Exam #4
Paula Scher
_____________ continues to be a major force in graphic design and to draw upon historical models while transforming them into her own unique form of expression. An example of this ability is her 1994 poster for the Public Theater production of Diva Is Dismissed, which reflects music posters from the 1960s. Her typographic poster for the 1995 New York Shakespeare Festival s productions of The Tempest and Troilus & Cressida seems like a refined version of the typographic posters of the nineteenth century.
Otto Storch
_____________ ranks among the major innovators of The New York School. His philosophy that idea, copy, art, and typography should be inseparable in editorial design influenced both editorial and advertising graphics. In this 1959 layout for McCall's, typography tumbles from a heel and hand of moving models. Contrasting colors and values create a dynamic visual impact.
the Internet
_____________, a vast network of linked computers, had its origins in the late 1960s, when scientists at the United States Department of Defense Advanced Research Projects Agency (DARPA) established the ARPAnet computer network so they could transfer data between sites working on similar research projects. This led to a quantum leap forward in computer communications.
corporate identity manual
A firm's book of guidelines and standards for implementing its corporate identity program
em
A horizontal measurement equivalent to the width of the letter m
Anthon Beeke
A provocateur who pushed for maximum freedom of expression and thought, Dutch graphic designer and photographer _____________ sought unconventional solutions to visual communications assignments. Many of his works, like the 1979 theater poster for Leonce and Lena, contain jolting ambiguities and erotic overtones. His typographic oeuvre is unrestrained, from handwritten titles jotted onto photographs to eloquent classical typography and sometimes both combined.
corporate identity
A system of visual elements used in a comprehensive program to project a consistent image of the company
consumer goods
After World War II, the technological advances made during the war were applied to the production of _____________.
Clement Mok
An Apple Computer creative director who left the company to open a design studio in 1987, which was renamed Studio Archetype in 1996. An early advocate of the graphic designer s role in the rapidly changing world of interactive media who believed design should be defined not as an isolated entity, such as packaging or graphics that is added onto the product or service, but as an integral part of an organization s overall vision and strategy.
Robert Massin
As photography stole illustration s traditional function, a new approach to illustration emerged. This more conceptual approach to illustration began with a group of young New York graphic artists: Seymour Chwast, Milton Glaser, Reynolds Ruffins, and Edward Sorel banded together and shared a loft studio. Freelance assignments were solicited through a joint publication called the _____________. Published bimonthly, it featured interesting editorial material from old almanacs illustrated by the group.
Seymour Chwast and Milton Glaser
Both ____________ and _____________ developed a number of novelty display typefaces. Often these began as lettering for assignments that were then developed into full alphabets; such as the logo developed for Artone Ink; the graded version of Blimp, based on old woodtypes; a geometric face inspired by the logo designed for a film studio; a typeface based on lettering first developed for a Mademoiselle poster; and the Buffalo typeface, originally devised for a French product named Buffalo Gum, which was never produced.
digital
By the 1990s, ______________ technology enabled one person operating a desktop computer to control most or even all of these functions. New photo-optical printing machines used computer-controlled lasers to photosensitize printing drums, making short-run and even individualized full-color press sheets possible.
New-wave typography
During a one-year appointment at the Basel School of Design as Weingart's sabbatical-leave replacement, Willi Kunz began a series of 12 typographic interpretations of writings by Canadian philosopher Marshall McLuhan. Which post-modern category does his work represent?
Microsoft
During the 1980s, three companies introduced powerful hardware and software to the marketplace, bringing the digital revolution to the desktops of individual graphic designers. Which company does NOT belong to that group?
Willy Fleckhouse
Launched in Munich in 1959, the German periodical Twen derived its name by chopping the last two letters from the English word that signified the age group of sophisticated young adults to whom the magazine was addressed. The magazine featured excellent photography used in dynamic layouts by its art director, _____________.
Matthew Carter
Match the typefaces with the type designers who designed them. Bell Centennial
Susan Kare
Match the typefaces with the type designers who designed them. Geneva
Carol Twombly
Match the typefaces with the type designers who designed them. Lithos
Robert Slimbach
Match the typefaces with the type designers who designed them. Minion
Neville Brody
Postmodernism heralded a spirit of liberation that allowed designers to respond positively to vernacular and historic forms and to incorporate them into their work. An atmosphere of inclusion and expanding possibilities encouraged designers to experiment. The English designer _____________ wondered, Why can t you take a painterly approach within the print medium? His work evolves from an effort to discover an intuitive yet logical approach to design, expressing a personal vision that could have meaning to his audience. His typographic configurations project an emblematic authority that evokes heraldry and military emblems.
Chermayeff & Geismar designed this symbol for Chase Manhattan Bank of New York. Overtones of security or protection are achieved by four elements confining a square. This symbol proved that a completely abstract form could successfully function as a large organization's visual identifier.
Select the answer that best describes the image.
Dan Friedman
Some young designers who spent time at the Basel School of Design came to the United States to teach and practice afterwards. _____________, an American who studied at the Ulm Institute of Design in 1967 and 1968 and at the Basel School of Design from 1968 to 1970, taught courses at Yale University and the Philadelphia College of Art in 1970 and 1971. He addressed the problem of teaching the basics of typography through syntactic and semantic investigations, using such ordinary copy as a daily weather report. He urged his students to make their work both functional and aesthetically unconventional. The 1973 publication of this work in the journal Visible Language had a widespread influence on typographic education in the United States and other countries.
