Cuadernillo de Trabajo 2016

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FACULTAD DE INFORMTICA Y DISEO

Carrera: Licenciatura en Diseo
Cuadernillo de Trabajo. Seleccin de textos

para interpretacin, traduccin y resolucin de
Trabajos Prcticos.
Prof. Patricia Polito

Curso: 1 ao
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Ciclo Lectivo: 2016

U N I V E R S I D A D C H A M PA G N AT
FA C U LT A D DE INFO RMTIC A Y DISEO
Carrera: Licenciatura en Diseo
Ctedra: Ingls I
rea a la que pertenece: Lenguas Extranjeras
Carcter: Obligatorio
Promocion
Ao: 1 ao Rgimen: Cursado: Anual
al
Carga Horaria Total: 120 horas Carga Horaria Semanal: 4 horas
Carga horaria total de
60 horas Carga Horaria Semanal: 2 horas
actividades tericas
Carga horaria total de
60 horas Carga Horaria Semanal: 2 horas
actividades prcticas
Correlativas Precedentes: --------------------------------------
Profesor/es:
Patricia Polito
Ciclo Acadmico: 2016/2017
FUNDAMENTACIN
Debido a que el ingls es el idioma de origen de la mayora de estas disciplinas, el conocimiento y
el uso eficaz de esta lengua extranjera constituyen una herramienta esencial para el desempeo
profesional en las reas de la ciencia, el arte y la tecnologa. Motivo por el cual se incluye la
enseanza del idioma ingls en la curricula de la carrera de Licenciatura en Diseo Asistido, en el
primer y segundo ao de cursado.
La competencia en la lengua inglesa es parte del perfil del alumno: la utilizar en su etapa de
aprendizaje para estar en contacto con su rea de estudio, le facilitar su actualizacin y
permanencia en el mercado de trabajo, le permitir acceder a puestos en empresas extranjeras o
multinacionales. Estas situaciones expondrn al profesional permanentemente al uso de este
idioma y a menudo deber resolver situaciones problemticas que requerirn el uso de la lengua
inglesa. A tal fin se entrena al alumno en la comprensin, produccin y traduccin de textos orales
y escritos para la interaccin con personas y literatura en ese idioma.
OBJETIVOS
Leer comprensivamente de manera autnoma textos escritos, instructivos y descriptivos,
adecuados a sus necesidades, haciendo uso de vocabulario y estructuras bsicas del
idioma ingls de acuerdo con la complejidad correspondiente al nivel.
Desarrollar tcnicas de lectura comprensiva para relacionar lo ledo con las experiencias
personales y la realidad circundante.
Interpretar el valor comunicativo transparente, la estructura y los exponentes lingsticos
que caracterizan los textos seleccionados.
Articular, a travs del ingls, conceptos adquiridos en otras materias que integran al plan de
estudios.
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Unidad 1: La Frase Nominal

Uso del diccionario. El sustantivo. Clases, nmero. Plurales especiales. Caso posesivo.
Pronombres personales. Pronombres y adjetivos demostrativos. Modificadores del
sustantivo. Artculo. Adjetivos: demostrativos, numerales, calificativos, posesivos.
Comparacin de adjetivos. Formas "ing" y "ed" en funcin adjetiva. La frase nominal. La
frase preposicional como post modificador del sustantivo. Vocabulario relacionado con el
rea de diseo y la informtica.
Unidad 2: Verbo To Be: Presente, Pasado y Futuro.

Verbo TO BE: presente, pasado y futuro. Formas afirmativa, negativa e interrogativa.
Distintas traducciones del verbo "be". Construccin impersonal: There + be. Tiempos
presente, pasado y futuro. Formas afirmativa, negativa e interrogativa. Modo Imperativo.
Formas con "do" y "let". Vocabulario relacionado con las artes, el diseo y la tecnologa.
Unidad 3: Voz Activa y Pasiva

Introduccin a la traduccin de un texto tcnico. Presente Simple. Formas afirmativa,
negativa e interrogativa. Pasado Simple: verbos regulares e irregulares. Formas afirmativa,
negativa e interrogativa. Futuro Simple: will. Formas afirmativa, negativa e interrogativa.
Tiempos progresivos: presente y pasado continuo. Formas afirmativa, negativa e
interrogativa. Voz activa y pasiva en estos tiempos. Formas ing: usos, interpretacin y
traduccin. Vocabulario relacionado con el mundo del diseo y la informtica.
Unidad 4: Verbos Modales
El Futuro: be going to + verb. Presente Perfecto y Pasado Perfecto en sus formas
afirmativa, negativa e interrogativa. Verbos modales en voz activa y pasiva: can, could,
may, might, will, would, should, must y verbos semi-modales: have to; be able to; be allowed
to. Voz activa y pasiva en todos los tiempos verbales y con verbos modales: revisin.
Vocabulario relacionado con el mundo de las artes, el diseo y los distintos medios de
comunicacin.
Bibliografa
-Bertazzi, Catuogno y Mallo, 2003, Curso de Lectura Comprensiva en Ingls, (USL).
-De Rueda, Maria de los ngeles; 1999. Visual Arts and Communication. Plus Activities. Level One;
Richmond Publishing.
-Villarreal, Omar; 1999. Communication, Arts and Design. Resource File Level 1; Macmillan
Publishers Limited.
Publishers Limited.
Publishers Limited.
-Diccionario bilinge: Simon and Shusters, Oxford Pocket, o similar.
- Textos y ejercicios seleccionados y preparados por la profesora y organizados en un cuadernillo que
los alumnos utilizan durante el ao. Los ejercicios y los textos que los alumnos deben traducir o
interpretar se seleccionaron de pginas web tales como:
www.creativebloq.com/tag/Graphic-design
art.yale.edu/GraphicDesign
https://www.pinterest.com/explore/graphic-design-tips
graphicdesignjunction.com/.../graphic-design-tutoria...
www.ucreative.com/design
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Metodologa de enseanza
- Exposicin didctica.
- Presentacion de ejemplos en diferentes contextos.
- Presentacion de realia (folletos, instructivos, propagandas, manuales, revistas)
- Cuestionarios.
- Materiales didcticos: folletos, manuales de instrucciones de programas para uso en el
diseo, revistas de diseo, pginas web.
Actividades
-
Consulta permanente y eficiente de diccionario bilinge.
-
Trabajo individual y grupal con material en ingls de complejidad creciente. Ejercicios para
uso y reconocimiento del vocabulario tcnico de la especialidad y de las estructuras
gramaticales introducidos en dicha unidad.
- Ejercicios contextualizados.
- Resolucin de problemas.
- Socializacion de experiencias.
- Anlisis de situacion problemtica, comprensin y secuenciacin logica.
- Resolucin de Prcticas de aprendizaje aplicando el material terico correspondiente a
cada contenido.
Se estiman 2 horas semanales para la realizacin de las prcticas de aprendizaje fuera del horario de cursado.
Evaluacin:
Requisitos:
Evaluaciones Parciales
Dos Evaluaciones Parciales y un Recuperatorio en fechas establecidas por la
Universidad.
Podr rendir las evaluaciones parciales el alumno que haya entregado y aprobado las
Prcticas de Aprendizaje previas a cada parcial en un 100%. El porcentaje de
asistencia se calcula antes de la fecha prevista para la Segunda Evaluacin Parcial.
Asistencia
75 % de Asistencia para regularizar o promocionar la asignatura. Si tiene entre 50% y
74% de asistencia, el promedio de notas aprobadas no debe ser inferior a 6 seis
(70%). Asistencia menor al 50%, recursa.
Prcticas de Aprendizaje
La Prctica de Aprendizaje no entregada en la fecha estipulada se considera
Desaprobada. Las Prcticas de Aprendizaje desaprobadas tienen un nico
Recuperatorio. Se podr recuperar hasta un 50% de las mismas.
Al finalizar el semestre el alumno debe tener Aprobadas el 100% de las Prcticas de
Aprendizaje.
Evaluacin Final
A la Evaluacin Final el alumno deber presentarse con todos las Prcticas de
Aprendizaje realizadas en el semestre. Se evalan todos los contenidos de la
asignatura y se considera la lectura de la Bibliografa detallada en el Programa.
Asignatura Promocional
Para Promocionar la asignatura el alumno deber tener 75% o ms de Asistencia,
100% de Prcticas de Aprendizaje Aprobadas con nota igual o superior a 7 (80%) y
las dos Evaluaciones Parciales aprobadas con nota igual o superior a 7 (80%)
Criterios:
La utilizacin constante del diccionario bilinge, tanto para la busqueda de
significados como para la investigacin y anlisis de estructuras gramaticales.
La aplicacin de tcnicas y procedimientos para la traduccin correcta de textos
de complejidad creciente: inversin de sustantivo y sus modificadores,
identificacin de ncleo de frase nominal, reconocimiento del verbo en la oracin.
Coherencia y ausencia de ambigedad en la traduccin. Adecuada eleccin de
las posibles acepcines existentes en el diccionario.
Instrumentos de Evaluacin
Evaluacin de proceso; lista de control plasmando la expresin oral de las
posibles traducciones; prcticas de aprendizaje orales y escritas.
Firma del docente a cargo/ coordinador

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Tcnicas de Traduccin
1- Divisin del Texto en Frases Nominales y Verbales.
1.1- Introduccin a la Divisin de Frases
Para comenzar a trabajar un texto, primero se identifican las preposiciones.
1.2- Preposiciones. La Frase Preposicional
Una preposicin es una palabra invariable que establece relaciones entre dos o ms palabras. Estas
quedan fuera de las Frases, generalmente nos indican que seguir una Frase Nominal.
PREPOSITION TRADUCCION
About Acerca de / sobre
Above Encima de / por encima de
Across En frente de / cruzando
After Despues
Against contra
Along Por (una va paralela) Go along this street
Among Entre (en medio de)
Around Alrededor de
At En / a
Before antes
behind Detrs de / atrs de
Below Debajo de / abajo de
beneath Debajo de / bajo
beside Al lado de / junto a
Between Entre (usualmente entre 2 personas u objetos)
By Por (de autora The book was griten by Dan Brown) / Por (va de
transporte) I go to school by bus
During durante
Except Excepto / salvo
For Para (destinatario / uso / propsito)
From De (origin / remitente)
In en
In front of En frente de
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Inside Dentro de
Instead of En vez de / en lugar de
Into En / a / con (movimiento de entrar) Come into my office
Like Como / parecido / igual que
Near Cerca de / junto
Of De (posesivo)
On Sobre / en on the table , on TV, on Sunday
Outside Fuera de
Over Encima de / por encima de
Since Desde
Through Atravs
To A (destinacin)
Toward / Towards hacia
Under / Underneath Debajo de
Until Hasta
With con
Within Dentro de (distancia / tiempo) I am going to travel within the next
week
Without sin
Ejemplos:
Ingls Espaol
Publication of design Publicacin de diseo
Advances in technology Los adelantos en la tecnologa
Links between communities Las conecciones entre comunidades
Frases preposicionales
Frase preposicional Traduccin
According to Segn, de acuerdo con
All along A lo largo de; a todo lo largo de
All around Todo alrededor de
All over Por todo
All through Durante todo
Apart from Aparte de
As far as Hasta que
As for, as regards, as to Por lo que respecta a
Due to Debido a
In addition to Adems de
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In case of En caso de
In front of Enfrente de, frente a
In spite of A pesar de
Instead of En vez de
Next to Junto a, al lado de
On account of A causa de
Owing to Debido a
On the one hand Por un lado
On the other hand Por otro lado
Up to A, hasta
1.3- Conjunciones
Una conjuncin une palabras o ideas. Ejemplos: and (y), or (o), but (pero). Estas quedan fuera de
las frases segn la regla general, pero no siempre es as. Cuando se enumeran adjetivos o cualidades
de una cosa o persona, las conjunciones no separan frases, sino que forman parte de la misma,
uniendo dos o ms modificadores de un solo ncleo.
Ingls Espaol
Squares and triangles Cuadrados y tringulos
One or more directions Una o ms direcciones
Expensive but easy to use Caro pero fcil de usar
Attention-grabbing and hot color Color clido y atrapante
2- Introduccin a la Frase Nominal

2.1- FRASE NOMINAL
La Frase Nominal puede estar formada hasta por tres elementos: el ncleo, el/los determinadores y
el/los modificadores.
Tabla de Frase Nominal
DETERMINADOR MODIFICADOR NCLEO (Sustantivo)
A /an Adjetivo calificativo

The Designer
This / that /these /those Ejemplos: Engineer
My, your, his, her, its, our, their Computer
Important, big, small,
intelligent, tall
Some /any / no Genitivo (caso posesivo)
Every Ejemplos:
Each
Newtons Law
Either / neither Childrens Computer
Scientists Laboratory
Enough
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Much / many Sustantivo adjetivado
Little / a little Ejemplos:

Few / a few
Paper Filter
Too much / too many Filter Paper
Television System
So much / so many
Less / fewer Adjetivos -ing

All Ejemplos:
A lot of / lots of
Working Conditions
A great deal of Interesting Job
Controlling Process
Several
Both
More
Adjetivos -ed
Whatever / whichever Ejemplos:
Whoever Controlled Process

Analyzed Situation
Whose Mentioned Problem
One, two, three, four
First, second, third
Other
Another
Most
Such
El nico component que no puede faltar en una Frase Nominal es su ncleo, que es un sustantivo o
palabra en funcin sustantiva: si no hay ncleo, no hay frase nominal.
La Frase Nominal puede consistir slo en su ncleo. Por ejemplo, las palabras que estn a
continuacin, que son ncleos de frases nominales, estn con mayscula, porque estn al comienzo
de una oracin. Cabe aclarar, en este punto, que aunque en Ingls no se coloque el artculo, al
traducir las frases nominales al Espaol, s se los coloca.
Ingls Espaol
Designers Los diseadores
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Computers Las computadoras

