Copyright 2013. Rockport Publishers. All rights reserved.

. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

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Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

The
Graphic Design
Reference &
Specification
Book

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ecification
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under U.S. or applicable copyright law.

The
Graphic
Design
Reference &
Specification
Book

POPPY EVANS AND Aaris Sherin

updated materials provided by irina lee

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Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

Contents
7

introduction

chapter 1:
measurement conversion charts
8
8
8
9
9

Millimeters, Points, and Picas to Inches

Inch Decimals to Inch Fractions
Conversion Formulas
Metric to Imperial Equivalents

chapter 2:
copyright and trademark
10 
standards
10
10
11
11
12
13

Copyright
Public Domain
Transferring Rights
Creative Commons Licensing
Tradmarks and Service Marks
Legal Resources

chapter 3:
proofreading and copywriting
14 
14
15
15
18
18

Proofreaders Symbols
Footnotes
Abbreviation Guide
Hyphenation Guide
Prime Marks and Quotation Marks Guide

chapter 4:
20 imaging and color
20 Image File Formats
22 Halftone Screens
24 Tint Values for Halftone Screens
25 Duotones
26 Finding the Best Scanning Resolution
26 Scaling an Image
27 Standard Digital Image Sizes for Web
27 Standard Ad Unit Guidelines

chapter 5:
28 TYpe
28
28
29
31
33
34
35

Type Basics and Terminology

Categorizing Typefaces
Serif and Sans Serif
Measuring Type
Type Guide
Ways to Identify Typefaces
Text Typefaces

chapter 6: new
58 grid design basics
58
59
59
64
65
66
67

Types of Grids
Anatomy of a Grid
Working with Grids
Typographic Unit Grids
Composite Grids
Modular Grids
Hierarchical Grids

chapter 7:
68 paper
68
69
72
73
74
75
76
76
78
79

North American Sheet Sizes

International, or ISO, Sheet Sizes
Basis Weight Equivalents
Grammage
Caliper, Bulk, and PPI
Basis Weight/Caliper Equivalents
Finishes
Grain
Paper Estimator
Paper Usage Guide

chapter 8:
80 bindings and folds

Standard Binding Types

Which Binding Method Works Best?
Common Fold Styles
Fold Basics
Tolerances for Gatefolds, Barrel, or
Roll Folds

80
82
83
83
85

chapter 9:
86 envelopes and folders

Envelope Construction
Standard Envelope Styles and Sizes
Window Size and Position
International Envelope Sizes
Printing Considerations for Envelopes
Pocket Folder Styles
Printing Considerations for Pocket
Folders

86
87
88
91
92
93
97

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ch
98

98
10
10
10

11
11

12
12

ch
12

12

12
12
12

12
13
13
13

ch
14

14
14
14

14
14
14

ch
14

14
14
15
15
15
15
15

or

es

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ecification
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under U.S. or applicable copyright law.

t?

chapter 10:
98 packaging styles

155 Glossy versus Matte Finishes

157 Proofing Methods

Tray-Style Cartons
Basic Tube-Style Cartons
Basic Closure Types
Folders, Sleeves, and Other Types
of Folding Cartons
111 Set-up Boxes
116 Common Styles of Stock Plastic
Containers
120 Paper Bags
122 Plastic Bags

chapter 14: new

158 greening graphic design

98
101
102
106

chapter 11:
124 postal standards
124 General USPS Mail Classifications and

Requirements

128 Postcard Paper Stock Requirements

128 Thickness Requirements for Flat Mail
129 Rate Classifications and Delivery Time

for Domestic Mail

129 Package Standards for Mailing
131 Extra USPS Services
133 Mail Piece Design Expertise
137 Postal Websites
chapter 12:
140 bar code standards

140 General Standards for UPC Bar Codes

141 Guide to Color-Correct Bar Coding
142 
Reflectance Values of Four-Color

Combinations on Uncoated Stock

145 QR Codes
145 Generating and Reading QR Codes
145 QR Content

158 The Shift Toward Sustainable Practice

160 Sustainable Materials and Production

for Print Design

161 Sustainable Vocabulary

164 Fiber Sourcing and Paper Production
165 Chain of Custody
166 Certifications
169 Paper Production
169 Recycled Paper
170 Paper from Mixed Sources
171 Tree-Free Paper
172 Printing
176 Guide to Environmentally Friendly

Papers

chapter 15: new

178 user experience and interface design
178 User Experience (UX) Design
178 User Interface Design
chapter 16: new
206 standard forms and contracts
184 Creative Briefs Are Strategic Tools
188 Whats Included in a Design Criteria
200 glossary
216 resources and recommended reading
222 process color finder
312 index
320 about the authors

chapter 13:
146 printing and finishing
146 General Guide to Printing Processes
149 Trapping Tolerances
150 Types of Offset Lithography
151 Cutting and Trimming
151 Finishing Techniques
154 Offset Inks
154 Varnishes and Protective Liquid

Coatings

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under U.S. or applicable copyright law.

In

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ecification
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Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

Introduction
Graphic designers and others responsible for preparing printed materials
frequently refer to a variety of diagrams, swatches, templates, conversion
tables, and other resources that help them do their job. However, few
designers have all the resources they need at their fingertips. Those who
work independently, or in small studio environments, often find themselves
wasting time searching the Web or seeking out other sources for the information they need. Others in large studio or agency environments may have
access to a vast library of resources but find themselves spending just
as much time looking through volumes of materials before they find the
information they need.
The Graphic Design Reference and Specification Book is a compilation of
essential informationa reference manual that provides designers with information they need on a daily basis, from consulting a library of type samples,
to identifying a specific font, to checking the style and dimensions of a specific type of envelope, to under-standing when it is appropriate to abbreviate a
state or country name in the acceptable format. Theres even a bibliography at
the end of the book to help, if additional information is needed.
The Graphic Design Reference and Specification Book was created to answer
the questions that designers ask most often and to deliver this information in
a concise, understandable, and easy-to-access way. No frills, no excessjust
bottom-line information to help you produce your projects.

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under U.S. or applicable copyright law.

