a job, be honest with yourself and examine why you didn't, and try to correct possible errors or improve your work to the level required. Maybe you just need to build your experience before moving on to your dream job?
After hiring around forty designers in the three studios he built, Mark Ury has quite a good idea about the qualities he wants in a designer: "You look for curiosity, language skills, and craftsmanship. Those are the three that matter, and in that order. If they aren't curious, they won't discover things others can't see. If they can't verbalize what they've seen or their ideas on why it's important, they can't sell the solution. And if they don't have the craft skills, they can't deliver what they promised."
Apart from these things you need to learn how to interact with other people, whether they are your colleagues, clients, bosses, or employees. Make sure you demonstrate those skills in the interview. Be polite but persistent and do some research before calling up your prospective employer, office, or agency. It's crucial to know the name of the person with whom you are hoping to get an interview, even if they are not hiring at the moment.
Once you establish contact, send your resume and arrange a meeting. Recheck the meeting schedule a day before, which serves as a reminder and a way to make sure it is still on.
Prior to the interview, organize some presentation materials that will show off your skill and ability to the interviewer. Create yourself a neat set of stationery, such as business cards and branded folders to hold your work. Business cards cost next to nothing, but they can get you places. Without them you will not even get freebies at trade shows. Extra effort put in your presentation materials will not go unnoticed. People have been employed simply for binding their portfolios into neat black little books instead of presenting dull CDs and normal pieces of paper.
Creative thinking
Creative thinking is the ability to stretch beyond the ordinary, to be original, innovative, and flexible in one’s thinking. For example, creating a mnemonic device (a memory aid) is one way to think creatively, connecting unrelated things with a single visual in a design context. For TheHive.com, a new online community of musicians and music fans, Visual Dialogue determined they needed a strong logo to serve as a mnemonic device for what they were about. Other aspects of creative thinking are:
› associative thinking (recognizing commonalities, common attributes)
› metaphorical thinking (identifying similarities between seemingly unrelated things)
› elaboration and modification (working out details and being able to propose alterations)
› imaginative thinking (forming images in one’s mind and imagining the unlikely
Certain characteristics are markers of creative thinking:
› Courage: Fear quashes creative risk taking and supports playing it safe. Courage coupled with intellectual curiosity fuels creativity.
› Receptiveness: Being open to different ways of thinking as well as constructive criticism allows you to embrace possibilities and new ideas.
› Flexibility: Not only do an agile mind and flexible personality allow you to keep up with the times, they allow you to bend with the path of a blossoming idea or let go of a path that is not fruitful.
› Being Sharp-eyed: Paying attention to what you see every day (shadows, juxtapositions, color combinations, textures, found compositions, peeling posters, etc.) allows you to see inherent creative possibilities in any given environment, to notice what others miss or do not think noteworthy.
› Seeking and Recognizing Connections: Creative people are able to bring two related or unrelated things together to form a new combination; they arrange associative hierarchies in ways that allow them to make connections that might elude others.
GLOSSARY
A
advertising: the generation and creation of specific visual and verbal messages constructed to inform, persuade, promote, provoke, or motivate people on behalf of a brand or group.
B
audience: any individual or group on the receiving end of a graphic design or advertising solution; the target audience is a specific targeted group of people.
balance: stability or equilibrium created by an even distribution of visual weight on each side of a central axis, as well as by an even distribution of weight among all the elements of the composition.
brand: the sum total of all functional (tangible) and emotional (intangible) assets that differentiate it among the competition.
brand name: the main verbal differentiator for a product, service, or group. brand strategy: the core tactical underpinning of branding, uniting all planning for every visual and verbal application.
branding: the entire development process of creating a brand, brand name, and visual identity, among other applications.
C
composition: the form, the whole spatial property and structure resulting from the intentional visualization and arrangement of graphic elements—type and visuals—in relation to one another and to the format, meant to visually communicate and to be compelling and expressive.
construct: a quality or position a brand “owns” against the composition.
corporate communication design: involves any visual communication applications to communicate internally with employees, create materials for a sales force or other employees, as well as applications used by a corporation or organization to communicate externally with other businesses, the public, stockholders, and customers.
D
design concept: the creative thinking underpinning the design solution. The concept is expressed through the integration and manipulation of visual and verbal elements.
diagram: a graphic representation of information, statistical data, a structure, environment, or process (the workings of something).
point: the smallest unit of a line and one that is usually recognized as being circular; also called a dot.