Rosmari Tissi
Tendencies toward postmodern graphic design first emerged from individuals working within the dicta of the International Typographic Style, such as the designer who designed this presentation folder in 1981 for the printing firm Anton Schöb. Dynamic color and letterform shapes create an expressive backdrop for the message. Placing text typography on white geometric shapes whose configuration is generated by the line lengths of the text is a technique that was frequently used during the 1980s. Who was the designer?
hypertext
Text on a computer screen containing pointers to other text, which can be accessed in a nonlinear way and is instantly available in a nonlinear way by placing the cursor on the key word or icon and clicking on the mouse.
Pentagram's
The 1960s saw the beginning of a global dialogue that embraced the fine arts, performing arts, and design. During the 1980s and 1990s, the rapid growth of electronic and computer technology began to change the processes and appearance of design. Overnight express mail, fax machines, global televisual communications such as the continuous Cable News Network (CNN), and direct-dial international long-distance telephone service all served to further shrink the human community into Marshall McLuhan s global village. This complex world of cultural and visual diversity created an environment in which a vast global dialogue co-existed with national visions, resulting in an explosive and pluralistic era for graphic design. A design partnership, which formed in London in 1962, made significant contributions to international design. Thorough evaluation of the communications problem and the specific nature of the environmental conditions under which the design was to appear combined with British wit and a willingness to try the unexpected summarize the essence of __________ approach to graphic design.
Visual/verbal syntax
The Bernbach approach word and image fused into a conceptual expression of an idea so that they become completely interdependent evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach.
entropy
The disintegration of form from repeated copying
vernacular
The term ______________ design refers to artistic and technical expression broadly characteristic of a locale or historical period.
William Longhauser (Poster for Michael Graves exhibition Postmodern design) -Memphis
The visual motifs of the architect Michael Graves are expressed in this poster designed by _____________ for an exhibition of Graves's work. Which category of post-modernism does this poster represent?
Susan Kare
This person worked in the Apple Computer design department and designed early bit-mapped fonts that were then released by Apple.
Paul Brainerd
This thirty-six-year-old former newspaper editor formed a company called Aldus (after the fifteenth-century printer Aldus Manutius) to develop software for the Macintosh so newspapers could produce advertisements more efficiently. In 1985, Aldus introduced PageMaker software.
multiple-master typefaces
Two or more master designs that combine to generate an extensive sequence of fonts whose weight, width, style, and optical size are determined by a design axis.
David Carson
The title "Hanging at Carmine Street" of this editorial feature on a public swimming pool inspired the designer to "hang some type." Who designed this 1991 layout for Beach Culture magazine?
mon
The traditional Japanese family symbol or crest, called the ___________, was an important inspiration for the Japanese graphic designer. These simplified designs of flowers, birds, animals, plants, and household objects contained in a circle were applied to belongings and clothing and have been in use for thousands of years in Japan.
Victor Moscoso
The vibrant contrasting colors and Vienna Secession lettering inside of the sunglasses implies the drug culture of the period in this 1967 poster for the Chambers Brothers. Who is the designer?
Tadanori Yokoo
The work of Japanese designer _____________ demonstrates a fascination with popular art, comic books, and mass media television, movies, radio, and records. His 1968 poster for a printmaking exhibition entitled Sixth International Biennial Exhibition of Prints in Tokyo combines a variety of techniques, including halftone, airbrush, calligraphic writing, and montage.
Georg Olden
Who designed the United States postage stamp commemorating the one-hundredth anniversary of the Emancipation Proclamation?
hypermedia
A combination of audio, visual, and cinematic communications connected to form a coherent body of information.
Seymour Chwast
A mundane advertising slogan, End Bad Breath, gained new life when it was combined with a blue woodcut and offset-printed green and red areas in his 1968 poster protesting the American bombing of Hanoi. Who is its designer?
annual report
A publication that federal law requires all public companies to provide to their stockholders
linear series
A sequence of screens, much like the pages of a book or images in a slide show, which can be called up on the screen one after another
Fred Woodward
After art directing Texas Monthly and Regardie s, ____________ became the art director of the semi-monthly rock-and-roll magazine Rolling Stone. An intuitive designer, he tried to match typefaces and images to content. In this 1990 breakthrough layout of an article on Sinead O Connor (Fig. 24-15), large-scale display type over two pages is used as a dynamic counterpoint to the photographic portrait.
hierarchies
Branching structures organized like a family tree allowing the user to select options that lead down the various branches
Closed texts
Clear, straightforward images that viewers can only interpret in one specific, carefully controlled way
overlays
Different views of the same information, such as a series of maps showing the Roman Empire at different stages in its history
information architecture
In 1976, architect and designer Richard Saul Wurman coined the term ___________________ and predicted it would become a new profession for individuals who make complex information understandable. Twenty years later, this term became widely used to denote a process of analyzing complex information and giving it structure and order, enabling audiences to glean its essence in an efficacious manner.
spatial zoom
Lets the viewer acquire closer or more detailed data by clicking on a word to see its definition or by focusing in on a detail of a map or diagram
parallel texts
Modified versions of the same document
Hard Werken
More of an informal association than a structured business, _____________ embraced the contemporary art scene and rejected design refinement. The group, which included Henk Elenga, Gerard Hadders, Tom van der Haspel, Helen Howard, and Rick Vermeulen, developed a relaxed, anything-goes attitude and rejected all styles and theories in favor of the subjective interpretation of a problem. They were open to any conceivable typographic or image possibility. They emphasized the message as well as materials and methods used to convey the message to an audience.
Manhattan Design
Music Television (MTV), a round-the-clock music television station, first went on the air in 1981 at a time when music videos had not yet reached their peak as a creative medium. ___________, a New York City studio noted for its independence and risk-taking experimentation, especially for music-industry clients, was commissioned to design the logo.