Experience La experiencia
2..1.1- Ncleo de la Frase Nominal: EL SUSTANTIVO

El ncleo de la frase nominal es un sustantivo o una palabra en funcin sustantiva. Un sustantivo
es una palabra usada para identificar: personas, cosas, lugares, abstracciones y emociones, entre
otras.
Ingls Espaol
Bill Gates Bill Gates
The laboratory El laboratorio
The United Kingdom El Reino Unido
Love El amor
2.1.2- Plural de los sustantivos

De los sustantivos, necesitamos conocer su forma plural y singular, ya que los sustantivos en plural
no aparecen en todos los diccionarios y debemos conocer su forma singular para poder buscarlos. El
plural de un sustantivo en Ingls se forma de la siguiente manera:
Singular + -s
Plan - plans Plan, planes
Day- days Da, das
Cylinder - cylinders Cilindro cilindros
Resource - resources Recurso recursos
Sustantivos singulares terminados en ss, sh, ch, o, x, s + -es

Brush - brushes Cepillo/pincel cepillos / pinceles
Box - boxes Caja cajas
Match - matches Fsforo fsforos
Glass glasses Vaso/vidrio vasos/vidrio
Sustantivos terminados en -y + -ies
Theory - theories Teora teoras
Capacity capacities Capacidad capacidades
Industry industries Industria industrias
Sustantivos terminados en -f o -fe: cambian estas terminaciones por -ves

Knife - knives Cuchillo cuchillos
Half halves Mitad mitades
Life lives Vida vidas
Plurales Irregulares
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Man Men
Woman Women
Mouse Mice
Child Chidren
Foot Feet
Fish Fish
Sheep Sheep
2.1.3- Gnero
En varias lenguas europeas los nombres de las cosas tienen gnero, es decir, se clasifican
gramaticalmente como masculino, femenino o neutro, a pesar de que con mucha frecuencia el gnero
no se refiere al sexo. En Ingls, el gnero gramatical no presenta las mismas caractersticas. Existen
pronombres personales para el femenino, masculino y para las cosas (she, he, it) como tambin
pronombres personales (her, him, it) y adjetivos posesivos (her, his, its).
Muy pocos sustantivos tienen forma masculina y femenina:
Man/men boy/girl father/mother brother/sister gentleman/lady
Bachelor/spinster waiter/waitress widow/widower husband/wife king/queen
Male/female actor/actress hero/heroine salesman/saleswoman policeman/policewoman
entre otros.
2.2- El Artculo
2.2.1- El Artculo Indefinido: a / an
Ambas formas se traducen por un /una. A se usa cuando la palabra siguiente comienza con
consonante y An se usa cuando la palabra siguiente empieza con vocal. No existe plural de este
artculo en Ingls. Para el plural se utiliza el determinante indefinido some y se traduce: unos,
unas, algunos, algunas.
Ej: a designer an instrument an action a drawing a picture a computer
2.2.2- El Artculo Definido: the

Se traduce: el, la, los, las.
Ej: the room the laptop the engineers the designs the colorwheel the sample
2.2.3- Omisin del artculo

En muchos casos no aparece el artculo the en ingls, pero no debe omitirse en castellano a fin de
lograr una mejor traduccin.
Ej: Different artworks are studied and interpreted by designers.
Computers are necessary for any type of work.
*No deben traducirse los artculos que son innecesarios en castellano, o que pueden confundir el
significado de la frase en su traduccin.
Ej: A computing lab is a place where people work and study with computers.
Sam is a graphic designer.
As a result
Ejercitacin:
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1. Indique cules sustantivos estn en singular, cules en plural y los casos donde aparece
el genitivo. Luego traduzca.
1. A product 6. An image
2. The slogan 7. The alignment
3. Mens opinions 8. The experts techniques
4. A pixel 9. A shape
5. The designers studio 10. Technologies
2. Marque en el siguiente prrafo los artculos y todos los sustantivos que encuentre.
Luego traduzca.
Computers are generally considered to be an important tool in the graphic design industry.
Computers and software applications are generally seen as more effective production tools
than traditional methods. However, some designers continue to use manual and traditional
tools for production.
2.4- Los Determinadores
2.4.1 -Qu y cules son los determinadores?

Veamos los elementos de la primera columna de la tabla de la Frase Nominal: los determinadores.
Estas palabras pueden estar o no en la Frase Nominal; no son parte indispensable, sino que, como
su nombre lo indica, determinan la cantidad, posicin y pertenencia del sustantivo ncleo de la
frase. Dado que slo necesitamos identificarlos y reconocerlos como parte introductoria de una Frase
Nominal, no nos detendremos en cada uno de ellos en particular, sino que bastar con conocer sus
equivalentes en espaol, cuyo gnero y nmero depende del ncleo.
2.4.2- Tabla de Determinadores con sus significados en Espaol.
Determinador Traduccin
A / an Un, una
The El, la, los, las, lo
This / these Este-esta / estos- estas
That / those Ese-esa / esos-esas
Aquel aquella / aquellos - aquellas
My-your-his-her-its-our-their mi-tu-su-nuestro/a-sus
Some / any / no Algn-alguna/algunos-algunas
Nign-ninguna-ninguno/ ningunos ningunas / nada
Every Todo- toda cada
Each Cada
Either Cada / ambas / cualquiera / ya sea
Neither Ninguno / ninguno de los dos
Enough Suficiente / bastante
Much / many Mucho/a muchos/as
Little / few Poco/a pocos/as
Too much / too many Demasiado/a demasiados/as
So much / so many Tanto/a tantos7as
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Less / fewer Menos

all Todo/a todos/as
A lot of / lots of Muchos7as
A great deal of Una gran cantidad de
Several Varios/as
Both Ambos/as
More Ms
Whatever / whichever Cualquiera / lo que sea
Whoever Quienquiera / quien sea
Whose Cuyo/a cuyos/as
One- two- three four Uno, dos, tres, cuatro
First second third Primero, Segundo, tercero
Other Otro/a otros/as
Another Otro/a
Most La mayora de
Such Tal
2.5- Los Modificadores
2.5.1- Qu son los modificadores?

Ahora nos referiremos a los elementos de la segunda columna de la tabla de la Frase Nominal: los
modificadores. Estas palabras pueden estar o no en la Frase Nominal, no son parte indispensable,
sino que, como su nombre lo indica modifican el ncleo, es decir, agregan informacin acerca del
sustantivo. Estas palabras, cuando preceden al ncleo, se denominan pre-modificadores.
2.5.2- Tipos de Pre-modificadores

Entre los pre-modificadores tenemos cinco categoras:
Adjetivos calificativos
Genitivo
Sustantivo adjetivado
Adjetivos ing
Adjetivos ed
2.5.2.1- Adjetivos calificativos
a- Definiciones y Caractersticas:
Son las palabras que describen una cualidad del sustantivo. Los adjetivos calificativos son
invariables en gnero y nmero. Es decir, no hay una forma distinta para el femenino o
masculino; singular o plural.
New image La nueva imagen
Modern technologies Las tecnologas modernas / las modernas tecnologas
Old system El viejo/antiguo sistema
New procedures Los nuevos procedimientos
Por ello, es fundamental identificar el ncleo de la FN (frase nominal) para poder optar
por la forma correcta.
Hay adjetivos compuestos por dos o ms palabras y unidos por guiones:
Ready-to-use system Sistema listo para usar
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14-step method Mtodo de 14 pasos

Eight-page catalogue Catlogo de 8 pginas
Observemos que en Ingls el adjetivo generalmente precede al sustantivo. No ocurre lo

mismo en espaol, donde el adjetivo generalmente va despus.
b- Adjetivo en Grado Comparativo

Un adjetivo en grado comparativo es el que se usa para comparar una cosa, lugar, persona,
etc. con otra de una categora similar. Podemos reconocer un adjetivo en grado comparativo
por:
Su terminacin en -er
Grado positivo Grado comparativo Traduccin
Tall Taller Ms alto que
Short Shorter Ms bajo/corto que
Soft Softer Ms suave que
Estar precedido por more
Grado positivo Grado comparativo Traduccin

Expensive More expensive Ms caro que
Comfortable More comfortable Ms cmodo que
Intelligent More intelligent Ms inteligente que
c- Adjetivo en Grado Superlativo

Un adjetivo en grado superlativo es el que se usa para expresar el grado mximo de una
cualidad. Podemos reconocer un adjetivo en grado superlativo por:
Su terminacin en -est y estar precedido por the
Grado positivo Grado superlativo Traduccin

Tall The tallest El ms alto
Big The biggest El ms grande
Small The smallest El ms pequeo
Por estar precedido por the most
Grado positivo Grado superlativo Traduccin

Expensive The most expensive El ms caro
Beautiful The most beautiful El ms hermoso
Intelligent The most intelligent El ms inteligente
Hay adjetivos cuyo comparativo y superlativo se forman de manera diferente, es

decir, sin seguir reglas.
Adjetivo Comparativo Superlativo
Good (bueno/a) Better (mejor) The best (el/la mejor)
Bad (malo/a) Worse (peor) The worst (el/la peor)
Little / few (poco/a) Less (menos) The least (el/la menos)
Much / many (mucho/a) More (ms) The most (el/la ms)
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Far (lejos) Farther or further (ms lejos) The farthest/ furthest (el
ms lejos)
d- Comparativos Correlativos
Cuando tenemos dos comparatives seguidos precedidos por the se traduce como: cuanto
msms
Ingls Espaol
The sooner the better Cuanto antes, mejor
The softerthe more comfortable Cuanto ms suavems cmodo
The lighterthe easier Cuanto ms livianoms fcil
The youngerthe faster Cuanto ms jovenms rpido
2.5.2.2- Caso Posesivo o Genitivo
Tambin conocido como caso posesivo. Se lo identifica como: s o s.

Se coloca s:
Sustantivos personales singulares: child childs
Sustantivos personales singulares que terminan en -s: actress actresss
Sustantivos personales con plural irregular: children childrens
Nombres de personas terminados en -s: James Jamess
Se coloca slo apstrofe:

Sustantivos personales plurales terminados en -s: girls girls
Ingls Espaol
The secretarys file El archivo de la secretaria
The designers studio El estudio del diseador
The students project El proyecto de los estudiantes
The businessmens idea La idea de los empresarios
Newtons law La ley de Newton
Mr. Joness company La compaa de Mr. Jones
2.5.2.3- Sustantivos adjetivados

Un sustantivo adjetivado es aquel que cumple una funcin adjetiva porque precede a otro/s
sustantivo/s. La ltima palabra de la derecha es el ncleo de la FN y de esto depende la correcta
interpretacin de la FN.
Ingls Espaol
Program design El diseo de un programa
Material costs Los costos de material
Energy consumption El consumo de energa
Paper filter Filtro de papel
Filter paper Papel de filtro
Computer image program Programa de imgenes por computadora
2.5.2.4-Adjetivos -ing
Las palabras terminadas en -ing tienen varias funciones, entre ellas, la de adjetivo. Estas palabras
derivan de verbos. Se forman con un verbo + -ing. Para encontrar su significado, debemos sacar
el sufijo -ing y buscar en el diccionario la palabra base con funcin verbal y luego colocarla como
corresponde, en funcin adjetiva.
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Ingls Espaol
Moving parts Partes que se mueven / partes mviles
Contaminating substance Sustancia que contamina / sustancia contaminante
Living organisms Organismos que viven /organismos vivos
Drawing tools Herramientas de dibujo
Existing technologies Tecnologas existentes
2.5.2.5- Adjetivos -ed

Las palabras terminadas en -ed tienen varias funciones, entre ellas, la de adjetivo. Estas palabras
tambin derivan de verbos y se forman agregando el sufijo -ed. Para buscarlos en el diccionario,
se saca esta terminacin, se busca la palabra base con funcin verbal y se la coloca como
corresponde, en este caso, con funcin adjetiva. Los adjetivos -ed son los adjetivos que en
Espaol terminan en -ado/ido.
Ingls Espaol
Imported products Productos importados
Selected colours Colores seleccionados
Specialized technician Tcnico especializado
Computer-aided design Diseo asistido
Chosen layout Formato elegido
2.6- Post-modificadores
La ltima palabra de la derecha de la FN es su ncleo, o sea, el sustantivo. Sin embargo, la FN
puede tener postmodificadores. En este caso, la ltima palabra de la derecha no es su ncleo. El
ncleo pasa a ser la penltima palabra y la ltima es el post-modificador.
2.6.1- Tabla de Frase Nominal con Post-modificadores.
Determinador Premodificador Ncleo Postmodificador
1 small areas contaminated
2 these cheap systems operating
3 some boxes containing
4 the energy reduced
5 the pieces available
6 an hour later
7 two meters long
2.6.2-Las formas -ing como Post-modificadores

Los adjetivos terminados en -ing pueden actuar tambin como postmodificadores. Se traducen
como: que + el verbo del que derivan.
Ejemplo: These systems operating Estos sistemas que operan
Some boxes containing Algunas cajas que contienen
Otros ejemplos:
Ingls Espaol
Many applications including Muchas aplicaciones que incluyen
People collaborating with Las personas que colaboran con
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Processes resulting from Los procesos que resultan de
2.6.3-Las formas -ed como Post-modificadores

Las formas -ed como postmodificadores se traducen como: adjetivo terminado en -ado/ido
Ingls Espaol
..a lesson based (on) ..una leccin basada en
the material designed (by) el material diseado por
an image selected (from) una imagen seleccionada de/desde
2.6.4-Los Adjetivos como Post-modificadores

La regla dice que en Ingls los adjetivos preceden al sustantivo. Pero existen algunas excepciones,
donde actan como post-modificadores:
Ingls Espaol
Characteristics common (to) Las caractersticas comunes a
Professionals present (at) Los profesionales presentes en
People skillful (in) Gente habilidosa para
2.7- Formas -ing con funcin sustantiva

Una forma -ing en funcin sustantiva se traduce como sustantivo o como verbo en infinitivo.
A veces el contexto requiere una de las dos opciones, en estos casos, se elige la ms apropiada.
Ingls Espaol
(for) advertising Para publicitar
The drawing El dibujo
Some paintings Algunas pinturas
A meeting Una reunin
Ejercitacin
A)Traducir las siguientes Frases Nominales. Identificar en cada caso su ncleo.
1- Computer-aided design
2- Computer-aided design programs
3- Computer image program
4- Useful design features
5- This color mode
6- A proper alignment
7- More vector images
8- Several weight fonts
9- A page layout
10- Portable document format (PDF)
11- The ideal web graphic file types
12- Pixel-based images
13- 3D shapes
14- Real World Graphic Design
15- The creative process
17
16- Personnel training

17- Training personnel
18- A desktop publishing program
19- An interesting and attractive background
20- Painting tools
21- New drawing programs
22- State-of-the-art technology
23- Cutting-edge software
24- Two-day training course
25- Beautiful large curved wooden table
C)Post-modificadores del sustantivo: traducir las frases nominales indicadas en negritas.