Chapter 1: Measurement Conversion Charts

m i l l i m e t e r s , p o i n t s , a n d p i c a s to i n c h e s

co

mm points picas inches

1.586 4.513 0.375 116

3.175 9.034 0.75 18
4.763 13.552 1.125 316
6.35 18.068 1.5 14
16

7.938

22.586

1.875

9.525

27.101

2.25

11.113

31.620

2.635

8
16

12.7 36.135 3.011 12

14.288 40.653 3.388 916
15.875 45.169 3.764 8
5

17.463 49.687 4.140 1116

19.050 54.203 4.517 34
21.638 61.566 5.130 1316
22.225 63.236 5.270 78
23.813 67.755 5.646 1516
25.4

72.27

6.022

1 inch

i n c h d e c i m a l s to i n c h f r ac t i o n s

decimals fractions decimals fractions

0.063

1/16

0.531

17

0.094

3/32

0.563

0.125

1/8

0.594

19

0.156

5/32

0.625

0.188

3/16

0.656

21

0.219

7/32

0.688

11

0.250

1/4

0.719

21

0.281

9/32

0.75

0.313

5/16

0.781

25

0.344

11/32

0.813

13

0.375

3/8

0.844

27

0.406

13/32

0.875

0.438

7/16

0.906

29

0.469

15/32

0.938

15

0.5

1/2

0.969

31

1.000

1 inch

the graphic design reference

&

32

16
32

8
32
16
32

4
32
16
32

8
32
16
32

s p e c i f i c a t i o n b o o k

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under U.S. or applicable copyright law.

conversion formulas

1 inch

2.54 centimeters
25.4 millimeters
72.27 points
6.0225 picas

1 foot

30.5 centimeters

1 yard

0.9 meter

1 meter

1.1 yards

1 centimeter

0.03 foot
0.4 inch

1 millimeter

0.0394 inch
2.8453 points
0.2371 pica

1 point

0.0138 inch
0.08335 pica
0.3515 millimeter

1 pica

0.166 inch
4.2175 millimeters
12 points

1 square (sq.) inch

6.45 sq. centimeters

1 sq. centimeter

0.16 sq. inch

1 sq. foot

0.09 sq. meter

1 sq. meter

10.8 sq. feet

1 sq. yard

0.8 sq. meter

1 sq. meter

1.2 sq. yards

1 pound

0.45 kilogram

1 kilogram

2.2 pounds

1 ounce

28.4 grams

1 gram

0.04 ounce

m e t r i c to i m p e r i a l e q u i va l e n t s

25.4 millimeters

1 inch

304.8 millimeters

1 foot

914.4 millimeters

1 yard

Measurement Conversion Charts 9

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Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

Chapter 2: Copyright and Trademark Standards

tr

Tr
on

copyright

Copyright is defined as the exclusive legal right to reproduce, publish, and sell a literary,
musical, or artistic work. Anything that is produced is a copyrighted piece of work as soon
as it is produced if it falls under one of the above categories. In the United States, a work
is under the protection of copyright from the moment it is created until seventy years after
its authors death. During that period, the owner of a copyrighted work owns the rights
to its reproduction, display, distribution, and adaptation to derivative works. (Note that a
work can be copyrighted, but not an idea. Ideas must be patented.) A copyright infringement occurs when somebody copies a copyright protected work owned by someone else
or exercises an exclusive right without authorization.

A copyright notice, strategically placed on literary, musical, or artistic work, serves as a

warning to potential plagiarizers. A copyright notice consists of the word Copyright or
its symbol, , the year the work was created or first published, and the full name of the
copyright owner. Example: 2013 John Doe. For HTML pages, use the HTML number
code &#169; to insert a copyright notice. Example: <p>&#169; 2013 John Doe</p>.
The copyright notice should be placed where it can be easily seen. Placing a copyright
notice on a piece of work isnt absolutely necessary to claim copyright infringement, but it
is in the owners best interest to use this symbol as a warning. Original work can be further protected by registering it with the U.S. Copyright Office:
U.S. Copyright Office

101 Independence Ave. S.E.

Washington, D.C. 20559-6000
(202) 707-3000 or 1-877-476-0778 (toll free)
www.copyright.gov
Registering an artistic work requires filing an application with the Copyright Office and
accompanying it with two visual representations, in printed for digital form, of the work
being registered. There is a $65 (40) nonrefundable fee for paper registration and a $35
(21) non-refundable fee for electronic filing. Application forms can be found online at
www.copyright.gov/forms. The work becomes registered on the date that all the required
elements for registration are received by the U.S. Copyright Office.
public domain

Older artistic creations, which are no longer protected by copyright, fall into a category
called public domain, and can be used by anyone without obtaining permission or paying a fee. Uncredited or anonymous works are no longer protected by copyright beyond 95
years after the date of their publication or 120 years after their creation. Works credited
to an artist or author are no longer protected beyond 70 years after the creators death.

10

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35

ecification
6 Page: 10

Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

transferring rights

Transferring a copyright means granting permission to another to use or publish the work
on a temporary basis. Some common types of transfer rights include the following:
First rights: The work is leased for one use
where it is published for the first time.
One-time rights: The work is leased for one
use, but there is no guarantee that the buyer
is the first to have published the work.
Exclusive rights: The leaser retains the right
to use or publish the work exclusively in
their industry. With an arrangement of this
type, an artistic work that appears in a magazine may not appear in another magazine,
however it could be used on a greeting card.

Reprint rights: The leaser is given the

right to use or publish the work after it has
appeared elsewhere. Also called serial
rights.
Promotion rights: The leaser is given the
right to use the work for promotional purposes. This type of agreement is often
tacked onto another rights contract. For
instance, an agreement with a greeting
card company to use an illustration on a
greeting card would include a promotion
rights clause giving the company the right
to use the same illustration in its promotion of the card.

c r e at i v e c o m m o n s l i s c e n s i n g

Creative Commons is a non-profit organization that provides free copyright licenses to help
creative professionals give others the ability to share, use, or build upon the worked they
have created. A Creative Commons license gives designers the flexibility to share their work
without relegating it to the public domain. The standardized Creative Commons license
allows designers to set up copyright terms based on the conditions of their choice.
What can Creative Commons do for designers?