Shigeo Fukuda
Select the answer that best describes the image.
zine
Self-published personal magazines using desktop-publishing software and inexpensive printing or copier reproduction
alphabets
Takanobu Igarashi is a paradigm of the blending of Eastern and Western ideas. After graduating from Tama University in 1968, Igarashi earned a graduate degree from the University of California, Los Angeles. Upon returning to Japan, he found design firms and corporations unreceptive to a designer who had spent time abroad, so he opened his own design office in 1970. Much of his studio s work is in trademarks, corporate identity, and environmental and product design. By 1976, Igarashi s experiments with ____________ drawn on isometric grids were attracting clients and international recognition. In 1983, Igarashi began a ten-year project designing the Igarashi Poster Calendar, starting with five years for the Museum of Modern Art in New York.
Fluxus
A 1960s neo-Dadaist movement that explored conceptual and performance art, happenings, experimental poetry, and language art
Victor Moscoso
A Grateful Dead poster designed by Robert Wesley Wes Wilson contains swirling lines and letterforms, which are variants of those designed by Alfred Roller for the Vienna Secession posters. Wilson was the innovator of the psychedelic poster style and created many of its stronger images. According to newspaper reports, respectable and intelligent businessmen were unable to comprehend the lettering on these posters, yet they communicated well enough to fill auditoriums with members of a younger generation who deciphered, rather than read, their messages. Other prominent members of this brief movement included Kelly/Mouse Studios and______________, the only major artist of the movement with formal art training.
Typogram
A brief, visual typographic form in which concept and visual form are merged into a oneness.
logotype
A company brand mark consisting of only letterforms
Herbert Matter
A famous 1930s Swiss travel poster designed by _____________ is parodied in Paula Scher s 1985 retro-style poster for Swatch, the Swiss watch manufacturer.
Total Design
A group known as ______________, which included graphic designer Wim Crouwel, product designer Frisco Kramer, and graphic and architectural designer Benno Wissing, was a comprehensive design firm whose goal was to conceive and implement ideas on design in all fields, in order whenever possible to achieve a unity of thought in these fields. During the 1960s and 1970s, this firm played a dominant role in Dutch design. Projects included visual-identity programs, such as the ones for the PAM petroleum company and Furness Holding, and for museum exhibitions with related graphics, book design, signage, and environments.
Figurative typography
A playful direction taken by New York graphic designers during the 1950s and 1960s spearheaded by Gene Frederico, which took many forms. Letterforms sometimes became images, such as the wheels in the Frederico s ad for Woman s Day. Sometimes, the visual properties of words themselves, or their organization in space, were used to express an idea, such as in Don Egensteiner s Tonnage advertisement, in which the visual form of the word takes on a connotative meaning.
Douglas C. Engelbart
A scientist at the federal government s Augmentation Research Center in the 1960s, this person invented the first mouse, a small wooden box on steel wheels.
Norman Ives
A symbol is an image of a company, an institution or an idea that should convey with a clear statement, or by suggestion, the activity it represents . The symbol, besides being memorable and legible, must be designed so that it can be used in many sizes and situations without losing its identity. The designer must distort, unify, and create a new form for the letter, so that it is unique, and yet has the necessary attributes of the letter for recognition. There is no part of a symbol that can be eliminated without destroying the image it creates. It is a true gestalt, in which the psychological effect of the total image is greater than the sum of its parts would indicate . Who said this in 1960 about the designer s mission in logo design?
Adobe Systems
A virtual explosion in the release of new typefaces occurred in the 1990s, as large type vendors were joined by independent type foundries set up by studios and individual designers. _________________ became a prolific and influential digital type foundry. An early type family developed for its PostScript page-description language was Stone, designed by Sumner Stone.
Henryk Tomaszewski
After the death of the designer referred to in the previous question, _____________, a professor at the Warsaw Academy of Fine Arts, became the spiritual head of Polish graphic design. His posters, such as the football poster for the Olympic Games in 1948, were composed of bits of torn and cut paper, then printed by the silkscreen process. He led the trend toward developing an aesthetically pleasing approach, escaping from the somber world of tragedy and remembrance into a bright, decorative world of color and shape.
ideas
Although talented European immigrants who had fled totalitarianism in Europe introduced modern design in America during the 1940s, an original American approach to modernist design gained international prominence in the 1950s and continued as a dominant force in graphic design until the 1970s. An egalitarian society with capitalist values, limited artistic traditions before World War II, and a diverse ethnic heritage engendered an original approach to American modernist design. Where European design was often theoretical and highly structured, American design was pragmatic, intuitive, and less formal in its approach to organizing space. Emphasis was placed on the expression of _____________ and an open, direct presentation of information. Novelty of technique and originality of concept were much prized in this highly competitive society, and designers sought to solve communications problems while satisfying a need for personal expression.
Carol Twombly
As a staff typeface designer at Adobe, _____________ created original designs and respected digital adaptations of classical typefaces, including three masterful families inspired by historical lettering: Charlemagne, which is freely based on the decorative capitals used as versals and titling in Carolingian-era illuminated manuscripts; Lithos, inspired by the monoline simplicity and even-textured economy of Greek stone inscriptions; and Trajan, inspired by the inscription on Trajan s column.
False
As post-WWII Dutch design evolved, two strong currents became evident: a pragmatic constructivism and a vigorous expressionism. This 1979 theater poster for "Leonce and Lena" by designer and photographer Anton Beeke represents pragmatic constructivism whose inspiration was derived from Dutch traditions from the first half of the twentieth century, including de Stijl and Piet Zwart, as well as postwar influences from Switzerland.
photograph
Because electronic imaging software allowed seamless and undetectable image manipulation, the _____________ lost its status as the undisputed documentation of visual reality. The boundaries between photography, illustration, and fine art began to crumble along with those separating designer, illustrator, and photographer.