1. Community leaders attended the conference delivered at the Colorado Convention Centre.
2. The main speaker was Jerome Kaufman, a professor emeritus specializing in urban policy.
3. Hundreds of presentations were offered at the conference organized around the theme of
Denver: Special Places, Unique Environments.
4. Those communities and individuals receiving 2015 National Awards were recognized at the
presentation.
5. Prof. Benjamin Barber, author of several books including Jihad vs. McWorld, was the main
speaker at the conference.
D)Traducir las siguientes frases u oraciones que contienen adjetivos en grado comparativo o
superlativo.
1. The most popular design
2. The latest techniques for computer experts
3. A better horizontal alignment
4. The less transparent a material is, the less light passes through it.
5. A newer and faster drawing program
6. Most of the designs shown in that gallery are a representation of Minimal Art.
7. This is the best explanation for those phenomena.
8. IPods are more and more common nowadays.
9. Today, Smart phones are cheaper and cheaper in the market.
10. The colors at the right angles are darker than the ones on the left.
E)Everyday English. Identificar las frases nominales en las siguientes oraciones y responder:
cul es el adjetivo en las siguientes oraciones? Traducir.
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1. John handled the breakable glasses very carefully.

a- Glasses
b- Very
c- Carefully
d- breakable
2. Tanya is a graceful dancer.
a- Graceful
b- Is
c- Dancer
d- Tanya
3. Miranda walked with her little sister.
a- Sister
b- Little
c- With
d- Walked
4. The children were happily painting colorful pictures.
a- Happily
b- Colorful
c- Painting
d- Pictures
5. Their substitute teacher assigned a lot of homework.

a- Homework
b- Teacher
c- Substitute
d- Assigned
6. Brittany was glad to finish the difficult test.
a- Finish
b- Test
c- Difficult
d- Glad
7. The children picked up autumn leaves on their way to school.
a- Way
b- Children
c- Autumn
d- School
8. The girls told scary stories at the sleepover.
a- Sleepover
b- Scary
c- Told
d- Girls
9. Terry has a beautiful garden of roses.
a- Garden
b- Roses
c- Beautiful
d- Terry
10. Those were some interesting articles in a magazine.
a- Interesting
b- Magazine
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c- Some
d- Articles
3. La Frase Verbal
3.1- Formas y usos

La Frase Verbal puede estar formada slo por el ncleo o puede tener tambin palabras que lo
complementan o modifican (verbos auxiliares). Para poder interpretar la Frase Verbal debemos saber
en que tiempo est el verbo. Luego de ubicar la FV y su ncleo, se debe buscar en el diccionario el
infinitivo o palabra base y colocarlo en el tiempo que corresponde.
VERBO TO BE
To Be es un verbo en infinitivo, es decir, no conjugado. Sus significados son: ser y estar,
aunque presenta a veces distintas traducciones segn el contexto. El contexto nos indica cul es el
significado adecuado.
Ejemplos:
Ingls Espaol
He is an engineer. (l) es ingeniero.
He is in the USA. (l) est en los Estados Unidos.
He is 20 years old. (l) tiene 20 aos.
De los ejemplos anteriores, podemos ver que en Espaol no se traducen los pronombres personales
ya que con la terminacin de cada verbo sabemos a qu persona corresponde; sin embargo, en Ingls
siempre estn presentes.
a-Tabla Conjugacin Presente Simple del verbo To Be.
Afirmativo Negativo Interrogativo

1ps I am (Im) I am not (Im not) Am I?
2ps You are (Youre) You are not (You arent) Are you?
3ps He is (hes) He is not (he isnt) Is he?
She is (shes) She is not (she isnt) Is she?
It is (its) It is not (it isnt) Is it?
1pp We are (were) We are not (we arent) Are we?
2pp You are (youre) You are not (you arent) Are you?
3pp They are (theyre) They are not (they arent) Are they?
b-Tabla Conjugacin Pasado Simple del verbo To Be.
Afirmativo Negativo Interrogativo

1ps I was I was not (I wasnt) Was I?
2ps You were You were not (you werent) Were you?
3ps He was He was not (he wasnt) Was he?
She was She was not (she wasnt) Was she?
It was It was not (it wasnt) Was it?
1pp We were We were not (we werent) Were we?
2pp You were You were not (you werent) Were you?
3pp They were They were not (they werent) Were they?
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c-El verbo TO BE puede tener distintas traducciones segn el contexto. Lea los diferentes
ejemplos y trate de inferir por el contexto las distintas traducciones.
1. She is a famous designer.

2. They were art designers.
3. She was Prof. Brown.
4. This tool is really very useful.
5. These are different hues.
6. The Art&Design World Exhibition is in Buenos Aires this year.
7. Is this picture in motion?
8. This tool was not here.
9. They are empty.
10. That line is 10 centimeters long.
11. The painting was 200 years old.
12. They are afraid of the results.
13. The sculpture is a million dollars.
14. We are late!
15. She is always early for lectures.
Responda:
cul es la traduccin del verbo Be en las oraciones 1, 2, 3, 4, 5 y 6? ..
cul es la traduccin del verbo Be en las oraciones 7, 8 y 9?
cul es la traduccin del verbo Be en las oraciones 10, 11 y 12? ..
cul es la traduccin del verbo Be en las oraciones 14 y 15? .
d-Otras traducciones especiales. Traducir los ejemplos y completar la regla.
1. They are to present their new designs. .

2. He was to use the colorwheel. .
3. We are to show our project on Monday. .
BE + (to + base) =
4. The lecture on Design and Visual Communication is about to start.

5. They were about to modify the layout of their presentation.

6. Is he about to change the diagram?
.
BE ABOUT + (to + base) =
e-Reconocimiento y traduccin de las formas dadas.
1. It is a palette.
2. They were researchers.
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3. She was the most famous pop-art designer.

4. These are the newest tools.
5. I was at the Art and Design Exhibition in 2010.
6. That equation is wrong.
7. Those were chemical experiments.
8. They were tired but interested in the lecture.
9. That computer was 10 years old.
10. You are to be at the Art Center at 9p.m.
11. This painting is two million dollars.
12. She is sometimes early for her college lessons.
13. The registers are high-speed units of memory used to store and control information.
14. The size of the screen is the diagonal distance from one corner to another.
15. You were to adjust the image with the digital controls on the screen.
16. They are about to design, test and improve programs for computer-aided design and
manufacture, business applications, computer networks and games.
17. An infinite number of shades are available between a solid color and pure white.
18. The image was in 3D shape.
19. These are the digital simulations of air traffic control systems.
20. A wire frame is a basic layout without any design elements.
f-Conjugacin del verbo TO BE en Futuro Simple.
WILL + BE = .
Se utiliza la misma forma para todo gnero y nmero)
Traducir:
1. The results will be ready tomorrow.
2. The logo will be easy to recognize or identify.
3. The image will be a copy of reality.
4. The pictogram will be a stylized image of a person. ..
5. We will be early for the exhibition.
THERE BE
Se forma con: There + verbo To Be y se traduce como Haber.
a-Tabla Conjugacin Afirmativo en Presente, Pasado y Futuro. Traduccin.
Presente Pasado Futuro

There is (Hay) There was (Hubo / Haba) There will be (Habr)
There are There were (Hubieron /Haban)
Ejemplos:
Ingls Espaol
There is less danger. Hay menos peligro.
There will be two types of problems. Habr dos tipos de problemas.
There were many pressures. Hubieron/Haban muchas presiones.
There are chances of promotion in this company. Hay posibilidades de promocin en esta
compaa.
There were many technological advances in the Hubieron muchos avances tecnolgicos en los
last two years. ltimos dos aos.
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b-Tabla Conjugacin Interrogativo en Presente, Pasado y Futuro. Traduccin.

Is there? (Hay?) Was there? (Haba/Hubo?) Will there be? (Habr?)
Are there? Were there? (Hubieron/Haban?)
Ejemplos:
Ingles Espaol
Are there any possibilities? Hay algunas posibilidades?
Will there be enough ink? Habr suficiente tinta?
Was there an accident? Hubo un accidente?
c-Tabla Conjugacin Negativo en Presente, Pasado y Futuro. Traduccin.

There is not /There isnt There was not/There wasnt There will not be /There wont
(No hay) (No hubo/No haba be
There are not /There arent There were not /There werent (No habr)
(No hubieron/ No haban
Ingls Espaol
There wasnt a computarised system. No hubo/No haba un sistema computarizado.
There isnt enough information. No hay suficiente informacin.
There wont be classes tomorrow. No habr clases maana.
d-Observe las siguientes traducciones impersonales con There Be y tradzcalas.

There is / There are .
There was / There were ..
There will be ..
There is / There are sure to be
There will sure be ...
There is / There are likely to be
There was / There were likely to be
There is / There are to be
There was / There were to be
e-Reconocimiento y traduccin de las formas dadas.
1. There are variations in the overall appearance of the image.
2. There were various image manipulation applications.
3. There will be new theories of interactive design.
4. There isnt a basic page layout.
5. There are to be sophisticated programs for computer-aided design.
6. There are sure to be two important principles in design: clarity and balance.
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7. Was there to be any change in the size of your drawing?

8. There is likely to be a text message at the background of the image.
9. There is an online magazine devoted to the graphics art on the Internet.
10. Is there any available free pattern?
11. There will also be an online edition of the weekly magazine for the Dutch graphic arts
industry.
12. There was to be a monthly magazine with a series of interviews with web designers, yahoos
and people.
13. There wont be color choices in your layout.
14. There are simple lines and shades on your image.
15. There wont be any variations in paper composition.
Revisin: Traducir las siguientes oraciones.

1. A graphic designer is responsible for arranging and using elements on different types of
media.
2. Graphic design is in our morning paper, on our commute to work, and on the cover of our
favourite books.
3. The most readily identifiable elements of design in a layout are the colors of red and blue, the
light and dark values of the color blue, the horizontal line, rectangular and other shapes, the
mass or size of different shapes (large and small), and the rough texture of the paper.
4. There are different principles of design: alignment, balance, consistency, contrast, proximity,
repetition, unity and white space.
5. There were four equal sections in that poster design.
6. There will be different examples of asymmetrical balance in the layout.
7. The lines were in pairs or groups.
8. Color is everywhere: in the paper, the text or the graphic elements and photos.
9. Red is an attention-grabbing, hot color.
10. Value is the relative lightness or darkness of an area compared to the surrounding area.
11. Big and small elements of the same type, such as big and small images and big and small type
are the most obvious uses of size to create contrast.
12. Page layout or page composition is the process of placing and arranging and rearranging text
and graphics on the page.
13. There are certain true elements of page composition for a successful layout.
14. There are possibly 16.7 million color shades.
15. There is sure to be some fresh design work from new and established artists.
MODO IMPERATIVO
a-Formas y usos
El Modo Imperativo se usa para dar instrucciones, consejos, rdenes o sugerencias. Se forma con la
base del verbo y sin sujeto, ya que cuando ordenamos o sugerimos siempre es a un t o ustedes.
Siempre hace referencia al momento presente.
Ejemplos:
Ingls Espaol
Read the abstract. Lea /lean/ leer el resumen/informe.
Divide the layout into sections. Divida/dividan/dividir el formato/diseo en secciones.
Express your ideas. Expresa/exprese/expresar sus ideas
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Control the processes Controla/controlen/controlar los procesos
Se puede encontrar en negativo, precedido por Do not or Dont.

Ejemplos:
Ingls Espaol
Do not mention this situation to the clients. No menciones/no mencionen/no mencionar esta
situacin a los clientes.
Do not consider the notes at the bottom of this No consideres/ no consideren/no considerer las
page. notas al pi de esta pgina.
Do not use too many colors. No uses/no usen/no usar demasiados colores.
b-Traduzca los siguientes ejemplos.