Designers can use Creative Commons to set up legal notices that permit others to use
their content. For example, a designer can use Creative Commons license to set specific
conditions for use for an infographic designed as a personal project. By using a Creative
Commons license, any person, or organization, can use that specifc infographic, without
permission, as long as the infographic is used in a manner that meets the conditions the
designer outlined in the license.
Creative Commons License Types:

There are six major Creative Commons licenses that can be used when publishing work. At
a minimum each license retains copyright, attributes authorship, applies worldwide and lasts
for the duration of the works copyright.
Attribution (CC-BY)

The most accommodating license type, the Attribution license allows others to distribute,
edit, and improve a designers original work, even for commercial reasons, as long as the
original designer is credited for the original work.

Copyright and Trademark Standards

11

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under U.S. or applicable copyright law.

Attribution Share Alike (BY-SA):

The Attribution Share Alike license type allows others to edit and improve upon a designers
work, even for commercial reasons, as long as the original designer is given credit, and the
new creation is licensed under the same terms.
Attribution No Derivatives (BY-ND)

The Attribution No Derivatives license allows commercial and non-commercial redistribution

as long as the original designer is given credit, and no changes are made to the original
work.

Us
cl
St
on
in
go

Re
Pa

Attribution Non-Commercial (CC-BY-NC)

US

The Attribution Non-Commercial license allows others to edit and improve upon a designers
work non-commercially as long as the original designer is given credit. However, any new
work created from the designers original work will not be licensed under the same terms.

29
Ar
(7

Attribution Non-Commercial Share Alike

The Attribution Non-Commercial Share Alike license allows others to edit and improve upon a
designers work non-commercially as long as the original designer is given credit and any new
work created from the original is licensed under the same terms. Any new work created form
the original must also be non-commercial in use.
Attribution Non-Commercial No Derivatives

The most restrictive of the Creative Commons licenses, Attribution Non-Commercial No

Derivatives allows others to non-commercially redistribute a designers original work. It is
often referred to as free-advertising because it allows others to distribute a designers
work as long as the designer is credited and the work is unchanged.
t r a d e m a r k s a n d s e rv i c e m a r k s

A trademark is a word(s), phrase(s), symbol(s), or design(s) that distinguishes the source

of a product from one originator from those of another. A service mark is the same as a
trademark except that it distinguishes the source of a service. An infringement occurs when
somebody uses or mimics an existing trademark or service mark to represent another
product or service so that others are misled into believing they are purchasing the original
product or service. It is not necessary to register a logo or mark. A user can establish rights
with a mark based on its legitimate use. However, owning a federal trademark registration
has advantages:
1. Providing legal presumption of the registrants ownership of the mark and exclusive right
to use the mark and the ability to bring legal action concerning misuse of the mark.
2. The right to obtain registration in foreign countries and ability to file the U.S. registration
with the U.S. Customs Service to prevent importation of infringing foreign goods.
3. Ability to display notice to the public of claim of ownership through the use of the
symbol.

12

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&

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us

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a
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ecification
6 Page: 12

Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

Users can use the symbols (trademark) and sm (service mark) to alert the public to their
claim of rights to a mark, regardless of whether an application has been filed with the United
States Patent and Trademark Office (USPTO). However, the federal registration symbol can
only be used after the USPTO actually registers a mark and not while an application is pending. The registration symbol can only be used with the mark on, or in connection with, the
goods and/or services listed in the federal trademark registration.
Registering a trademark or service mark requires filing an application with the United States
Patent and Trademark Office.
USPTO at Commissioner for Trademarks

2900 Crystal Drive

Arlington, VA 22202-3514
(703) 308-9000 (Trademark Assistance Center)
uspto.gov/trademarks/teas/index.jsp
legal resources

Although not required, using a private trademark attorney for legal advice in filing an application may help you avoid many potential pitfalls. Additionally, several free legal resources may
be helpful in the process. You may also consult free legal resources pertaining to your specific state of residence.
List of free legal resources

Nolo (nolo.com)
Online library of do-it-yourself legal books and software for simple legal matters.
Voluteer Lawyers for the Arts (vlany.org)
A New Yorkbased organization that offers volunteer legal services to arts organizations and
individual artists nationwide.

Copyright and Trademark Standards

13

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under U.S. or applicable copyright law.

Chapter 3: Proofreading and Copywriting

p ro o f r e a d e r s s y m b o l s

These marks and notations are widely used and understood by editors, proofreaders,
and others involved in writing and producing text. Use them when proofing or editing
a manuscript or proof.
Explanation

Mark

Delete or take out

How Used

fo

No
te
th

*

**

Treasure Island, by Robert Lewiss Stevenson

Insert
Treasure Island, Robert Lewis Stevenson
Let it stand

Treasure Island, by Robert Lewis Stevenson

Close up

Treasure Island, by Robert Lewis S tevenson

Spell out

Treasure Island, by Robt. Lewis Stevenson

Boldface
Treasure Island, by Robert Lewis Stevenson
Italics
Treasure Island, by Robert Lewis Stevenson

ab

W
is
its

Ti

W
M
Us
co
ta

Roman
Treasure Island, by Robert Lewis Stevenson
Correct alignment

Treasure Island, by Robert Lewis Stevenson

Transpose these items

Island Treasure, by Robert Lewis Stevenson

Wrong font

Treasure Island, by Robert Lewis Stevenson

aft

Lowercase
TREASURE Island, by Robert Lewis Stevenson
Uppercase
treasure Island, by Robert Lewis Stevenson
Space
Treasure Island, by Robert LewisStevenson
Period

be

be

aft

ce

ye

we

ho

Ellipsis or leader dots

se
Begin new paragraph

Mo

Em dash

Tu

We
En dash

Th

Fri

Move right

Sa

Move left
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f o ot n ot e s

Notes and footnotes always end with periods, even if they do not form complete sentences. Source lines do not end in periods. Use the following sequence when listing more
than one footnote per page:
*

**

First footnote
Second footnote
Third footnote
Fourth footnote

a b b r e v i at i o n g u i d e

When to abbreviate a word or name and how to abbreviate it will vary, depending on how it
is used. Consult the following categories for usage advice on any given term or name and
its abbreviation.
Time Designations

When designating an hour of the day, use figures for clock time followed by a.m. and p.m.
Midnight, noon, 12:00 midnight, or 12:00 noon are preferred to 12:00 p.m. or 12:00 a.m.
Use AD preceding the year, with no comma (AD 2004); BC following the year, with no
comma (115 BC). Use abbreviations for seconds, minutes, hours, weeks, and months in
tables and charts only. Spell out in all other situations.
Meaning

Abbreviation Meaning Abbreviation

after the birth of Christ

AD or A.D.