E
emphasis: the arrangement of visual elements, stressing or giving importance to some visual elements, thereby allowing two actions: information to be easily gleaned and the graphic design to be easily received.
environmental design: promotion, information, or identity design in constructed or natural environments, defining and marking interior and exterior commercial, cultural, residential, and natural environments.
execution: the fulfillment of the concept through physical processes that include the selection and manipulation of materials and/ or software.
F
figure: a definite shape; also called a positive shape.
figure/ground: a basic principle of visual perception that refers to the relationship of shapes, of figure to ground, on a two dimensional surface: also called positive and negative space.
flow: elements arranged in a design so that the viewer’s eyes are led from one element to another, through the design; also called movement.
G
graphic design: a form of visual communication used to convey a message or information to an audience; a visual representation of an idea relying on the creation, selection, and organization of visual elements.
graphic design solution: a design that can persuade, inform, identify, motivate, enhance, organize, brand, rouse, locate, engage, and carry or convey many levels of meaning.
grid: a guide—a modular compositional structure made up of verticals and horizontals that divide a format into columns and margins. It may be used for single-page formats or multipage formats.
H
hue: the name of a color; that is, red or green, blue or yellow.
I
identity design: involves the creation of a systematic visual and verbal program intended to establish a consistent visual appearance and personality—a coordinated overarching identity—for a brand or group; also called brand identity.
L
layout: the visual organization of type and visuals on a printed or digital page; also called spatial arrangement.
lettering: the drawing of letterforms by hand (as opposed to type generated on a computer).
linear: line as the predominant element used to unify a composition or to describe shapes or forms in a design.
logo: a unique identifying symbol that represents and embodies everything a brand or group signifies. It provides immediate recognition; also called a brandmark, mark, identifier, logotype, or trademark.
logotype: a logo that is an identifying mark where the name is spelled out in unique typography; also called wordmark..
M
mock-up: a facsimile of a printed three-dimensional design piece; also called a dummy.
motion graphics: time-based visual communication that integrates visuals, typography, and audio; created using film, video, and computer software; including animation, television commercials, film titles, promotional, and informational applications for broadcast media and new media.
P
pace: the rhythm or speed that a publication has, which is achieved by the interaction and dispersion of text and images on a page and throughout its extent.
package design: the complete strategic planning and designing of the form, structure, and appearance of a product’s package, which functions as casing, promotes a brand, presents information, and becomes a brand experience.
pattern: a consistent repetition of a single visual unit or element within a given area.
production: usually defined as preparing the electronic file, collecting and scanning all needed photographs and/or illustrations, then proofreading (with or without the client) and working with the printer.
promotional design: intended to introduce, promote, or sell brands (products and services), ideas, or events and to introduce or promote groups, not-for-profit organizations, and social causes.
publication design: involves the design of editorial content for print or screen; also called editorial design and book design.
R
repetition: occurs when one or a few visual elements are repeated a number times or with great or total consistency.
rhythm: a pattern that is created by repeating or varying elements, with consideration to the space between them, and by establishing a sense of movement from one element to another.
S
saturation: the brightness or dullness of a color; also called intensity or chroma.
scale: the size of an element or form seen in relation to other elements or forms within the format.
shape: the general outline of something.
sharpness: characterized by clarity of form, detail, clean and clear edges and boundaries, saturated color, readable and legible typography, proximate vision, hyperrealism, photorealism, closed compositions, and limited type alignment.
sign: a visual mark or a part of language that denotes another thing.
T
tactile texture: a quality that can be physically touched and felt; also called actual texture.
tagline: catchphrase that conveys the brand benefit or spirit and generally acts as an umbrella theme or strategy for a campaign or a series of campaigns; also called a claim, end line, strap line, or slogan.
text type: type that is 14 points and less is used for setting text; also called body copy.
texture: the tactile quality of a surface or the representation of such a surface quality.
thumbnail sketches: preliminary, small, quick, unrefined drawings of ideas, in black and white or color.
type font: a complete set of letterforms, numerals, and signs, in a particular face, size, and style, that is required for written communication.
typeface: the design of a single set of letterforms, numerals, and signs unified by consistent visual properties. These properties create the essential character, which remains recognizable even if the face is modified by design.