1. Open a blank page in your graphics program.
2. Insert graphics and resize them to fit the page.
3. Insert a text box and type a message.
4. Dont forget to save the file.
Tips for Design: Designing for Television

Create your design using a program with an option for NTSC standard TV colors.
Make lines at least four pixels and not an odd number of pixels.
Dont use thin fonts, or ones that have variation in thickness.
Dont place an important element at the edge as TVs spread pixels beyond the
edges of the screen.
Use lines in Logo Design
Use variety of lines in logo design and for custom illustrations.
Lines come in a variety of shapes and sizes. Dont get stuck in a rut.
Vary the thickness of the lines.
Make lines of dots, dashes, or combinations.
Look at the patterns that a series of lines make.
Use lines to direct eyeflow.
Use lines to form barriers.
Use lines to indicate connections.
Use lines to show movement.
TIEMPOS SIMPLES
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Los Tiempos Simples son tres: Presente, Pasado y Futuro. Como el objetivo en esta ctedra es
interpretar y traducir textos, no producirlos, no se hace referencia a los usos de cada tiempo verbal,
sino a todo aquello que nos ayude a su identificacin, interpretacin y traduccin.
PRESENTE SIMPLE
a-Verbo: to design
Afirmativo Negativo Interrogativo Traduccin
I design I dont design Do I design? (Yo) diseo./No diseo/Diseo?
You design You dont design Do you design? (T) Diseas/No diseas/ Diseas?
He designs He doesnt design Does he design? (l) disea./ No disea/ Disea?
She designs She doesnt design Does she design? (Ella) disea/No disea/Disea?
It designs It doesnt design Does it design? Disea./No disea. /Disea?
We design We dont design Do we design? (Nosotros)Diseamos/ No
diseamos/ Diseamos?
You design You dont design Do you design? (Ustedes)disean. /No
disean/Disean?
They design They dont design Do they design? (Ellos) disean/No disean/ Disean?
Como se puede observar en la tabla anterior, los verbos auxiliares do / does no tienen traduccin,
slo nos indican en qu tiempo y forma est conjugado el verbo de la oracin. Una vez identificado
el tiempo verbal, se debe identificar en qu persona y en qu forma para colocar correctamente el
equivalente en Espaol.
Ejemplos:
Ingls Espaol
He doesnt direct the Project. No dirige el proyecto.
The engineer observes the process. El ingeniero observa el proceso.
Do you measure the temperature every 10 Mides/Meds la temperature cada 10 minutos?
minutes?
b-Traducir
1. They use Typography to create visual effects in books.
2. A pictogram shows a stylized image of a person, object or event.
3. He creates art and images through different means.
4. People use Holography in the arts and in advertising.
5. It reaches a high degree of simulation in the realistic representation.
6. We include several shapes and genres in graphics.
7. They achieve tridimensional image projections by means of laser technology.
8. Do you want to announce or sell something, amuse or persuade someone, explain a
complicated system or demonstrate a process?
9. Designers create, choose, and organize typography, images and the so-called white space
around them to communicate a message.
10. People respond to images instinctively based on their personalities, associations, and previous
experience.
11. The designer works with a variety of communication tools in order to convey a message from
a client to a particular audience.
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12. He doesnt know how to add and subtract, he just understands letters.
13. We want to spend all the money in the Apple Store.
14. They ask your opinion about everything but they do whatever they want.
15. They hate Comic Sans with the same passion they love Helvetica.
PASADO SIMPLE
Los verbos en Pasado Simple se dividen en regulares e irregulares.
Forma Afirmativa
a-Verbos regulares
Ejemplos:
Ingls Espaol
He worked in that Art Gallery last year. (l) trabaj en aquella/esa Galera de Arte el ao
pasado.
She selected the different colors. (Ella) selccion/seleccionaba los diferentes
colores.
They painted the picture. (Ellos) pintaron/pintaban la imagen.
b-Verbos irregulares
Ejemplos:
Ingls Espaol
She began her project in 2013. Comenz su proyecto en 2013.
They chose the right layout for their presentation. Eligieron el format/diseo correcto para su
presentacin.
I gave them the notes. Les d las notas.
Lista de Verbos Irregulares en Ingls
Present Past Past Participle Traduccin
arise arose arisen levantarse, surgir, presentarse
awake awoke awoken despertarse
be/am,are,is was/were been ser, estar
bear bore born nacer
beat beat beaten golpear,vencer, ganarle a
become became become llegar a ser, convertirse en
bend bent bent curvar, doblar
bet bet bet apostar
bind bound bound atar, amarrar, vendar
bid bid bid ofertar, pujar por algo
bite bit bitten morder

27
bleed bled bled sangrar
blow blew blown soplar
break broke broken romper, partir quebrar
breed bred bred criar (animales)
bring brought brought traer
build built built construir, edificar
burn burnt burnt quemar, arder, incendiar
burst burst burst reventar, estallar, abrir de golpe
buy bought bought comprar
cast cast cast lanzar, arrojar, tirar, echar
catch caught caught coger, agarrar, atrapar
come came come venir
cost cost cost costar
cut cut cut cortar,
choose chose chosen elegir, escoger
cling clung clung agarrarse, aferrarse, adherirse,
creep crept crept arrastrar, reptar, deslizar
deal dealt dealt tratar, acordar
dig dug dug cavar
do/does did done hacer, preparar
draw drew drawn dibujar, pintar, trazar
dream dreamt dreamt soar
drink drank drunk beber
drive drove driven conducir
eat ate eaten comer
feed fed fed alimentar
feel felt felt sentir
fight fought fought pelear, luchar
flee fled fled huir de
fly flew flown volar
forbid forbade forbidden prohibir
forget forgot forgotten olvidar

28
forgive forgave forgiven perdonar, disculpar
freeze froze frozen helar, congelar
get got gotten conseguir, obtener, lograr
give gave given dar
go went gonne ir
grind ground ground moler, machacar
have had had tener, haber, poseer
hear heard heard escuchar, oir
hide hid hidden esconder, esconderse
hit hit hit golpear
hold held held sujetar, agarrar, detener, soportar
hurt hurt hurt herir, lesionar, daar
keep kept kept guardar, mantener
know knew known saber, conocer
kneel knelt knelt arrodillarse
knit knit knit tejer, tricotar
lead led led dirigir, guiar, llevar la delantera
lean leant leant apoyarse
leap leapt leapt saltar, brincar
learn learnt learnt aprender
leave left left dejar, (abandonar)
lend lent lent prestar
let let let dejar, permitir
lie lay lain echarse, tenderse (acostarse)
light lit lit encender, alumbrar, iluminar
lose lost lost perder, extraviar
make made made hacer, fabricar
mean meant meant significar
meet met met conocerse, encontrarse
mistake mistook mistaken equivocar, errar
overcome overcame overcome vencer
pay paid paid pagar

29
put put put poner, colocar
read read read leer
ring rang rang sonar, tocar, llamar por telfono
rise rose risen elevarse, levantarse
run ran run correr
say said said decir
see saw seen ver
seek sought sought buscar
sell sold sold vender
send sent sent enviar
set set set poner, colocar
sew sewed sewn coser (una prenda de vestir)
shake shooke shaken agitar, sacudir
shear shore shorn esquilar
shine shone shone brillar
shoot shot shot disparar
show showed shown mostrar, ensear
shrink shrank shrunk encoger
shut shut shut cerrar
sing sang sung cantar
sink sank sunk hundirse
sit sat sat sentarse
sleep slept slept dormir
slide slid slid deslizar, resbalar
smell smelt smel olfatear, oler
sow sowed sowed sembrar
speak spoke spoken hablar
spell spelt spelt deletrear
spend spent spent gastar
speed sped sped acelerar
spill spilt spilt derramar
spin spun spun hilar

30
spit spat spat esculpir
split split split dividir, partir, rajar
spoil spoilt spoilt estropear, deteriorar
spread spread spread extender, desplegar
spring sprang sprung saltar
stand stood stood estar de pie
steal stole stolen robar, hurtar
stick stuck stuck adherir, pegar, engomar
sting stung stung picar (aguijn)
stink stank stunk apestar, heder
stride strode stridden dar zancadas
strike struck struck pegarle a,chocar o dar contra
swear swore sworn jurar
sweat sweat sweat sudar
sweep swept swept barrer
swell swellen swollen hinchar
swim swam swom nadar
swing swung swung balancear, columpiar
take took taken tomar, coger
teach taugh taugh educar, ensear
tear tore torn romper, rasgar
tell told told decir, contar
think thought thought pensar
throw threw thrown lanzar, aventar, arrojar, tirar
thrust thrust thrust empujar, introducir
tread trod trodden pisar
understand understood understood entender, comprender
undergo underwent undergone sufrir
undertake undertookd undertaken asumir, contraer, emprender
wake woke woken despertar, despertarse
wear wore worn llevar puesto, usar
weave wove woven tejer (en telar)

31
weep wept wept sollozar
wet wet wet mojar, humedecer
win won won ganar
wind wound wound ovillar, enrollar
withdraw withdrew withdrawn retirar
wring wrung wrung retorcer
write wrote written escribir
Un verbo irregular en Pasado Simple est en la segunda columna de la tabla. Para buscar su
significado en el diccionario, debemos buscar su infinitivo o primera columna.
Forma Negativa e Interrogativa
En la Forma Interrogativa encontramos el auxiliar did + verbo principal. Cuando aparece el
auxiliar did, el verbo no lleva -ed, y si es irregular, se usa la primera columna (verbo base),
puesto que el pasado est expresado justamente por el auxiliar.
En la Forma Negativa, encontramos la partcula not despus del auxiliar. La contraccin de did
+ not es didnt.
Ejemplos:
He chose the color. He didnt choose the Did he choose the Eligi el color./No eligi el
color. color? color./Eligi el color?
They read the They didnt read the Did they read the Leyeron la informacin. /
information. information. information? No leyeron la informacin.
/Leyeron la informacin?
You saw the picture. You didnt see the Did you see the picture? Viste la imagen. /No viste
picture. la imagen. /Viste la
imagen?
Traducir:
1. Designers used the existing company images and logo to create this promotional advertisement.
2. The brief helped to establish an understanding between the client and the designer.
3. We checked the equipment carefully and the experiment was successful.
4. The web projects included many rounds of approval and changes.
5. They chose their text and background colors very carefully.
6. They promoted their web site via search engines, directories, banner advertising, electronic
magazines and links from other web sites.
7. Many visitors quickly lost interest in their web site.
8. The addition of animation didnt increase the download time of your page.
9. We had a logical argument to justify our decision.
10. A critical part of the process involved deciding how you wanted your web site to look.
11. The layout included the cover design, locations of pictures and text format.
12. He kept sentences short to increase clarity and avoid confusion.
32
13. The foreground and the background complemented each other.

14. The clients gave designers a large amount of information to fit into a brochure.
15. The brochure represented the company in an attractive, professional manner.
TIEMPOS PROGRESIVOS/CONTINUOS
PRESENTE CONTINUO
El Presente Continuo se reconoce por el verbo to be: am is are como auxiliar + verbo
conjugado -ing.
Ejemplos y traduccin:

I am dividing the I am not dividing the Am I diving? (Yo) estoy dividiendo en
layout in three layout diseo/formato en tres
sections. secciones./No estoy
dividiendo/Estoy
dividiendo?
You are dividing the You are not (arent) Are you Ests dividiendo../No ests
layout in three dividing the layout dividing? dividiendo/Ests
sections. dividiendo..?
He/She/It is dividing He/She/It is not (isnt) Is he/she/it Est dividiendo/No est
the layout in three dividing the layout dividing? dividiendo/Est
sections. dividiendo?
We are dividing the We are not (arent) Are we (Nosotros) Estamos
layout in three dividing the layout dividing? dividiendo/No estamos
sections. dividiendoEstamos
dividiendo?
You are dividing the You are not (arent) Are you (Uds) Estn
layout in three dividing the layout dividing? dividiendo/No estn
sections. dividiendo/Estn
dividiendo
They are dividing the They are not (arent) Are they (Ellos) Estn
layout in three dividing the layout dividing? dividiendo/No estn
sections. dividiendo/Estn
dividiendo?
Traducir:
1. They are selecting the appropriate tools for each project.
2. A few designers are still using manual and traditional tools for production.
3. He is sending the graphic designer a document.
4. We are designing a brochure to represent the company.
5. The paper is representing the business quality and the target market.
6. The professor is providing additional information on the topic.
7. They are breaking up the information using white space, sub-titles, images and so on.
8. Many web sites are promoting offline via the conventional advertising methods: print ads,
radio, television, brochures, word-of-mouth, etc.
33
9. The clients are now giving designers a large amount of information to fit into their brochure.
10. She is attending some design lectures abroad.
PASADO CONTINUO
Se forma con el verbo To Be: was / were + verbo ing.
Ejemplos:
I was working with I was not (wasnt) Was I (Yo) estaba trabajando con
different working with working? diferentes herramientas de
communication tools. comunicacin. /No estaba
trabajando/Estaba
trabajando?
You were working You were not (werent) Were you (T) estabas trabajando con
with different working working? diferentes herramientas de
communication tools. comunicacin./No estabas
trabajando/Estabas
trabajando?
He/She/It was working He/She/It was not Was he/she/it (l/Ella) estaba trabajando
with different (wasnt) working working? con diferentes herramientas
communication tools. with de comunicacin./No estaba
trabajando/Estaba
trabajando?
We were working with We were not (werent) Were we (Nosotros) estbamos
different working with different working? trabajando con diferentes
communication tools. communication tools. herramientas de
comunicacin./No
estbamos trabajando/
Estbamos trabajando?
You were working You were not (werent) Were you (Uds) Estaban trabajando
with different working with working? con diferentes herramientas
communication tools. de comunicacin./No
estaban trabajando/
Estaban trabajando?
They were working They were not Were they (Ellos) Estaban trabajando
with different (werent) working working? con diferentes herramientas
communication tools. with de comunicacin./No
estaban trabajando/
Estaban trabajando?
a-Traducir:
1. All computers were running at their peak performance.
2. She was finding inspiration in different places, such as design shows, museums, online
portfolios and graphic design galleries.
3. Graphic Design organizations were giving many benefits to get access to resources and
network.
4. Little by little, the final project was turning out better.
5. They were using images to depict the journeys of past generations.
6. He wasnt organizing his task list by importance.
7. Students were attending different design lectures, events and training seminars.
34
8. They were using a form of visual communication called graphic design.

9. People were responding to images instinctively based on their personalities, associations, and
previous experience.
10. Dr Lee was interviewing a larger and more representative group of people.
b-Reconocer el Tiempo en la frase verbal y traducer las siguientes oraciones.

1. They are drawing circles and angles using the Graphics Mode.
2. We are identifying the functions of the different graphic tools.
3. Was the Art Gallery preparing its exhibitions for the coming year?
4. Is the research team testing new methods of getting color?
5. Students are acquiring the basic vocabulary associated with graphical representations,
desktop publishing and multimedia technology.
6. The computer was using hundreds of mathematical formulas to convert the bits of data into
precise shapes and colors.
7. They are highlighting areas where the corners or edges of a drawing reflect light.
8. We were using backgrounds to make the drawings look more realistic.
9. Numerous professionals, for example educators, gallery directors, art dealers, museum
curators, conservators and producers of art reproductions are preserving, studying,
interpreting and judging works of art.
10. Nowadays, graffiti is becoming a familiar view in our towns and cities and an inseparable
part of our urban landscape.
c-TIEMPOS SIMPLES TIEMPOS CONTINUOS O PROGRESIVOS

A)Completar las oraciones con el verbo en el tiempo verbal indicado. Luego, traducir las
oraciones.
1. The photographic snapshot ..(capture) the instant of a scene. (Presente simple)
2. Artists (take) different materials and (turn) them into works of art.
(Pres. Cont.)
35
3. Those scenes (represent) people in their cultural and social setting.