January

Jan.

before the birth of Christ

BC or B.C.

February

Feb.

before noon

a.m.

March

Mar.

after noon

p.m.

April

Apr.

century cent.

May May

year

June June

yr.

month mo.

July July

months

mos.

August Aug.

week

wk.

September Sep.

hour

hr.

October Oct.

minute

min.

November Nov.

seconds

sec.

December Dec.

Monday Mon.
Tuesday Tues.
Wednesday Wed.
Thursday Thur.
Friday Fri.
Saturday Sat.
Sunday Sun.
Proofreading and Copywriting

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United States State Abbreviations

When the name of a U.S. state appears as part of a complete mailing address, use the
postal service abbreviation.

un

State
Postal Service
Abbreviation

State
Postal Service
Abbreviation

Alabama AL
Alaska AK
Arizona AZ
Arkansas AR
California CA
Colorado CO
Connecticut CT
Delaware DE
District of Columbia
DC
Florida FL
Georgia GA
Hawaii HI
Idaho ID
Illinois IL
Indiana IN
Iowa IA
Kansas KS
Kentucky KY
Louisiana LA
Maine ME
Maryland MD
Massachusetts MA
Michigan MI
Minnesota MN
Mississippi MS
Missouri MO

Montana MT
Nebraska NE
Nevada NV
New Hampshire
NH
New Jersey
NJ
New Mexico
NM
New York
NY
North Carolina
NC
North Dakota
ND
Ohio OH
Oklahoma OK
Oregon OR
Pennsylvania PA
Rhode Island
RI
South Carolina
SC
South Dakota
SD
Tennessee TN
Texas TX
Utah UT
Vermont VT
Virginia VA
Washington WA
West Virginia
WV
Wisconsin WI
Wyoming WY

United States Territories

Territory
Postal Service
Abbreviation
American Samoa
AS
Federated States of Micronesia FM
Guam GU
Marshall Islands
MH
Palau PW
Puerto Rico
PR
Virgin Islands
VI

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ya

fo

in

to

po

ou

pi

qu

ga

ho

m
1,

ki
1,

ce
1
1

m
1
1

pecification
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Weights and Measures

united states

number and numeral

international

usage

mile

mi.

kilometer

yard(s)

yd.

meter

foot

ft.

centimeter

cm

inch

in.

millimeter

mm

ton(s)

t.

metric ton

pounds

lb.

kilogram

kg

ounces

oz.

gram

pint

pt.

liter

quart

qt.

milliliter

mL

gallon

gal.

British thermal unit

Btu

horsepower

hp.

calorie

cal.

miles per gallon

mpg

hectare

ha

miles per hour

mph

hertz

Hz

Common Prefixes
Prefix

Symbol

Factor

mega-

1,000,000

kilo-

1,000

centi-

milli-

100

1,000

km

Check the following

guidelines for when to
use numerals or spell
out numbers and dates:
In general, spell out cardinal
and ordinal numbers below
10 (four days). Use figures
for numbers 10 and up (15
people) unless they begin
a sentence (fifteen people
entered the house).
Weights, measures, figure
numbers, times, and dates
should always be stated
numerically.
Numbers that would
normally be spelled out
might get confusing in
sequence. Switch to
numerals when stating
more than one numerical
description in sequence
(he filled 12 eight-oz.
glasses).
Add an s to numerals
and dates to pluralize them
(1950s, 70s, B-52s).

Proofreading and Copywriting

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h y p h e n at i o n g u i d e

There are differences in length between the hyphen (-), the en dash () and the em dash
(). An en dash is roughly the width of an n; an em dash is the width of an m. Each has
its proper place in written language.
Hyphen: Use in words that are broken over two lines (pro-ject), fractions (a two-thirds majority), multiple modifiers (part-time employee) or in a compound adjective, verb, or adverb
(Italian-American).
En dash: Use to indicate ranges in a numerical sequence (January 2325, 2001; pages
5366; 12 tbsp of sugar), in other designations of time (MayJune), or when combining
open compounds (MarylandVirginia border).
Em dash: Use as punctuation in place of a semicolon or a colon (The computer industry
was in full bloommany technological methods were well established), or to indicate a
pause of thought, or to precede a quote attribution (Never mistake motion for action.
Ernest Hemingway).
p r i m e m a r k s a n d q u otat i o n m a r k s g u i d e

Prime marks: Use to indicate inches (8" deep dish pizza) and feet (He is 6'2" with green
eyes.) Never use in place of quotation marks or apostrophes.
Quotation marks: Use to indicate opening and closing of a quote (This is a proper use of
quotation marks, she said.) Use single close quote mark as apostrophes for contractions
or possessions (Thats Ethans toy.)
Hanging punctuation: also known as exdentation, is the proper way to treat quotation
marks and bullet points to keep a clean margin of alignment.

Improper typesetting of quotation marks and bullet

points where the punctuation disrupt the body of text
and break the margin of alignment.

18

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&

Hanging punctuation pushes the quotation marks

and bullet points into the margin, thus creating a
clean paragraph of text.

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Proofreading and Copywriting

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Chapter 4: Imaging and Color

u n d e r s ta n d i n g i m ag e f i l e f o r m at s

Digital files can be saved in a number of file formats. For any type of file, the extension
at the end (for example, JohnDoePortrait.raw) indicates the format in which your file
has been saved. Each file format has a purpose. Refer to the chart below for saving and
working with fileswhether you want to use the files for editing, posting online, sharing
via email or printing.
Format

Definition

EPS or .eps

Used for placing images or graphics in documents created in word

processing, page layout, or drawing
programs. Supports both rastered
and vectored data. EPS files can
be cross-platformed, cropped, or
edited.

GIF or .gif
(Graphics
Interchange
Format)

An 8-bit, low-memory option for

posting images online. GIF images
are limited to 256 colors, making
them unsuitable for most print
applications. Ideally suited for the
limited color display range of computer monitors. GIFs are well-suited
for images containing large, flat
areas of one color and are often
used for graphics such as logos
and line art. Commonly used for
Web graphics with a limited color
range rather than photographs.