Gunther Kieser
Beginning in the 1960s and continuing into the 1990s, a poetic approach to graphic design emerged in Europe. It was based on imagery and its manipulation through collage, montage, and both photographic and photomechanical techniques. _______________, a German master of this movement, is a brilliant imagist who consistently demonstrated an ability to invent unexpected visual content to solve communications problems. He brings together images or ideas to create a new vitality, new arrangements, and the synthesis of disparate objects. His Alabama Blues poster combines two photographs, of a dove and a civil-rights demonstration, with typography inspired by nineteenth-century wood type (Fig. 21-49). His poetic visual statements always have a rational basis that link expressive forms to communicative content. It is this ability that separates him from design practitioners who use fantasy or surrealism as ends rather than means.
Émigré Fonts
By 1990, ____________ began receiving significant numbers of idiosyncratic and novel fonts from outside designers. Recognizing the originality of many of these submissions, partners Zuzana Licko and Rudy Vanderlans began to license and distribute the designs. Some of these typefaces were extremely controversial, even as they were rapidly adopted and used extensively in major advertising campaigns and publication designs. Licko designed the two typefaces: Mrs Eaves, an exemplary interpretation of John Baskerville s eighteenth-century transitional fonts, and Filosofia, which captures the spirit of modern-style typefaces.
mannerism
By the 1970s, many believed the modern era was drawing to a close in art, design, politics, and literature. The social, economic, and environmental awareness of the period caused many to believe the modern aesthetic was no longer relevant in an emerging postindustrial society. People in many fields, including architects, economists, feminists, and even theologians, embraced the term postmodernism to express a climate of cultural change. Maddeningly vague and overused, this term became a byword in the last quarter of the twentieth century. Late modernism and ______________ are proffered as alternative terms for late twentieth-century design.
the 1980 Moscow Twenty-second Olympiad
By the late 1960s, the concept of comprehensive design systems had become a reality. Planners realized that comprehensive planning for large organizations and events was not only functional and desirable but actually necessary if large numbers of people were to be accommodated. This was particularly true for international events, including world s fairs and Olympic Games, for which international and multilingual audiences had to be directed and informed. Among many outstanding efforts to develop comprehensive design systems for the Olympic Games, three of the following were cited in Chapter 20 as milestones in the evolution of graphic systems. Which one does NOT belong?
Chase Manhattan Bank of New York
Chermayeff & Geismar Associates moved to the forefront of the corporate identity movement in 1960 with a comprehensive visual image program for _____________. The logo was composed of four geometric wedges rotating around a central square to form an external octagon. It was an abstract form unto itself, free from alphabetic, pictographic, or figurative connotations. Although it had overtones of security or protection because four elements confined the square, it proved a completely abstract form could successfully function as a large organization s visual identifier.
Richard Saul Wurman
Coined the term information architecture for a process of analyzing complex information and giving it structure and order, and predicted it would become a new profession for individuals who made complex information understandable.
Jessica Helfand
Designed the initial website for the Discovery Channel, which demonstrated in the infancy of the medium that graphic designers could create identity, aid navigation, and bring visual interest to websites, and became a paradigm of web design.
Cipe Pineles
During the 1940s, only a moderate number of American magazines were designed well. These included Fortune, Harper s Bazaar, and Vogue. An art director s assistant at Vogue during the 1930s, ____________ made a major contribution to editorial design during the 1940s and 1950s, first as the art director at Glamour, then at Seventeen, Charm, and Mademoiselle. Her publication designs were characterized by a lyrical appreciation of color, pattern, and form. She became the first woman admitted to membership in the New York Art Director s Club. On a cover for Seventeen she designed in 1949, stripe patterns and a mirror-image reflection achieved a graphic vitality.
Ramparts
During the 1960s in America, a new, smaller-format breed of periodicals emerged and thrived by addressing the interests of specialized audiences. The new editorial climate, with more emphasis on content, longer articles, and less opportunity for lavish visual treatment, necessitated a new approach to editorial design. Layout became more controlled, and the use of a consistent typographic format and grid became the norm. Among the magazines listed below, which one became the journal of record for public opposition to the Vietnam War and for a host of other social and environmental issues? The art director, Dugald Stermer, did not commission images to illustrate the articles and topics; he used images as a separate communication to provide information, direction, and purpose distinct from the printed word. One cover of this magazine depicted four hands burning facsimile draft cards of Stermer and the three editors.
phototype
During the 1960s, when ______________ became a prevalent means of typesetting, it took a team of skilled specialists to create and print graphic communications. These specialists included graphic designers, who created page layouts; typesetters, who operated text and display typesetting equipment; production artists, who pasted all of the elements into position on boards; camera operators, who made photographic negatives of the paste-ups, art, and photographs; strippers, who assembled these negatives together; plate makers, who prepared the printing plates; and press operators, who ran the printing presses.
David Carson
During the 1990s, many designers energized their work through advanced computer graphics. New directions migrated from personal exploration and design education to the mainstream as editorial designers for specialized magazines applied computer experimentation to their pages. As art director/designer for Transworld Skateboarding (1983 1987), Musician (1988), Beach Culture (1989 1991), Surfer (1991 1992), and Ray Gun (1992 1996), ____________ shunned grid formats and a consistent approach to typographic layout. Instead, he chose to explore the expressive possibilities of each subject and each page or spread, rejecting conventional notions of typographic syntax, visual hierarchy, and imagery. In the 1994 article Morrissey: The Loneliest Monk, in Ray Gun, the unusual photographic cropping and deconstructed headline convey the musician s romanticism and mystery.