(Pasado simple)
4. He .(paint) a beautiful countryside. (Pasado Cont.)
5. He (not use) color in a very attractive way. (Presente simple)
6. The surround of the image (have) a dominant shape. (Presente simple)
B)Escribir el pasado simple de los siguientes verbos irregulares y traducirlos. Luego, completar las
oraciones dadas con los verbos en pasado simple de acuerdo a su significado. TRADUCIR las
oraciones.
Presente Pasado Traduccin

1-read
2-take
3-understand
4-make
5-have
6-give
7-choose
8-bring
9-buy
10-feel
11-find
12-sell
13-become
14-write
15-see
1. They .irregular edges of colored areas with markers.

2. When people observed the objects, they .stimulated.
3. We .subdued colors like greys, dull greens and blues to paint our pictures.
4. He in $500.000 the painting that the art collector ..from Europe.
5. We the picture dull and boring so we .it a more colorful tone.
FORMAS ING: INTERPRETACIN Y TRADUCCIN

a-Depende de su posicin en la oracin y presenta las siguientes variantes:
Verbo terminado en ANDO/ENDO/IENDO

Infinitivo del verbo
BASE + -ING Sustantivo derivado del verbo
Adjetivo derivado del verbo
Que + verbo conjugado
36
1)BE + (BASE+ ING)

Corresponde a los tiempos progresivos.
The painter is creating his own shapes and patterns.
In the Baroque period, Impressionist painters were leaving shapes aside in order to
2)BY + (BASE + ING)

Images are produced by using different materials and specific techniques.
3)Verbo conjugado + (BASE + ING)

The lecture started presenting the different techniques used by Impressionist painters.
They work taking into account the new trends in Art & Design.
4)Verbo conjugado + (BASE + ING)

They stopped producing new works of art.
It is difficult for them to avoid being dependent.
5)Preposicin + (BASE + ING)

Lithography is a method of engraving and painting.
Abstract artists influenced the layout and design of posters for applying their own style.
She will discover the rules for recombining sounds into words.
In order to improve our methods, we undertook an experimental and theoretical program of
analyzing assembly tasks.
6)WHEN + (BASE + ING)

When placing an object in the sun, it projects its own shadow in a particular direction.
When using the color wheel, you can create new hues.
7)Posicin inicial de BASE + ING

Specifying both the exact shape and color of the object is necessary in order to identify the
period to which it belongs.
Drawing and coloring is easy.
8)(BASE + ING) + SUSTANTIVO

Painting brush
Drawing tools
9)BASE + ING
There is a possibility that our modern scientific understanding of the universe may be
fundamentally limited.
You can use backgrounds to make the drawing look more realistic.

A propelling force is needed to drive the aircraft through the air.
At welding temperatures, a strong pressure is applied to the metal sheets.
37

It has a powerful influence on the resulting image.
The book deals with the fascinating field of pop art.
12)SUSTANTIVO + (BASE + ING) = SUSTANTIVO + QUE + VERBO CONJUGADO

These are the methods describing the use of the essential tools for computer-aided design.
You can use shadows and highlights showing the shapes of the objects you draw.
b-Determinar qu funcin cumplen las formas ing en las siguientes oraciones y traducir.
1. The situation can be solved by analyzing all the facts.

2. Designing is an art.
3. It moves occupying all empty space.
4. A new trend was affecting architecture.
5. Specifying the steps in the process is necessary in order to get good results.
6. The information in the book is extremely important, providing the solution to all the
problems.
7. The technology involved in these processes is very interesting.
8. When you look closely at an Impressionist painting, you see different dots of different
colours.
9. New systems operating in different fields
10. The tools used since the beginning of graphics include different qualities of paper, hues,
watercolours, wood, metal and stone engraving.
11. The book gives you useful tips on using colour in documents and presentations.
12. Computer-aided design is a fascinating profession.
13. Those are the colours showing the new combinations from the colour wheel.
14. The abacus was used 5000 years ago for counting.
15. They had great difficulties when doing their drawings with the graphic tools.
TIEMPOS PERFECTOS
Los Tiempos Perfectos se identifican por el auxiliar have + verbo conjugado en participio
pasado. Un verbo en participio pasado se identifica por su terminacin en -ed, si es un verbo
regular. Si es un verbo es irregular aparece en la tercera columna de la tabla de verbos irregulares.
PRESENTE PERFECTO
Se forma con: have /has + verbo en participio pasado.
38

I have worked as a I have not (havent) Have I worked? (Yo) he trabajado como
designer for several worked as a diseador por muchos
years. aos./No he trabajado
como/He trabajado
como?
You have worked as a You have not Have you worked (T) has trabajado como
designer for several (havent) worked as as? diseador por muchos
years. a ... aos. /No has trababjado/
Has trabajado como?
He /She/It has worked He/She/It has not Has he/she/it worked (l/Ella) ha trabajado como
as a designer for (hasnt) worked as as a ? diseador por muchos
several years. a aos./No ha trabajado
como/Ha trabajado
como?
We have worked as We have not Have we worked (Nosotros) hemos trabajado
designers for several (havent) worked as? como diseadores por
years. as muchos aos./No hemos
trabajado como/Hemos
trabajado como?
You have worked as You have not Have you worked (Ustedes)han trabajado
designers for several (havent) worked as? como diseadores por
years. muchos aos./No han
trabajado como/Han
trabajado como?
They have worked as They have not Have they worked (Ellos) han trabajado como
designers for several (havent) worked as? diseadores por muchos
years. as aos./No han trabajado
como/Han trabajado
como?
Traducir:
1. The draw tools have given you the flexibility to add lines or shapes to your image.
2. We have created a palette called Primaries with the colors red, green, blue, cyan, magenta,
yellow, black and white.
3. Have you changed the transparency percentage? If not, move the slider to the right to
increase transparency or to the left to decrease it.
4. This command has allowed the user to control when changes become a part of the image.
5. They have selected the highest print quality mode through the printer driver.
6. It hasnt changed to a lower print quality mode.
7. Students have created audio, video and special effects since 1999.
8. Since the year 2000, the Center has combined scientific investigation with aesthetic ideals.
9. Our designers have also made contributions at other Art and Design Departments in the USA.
10. Our colleagues at the university have investigated the effects of applying warm colors on
dark backgrounds.
PRESENTE PERFECTO: JUST ALREADY YET
Traducir:
39
1. The whole image has just been painted.

2. The university has just created an Art and Design Department.
3. They have already presented the design project.
4. They have not worked on the low-scale model yet.
5. They have already discussed the advantages of the cutting-edge technology.
PASADO PERFECTO
Se forma con: had + verbo en participio pasado.


They had seen the They had not (hadnt) Had they seen the (Ellos) haban visto los
latest changes. seen the latest changes. latest changes? ltimos cambios./No
haban visto../Haban
visto?
She had followed the She had not (hadnt) Had she followed the (Ella) haba seguido las
new trends in design. followed the new new trends in design? ltimas tendencias en
trends in design. diseo./No haba
seguido/Haba
seguido?
You had finished the You had not finished Had you finished the (T) habas terminado
presentation when the the presentation when presentation when the la presentacin cuando
professor arrived. the professor arrived. professor arrived? lleg el profesor. / No
habas terminado/
Habas terminado la
presentacin?
Traducir:
1. The Transparency option had set the degree of transparency of your drawing and interior fill.
2. This area hadnt controlled the unit of measurement used for sizing and positioning images.
3. Had this feature been very handy in helping you get the feel of a particular brush setting
before applying it to your image?
4. The painter had created his own shapes and patterns, leaving reality aside.
5. When they were at the exhibition, they discovered they had already seen the paintings and
sculptures.
6. This command hadnt deleted the current palette set. It had only removed the currently
highlighted color.
7. When the low-scale model was ready, they realized they had not done it in the correct size
and shape.
8. They had turned off the machine before the time collapsed.
TIEMPOS FUTUROS
40
FUTURO SIMPLE
En este tiempo verbal, encontramos el auxiliary will seguido del verbo base en forma afirmativa e
interrogativa. En la forma negativa, el auxiliar will + la partcula not o su contraccin won
t.

They will change They will not Will they change the (Ellos) cambiarn los
the colors. (wont) change the colors? colores./No cambiarn los
colors. colores./Cambiarn los
colores?
He will look for the He wont look for Will he look for the (l) buscar la
information. the information. information? informacin./No buscar la
informacin./Buscar la
informacin?
You will study the You wont study the Will you study the (T) estudiars los
results. results. results? resultados. /No estudiars
los resultados./Estudiars
los resultados?
Traducir:
1. This feature will let you apply color to a large area of your image.
2. The relation between the viewer and art will deeply change because interactive computer
systems are more and more sophisticated.
3. Television news, advertising, drawings, posters, press and family photographs will inform us
about the world and will produce all sorts of impressions on us.
4. Some translator programs wont accept any line that has syntax errors.
5. The program will have support for sound, video and other formats.
FUTURO BE GOING TO
Se forma con el presente del verbo To Be: am / is /are + going to + verbo base.

I am going to use the Im not going to use Am I going to use the (Yo) voy a usar el
colorwheel. the colorwheel. colorwheel? crculo cromtico./No
voy a usar el/Voy a
usar el?
You are going to use You are not (arent) Are you going to use (T) vas a usar el
the colorwheel. going to use the the colorwheel? crculo cromtico./No
colorwheel vas a usar el/Vas a
usar el?
41
He/She/It is going to He/She/It is not (isnt) Is he/she/it going to (l/Ella) va a usar el

use the colorwheel. going to use the use the colorwheel? crculo cromtico./No
colorwheel. va a usar el/Va a
usar el?
We are going to use We are not (arent) Are we going to use (Nosotros) vamos a
the colorwheel. going to use the the colorwheel? usar el crculo
colorwheel. cromtico./No vamos a
usar el /Vamos a
usar el?
You are going to use You are not (arent) Are you going to use (Ustedes) van a usar el
colorwheel. van a usar el/Van a
usar el?
They are going to use They are not (arent) Are they going to use (Ellos) van a usar el
colorwheel. van a usar el/Van a
usar el?
Traducir:
1. The Style option is going to give you two choices of application patterns: solid or scattered.
2. Software engineers are going to improve programs for computer-aided design and
manufacture, computer networks and games.
3. Is the computer salesperson going to advise potential customers about available hardware and
sell equipment to suit individual requires.
4. A hardware engineer is going to research, design and develop computers or parts of
computers, and the computerized elements of appliances, machines and vehicles.
5. Computer programmers are also going to participate in their manufacture, installation and
testing.
6. The team is going to test new methods of getting color.
a-Definicin y Usos
La Voz Pasiva se usa cuando el sujeto que realiza la accin no es importante o es desconocido y lo
esencial o relevante en la oracin es la accin o actividad realizada. Los carteles que dicen: Se
hacen fotocopias, se recargan cartuchos o se entrega a domicilio, estn en voz pasiva ya que en
ningn caso importa el agente que realiza la accin.
Otro uso importante de la Voz Pasiva es para describir procesos. Cuando decimos: Cmo se saca
dinero de un cajero automtico? Se coloca la tarjeta, se ingresa la clave, se selecciona la operacin,
se retira el dinero y se saca la tarjeta, todo este proceso est relatado en voz pasiva.
42
Una frase verbal en Voz Pasiva se reconoce porque est por el verbo To Be + verbo en participio
pasado. El verbo To Be indica el tiempo de la frase verbal.
b-Tabla de Tiempos de Verbales ms usados en Voz Pasiva y su traduccin.
Oracin en Voz Pasiva Tiempo Verbal Traduccin

The computer is repaired. Presente simple Se arregla la computadora.
The computer was repaired. Pasado simple Se arregl la computadora.
The computer is being repaired. Presente continuo Se est arreglando la computadora.
The computer was being repaired. Pasado continuo Se estaba arreglando la computadora.
The computer has been repaired. Presente perfecto Se ha arreglado la computadora.
The computer had been repaired. Pasado perfecto Se haba arreglado la computadora.
The computer will be repaired. Futuro simple Se arreglar la computadora.
The computer is going to be Futuro Be going to Se va a arreglar la computadora.

repaired.
c-Voz Pasiva con Complemento Agente
Cuando en la oracin en Ingls no aparece quin o qu realiza la accin, se denomina pasiva

impersonal y se traduce como se muestra en la tabla anterior. En algunas ocasiones, en la oracin en
Voz Pasiva aparece generalmente al final de la misma- quin o qu realiza la accin precedido por
la preposicin by y se denomina complemento agente. En este caso, se realiza la traduccin
literal de los tiempos verbales.
Ejemplos:
Ingls Espaol
The computer is repaired by the technician. La computadora es reparada por el tcnico.
The computer was repaired by the technician. La computadora fue reparada por el tcnico.
The computer is being repaired by the La computadora est siendo reparada por el
technician. tcnico.
The computer was being repaired by the La computadora estaba siendo reparada por el
technician. tcnico.
The computer has been repaired by the La computadora ha sido reparada por el tcnico.
technician.
The computer had been repaired by the La computadora haba sido reparada por el
technician. tcnico.
The computer will be repaired by the technician. La computadora ser reparada por el tcnico.
The computer is going to be repaired by the La computadora va a ser reparada por el tcnico.
technician.
d-Traducir:
1. Typography is used to create visual effects in books.
2. An aesthetic plane was organized by the photographer to capture an image.
43
3. People in their cultural and social setting are being represented by custom scenes.
4. Holography has been used in the arts and in advertising.
5. A high degree of simulation was being reached in the realistic representation.
6. Tridimensional image projections are achieved by means of laser technology.
7. Every day, cyberspace is used by millions of people.
8. Images were composed of elemental and discrete dots.
9. Several shapes and genres have been included in graphics.
10. Special attention was paid to color and symbols.
11. The Toshiba ad was replaced with a Welcome to Heathrow poster, and the ad on the right
and the neighbouring steps were conveniently taken out.
12. The copied area had been pasted onto another image.
13. All image processing is going to be performed by operating on the values of the pixels.
14. Was the overall appearance of the printed image determined by the options selected?
15. The 3-D graphical representation of the histogram will be displayed in a window.
16. Spatial resolution had been defined by the three-dimensional (width and height) array of
pixels that made up an image.
17. The program instructions and data have been placed into memory from an input device.
18. The design will be prepared by an expert in the field of graphic design.
19. CAD is being employed to develop, model and test car designs.
20. The program was used to present data in a more understandable form.
VOZ PASIVA
A)Leer el siguiente texto, destacar las frases verbales en voz pasiva y analizar en que tiempo
estn. Traducirlas.
COLORS ON THE WEB

Red is the color that provokes the most physiological responses. Years ago, it was
shown that red caused the human heart beat and blood pressure to rise and to aid the
interconnection of brain neurons. Nowadays, it has also been shown that people
working in a red environment work faster, but they also make more mistakes. It
increases restlessness and nervous tension. Also, red is commonly regarded to
increase appetite.
Red is the color that will be most easily recognized, and the most visible in daylight. It
draws attention. For example, red for stop signs is used all over the world
FV en Voz Pasiva Tiempo de verbo Traduccin

44
B)VOZ ACTIVA O PASIVA? Traducir las siguientes oraciones, determinar si estn en voz
activa o pasiva e indicar su tiempo verbal.
1. Dark shades of red are used efficiently on web pages.