Because they use

fewer colors, GIF file
sizes are very small,
which makes them
perfect for online
use.

File format designated by the Joint

Photographic Experts Group for
image compression. Because it is a
lossy compression format, image
quality is sacrificed to conserve
disk space. JPEGs are frequently
used for placing imagery in websites and online applications where
high resolution files arent necessary. JPEGs work best for photographs, illustrations, and other
complex imagery.

JPEG has the highest

compression and
therefore offers the
smallest file size.
It is also the most
common file format
and is supported
by almost every
photo-editing or
photo-organization
program.

JPEG or .jpg
(Joint
Photographic
Experts
Group)

20

the graphic design reference

Advantage

&

P
(
D
F

Disadvantage

T
(
I
F

GIF files dont support as many colors

as other types of file
formats.

Unlike RAW and TIFF

formats, a JPEG will
degrade each time
it is saved. This is
known as a lossy
type of compression.

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R
(
v
c
b
e
f
f

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Format

Definition

Advantage

Disadvantage

PDF or .pdf
(Portable
Document
Format)

Used for allowing documents to be

viewed and printed independent
of the application used to create
them. Often used for transferring
printed pages over the Web, either
for downloading existing publications or for sending documents
to commercial printers for output.
Commonly used sharing through
e-mail and over the Internet.

TIFF or .tif
(Tagged
Image File
Format)

Used for placing images or graphics in documents created in word

processing, page layout, or drawing
programs. Supports rasterized data
and converts vectored images to
bits. TIFF files can be cropped or
edited. Similar to EPS, but smaller
file size saves memory over EPS
format.

TIFF supports layered files, which

allows editing
images in software
programs like
Photoshop. TIFFs
retain color information while being
much smaller than
RAW. Can be saved
with minimum compression making it
ideal for printing
large sized highresolution images.

Though smaller
than RAW files, TIFF
files are not small.
Depending on the
resolution of your
camera, files can be
in the 5 to 15MB
range. TIFFs are not
widely supported
by Web browsers,
which makes them
a poor choice for
online use.

RAW
(Extension
varies per
camera
brand. For
example, .nef
for Nikon, .cr2
for Canon)

Professional-grade cameras offer a

couple more compression formats,
like RAW. The RAW file format is
best for archiving because it is the
purest unaltered format available
(retains the most digital information).

No compression has
been applied. Every
bit of information
collected from a
cameras sensor has
been preserved.

RAW image files

can be very large,
upwards of 40 to
50MB per photo
with a high-megapixel camera.

Sometimes referred to as a digital

negative.

Once a RAW image

has been manipulated, a copy has to
be saved in another
form, such as a TIFF
or JPEG.

Imaging and Color 21

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h a l f to n e s c r e e n s

The halftone screens that are used to convert a continuous-tone image to one that can
be printed come in a variety of densities measured by lines per inch (lpi), a term the
industry uses for referring to the size of a screens halftone dot. High screen rulings
of 175 or 200 lpi have more halftone dots per inch and, therefore, smaller dots. Low
screen rulings such as 65 or 85 lpi have larger dots. The size of a halftone dot can
affect an images quality. Those with a high lpi show more detail. However, the choice of
halftone screen is often dictated by the type of paper used. Paper with a low degree of
absorbency, such as coated stocks, tend to resist dot gain or the spreading of halftone
dots in a halftone screen and are suitable for high lpi halftone screens. Printing images
on inexpensive uncoated stocks, such as newsprint, tends to result in dot gain and
requires a halftone screen with a low lpi.

Enlarged halftone screen.

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Shown are some common halftone screens

as applied to the same photograph.

65 lpi screen.

100 lpi screen.

150 lpi screen.

200 lpi screen.

Imaging and Color 23

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t i n t va l u e s f o r
h a l f to n e s c r e e n s

Screen rulings affect the

perception of a screen tint
as well as how overprints
and reverses are perceived
against the tints. Consult
the chart to the right to
get an idea of how a
reverse or overprint will
look against a screened
background.

10%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

20%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

30%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

40%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

A
is
m
pr

Re

50%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

60%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

70%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

80%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

90%

0123456789
0123456789

0123456789
0123456789

0123456789
0123456789

100 lpi
40 lpc

133 lpi
52 lpc

85 lpi
34 lpc
24

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Du

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d u oto n e s

A duotone is a halftone printed in two colors, usually black and a second color. One plate
is made for the black, picking up the highlights and shadow areas; a second plate is
made for the second color, picking up the middle tones. When combined, the two plates
produce a monochromatic reproduction with a full range of tones.

Red impression

Black impression

Duotone printed in red and black

Imaging and Color 25

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finding the best scanning resolution

st

When you select a dpi for an image scan, you are designating the amount of image information your scanner will capturethe higher the dpi, the more image data, or potential for clarity
your image file will have. Although scanning at a high dpi may ensure that every detail of your
image will be captured, the large size of high-resolution image files makes them cumbersome
to work with. Scanning at optimum resolution means getting the best image clarity and reproduction you can achieve with the lowest possible file size or dpi.

W
th
46
Be

To choose the best scanning resolution for an image, start with your image output in mind:

Digital displayAnything that will be displayed on a computer monitor or as part

of a digital presentation (PowerPoint, etc)
should be scanned at 72 dpi. This is the
best image reproduction you can achieve,
because a computer monitors resolution
is just 72 dpi. .
Print output for studio printers
Scanning for print reproduction depends
on your output device. A 300 dpi studio
printer requires images scanned at 300
dpi for optimum clarity. Let this 300 dpi
rule of thumb be your guide when scanning line art and continuous-tone imagery
for studio output.