Tadeusz Trepkowski
During the decades after World War II, the conceptual image emerged. It dealt with the design of the entire space, including the integration of word and image, and conveyed not merely narrative information but ideas and concepts. The creation of conceptual images became a significant design approach in Poland, the United States, Germany, and Cuba. The first poster artist to emerge in Poland after World War I was ______________. His famous 1953 antiwar poster demonstrates his technique of distilling content to the simplest statement. A few simple shapes symbolize a devastated city, which is superimposed on a silhouette of a falling bomb. The word nie! (no!) expresses the tragedy of war.
Pieter Brattinga
Dutch designer ______________ learned all aspects of printing by working at his father s printing company, De Jong & Co., near Amsterdam. He curated small exhibitions intended to introduce advanced art and graphic design to a wider audience. These exhibitions were held in a small gallery at the printing firm. He designed posters for these exhibitions, which were constructed on a grid of fifteen squares. One or more of these modules always appeared as an element in the design, such as the 1960 exhibition poster for De Man Achter due Vormgeving van de PTT (The Man Behind the Design for the Dutch Post Service). He also edited a square-format journal called Kwadraatblad (Quadrate), which was printed at De Jong and showcased the work of leading artists and designers while demonstrating printing capabilities. And he designed posters and publications for the well-known Kröller-Müller Museum in Otterlo.
Wim Crouwel
Dutch designer ______________ s design philosophy was less emphatic about universal form and standardized formats than that of other Dutch designers. He emphasized the designer as an objective problem solver who finds solutions through research and analysis, simplifying the message and the means for conveying it to an audience. He believed the flood of typographic messages in contemporary society demanded clarity and simplicity.
Georg Olden
Early black-and-white television was incapable of differentiating between subtle color and tonal contrasts, and television sets often markedly cropped the edges of the signal. Two-dimensional titles were only on the air for a few seconds, requiring rapid viewer comprehension. To overcome these problems, _____________ designed on-air graphics from the center out, using simple symbolic imagery with strong silhouettes and linear properties. Emphasis was placed on concepts that quickly captured the essence of each program, using the connotative power of simple signs, symbols, and images, such as the zippered mouth that becomes an immediate and unequivocal symbolic statement for the television program I ve Got a Secret. This designer was the grandson of a slave from a northern Kentucky plantation and the first African American to achieve prominence as a graphic designer.
U.S. National Park Service
In May 1974, the U.S. government initiated the Federal Design Improvement Program in response to a growing awareness of design as an effective tool for achieving objectives. All aspects of federal design, including architecture, interior space planning, landscaping, and graphic design were upgraded under the program. The Graphics Improvement Program set out to improve the quality of visual communications and the ability of governmental agencies to communicate effectively to citizens. One of the most successful federal visual identification systems was the Unigrid system, developed in 1977 for the _______________. The Unigrid unified the hundreds of informational folders used at about 350 different locations. The standardized format of the Unigrid enabled the publications staff to focus on achieving excellence in the development and presentation of pictorial and typographic information.
Chip Kidd
In his book jacket designs for Alfred A. Knopf, _____________ frequently uses vintage images such as old prints and family albums found in flea markets and junk shops. His visual cues are elusive and require the viewer to excavate the message, as in the 1997 design for David Sedaris s Naked. In this example, there are two covers in one. After the dust jacket, which shows a pair of boxer shorts, is removed, an X-ray is revealed on the book s cover. In a recent monograph on his work, author Véronique Vienne stated: By distancing the title from the image on the cover, he puts a very specific kind of pressure on readers: he asks them to bridge the gap between what they read and what they see. In the process he empowers them by demanding they take control of the communication.
figurative typography
In the 1950s and 1960s, a playful direction called ____________ emerged among New York graphic designers. Letterforms became objects; objects became letterforms. Gene Federico was one of the first graphic designers who delighted in using letterforms as images, as shown in this 1953 double-page advertisement from the New Yorker magazine, in which the perfectly round Os of Futura form bicycle wheels.
Michael Vanderbyl
In the early 1980s in San Francisco, Michael Vanderbyl, Michael Manwaring, and Michael Cronin forged a postmodern design movement that positioned San Francisco as a creative center of design. Although the San Francisco designers share gestures, shapes, palettes, intuitive spatial arrangements, and assign symbolic roles to geometric elements, personal attitudes are nonetheless evident in their work. __________ combines a casual postmodern vitality with a typographic clarity, which reflects his background in the international style. This influence is evident in the 1979 California Public Radio poster and the 1985 promotional mailer for the Simpson Paper Company.
Herb Lubalin
In this 1967 advertisement designed by ____________ for Avant Garde magazine's antiwar poster competition, unity and impact result from compressing complex information into a rectangle dominated by large headlines.
Wild Plakken
Its name can be translated as Unauthorized Bill-Posting. The group, believing that designers should match their beliefs to the content of their graphic designs, accepts or rejects commissions based on the client s ideological viewpoint. Its work has addressed such issues as the environment, women s rights, gay rights, and racism, such as the 1984 poster for the anti-apartheid movement of the Netherlands. It does all of its own photography, so its designers can feel free to experiment in the darkroom, cutting, tearing, and combining images without needing to maintain the integrity of an outside photographer s work. __________
Wired
John Plunkett and Barbara Kuhr, principals of Plunkett + Kuhr, located in Park City, Utah, envisioned a magazine that would do for the information superhighway what Rolling Stone had done for the rock-and-roll a generation earlier. What is the name of this magazine?
New York City
Just as Paris had been receptive to new ideas and images during the late nineteenth and early twentieth centuries, ____________ assumed that role during the middle of the twentieth century.
Wes Wilson
Lettering becomes an image, signifying a cultural and generational shift in values in his 1966 concert poster for The Association. Who is its designer?
Yale University
Many of the pioneers of the New York School were either guest lecturers or served on the faculty of _____________ s graphic design program under the direction of Alvin Eisenman and later Sheila de Bretteville, the current director. This program has contributed to the advancement of graphic design and design education throughout the world, as many of its alumni have become prominent designers and educators; the first among them to receive an MFA after Josef Spelling Albers restructured the program was Norman Ives.