2. You should avoid using bright red as the main color of your page.
3. Contrast will be adjusted in different ways, when adding interest and variety to your design.
4. We obviously want our designs to have a variety so as to avoid being dull.
5. Balance in your design is determined by weighing objects visually.
6. Different shades of the same color are being used for a harmonizing effect.
7. Shape, tone and color have been considered to achieve harmony in your design.
8. Variety was achieved through contrast to avoid confusing your message.
9. You can use contrast in shape to cause conflict between items in your design.
10. A great way to alter your design without shocking your readers had been achieved by
manipulating colors.
VOZ PASIVA
A)Leer el siguiente texto, destacar las frases verbales en voz pasiva y analizar en qu tiempo
estn. Traducirlas.
Premium Newswire Distribution Services
Construction Executive offers a press release distribution service that creates and distributes
announcements to A/E/C media for small to mid-size companies all around the world.
Your press release will be delivered to hundreds of architecture, engineering and construction trade
media. Your release is also sent to thousands of journalists for national news media and Internet
sites such as the New York Times, Yahoo, MSN, Wall Street Journal, Reuters, Associated Press, etc.
and over 1,245 local newspapers.
After sending your payment, you will be contacted by e-mail with instructions on sending us your
press release.
Press Release Writing and Creation Services
We can provide you access to highly experienced writers and editors who understand the unique
definition of a press release a communication that wont be overlooked or thrown out because it
smacks of advertising.
FV en Voz Pasiva Tiempo Verbal Traduccin

45
B)VOZ ACTIVA O PASIVA? Traducir las siguientes oraciones, determinar si estn en voz
activa o pasiva e indicar su tiempo verbal.
1. Throughout this century, the cinema has attracted audiences massively.

2. The videographic image was being recorded on a magnetic tape by means of a video camera.
3. Illusion of reality has been created by the simultaneous presence of image and sound.
4. The textures and quality of the image are being altered.
5. In its experimental aspect, video images produce mixed genres like art-video.
6. Image and word games place advertising in the creative field.
7. Graphic advertising catches the individual or collective readers interest.
8. The video device is simple.
9. Computers are generally considered to be an indispensable tool used in the graphic design
industry.
10. Rapid production from the computer allows many designers to explore multiple ideas with
more detail than by traditional methods.
REVISIN TIEMPOS VERBALES
A-Completar las siguientes oraciones con el tiempo verbal indicado en forma correcta, luego
traducir.
1. In the 20th Century there (be) more art movements than in any other centuries.
(pasado simple)
2. This week, students from the Arts and Communication Workshop ..(visit) a
major advertising agency in our city. (presente continuo)
3. We (listen) to everybodys ideas and then .(make) decisions as a team.
(presente simple)
4. We ..(start) the project by deciding the name of the product. (futuro simple)
5. Colour always .(exist) as a very powerful communicator. (presente perfecto)
6. The picture (make) by sticking various materials or objects onto a surface. (voz
pasiva presente simple)
7. Berni(be) the more oldest painter to exhibit at Instituto Di Tella. (presente
perfecto)
8. Next year Mountain View ..(offer) an educational service for teenage students.
(be going to)
9. Virtual reality (be) an advanced form of computer simulation. (presente simple)
10. In virtual reality, the sights .(transmit) by special interface devices. (voz pasiva
presente simple)
B-Identificar el tiempo verbal y traducir.

46
1. John is working hard in his design Project.

2. I saw my client last week when I gave him the brochure.
3. I wa stalking with the newspaper reporter when the phone rang.
4. I had already finished the logo when the manager told me that the project had been rejected.
5. Nigel lives in London where he works as a graphic designer.
6. They discussed the new logo for three hours.
7. Im going to submit a new design proposal next year.
8. You must choose your text and background colors very carefully.
9. All your companys printed materials have your URL printed on them.
10. Designers have always used words and pictures to convey their message.
11. Computer-based design creates the perfect balance between creative impulse and technical
precision.
12. After the project had been approved, the client decided to work with another design studio.
13. Technology and software have made graphic design one of the professions where it can be
easy to work remotely.
14. I designed my first logo when I was working for an international company.
15. I dont like my logo, but it communicates what I do and my clients get the message.
VERBOS ATPICOS: MODALES

A-Los verbos MODALES de acuerdo a su traduccin, se pueden agrupar en:
PODER
(Present
e)
CAN
MAY
VERBO
S
MODAL
PODER DEBER
ES (Present
(Pasado)
e)
COULD
MUST
MIGHT
SHOULD
Los verbos modales

expresan la modalidad o matiz
de una FV, como por
47
ejemplo, obligacin, posibilidad o probabilidad. Son verbos auxiliares y van seguidos de verbos en
infinitivo.
Estos verbos carecen de la mayora de los tiempos verbales. Tienen la misma forma para todas las
personas.
En la forma afirmativa: modal + verbo principal en infinitivo
En la forma negativa: modal + not + verbo principal en infinitivo
En la forma interrogativa: modal + sujeto + verbo principal en infinitivo
Ejemplos:
Sujeto Verbo Verbo principal/Resto de la Traduccin

Modal oracin
I can try this method. Puede intentar/probar este mtodo.
The analyst may be wrong. El analista tal vez/quizs puede estar
equivocado.
They could check the results. Ellos podran/pudieron controlar los
resultados.
He might choose a new layout. Podra elegir un nuevo formato.
We must select the right colors. Debemos seleccionar los colores
correctos/exactos.
You should organize your design. Deberas organizar tu diseo.
Ingls Espaol
You should not (shouldnt) talk during the No deberas hablar durante la conferencia.
lecture.
They cannot (cant) draw the different shapes No pueden dibujar las distintas formas
required. requeridas.
The machine might not run. La mquina podra no funcionar.
Ingls Espaol
Can you draw? Puedes dibujar?
Could you come tomorrow? Podras venir maana?
Should the lecturer speak clearer? Debera hablar ms claro el orador?
Traducir:
1. Your website should be easy to read.

2. You must choose your text and background colors very carefully.
3. Most visitors can quickly lose interest in your website when the majority of a page does not
download within 15 seconds.
4. You could add some notes to your design.
5. A designer can mull over complicated designs for months, but suddenly, the simple, elegant,
beautiful solution occurs to him.
6. You shouldnt use more than nine or ten lines of type per paragraph.
7. We mustnt start sentences with numbers.
8. When writing, page layout and word processing programs can put the proper spacing after
periods automatically.
48
9. You may design the brochure in color, print it in black and white, until you can afford the
expense of color printing.
10. We shouldnt use underline or all caps as a way to stress a point.
B-EQUIVALENTES DE MODALES
Modal Equivalente de Modal Traduccin

CAN BE ABLE TO Ser capaz de
MUST HAVE TO Tener que
Los equivalentes de modales pueden ser conjugados en todos los tiempos verbales (presente-
pasado-futuro).
Ingls Espaol
I am able to finish the project on Monday. Soy capaz de finalizar el proyecto el lunes.
They were able to draw imaginary lines. Fueron capaces de dibujar lneas imaginarias.
You have to download the information. Tienes que descargar la informacin.
He had to choose the best logo for the company. Tuvo que elegir el mejor logo para la compaa.
Traducir las siguientes oraciones con Modales o equivalentes de modales
1. Color can highlight primary points.

2. This program could produce high-quality images.
3. You dont have to include too many colors in line-oriented graphics.
4. They will have to scan and transfer this picture to improve the final output of the image.
5. People are able to use sophisticated programs applications in computer-aided design.
6. The lighting in the room might affect the color appearance of your presentation.
7. I was able to select most drawings from that website.
8. You should be able to communicate well with users and external contractors and to make a
contribution to the training of all PC users.
9. We can find textures in a texture library, or we can add our own.
10. Solving problems may involve amending an area of code in the software, retrieving files and
data lost when a system crashes.
C-THERE BE + MODALES
THERE + MODAL + BE
(Se traduce segn el modal presente en la oracin)
Ingls Espaol
There can be famous designers in the exhibition. Pueden haber famosos diseadores en la
exhibicin.
There should be more space for the presentation. Debera haber ms lugar para la presentacin.
There must be rules for the final output. Deben haber reglas para la presentacin final.
There could be a solution to the problem. Podra haber una solucin al problema.
Traducir
1. There can be colors formed by the combination of different intensities of red, green and blue.
49
2. There could be inconsistencies between the color values you see on the screen, and the color
values you see on your printout.
3. There must be eight basic color choices available.
4. There have to be color graphics in long documents to add variety and renew the readers
interest.
5. There should be a color scheme to enhance the visual continuity of your presentation
materials.
6. There may be graphic programs with several options that work in conjunction with the tools
menu to enable the user to manipulate and change pictures.
7. There have to be sophisticated programs for applications in computer-aided design.
8. Without the appropriate software, there can be problems when studying the structure of
objects and how it is affected by particular changes.
9. There might be difficulties when working with three-dimensional graphics.
10. There has to be a variety of shapes and genres like CD covers, labeling, page presentation and
vignettes with text and images or only images.
50
SELECCIN DE TEXTOS
PARA
INTERPRETACIN
Y TRADUCCIN
TEXTO 1
Definition of Graphic Design
Graphic design is a form of communication that conveys a specific message to specific audiences through
words and type, images and other graphic elements and layout. Graphic design is a mixture of art and
business. All graphic design employs the theories of art, but its main purpose is to be useful and functional.
A graphic designer, or graphic artist, effectively disseminates information in an attractive way that is easy for
the audience to understand and has 2 goals: communicating a message to an audience and creating designs
that have an impact.
The graphic designer is the liaison between the client, who wants to communicate an idea, and the audience,
who may or may not be willing to receive it. Graphic designers through their visual work inform, sell or
persuade audiences on behalf of their clients.
TEXTO 2
What Is CAD?
By Jackie Craven, About.com Guide
Definition:
The letters CAD stand for computer-aided design. Architects, drafters, engineers, and
artists use CAD software to create plans and construction drawings.
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Before the age of computers, drawings and blueprints were drafted by hand. CAD is
more efficient because the software records lines as vectors based on mathematical
equations. Portions of a drawing can be twisted, stretched, or moved. The picture as a
whole will automatically adjust.
CAD Software will let the designer:

Switch between two-dimensional (2D) and three-dimensional (3D) views.
Zoom in and out for close-up and distant views.
Rotate images to view them from different perspectives.
Change the scale of images: When one value changes, related values are
automatically adjusted.
Manipulate the shape of images: Changing one portion of an image automatically
changes the entire picture.
Also Known As:

CAD is also known as CADD, which stands for Computer-Aided Design & Drafting
TEXTO 3
What Training Is Necessary for a Career in Computer

Aided Design?
Computer aided design (CAD) takes drawings and sketches of residential buildings, commercial structures,
sports complexes and other structures and configurations and turning them into blueprints and working
drawings. Computer aided design permeates many disciplines, including architecture, engineering and
construction..
Necessary Training for a Career in Computer Aided Design
Training for a Career in Computer Aided Design (CAD)
Computer aided designs and drafting is used for creating visual and spatial information in architectural,
mechanical, structural, construction, manufacturing and other fields. CAD designers possess the creativity,
practical training and technical skills to create computerized drawings of items, parts or products in those
industries, including jewelry, automobiles, orthographic products, plumbing systems, electrical systems,
remodeling projects, precast concrete and steel construction.
Required Computer Aided Design Skills
Becoming a CAD designer requires a solid foundation in the principles and technological skills of computer
automated drafting software applications, such as AutoCAD, Microstation and Architectural Desktop.
Students will also need to gain proficiency in manual drafting, reading blueprints, 3-dimensional drawings
and building prototypes. Some people receive formal training from a technical college or vocational school to
become CAD designers. Others elect to attend community colleges and many hold bachelor's degrees from
4-year universities. Generally, the following knowledge, understanding and skill sets are expected of CAD
designers:
52
Technical math
Manual drafting techniques
Architectural drawing
Mechanical drawing
TEXTO 4
What is Graphic Design? By Eric Miller, About.com Guide
Dictionary.com defines graphic design as the art or profession of visual communication

that combines images, words, and ideas to convey information to an audience. A
graphic designer is responsible for arranging and using elements on different types of
media (such as a poster, a package or a website), most likely with the use of a graphics
software program such as Adobe Illustrator, Photoshop or InDesign. These elements
include:
Photos
Illustrations
Type
Shapes
Color
Texture
TEXTO 5
Where is Graphic Design?