Print output for commercial printers

The scanning resolution for a continuous
tone image such as photograph or illustration that will be converted to a halftone
should be dictated by the lpi of your halftone screen. When scanning for halftone
output, the scanning resolution for your
image should be a dpi that is double
the lpi of your line screen. For example,
a photograph reproduced with a 150 lpi
halftone screen (standard for a magazine)
should be scanned at 300 dpi. However,
if the same photograph appears in a
newspaper (where halftone screens are
generally 85 lpi), the scanning dpi should
be 170 dpi.

s c a l i n g a n i m ag e

Beyond output, the other consideration to keep in mind when scanning an image is scale.
Reflective art that is reduced will gain clarity, whereas, reflective art that is enlarged will
lose it. For instance, when a 300 dpi scanned image is enlarged by 200 percent double
its original size), its image resolution is reduced to 150 dpi. If the same image is reduced
by 50 percent, its resolution becomes 600 dpi. Its best to scale your image to a size that
is close to the size it will appear in its final destination, and then pick the appropriate dpi.
When scaling an image, use this formula to arrive at the right percentage:
Size of your reduction or enlargement 100 the size of your original = percentage.
Example: 8 image scaled to 4 ( 4 100 = 400 8 = 50% )

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Co
lar
GI

st

To
by
Ad
bu

In
11
Ne
(2
ww

ne
e

e)
,

e.

d
at
i.

ecification
6 Page: 26

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ity
ur
me
o-

s ta n da r d d i g i ta l i m ag e s i z e s f o r w e b

When considering images for online use, note that there are many variations. However,
there are several common standards. For example, if you make your images larger than
460 pixels, most standard blogs will not be able to fit this size into a standard post.
Below are several standard image sizes:
Thumbnail: 150px in the long dimension, or smaller, for example 75 75px
Small: 240px in the long dimension
Medium: 460px in the long dimension
Large: 520px in the long dimension
Very large: 800px in the long dimension

Common best practices for using images around the Web: use a thumbnail linked to a
larger version; decrease the image resolution to 72dpi; use JPEG format for photos and
GIF format for text or line art.
s ta n da r d a d u n i t g u i d e l i n e s

To prepare images for use in advertising units, consult the Ad Unit Guidelines developed
by the IAB for standard sizes for banners, skyscrapers and buttons in various sizes.
Advertising units come in three categories: Skyscrapers and verticals; horizontals and
buttons; rectangles and squares.
Interactive Advertising Bureau (IAB)
116 East 27th Street, 7th Floor
New York, New York 10016
(212) 380-4700
www.iab.net

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under U.S. or applicable copyright law.

Chapter 5: Type

Ca

type basics and terminology

Because type is measured and described in a language that is unique to the printed
word, it is important to recognize and understand basic typographic terms.
Typeface: The design of a single set of
letterforms, numerals, and punctuation
marks unified by consistent visual properties. Typeface designs are identified by
name, such as Arial or Palantino.
Type style: Modifications in a typeface
that create design variety while maintaining the visual character of the typeface.
These include variations in weight (light,
medium, book, bold, heavy, and black),
width (condensed or extended) or angle
(italic or oblique vs. roman or upright).
Type family: A range of style variations
based on a single typeface. Style attributes of type families can contain a number of modifications but will always retain
a distinct visual continuity.

Univers 55

Type font: A complete set of letterforms

(uppercase and lowercase), numerals, and
punctuation marks in a particular typeface
that allows for typesetting by keystroke on
a computer or other means of typographic
composition.

Univers Extra Black

Univers Ultra Condensed

Te
m

Letterform: The particular style and form

of each individual letter in an alphabet.
Character: Individual letterforms, numerals, punctuation marks, or other units that
are part of a font.
Uppercase: The capital or larger letters of
a type font (A, B, C, etc).
Lowercase: Smaller letters, as opposed to
capital letters (a, b, c, etc).

c at e g o r i z i n g t y p e fac e s

Univers Bold Extended

Ak
sta
fac

There are many ways of classifying typefaces, however, one of the most obvious
is to separate typefaces into one of
two categories based on their legibility.
Because those who manufacture and
work with type make this distinction,
typefaces are generally broken down
into text and display classifications.

Te
mo
we

D
an
at
at
or
he

Univers Thin Ultra Condensed

The type family of Univers is composed of style variations
on the Univers design that include a variety of weights.

28

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Dis
Su
no

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nd
ce
n
ic

Ascender

Uppercase letter

Cap height
Serif

Typography

Lowercase letter

Bowl

Loop

Counter

x height
Baseline
Descender

A knowledge of letterform anatomy is essential to understanding how typefaces differ and distinguishing one typeface from another.

Text typefaces are highly legible and used

mostly for large areas of text.

Times
Arial
Garamond
Text typefaces such as Times, Arial, and Garamond have a
more traditional look and are easy on the eye. They work
well for long passages of text.

Display typefaces are more decorative

and not as legible. They tend to catch
attention and/or convey a mood or
attitude. They are mostly used for single
or grouped words such as logotypes,
headlines, or phrases.

Impact

serif and sans serif

Graphic arts professionals have devised

other ways of organizing typefaces.
A major distinction is the difference
between serif and sans serif typefaces.

Serif
Serif typefaces originated with the Romans who identified their
stone shrines and public buildings with chisel-cut letterforms.
To hide the ragged ends of these letterforms, the Romans
would cut a short, extra stroke on the ends of their letters.
This extra cut was called a serif.

Sans serif
Sans serif typefaces were born out of the Industrial
Revolution to reflect a more modern aesthetic. They are
characterized by no serifs and a smooth, streamlined look.

Old English

Suburban
Display typefaces such as Impact, Old English, and
Suburban are more expressive than text typefaces but are
not suitable for large bodies of text.

Type

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Serif typefaces can be further broken down into subcategories that make distinctions
between the types of serifs they display and their letter stroke style.

backeted serif

Oldstyle

wedge serif
splayed serif

unbacketed serif

less thick and thin contrast

gradual transition, thick to thin

Old Style Roman typefaces are styled after classic Roman

inscriptions. They have splayed stems, wedge-shaped serifs,
and bracketed serifs.

semibacketed serif

Transitional

horizontal serif
straight stem

Modern

Transitional Roman typefaces fall in between Old Style and

Modern serif typefaces and exhibit characteristics of both.

Egyptian or
Slab Serif

Ty
be
po

horizontal serif
straight stem
extreme thick and thin contrast
abrupt transition, thick to thin

Modern Roman typefaces show an extreme contrast

between thick and thin strokes, with sharp, thin serifs.

unbacketed serif

less thick and thin contrast

gradual transition, thick to thin

square, horizontal serif

straight stem
even stroke
no thick and thin contrast

Egyptian or Slab Serif typefaces have square serifs and

even strokes with no thick and thin contrast. (Alternative
term: Square Serif.)