V
value: refers to the level of luminosity— lightness or darkness—of a color.
visual: a broad term encompassing many kinds of representational, abstract, or nonobjective depictions—photographs, illustrations, drawings, paintings, prints, graphic elements and marks, elemental images such as pictograms, signs, or symbols; also called images.
visual hierarchy: arranging graphic elements according to emphasis.
visual identity: the visual and verbal articulation of a brand or group, including all pertinent design applications, such as letterhead, business cards, and packaging, among many other possible applications; also called brand identity and corporate identity.
visual texture: the illusion of texture or the impression of texture created with line, value, and/or color.
visual weight: the illusion of physical weight on a two-dimensional surface.
RECOMMENDED READING
1. Albers Josef: Interaction of Color, reviewed and expanded edition, New Haven, Conn.,Yale University Press, 2006.
2. Dougher Sarah; Plazm: 100 Habits of Successful Graphic Designers, Gloucester, Mass., Rockport Publishers, 2005.
3. Hara Kenya: Designing Design, Baden, Lars Muller Publishers, 2007.
4. Heller Steven; Balance, Georgette: Graphic Design History, New York, Allworth Press, 2001.
5. Heller Steven: Design Literacy: Understanding Graphic Design, 2nd edition, New York, Allworth Press, 2004.
6. Lupton Ellen; Phillips Jennifer C: Graphic Design: The New Basics, New York, Princeton Architectural Press, 2008.
7. Mason Daniel: Materials, Process, Print: Creative Ideas for Graphic Design, London, Laurence King, 2007
8. Millman Debbie: How to Think Like a Great Graphic Designer, New York, Allworth Press: School of Visual Arts, 2007.
9. Muller-Brockmann Josef: Grid Systems in Graphic Design, 4th revised edition, Sulgen, Verlag Niggli, 1996.
10. Olins Wally: The Brand Handbook, London, Thames & Hudson, 2008.
11. Potter Norman: What is a Designer, 4th edition, London, Hyphen Press, 2002.
12. Print Work: An Exploration of Printing Techniques, Hong Kong, Victionary, 2008.
13. Robin Landa. Graphic Design Solutions. Fourth Edition. Cengage Learning. 2011.
14. Shaughnessy, Adrian: How to Be a Graphic Designer without Losing your Soul, New York, Princeton Architectural Press, 2005.
15. Sherin Aaris: SustainAble: A Handbook of Materials and Applications for Graphic Designers and their Clients, Beverly, Rockport Publishers, 2008.
BIBLIOGRAPHY
1. Касаткина Т.Ю. English for Design Students: учеб. пособие. Ижевск: Издво «Удмуртский университет», 2013. 145 c.
2. Виссон Л. Русские проблемы в английской речи. Слова и фразы в контексте двух культур. Пер. с англ. Изд. 3-e.Москва.: Р.Валент, 2005. 192 с.
3. Ana Labudovic, Nenad Vukusic. Field guide: how to be a graphic designer. Rockport Publishers. 2008. 190 p
4. Chris Redston, Gillie Cunningham. Face2Face. Pre-intermediate. CUP. 2000. 162 p.
5. Gavin Ambrose, Paul Harris. The Fundamentals of Graphic Design. AVA Publishing SA. 2003. 192p.
6. Gavin Ambrose, Paul Harris. The Visual Dictionary of Graphic Design. AVA Publishing SA. 2008. 288 p.
7. Matteo Cossu. 1000 Ideas by 100 Graphic Designers. Rockport. 2009. 321 p.
8. Lupton E. Graphic Design: The New Basics. Princeton Architectural Press, 2008. 247 p.
9. Robin Landa. Graphic Design Solutions. Fourth Edition. Cengage Learning. 2011. 480 p.
10. Stuart Redman. English Vocabulary in Use. Pre-intermediate and Intermediate. CUP. 1997. 269 p.
11. Lupton E. Graphic Design: The New Basics. Princeton Architectural Press, 2008. 247 p.
12. Virginia Evans, Jenny Dooley, Henrietta P. Rogers. Career Paths – Art and Design. Express Publishing.2014. 122 p.
13. Электронный ресурс: https://www.wbdg.org/design-disciplines
14. Электронный ресурс: https://www.youtube.com/user/TastyTuts
15. Электронный ресурс: https://www.youtube.com/user/DigitalTutors
16. Электронный ресурс: https://www.youtube.com/channel/UCd2J-PizcFDxWHBBfRkp38Q/featured
17. Электронный ресурс: https://www.designobserver.com
18. Электронный ресурс: https://www.aiga.org
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