Graphic design is all around us. It is in our morning paper, on our commute to work,
and on the cover of our favorite books. The most common forms include:
Logos
Websites
Business Cards
Advertisements
Book Design
Brochures
Billboards
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Product Packaging
Posters
Magazine Layout
Newspaper Layout
Greeting Cards
This list barely cracks the surfaceticket stubs, skateboards, matchbooks, train
schedules, credit cards and countless other products and everyday items all utilize
graphic design.
Sources:
"graphic design." Dictionary.com Unabridged (v 1.1). Random House, Inc. 18 Sep. 2007. <Dictionary.com
http://dictionary.reference.com/browse/graphic design>.
Definition: The process and art of combining text and graphics and communicating an
effective message in the design of logos, graphics, brochures, newsletters, posters,
signs, and any other type of visual communication is the formal, short definition of
graphic design. Today's graphic designers often use desktop publishing software and
techniques to achieve their goals.
Graphic design utilizes the elements of graphic design and the principles of graphic
design.
Also Known As: graphic arts | graphics design | visual communications | desktop
publishing
TEXTO 6
Elements of Design
Definition: All designs paintings, photos, sculptures, drawings, buildings, business
cards, brochures, logos have certain basics elements or building blocks chosen to
convey the message beyond the actual words or photos or subject matter. These are
the shapes, brushstrokes, colors, and materials that come together to form the whole.
In print design some of the most commonly described elements of design are:
lines
shapes
mass or size
texture
54
color
form
space
value (lightness or darkness)
Also Known As: elements of graphic design | design elements
TEXTO 7
PRINCIPLES OF DESIGN
Definition: The principles of design suggest how a designer can best arrange the
various elements of a page layout in connection to the overall design and to each other.
In landscape painting, principles of design might govern where the artist places the
mountains or how many clouds are in the sky. In page layout, the principles of design
govern how many colors are used, the sizes of fonts, how many columns of text there
are, or whether pictures appear next to each other or spread across the page
creating effective and pleasing arrangements of text and graphics. Commonly applied
principles of design include:
alignment
balance
consistency
contrast
proximity
repetition
unity
white space
Also Known As: design principles | principles of graphic design
Examples:
"In the illustration on this page, some principles of design at work include contrast
between the font size and style of the headings with small text blocks, and contrast of
light red script with black sans serif, repeating horizontal lines, the balance of short,
large headlines with longer but smaller, lighter text blocks, headings aligned the same
and all the small text blocks aligned the same."
55
Principles of Design: Balance, Proximity, Alignment, Repetition, Contrast, and White Space.
Image J. James
TEXTO 8
An Introduction to the Elements of Design
1- Definition: The principles of design suggest how a designer can best arrange
the various elements of a page layout in
1.1 Building Blocks of Design

The first class describes the 5 elements of design: lines, shapes, mass, texture, and color. Also
describes other elements sometimes included as basic building blocks.
1.2 Lines
Everyone knows what a line is, right? Look more closely at the great variety of lines, straight, curved,
thick, thin, solid, and not-solid.
1.3 Shapes
Squares (and rectangles), triangles, and circles are the three basic shapes. Examine their role in design
including the psychology of shapes in logo design. Class also touches on freeform shapes.
1.4 Mass
How big is it? Take a look at mass or visual weight of graphic and text elements. This class includes a large
section on size and measurements for type and paper and images.
1.5 Texture
In addition to the actual texture of the paper we print on, look at the textures we create through
techniques such as embossing and the visual texture created with certain graphics techniques.
1.6 Color
What is the meaning of red? Which colors go well together? Color symbolism and association is the
primary focus of this class. It also touches briefly on the mechanics of color reproduction on the Web and
in print.
Although individual lessons can be taken out of order, I recommend following these
Graphic Design Basics lessons on the Principles of Design sequentially to get the full
benefit.
TEXTO 9
56
An Introduction to the Principles of Design:

2-The Big Picture
2.1 The Big Picture

Different instructors or designers have their own idea about the basic principles of
design but most are encompassed in the 6 principles of balance, proximity, alignment,
repetition, contrast, and white space. Learn the definitions of each principle.
2.2 Balance
Symetrical, radial, formal, and informal ways of arranging elements on a page to
achieve visual balance is the focus of this class. Also covers the 'rule of thirds' and
other structural elements.
2.3 Proximity/Unity
Learn how to arrange elements on the page through proximity -- keeping like items
together and creating unity by how close or far apart elements are from each other.
2.4 Alignment
While centered text has its place it is often the mark of a novice designer. Learn how to
align text and graphics to create more interesting, dynamic, or appropriate layouts.
2.5 Repetition/Consistency
Get an understanding of the importance of consistency for the reader and ways to
create a consistent and balanced look through different types of repetition.
2.6 Contrast
Big vs. small, black vs. white. These are some ways to create contrast and visual
interest. Learn a variety of ways to use contrast.
2.7 White Space

The art of nothing is another description for this principle. View examples of good and
bad use of white space and how to avoid trapped white space.
TEXTO 10
Balance
Our bodies need a balance of nutrients to keep us healthy but every now and then it's OK to
feast on chocolate, ice cream, and an entire supersize bag of potato chips. Balance in design is
much the same. For most of our reading our eyes and minds are most comfortable with evenly
57
balanced layouts where the graphics don't overpower the text and the page doesn't seem to tilt
to one side or the other.
The Principle of Balance
Primarily there are three types of balance in page design:
symmetrical
asymmetrical
radial
Additionally, we'll discuss:
the rule of thirds
the visual center of a page
the use of grids
...as we examine each type of balance and how to achieve it.
TEXTO 11
Symmetrical Balance
Symmetrical balance is easiest to see in perfectly centered compositions or those with mirror
images. In a design with only two elements they would be almost identical or have nearly the
same visual mass. If one element was replaced by a smaller one, it could throw the page out of
symmetry. To reclaim perfect symmetrical balance you might need to add or subtract or
rearrange the elements so that they evenly divide the page such as a centered alignment or one
that divides the page in even segments (halves, quarters, etc.).
When a design can be centered or evenly divided both vertically and horizontally it has the most
complete symmetry possible. Symmetrical balance generally lends itself to more formal, orderly
layouts. They often convey a sense of tranquility or familiarity or elegance or serious
contemplation.
58
Vertical Symmetry Each vertical half (excluding text) of the brochure is a near mirror
image of the other, emphasized with the reverse in colors. Even the perfectly centered text
picks up the color reversal here. This symmetrically balanced layout is very formal in
appearance.
Vertical & Horizontal Symmetry This poster design divides the page into four equal
sections. Although not mirror images the overall look is very symmetrical and balanced. Each of
the line drawings are more or less centered within their section. The graphic (text and image) in
the upper center of the page is the focal point tying all the parts together.
59
TEXTO 12
Asymmetrical Balance
Asymmetrical design is typically off-center or created with an odd or mismatched number of
disparate elements. However, you can still have an interesting design without perfect symmetry.
With asymmetrical balance you are evenly distributing the elements within the format which
may mean balancing a large photo with several small graphics. Or, you can create tension by
intentionally avoiding balance.
Uneven elements present us with more possibilities for arranging the page and creating
interesting designs than perfectly symmetrical objects. Asymmetrical layouts are generally more
dynamic and by intentionally ignoring balance the designer can create tension, express
movement, or convey a mood such as anger, excitement, joy, or casual amusement.
60
Asymmetrical Balance - This page uses a 3 column format to create a neatly organized
asymmetrical layout. The two columns of text are balanced by the blocks of color in the lower
left topped by a large block of white space. In this case, because the white space is in a block
shaped much like the text columns, it becomes an element of the design in its own right.
Asymmetrical/All Over Balance - It can't be neatly sliced in half like a symmetrical design
but most of the elements have only small differences in shape and mass. This page achieves an
overall balance by use of an underlying grid that spreads the many pieces out over the entire
page, more or less evenly.
61
Asymmetrical Tension - Like a wild, unruly garden, the elements of this brochure cover are
barely contained on the page. The plants spring up primarily along the left side but with a few
stems escaping and arching across the page. The text, although randomly placed, follows the
lines of the plants keeping them anchored to the overall design. The off-balance design creates
a sense of freedom and movement.
TEXTO 13
Lines
Lines are one of the basic elements of design. Alone or in combination with other lines or
shapes they can aid in the readability, appearance, and message of a design.
Use lines to:

62
organize
texturize
guide the eye
provide movement
make a statement
convey universal meanings
TEXTO 14
Appearance of Lines
A line is a mark connecting two points. How we get from point A to point B gives the line its
distinctive character and appearance. Lines can be long or short, straight or curved. Lines can
be horizontal, vertical, or diagonal. Lines can be solid, dashed, thick, thin, or of variable width.
The endings of lines can be ragged, blunt, or curved.
TEXTO 15
Line Patterns
Lines are often found in pairs or groups. Lines of the same general appearance or lines that are
quite different can form a variety of patterns that create textures, suggest movement, or lead
the eye - the same as single lines.
If you aren't creating original illustrations or doing logo design, your main concern with this part
of the study of lines is being able to recognize these patterns in the illustrations you may select
63
for your work and understand how these patterns may or may not project the image you want
for your project. These bits of line patterns illustrate static, dynamic, and random use of lines.
Upper Left: Uniform vertical black and white lines alternate at even intervals. Static. Orderly.
Conservative.
Upper Right: Uniform horizontal black lines are widely, but evenly spaced. Static. Stable.
Orderly.
Middle Left: Uneven spacing of otherwise uniform lines creates the impression of movement.
Dynamic. Orderly progression.
Middle Right: In this example the progression moves in from either side giving the illusion of
roundness. Dynamic. Orderly progression. Dimension.
Lower Left: Varying line widths and distances create a random pattern. Dynamic. Chaotic.
Disorderly.
Lower Right: While the uniform size and spacing of the lines in the upper examples are static,
make the lines into curves and you get movement although it is a controlled movement.
Dynamic. Orderly flow.
64
TEXTO 16
Logo Design By Jacci Howard Bear, About.com Guide
Use Lines in Logo Design

Use variety of lines in logo design and for custom
strations
Lines come in a variety of shapes and sizes. Don't get
stuck in a rut.
Vary the thickness of the lines.
Make lines of dots, dashes, or combinations.
Look at the patterns that a series of lines make.
Use lines to direct eyeflow.
Use lines to form barriers.
Use lines to indicate connections.
Use lines to show movement.
Be aware of what the shape of lines can convey. Sharp edges could indicate tension,
crispness, hardness, formality, or high tech. Soft edges and curves may be softer,
flowing, more casual, or more personal. Even small changes in line thickness, endings,
or shape changes can alter the look and feel of a design.
In the "Advanced" logo design example, the lines that make up the triangle (letter A)
go from thick at the bottom to thin at the top. They also suggest a set of steps
(advancement) leading upward.
Notice how the round line endings give the hammer -- drawn freehand with straight
and curved lines -- a softer feel.
The second version of the afiche logo design uses rounded line endings and more
curves (in the fins/lashes). Notice that a different typeface is chosen for each, to match
the style of lines.
65
You can also create interesting patterns with a series of repeating lines. None of these
designs rely on color -- although changes in color can further change the appearance of
the lines.
TEXTO 17
Use Shapes in Logo Design
Use circles, squares, triangles to build logo

designs.
Everything has a shape but the basic shapes
of circles, squares, and triangles can be very
effective in logo design, in part because of
their simplicity. These shapes have certain
sub-conscious meanings as well.
The circle is protective or infinite.

The square denotes stability, equality, and
honesty.
The triangle suggests tension or conflict or

action.
There are so many things you can "draw" using only circles, squares, or triangles.
Group several together to form interesting patterns. You can make one shape from
another -- such as the group of circles that form a triangle, in the illustration.
Alternating direction or color, disrupting a pattern with another shape or a shape out of
alignment can add interest or suggest abstract ideas. A triangle alone or a series of
overlapping ones can "point" in one or more directions.
Replace letters in a word or name with shapes that suggest those letters. A triangle for
A or V is obvious. Less obvious is the E made of squares (in illustration) or perhaps two
stacked circles for an S or a pair of triangles (one up, one down) for an N.
Logo designs don't need to be elaborate -- and usually work best when they are kept
simple. So simple shapes work beautifully.
66
TEXTO 18
Combine Lines and Shapes in Logo Design
Mix lines and shapes in logo design and custom illustration.