Memphis
Match the description of the movement with its name. In the 1970s, the term postmodernism designated the work of architects and designers who were breaking with the international style that had been so prevalent since the Bauhaus. However, graphic design, rapidly changing and ephemeral, was never dominated by the international style the way architecture had been, so postmodern graphic design can be loosely categorized as having moved in several major directions: As the 1970s closed and the 1980s began, a new movement in postmodern design swept into international prominence. Function became secondary to surface pattern and texture, color, and fantastic forms in the lamps, sofas, and cabinets of this movement s designers.
new-wave typography
Match the description of the movement with its name. In the 1970s, the term postmodernism designated the work of architects and designers who were breaking with the international style that had been so prevalent since the Bauhaus. However, graphic design, rapidly changing and ephemeral, was never dominated by the international style the way architecture had been, so postmodern graphic design can be loosely categorized as having moved in several major directions: This movement was characterized by a typographic revolt, as practitioners and teachers schooled in the International Typographic Style sought to reinvent typographic design.
retro
Match the description of the movement with its name. In the 1970s, the term postmodernism designated the work of architects and designers who were breaking with the international style that had been so prevalent since the Bauhaus. However, graphic design, rapidly changing and ephemeral, was never dominated by the international style the way architecture had been, so postmodern graphic design can be loosely categorized as having moved in several major directions: This movement was characterized by an uninhibited, eclectic interest in modernist European design, particularly in the decades between the world wars; a flagrant disregard for the rules of proper typography; and a fascination with eccentric typefaces designed and widely used during the 1920s and 1930s.
Zuzana Licko
Match the typefaces with the type designers who designed them. Mrs Eaves
art nouveau
Milton Glaser s 1967 image of the popular folk-rock singer Bob Dylan is presented as a black silhouette with brightly colored hair patterns inspired by _____________ sources. Nearly six million copies of the poster were produced for inclusion in a best-selling record album. It became a graphic icon in the collective American experience. A photographer told Glaser about being on assignment on the Amazon River and seeing the Dylan poster in a hut in a remote Indian village.
Paul Rand
More than any other designer, ____________ initiated the American approach to modern design. He had an ability to manipulate visual form (i.e., shape, color, space, line, and value), and to skillfully analyze communications content, reducing it to a symbolic essence without making it sterile or dull. Visual contrasts marked his work: he played red against green, organic shape against geometric shape, photographic tone against flat color, cut or torn edges against sharp forms, and the textural pattern of type against white margins. The cover design for Direction magazine shows the important role of visual and symbolic contrast in his designs. His 1946 book Thoughts on Design inspired a generation of designers. His collaborations with copywriter Bill Bernbach became a prototype for the now ubiquitous art/copy team at advertising agencies. The emphasis of his later work was on trademark and corporate design for such clients as IBM.
web structures
Networks constructed with links designed to guide the viewer through interconnected information
matrix
Organizes data on a grid of interconnected pathways that intersect at appropriate tangential points
Otto Storch
Over the course of the 1950s, a revolution in editorial design occurred, and editorial design experienced one of its greatest eras. In 1953, ____________ was named the art director of McCall s magazine and in 1958 was given a free hand to upgrade the graphics; an astounding visual approach subsequently developed. Typography was unified with photography by designing the type to lock tightly into the photographic image. Type was warped and bent, or became the illustration. He ranks among the major innovators of the period. His philosophy that idea, copy, art, and typography should be inseparable in editorial design influenced both editorial and advertising graphics.
Ikko Tanaka
Plane and shape are the nucleus of _____________ s work. His work is influenced by traditional Japanese motifs and incorporates grid structures and vibrant planes of color that explore warm/cool contrast, close-valued color, and analogous color ranges. In the 1974 poster for Senei Ikenobo s flower arrangements, mountains and waves are created by a rhythmic sequence of blue and blue-green bands under a graduated tan sky. His 1981 Nihon Buyo poster for the Asian Performing Arts Institute uses planes of color on a twelve-unit grid to define the abstracted and expressive portrait.
Wolfgang Weingart
Postmodern graphic design can be loosely categorized as moving into several major directions. One such direction was new-wave typography, which began in Basel, Switzerland, through the teaching and research of the designer who produced this announcement in 1974 for Typografische Monatsblätter magazine. This early layered collage, with overlapping images and complex dropouts, uses numbers and arrows rather than left-to-right and top-to-bottom sequencing to direct the reader through the page. Who was the designer?
Louise Fili
Retro thrived in book jacket design, as is evident in the work of _____________. She finds inspiration in the vernacular graphics of France and Italy, which she collects during summer vacations in Europe. Eccentric letterforms on signs and vernacular graphics with long-lost typefaces discovered in flea markets and used-book stalls inform her highly personal and intuitive approach.
Designed by Seymour Chwast in 1968, this poster, which protests the bombing of Hanoi, demonstrates that graphic artists during this period had greater opportunity for self-expression, created more personal images, and pioneered individual styles and techniques.
Select the answer that best describes the image.
Designed in 1967 by Milton Glaser this poster presents folk-rock singer Bob Dylan as a black silhouette with brightly colored hair patterns inspired by art nouveau sources.
Select the answer that best describes the image.
In this 1981 "Nihon Buyo" poster designed by Ikko Tanaka, vibrant planes of color are arranged on a grid to signify an abstracted and expressive portrait of a traditional Japanese theatrical character.
Select the answer that best describes the image.
In this poster designed by Takenobu Igarashi for Expo '85, the isometric letters, which he calls "architectural alphabets," become a metaphor for the materials and processes of the built environment.