Typefaces that resemble handwriting or hand lettering fall into a category called script.
All other typefaces fall into a category called decorative. These typefaces are highly stylized and suitable only for display purposes.

6
The script category of typefaces includes a variety of looks
ranging from typefaces that resemble crude brush-painted
signage to those that mimic the calligraphic look of pen
and ink.

Decorative typefaces, such as the ones shown here,

include period and novelty looks. They are most often
used to attract attention and convey a mood.

Th
tha

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trast
hin

measuring type

Type is measured by points, a unit for measuring the height of type and vertical distance
between lines of type. A point measures .0138 of an inch or 3.515 mm. There are 72.27
points in an inch and 28.453 points in a millimeter.

8 point

10 point

18 point

24 point

36 point

48 point

60 point

72 point
The point system of measuring type goes back to the days of metal type when sizes were classified according to the metal slug
that held each character.

Type

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FormsFol

The amount of space between lines of type, called leading, is also measured in points.
The term is derived from metal type where strips of lead were inserted between lines
of type. (Alternative terms: line spacing, interline spacing.)

Type size:
14 points
Leading:
17 points

Type can be timeless or trendy.

It can express a mood or an attitude.
It can function as shape or line in a
composition, or as a pattern or texture.
Line length: 22 picas

Leading is typically one to two points more than the point size of a typeface. This allowance between lines provides enough
space to accommodate the height of uppercase characters and ascenders as well as characters with descenders that fall below
the baseline.

The horizontal length of a line of type, or its line length, is traditionally measured in picas,
but can also be measured in inches or millimeters. There are 6.0230 picas in 1 inch and
2.371 millimeters in a pica.
The distance between characters in a word or number and between words and punctuation
in a line of type is called letterspacing. (Alternative terms: tracking or kerning.)

LETTER
LETTER
Adding letterspacing to a word gives it a different aesthetic that may add design value in single or limited word applications.
However, lack of legibility makes this technique inappropriate for lengthy amounts of text.

32

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ty
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s,
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ecification
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ow

FormsFolds_pg028-057.qxd/M10

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Page 33

type guide
TYPE GUIDE

This
guide includes
includes alphabetical
alphabetical listings
listingsof
oftypefaces
typefacesand
andspecimens.
specimens.It Itisisdivided
divided
into
This guide
into
two
two
sections.
The section
first section
is limited
to single-word
representations,
by name
of typesections.
The first
is limited
to single-word
representations,
by name
of display
display
typefaces.
The
typefaces
are
organized
to whether
they arescripts,
decorative,
faces. The
typefaces
are
organized
according
to according
whether they
are decorative,
or
scripts,
or
period
looks.
The
text
typeface
section
includes
alphabets
and
numbers
for
period looks. The text typeface section includes alphabets and numbers for many of the
many
of the style
variations
that are
available
for each typeface.
style variations
that
are available
for each
typeface.
Note:
Note: This
This guide
guide is
is intended
intended as
as aa reference
reference source
source and
and not
not as
as aa font
font catalog.
catalog. Check
Check with
with
your
font
supplier
for
additional
information
on
style
variations
and
font
availability.
your font supplier for additional information on style variations and font availability.
Type
Type Specimens:
Specimens: Display
Display Typefaces
Typefaces
Use
this
guide
to
identify typefaces
typefacesthat
thatyoure
youretrying
tryingtotomatch
matchororwhen
whenconsidering
consideringtypeUse this guide to identify
typefaces
for
possible
use.
faces for possible use.

Decorative

Aachen
Alternate Gothic
Americana
Aquarius
Balloon
City
Dom Casual
Friz Quadrata
Hobo
Impact
Machine

Octopus
Old English Text
Peignot
Russell Square
Sand
STENCIL
Suburban
Tekton
University
Windsor

Scripts

Brush
Commercial Script
Gillies Gothic Bold
Mistral
Murray Hill
Park Avenue
Zapf Chancery
Period Looks

Bauhaus
Broadway
Busorama
Davida
Playbill
Premier

Type

33

Type

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FFS_secon

E
tT e

w ay s t o i d e n t i f y t y p e fa c e s

The stylistic characteristics of decorative

and display fonts make it relatively easy to
differentiate between these typefaces. However,
identifying typefaces within the text category
can be more difficult. Looking for subtle
differences is often the only way of differentiating one typeface from the next. Here are some
guidelines to follow when trying to identify
a typeface.
At first glance, these typefaces seem as though
they could be the same font, particularly if you
compare the uppercase As on the samples
set in Arial and Avant Garde. However, there
are subtle differences:
Looking at the x-height of a typeface can often
help to identify it. The x-height of the letters
in the Futura sample is smaller than those in
the Arial and Avant Garde samples.
The lowercase a can differ from one typeface
to the next, as it does when comparing the
sample set in Arial to those set in Avant Garde
and Futura. When trying to identify a typeface,
looking at the lowercase a will often help
determine if there is a match.

Arial

A Hamburger fonts
Avant Garde

A Hamburger fonts
Futura

A
r

Palatino

Am

A Hamburger fonts
Georgia

A Hamburger fonts
Times New Roman

A Hamburger fonts

The x-height of the letters in the Times New

Roman sample is smaller than those in the
Palatino and Georgia samples.
When comparing serif typefaces, comparing the
style of the serifs can help identify a font. The
Palatino and Times New Roman samples have
bracketed serifs, whereas the Georgia sample
does not. Bracketed serifs are slightly flared out
where they join the letter.
Comparing lowercase letterforms, especially
gs and fs, is a good way to note subtle
differences. Notice how the loop on the gs
descender differs between typefaces as well
as the form of the letter f.

the graphic design reference

&

Am

A Hamburger fonts

Like the sans serif examples here, these

serif typefaces all appear similar when you
compare the uppercase As. The differences
in these fonts can be discerned by making
some comparisons.