You don't have to know how to draw to create some seemingly complex illustrations.
The logo designs and graphics shown here use only lines, circles, squares, triangles,
and text.
Who needs clip art? A circle, a triangle, a square (the highlight), and a curvy line make
a nice balloon. Repeat it a few times, changing the color and add a triangle bow. You
could vary it even more by using an elongated ellipse for one or more of the balloons.
A checkerboard of squares is a versatile pattern. It could be a tile floor, a racing flag,

or, as seen in the illustration, a tablecloth. Can you pick out the shapes used for the
different eating utensils?
A simple shape (triangle) does more than just sit there. Can you tell what they
represent in the above black and white logo design?
67
The SpiroBendo logo design in the illustration is nothing more than a rectangle, some
circles, and some very thick lines with round ends (filled rectangles with rounded
corners could work too) that combine to look like a spiral notebook.
Letters with a tail are fun. The tail on this Q (the circle) is a curvy line that does triple
duty. It underscores the name, is the tail on the Q, and its curves suggest water -- an
obvious tie-in with the surf supply company.
Take the stack of circles from the Using Shapes illustration and turn 'em purple, add a
"leaf" (distorted polygon shape), squiggly line, and some text for a nice logo. No art
lessons needed.
TEXTO 19
Shapes
Shape is one of the basic elements of design. Alone or in combination with other shapes or lines
they can convey universal meanings as well as guide the eye or organize information. The three
basic types of shapes are geometric, natural, and abstract. Geometric shapes are structured,
often symmetrical shapes. These include squares, circles, and triangles but also octagons,
hexagons, and cones.
Natural shapes are found in nature or they can be manmade shapes. Leaves are an example of
a natural shape. An ink blob is a natural shape. Natural shapes are often irregular and fluid.
Abstract shapes are stylized or simplified versions of natural shapes. Symbols found on signs,
such as the stylized wheelchair shape for handicapped access, is one example.
TEXTO 20
Color
Color is not essential to a good design. Black and white and shades of gray can create 'color'
that is just as effective as reds, blues, and greens. However, color is an added dimension that
can evoke moods and make powerful statements when used wisely.
Value
Value is present in all design. It is the lightness or darkness of an object, regardless of color.
Value is relative to the background color and other items on the page.
Use value to:
68
Increase/Decrease Contrast
The greater the difference in value between an object and its background, the greater the
contrast
Choose the value that creates the amount of contrast and effect that you want for your design. In the above
examples, the lighter value recedes into the light background. The design with the greatest contrast makes the
darker object more dominant.
Create Movement
Objects of the same value create a static design with all objects equal in visual importance.
Introducing varying values gives the page a more dynamic appearance and creates a 'pecking
order' among the objects. Some stand out while others recede.
Mix elements of different values to add visual movement to your design or to create a hierarchy of importance.
Lead the Eye

By creating a pattern of dark to light values, even when the objects are equal in shape and size,
it leads the eye in the direction of dark to light.
In the above example, the first set of all dark lines are static. The middle example leads the eye in a downward
direction (dark to light). Reversing the values of the lines leads the eye upward.
Use color to change the effect of value:

Color has the power to override the effects of value. In a high contrast black & white design,
introducing a single, small bit of color will change the focus and balance of the design.
69
The eye is drawn to that spot of color even if other elements are designed to draw the eye in some other direction
or the objects are otherwise equal. That's the power of color.
TEXTO 21
Introduction to Color as an Element of Design
Color and Value, elements of design
Color is everywhere. Every single piece in the samples you've collected so far, even if it
is black and white, exhibits the element of color. Color is used to attract attention. It
can be subtle or bold.
Color can be found in the paper, the text, or the graphic elements and photos. A
monochromatic color scheme uses a single color, perhaps in various tints, while other
layouts utilize combinations of two, three, or more colors.
Color can be used to ellicit specific emotions and reactions. Red is typically thought of
as an attention-grabbing, hot color. Blues are more calming or convey stability. Some
color combinations are used to create a specific identity (corporate colors, school
colors) or may be used in conjunction with texture to simulate the look of other objects
(the look of plain paper wrapping or neon lights, for example). Color may provide cues
for the reader.
Sometimes considered a separate element of design, value is the relative lightness or

darkness of an area compared to the surrounding area. Tints of gray or red are
different values of the same color. Changing values can create contrast, movement,
and emphasis.
Go through your sample folder of ads, newsletters, business cards, books, and other
projects and look at the variety of colors, color combinations, and the way color is
used. Does the piece derive its main color from the paper? Are colors used throughout
in specific ways such as just for graphic elements or only for headlines?
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TEXTO 22
Create Contrast by Creating Obvious Difference

How contrast works
Contrast is one the principles of design. Contrast occurs when two elements are
different. The greater the difference the greater the contrast. The key to working with
contrast is to make sure the differences are obvious. Four common methods of creating
contrast are by using differences in size, value, color, and type.
Contrast adds interest to the page and provides a means of emphasizing what is
important or directing the reader's eye. On a page without contrast, the reader doesn't
know where to look first or what is important. Contrast makes a page more interesting
so the reader is more apt to pay attention to what is on the page. Contrast aids in
readability by making headlines and subheadings stand out. Contrast shows what is
important by making smaller or lighter elements recede on the page to allow other
elements to take center stage.
TEXTO 23
Contrast with Size
Contrast with Size

(Hot Dog Cart Design by jmrichte1)
Big and small elements of the same type, such as

big and small images and big and small type are
71
the most obvious uses of size to create contrast. Contrasting white space or the
physical size of the piece with another element of the design is another method.
TEXTO 24
Contrast with Color
Contrast with Color

Graphic J. Bear
Use harmonizing, complementary, and opposite colors to create contrast. Be careful

with the value of the colors as well. For example, harmonizing colors (adjacent to each
other on the color wheel) can appear washed out if there is not enough difference in
the values of each color.
72
TEXTO 25
Contrast with Type
Contrast with Type

Graphic J. Bear
Type contrast can utilize size, value, and color to create contrasting typographic
treatments. Add bold or italics to create contrast. Mix large type with small type.
Combine serif with sans serif type to create type contrast. Set portions of text in
contrasting colors or varying values. Changes in type alignment create contrast as does
type spacing such as extreme kerning for headlines.
TEXTO 26
Page layout or page composition is the process of placing and arranging and
rearranging text and graphics on the page. A good composition is one that is not only
pleasing to look at but also effectively conveys the message of the text and graphics to
the intended audience. There are certain tried and true elements of page composition
73
that can help insure a successful layout. You may notice that these page composition
tips are closely tied to the principles of design.
1. Align All Elements With Each Other or a Grid
J. James
Place each text or graphic element on the page so that they have a visual connection
to each other. You can use horizontal or vertical alignment, align objects along the
same edge or center them. Eyeballing it can work but for complicated layouts, a grid is
helpful. This one composition tip alone can greatly improve the composition of a page
because our eyes and brains crave a certain amount of order and consistency.
2. Select a Single Visual or Make Strong Visual Connections
Screenshot from Poynter Online
One of the simplest and perhaps most powerful layouts use one strong visual. However,
if using multiple images, keep them connected both through alignment and proximity
-- grouping the images so that they form a single visual unit and aligning them in a
similar fashion.
3. Keep Odd or Even Elements in Balance
J. James
Creating the right balance is both about the number of text and graphics elements and
how they are arranged on the page. Odd numbers tend to create a more dynamic
layout. Use an odd number of visuals, odd numbers of text columns. Or, create a
dynamic layout with an asymmetrical arrangement of elements. Symmetrical balance
or the use of even elements such as two or four columns or a block of 4 pictures
generally produces a formal, more static layout.
74
4. Divide the Page Into Thirds
J. James
Related to balance, the rule of thirds suggests that a more pleasing composition is
possible if your arrangement of text and graphics can be placed using one of these
guidelines:
1. most important elements spaced more or less evenly within vertical or horizontal
thirds
2. most important elements concentrated in the upper or lower third of the page
3. most important elements centered on one of the points where lines intersect
after visually dividing the page into thirds horizontally and vertically
5. Add White Space in the Right Place
J. James
Just as important as the text and graphics on the page is the empty space. Cramming
too much on the page even if it is perfectly aligned and balanced and falls within the
rule of thirds can ruin a composition. The page needs visual breathing room. The best
place for white space is around the edges of the page and the edges of text or graphic
elements so it doesn't get trapped in the middle of the page but increased paragraph,
line, and letterspacing can also improve a layout.
6. Use Two or More of the Same Design Element
J. James
If one is good, two is better? Sometimes, yes. Repetition can come in the form of
consistent use of alignment, using the same colors for related items (such as pull-
quotes or headlines), using the same style or size of graphics, or simply placing the
page numbers in the same spot throughout a publication.
7. Emphasize Differences Between Design Elements

75
J. James
While some aspects of page composition involve things that are the same -- the same
alignment, consistent use of color -- it's also a good idea to do some things differently,
to use contrasting elements. The greater the difference the greater the contrast and
the more effective the layout. Simple examples include making headlines a great deal
bigger than other text and using a different size or color of text for captions, pull-
quotes, and page numbers.
Question: Is There Such a Thing as a Perfect Page Layout?
While there is no single perfect way to compose a page, there are some
generally accepted rules or guidelines that can help you put together an
attractive publication that's free of many common page layout ailments.
Answer: These page layout rules won't always work for you, but nine times out of ten
they'll give you the results you want with the least amount of trial and error -- as close
to a perfect page layout as anyone can get.
As you read each page layout rule, mentally insert the phrase "In general" before each
rule. In general, these are the guidelines to follow:
Ad Design
If an ad is well-designed, it will look just as good upside down as it does right side
up.
Alignment
Everything on the page should align with something else. A grid is an effective tool
in insuring that text and images align. Break alignment only for emphasis and
sparingly within a piece.
Initial Caps
Avoid placing initial caps in the lower one-third of the page. They tend to draw the
eye prematurely to the bottom of the page and visually weigh down or clutter the
lower portion of the page.
Rule of Thirds
Visually divide your page into thirds. Place elements on the page within these thirds
for a more interesting and visually appealing layout.
Single Visual
One of the simplest and perhaps most powerful layouts use one strong visual
combined with a strong (usually short) headline plus additional text.
76
Size
One measure of importance is size. Use larger graphics to communicate the most
important goals of the piece. Smaller graphics are of lesser importance. When space
is at a premium, drop the smaller elements first they are less important.
Margins
Avoid using the same margins on all sides of a publication. In facing-page

documents, the inside margin should be smaller than the outside margins. The
bottom margin is usually larger than any other margins.
In publications with facing pages, the outside margin of each page should
be double the inside margin.
For best appearance, margins should be sized progressively from smallest

to largest: inside, top, outside, bottom.
Z Layout
Mentally impose the letter Z or a backwards S on the page. Place important items
or those you want the reader to see first along the top of the Z. The eye normally
follows the path of the Z, so place your "call to action" at the end of the Z.
TEXTO 27
Basics of Web Layout

Similar to Paper Layouts - Web Layouts Should be Simple and
Clear
When you create a Web design, one of the more overlooked aspects of the design is
the layout. Now, many people think about how to do a layout (CSS, tables, frames,
etc.), but the basics of Web layout are often completely ignored.
Space and Whitespace
Use the whole space, but don't be specific in your use. In other words, use relatively
sized layout sections on your Web pages, so that they expand and contract to fit the
browser window.
Keep screen resolution in mind. While the majority of computer users have moved
away from 640x480 resolution, keep that in mind when you're designing. Having
customers leave because all they can see is a logo on their monitor is not good
customer service.
77
Use color to define spaces. If you want to have a page that's a specific width, why not
center it on the browser screen and make the background color of the page a different
color? This will help the page appear to resize for different browsers; larger browsers
will just have more background color showing, while smaller browsers will have less or
none showing.
Images and Graphics
Align your images. One of the most common newbie layout mistakes is to slap images
into a page willy-nilly without thought to layout. If you just use an img tag and then
write text to follow it, you'll have the image and then one line of text to the right of it.
Using the align attribute will help make your images part of the layout.
Balance the graphics and text on a page. It's easy to get carried away with lots of
images and animations, but they can make a page very hard to read. When you're
considering your layout, remember that images are a major part of the design, not just
afterthoughts.
Text Width
Think about text width. This is often called the "scan length", and refers to how many
words are displayed on one line. Most people can comfortably read about 7 to 11 words
on a line. Longer than that, and the text is hard to read, shorter than that and it's
disjointed and distracting. When designing your layouts make sure that the major text
area displays the text in a readable width.
Centering text is inadvisable. One of the first layout techniques that a new designer
learns is the center tag, and they center everything on their pages. However, centering
is very difficult to do well and it's often hard to read.

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1

FACULTAD DE INFORMTICA Y DISEO

Cuadernillo de Trabajo. Seleccin de textos

Prof. Patricia Polito

Ciclo Lectivo: 2016

FA C U LT A D DE INFO RMTIC A Y DISEO

Carrera: Licenciatura en Diseo

rea a la que pertenece: Lenguas Extranjeras

Unidad 1: La Frase Nominal

Unidad 2: Verbo To Be: Presente, Pasado y Futuro.

Unidad 3: Voz Activa y Pasiva

Firma del docente a cargo/ coordinador

About Acerca de / sobre

Above Encima de / por encima de

Across En frente de / cruzando

Along Por (una va paralela) Go along this street

Among Entre (en medio de)

behind Detrs de / atrs de

Below Debajo de / abajo de

beneath Debajo de / bajo

beside Al lado de / junto a

Between Entre (usualmente entre 2 personas u objetos)

transporte) I go to school by bus

Except Excepto / salvo

For Para (destinatario / uso / propsito)

From De (origin / remitente)

Instead of En vez de / en lugar de

Into En / a / con (movimiento de entrar) Come into my office

Like Como / parecido / igual que

Near Cerca de / junto

On Sobre / en on the table , on TV, on Sunday

Over Encima de / por encima de

Toward / Towards hacia

Under / Underneath Debajo de

Within Dentro de (distancia / tiempo) I am going to travel within the next

2- Introduccin a la Frase Nominal

A /an Adjetivo calificativo

Much / many Sustantivo adjetivado

Little / a little Ejemplos:

Less / fewer Adjetivos -ing

Whoever Controlled Process

First, second, third

Computers Las computadoras

2..1.1- Ncleo de la Frase Nominal: EL SUSTANTIVO

2.1.2- Plural de los sustantivos

Sustantivos singulares terminados en ss, sh, ch, o, x, s + -es

Sustantivos terminados en -f o -fe: cambian estas terminaciones por -ves

2.2.2- El Artculo Definido: the

2.2.3- Omisin del artculo

2.4.1 -Qu y cules son los determinadores?

2.4.2- Tabla de Determinadores con sus significados en Espaol.

Less / fewer Menos

2.5- Los Modificadores

2.5.1- Qu son los modificadores?

2.5.2- Tipos de Pre-modificadores

2.5.2.1- Adjetivos calificativos

14-step method Mtodo de 14 pasos

Observemos que en Ingls el adjetivo generalmente precede al sustantivo. No ocurre lo

b- Adjetivo en Grado Comparativo

Estar precedido por more

Grado positivo Grado comparativo Traduccin

c- Adjetivo en Grado Superlativo

Su terminacin en -est y estar precedido por the

Grado positivo Grado superlativo Traduccin