Select the answer that best describes the image.
In this poster designed by Yusaku Kamekura for the 1970 Osaka World Exposition, the centered and symmetrical sun design reflects the compositional traditions of many Japanese arts and crafts while the typography is inspired by the international typographic style.
Select the answer that best describes the image.
In this poster for Knoll furniture designed in 1982 by Woody Pirtle a hot pepper becomes a red and green chair, signifying the availability of Knoll's "hot" furniture in Texas.
Select the answer that best describes the image.
Lester Beall designed the International Paper Company trademark in 1960. Initials, tree, and upward arrow combine in a mark whose fundamental simplicity assures a timeless harmony.
Select the answer that best describes the image.
Paul Rand designed the trademark for International Business Machines, which was developed from a typeface called City Medium, designed by Georg Trump in 1930. The slab serifs and square negative spaces in the B achieve unity and distinction.
Select the answer that best describes the image.
Saul Bass believed a trademark must be readily understood yet possess elements of metaphor and ambiguity that will attract the viewer again and again. This mark was designed in 1984 to reposition American Telephone & Telegraph as "a global communications company" rather than "the national telephone system."
Select the answer that best describes the image.
This 1966 concert poster for The Association designed by Wes Wilson, is one of the psychedelic posters that drew inspiration from the flowing, sinuous curves of art nouveau and the intense optical color vibration asssociated with op art.
Select the answer that best describes the image.
Wild Plakken accepted or rejected commissions based on the client's ideological viewpoint; the group believed a designer should match his or her beliefs to the content of his or her graphic designs, as in this poster they designed for the antiapartheid movement.
Select the answer that best describes the image.
figurative typography
Select the answer that best describes the image.
Rosmarie Tissi
Siegfried Odermatt and ____________ sought logical and effective solutions to design problems through a playful sense of form, the unexpected manipulation of space, and designs with strong graphic impact. They achieved typographic vitality by overlapping and combining letterforms in the presentation folder for the printing firm Anton Schöb. Placing typography on geometric shapes whose configuration was generated by the line lengths of the text itself was a technique they frequently used during the 1980s.
Matthew Carter
Standardization and interchangeable parts became the norm of the industrial revolution; in typography, this conformity was realized through the repetition of letterform parts and redundant layout formats. The digital revolution ushered in an era of individualization, flexibility, and customization. London-born ____________ s typeface Walker, designed for the Minneapolis-based Walker Art Center, provides a stunning example of expanding typographic possibilities. Sturdy sans-serif capitals have a series of five snap-on serifs, which can be attached at will to the vertical strokes of each letter.
Doyle Dane Bernbach
The 1940s were a lackluster decade for advertising. On June 1, 1949, a new advertising agency opened its doors at 350 Madison Avenue in New York City. For each campaign, this agency developed strategy surrounding any important advantage, useful difference, or superior feature of the product. It combined words and images in a new way and established a synergistic relationship between visual and verbal components. It evolved the visual/verbal syntax: word and image fused into a conceptual expression of an idea so that they become completely interdependent. One of its most memorable ad campaigns was for Volkswagen, in which strange little cars with their beetle shapes were marketed to a public used to luxury and high horsepower as status symbols. What is the name of the agency?
MTV
The 1982 press kit cover designed by Pat Gorman of Manhattan Design for _____________ is a forerunner of the image invention made possible with digital computers. This cover was created before the Macintosh computer at a time when the creative potential of electronic technology was seldom explored because designers rarely had access to sophisticated and costly technology. Gorman made color variations of the logo by exploring editing controls in a television studio. Randomly generated color combinations were selected and composed in a repeated pattern to convey the network s constantly changing character in a nonverbal manner.
Pierre Bézier
The French mathematician who invented mathematically generated, nonuniform curves (in contrast to curves with uniform curvatures, called arcs) defined by four control points, which are particularly useful for creating letterforms and computer graphics.
True
The MTV logo with its constantly changing persona represented a new concept in logo design, which contradicted the widely held belief that trademarks and visual identifiers should be absolutely fixed and used in a consistent manner.
Anthon Beeke
The Provo youth movement, which emphasized individual freedom and rejected social conformity, inspired a new expressionism in Dutch graphic design, which increased dramatically during the 1970s and 1980s. Late twentieth-century designers, such as ______________, and groups such as Studio Dumbar, Hard Werken, and Wild Plakken, pushed beyond the traditional values of harmony, unity, and order in their quests for individual meaning and subjective expression.
Music Television (MTV)
The concept of a logo with a constantly changing persona is contrary to the widely held belief that trademarks and visual identifiers should be absolutely fixed and used in a consistent manner. The _____________ logo changed the face, the idea, and the speed of graphic design; it played a major role in redefining visual identity in the electronic age. This logo anticipated the kinetic world of motion graphics soon to explode as cable television, video games, and computer graphics expanded the variety and range of kinetic graphic messages.
Paula Scher
The famous Herbert Matter poster from the 1930s is parodied in this 1985 retro poster for Swatch, the Swiss watch manufacturer. Who is the designer?
corporate identity
The initial contribution of Brownjohn, Chermayeff, and Geismar to American graphic design sprang from a strong aesthetic background and an understanding of the major ideas of European modern art, which had been reinforced by their contacts with architect-teacher Serge Chermayeff, Ivan Chermayeff s father; László Moholy-Nagy, with whom Brownjohn had studied painting and design; and Alvin Lustig, for whom Ivan Chermayeff had worked as an assistant. Solutions grew out of the needs of the client, and design problems were characterized by inventive and symbolic manipulation of imagery and forms, including letterforms and typography. Images and symbols were combined with a surreal sense of dislocation to convey the essence of the subject on posters and book jackets, such as the cover of Bertrand Russell s Common Sense and Nuclear Warfare, on which the atomic blast became a visual metaphor for the brain. In 1960, Brownjohn left the partnership and moved to England, where he made significant contributions to British graphic design, especially in the area of film titles, such as for the motion picture Goldfinger. The firm then changed its name to Chermayeff & Geismar Associates and played a major role in the development of _____________.