34

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ob
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A
s

Am

A
p

Am

A
1

Am

A
q

Am

A
rs

Am

A
q

Av

A
x

Av

A
w

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Page 35

Ex
X tT tTyYpPeEfac
FA CeEsS
tT e

The typefaces in this section include many of the style

style variations
variations that
that are
are part
part of
of each
each
typeface family. However, due to space limitations,
limitations, condensed,
condensed, extended,
extended, italic,
italic, and
and
oblique versions have been limited to the Roman, book,
book, or
or medium
medium weight
weight of
of each
each
typeface. Condensed and extended versions of each typeface
typeface have
have also
also been
been restricted
restricted
to one sample.

American Typewriter

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopq
rstuvwxyz1234567890
American Typewriter Light

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqr
stuvwxyz1234567890
American Typewriter Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmno
pqrstuvwxyz1234567890
American Typewriter Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890
Americana

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnop
qrstuvwxyz1234567890
Americana Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopq
rstuvwxyz1234567890
Americana Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnop
qrstuvwxyz1234567890
Avenir Light

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvw
xyz1234567890
Avenir Regular

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuv
wxyz1234567890

Type

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Avenir Regular Oblique

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuv
wxyz1234567890
Avenir Book

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuv
wxyz1234567890
Avenir Medium

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuv
wxyz1234567890
Avenir Medium Oblique

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuv
wxyz1234567890
Avenir Black

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrst
uvwxyz1234567890
Bauer Bodoni Roman

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuv
wxyz1234567890
Bauer Bodoni Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwx
yz1234567890

FFS_secon

A
x

A
1

A
tu

A
v

A
q

IT

A
v

IT

A
tu

Bauer Bodoni Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrs
tuvwxyz1234567890
Bauer Bodoni Black

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqr
stuvwxyz1234567890
Bauer Bodoni Bold Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcedfghijklmnopqrstuvwxyz
1234567890
Bauer Bodoni Black Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890

36

th
F
Oe
R MgSr,a p
Fh
O iLcD Sd,e sAiNgDn SrIeZfEeSr e n c e

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IT

A
1

IT

A
1

IT

A
1

IT

A
1

st

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Bembo Roman

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvw
xyz1234567890
Bembo Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890
Bembo Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrs
tuvwxyz1234567890
Bembo Semibold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstu
vwxyz1234567890
Bembo Extra Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnop
qrstuvwxyz1234567890
ITC Benguiat Book

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstu
vwxyz1234567890
ITC Benguiat Gothic Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrs
tuvwxyz1234567890
ITC Berkeley Oldstyle Book

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890
ITC Berkeley Oldstyle Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890
ITC Bodoni Book

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890
ITC Bodoni Book Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890

Type

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ITC Symbol Black

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Univers 55

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Chapter 6: Grid Design Basics

Grids use vertical and horizontal thresholds to indicate divisions of space and to provide
a way for designers to determine how the interior proportions of a page should be used.
They provide a structure within which to organize both text and image and allow diverse
compositional elements to exist in a layout with a degree of order and visual harmony.

an

Colu

types of grids

Grids come in many different forms. When creating a grid system, designers may use
their intuition, or they may base the grid on established rules of space or commonly used
sizing systems such as square or double square, and the European proportion of A paper
sizes. Grids can be created with specific content in mind or as part of a system that is
designed to give unity to diverse content. They are expandable and can be made up of
equal unit sections, or can be composed from a combination of units of varying proportion. In some cases, two or more grid systems can be used together for one document or
several rela-ted grids may be used for deliverables that are part of a series.

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Defining Variables

Grids systems can be used to define the following variables: margin width, proportion of
areas on a page, number and size of columns, position of images, headings, body text,
and the placement of folios and footnotes.
Uses for Grids
Books, magazines, Web pages, annual reports, brochures, timetables, posters, catalogs,
advertising campaigns, and signage systems all benefit from the use of a grid system.
Why use a Grid?

One benefit of using grids is that they can create a sense of continuity across a
sequence of pages or a range of deliverables in the same campaign or series. Another
is speed; grids are a powerful tool for organizing information and laying out pages
quickly. Finally, in the case of single-page compositions, they can help a designer create
visual harmony and aesthetically connect diverse compositional elements.
Grids are not only a valuable tool for designers, they are also useful to readers/viewers.
In sequential documents, the use of an organizational system allows viewers to move
through content easily. This is especially true of layouts that contain a combination of
complex visual elements.

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or

ecification
6 Page: 58

Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.

d
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a n ato m y o f a g r i d

Margins

Columns
Modules
Gutters, also
called column
intervals
Thresholds,
also called
flowlines

wo r k i n g w i t h g r i d s

One of the most common misconceptions about grids is that they produce highly
structured layouts and stifle intuition and originality. By working with grids, it is possible
for designers to create aesthetically pleasing and visually arresting work. Grids can be
as flexible as you want them to be. If the project demands it, they can help a designer
produce an ordered conservative layout, but they also can provide a starting point to
create exciting and experimental design work. To avoid feeling stifled by a grid, it is
important to remember that a designer may re-create, alter, and at times even break
the rules of the grid that he or she has designed.

Grid Design Basics

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; Evans, Poppy, Lee, Irina, Sherin, Aaris.; The Graphic Design Reference & Specification
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Copyright 2013. Rockport Publishers. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted
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Symmetry Versus Asymmetry

One of the first questions to ask when developing a grid system is whether a symmetrical
or asymmetrical grid is more appropriate. There are advantages to both, and the determination should be made based on the content and visual tone required for a particular
project.

Th
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bo
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A symmetrical grid is most often used for text-heavy books or publications. It is an ideal
format to choose when one wants the most uniformity in a page layout.

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gu

An example of a symmetrical spread with margins set.

Asymmetrical grids are most useful when one wants layouts to vary across pages and when
there is a range of elements (images, footnotes, sidebar text, etc) that must be included in
a layout.

An example of an asymmetrical page layout with margins set.

60

the graphic design reference

&

specification book

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UNIVERSITY FACULTY OF SOCIAL SCIENCES, PSYCHOLOGY DEPARTMENTS
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AN: 69903860; Evans, Poppy, Lee, Irina, Sherin, Aaris.; The Graphic Design Reference & Specification
Job No: 05-30592 Title: RP-Graphic Design Reference & Specification
Book
#175 DTP: 216 Page: 60
P 186C (RAY) (Text)
Account: ns195314

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in