art nouveau
The poster craze in the United States during the 1960s was a grassroots affair fostered by a climate of social activism. These posters made statements about social viewpoints rather than advertising commercial messages. The first wave of poster culture emerged from the late-1960s hippie subculture centered in the Haight-Ashbury section of San Francisco. Because the media and general public related these posters to antiestablishment values, rock music, and psychedelic drugs, they were called psychedelic posters. The graphics movement that expressed this cultural climate drew from a number of resources: the flowing, sinuous curves of ____________; intense optical color vibration associated with the brief op-art movement popularized by a Museum of Modern Art exhibition; and the recycling of images from popular culture or by manipulation that was prevalent in pop art (such as reducing continuous-tone images to high-contrast black-and-white).
Michael Graves
The postmodernist architect _____________ used an energetic, high-spirited geometry of decorative surfaces and tactile repetitive patterns. His visual motifs are expressed in a poster designed by Philadelphia graphic designer William Longhauser for an exhibition of the architect s works. In this poster, which became an influential postmodern design in itself, a background pattern of repetitive dots is produced by the letters M I C H A E L letter spaced on a grid.
Phototypography
The setting of type by exposing negatives of alphabet characters to photographic paper dawned in 1925 with the public announcement of the Thothmic photographic composing machine invented by E. K. Hunter and J. R. C. August of London. A keyboard produced a punched tape to control a long, opaque master film with transparent letterforms. As a given letter moved into position in front of a lens, it was exposed to photographic paper by a beam of light.
Paul Rand
The trademark for International Business Machines (IBM) was developed from an infrequently used typeface called City Medium, designed by Georg Trump in 1930. City Medium is a geometric slab-serif typeface. The slab serifs and square negative spaces in the B lent the trademark unity and distinction. In the 1970s, the IBM corporate trademark was updated by introducing stripes to unify the three letterforms and evoke scan lines on video terminals. Who designed this powerful logo?
April Greiman
The typographic space in the China Club advertisement operates with the same governing principle defined by El Lissitzky in his PROUN paintings. Overlapping forms, diagonal lines that imply perspective or reverse perspective, gestured strokes that move back in space, overlap, or move behind geometric elements, and floating forms that cast shadows are the means used to make forms move forward and backward from the surface of the printed page. Who is the designer of this ad?
trademarks
The visual identification systems during the 1950s went beyond______________, which had been in use since the medieval guilds, to produce consistent design systems that projected a cohesive image for corporations with expanding national and multinational presences.
Memphis
The visual motifs of architect Michael Graves are expressed in this poster designed by William Longhauser for an exhibition of Graves's work. Which category of post-modernism does this poster represent?
Paul Rand
This 1940 cover of Direction magazine by ____________, who more than any other American designer initiated an American approach to modern design, shows the important role of visual and symbolic contrast that was so prevalent in his work. The handwritten tag on a crisp rectangle contrasts sharply with the mechanical stencil lettering of the logo on a torn-edged collage element. A Christmas package wrapped in barbed wire instead of ribbon was a grim reminder of the spread of global war. The red dots are symbolically ambiguous, signifying holiday decorations or blood drops.
Saul Bass
This 1955 logo for The Man with the Golden Arm, a film by Otto Preminger, was designed by _____________ , who became the acknowledged master of the film title.
Bradbury Thompson
This 1958 publication entitled Westvaco Inspirations was designed by ____________, who had a thorough knowledge of printing and typesetting, combined with an adventurous spirit of experimentation.
visual/verbal syntax
This 1960 Volkswagen campaign demonstrates ____________: word and image fused into a conceptual expression of an idea so that they become completely interdependent.
Katherine McCoy
This 1989 recruiting poster for Cranbrook Academy of Art layers visual and verbal messages and a communications-theory diagram that suggests that viewers read and see both text and images. Who designed this poster?
Neville Brody
This English designer's work evolved from an effort to discover an intuitive yet logical approach to design, expressing a personal vision that could have meaning to his audience. The designer's typographic configurations, like the one shown here, project an absolute emblematic authority that evokes heraldry and military emblems. Identify the designer.
Wolfgang Weingart
Through his instruction at the Basel School of Design and his personal projects, ____________ consciously sought to breathe a new spirit into the typography of order and neatness by questioning the premises, rules, and surface appearances that were hardening the innovations of the Swiss masters into an academic style in the hands of their followers. In the mid-1970s, he experimented with offset printing and film systems. The printer s camera was used to alter images, and the unique properties of the film were explored. He began to move away from purely typographic form and embraced collage as a medium for visual communication, as shown in the 1974 announcement from Typographische Monatsblätter magazine.
kern
To increase or decrease the space between pairs of letters
El Lissitzky
Typographic design has usually been the most two-dimensional of all the visual disciplines, but April Greiman evolved a new attitude toward space. She achieved a sense of depth in her typographic pages. Overlapping form, diagonal lines that imply perspective or reverse perspective, floating forms that cast shadows, and gestured strokes that move back in space, overlap, or move behind geometric elements are the means she uses to make forms move forward and backward from the surface of the printed page. Greiman s typographic space operates with the same governing principle defined by ____________ in his PROUN paintings but that he never applied to his typographic designs.
Shigeo Fukuda
Unexpected violations of spatial logic and universal order characterize the work of Japanese designer _____________. Playfulness, humor, and intentional ambiguity are abundant in his designs. In his poster Victory 1945, which commemorates the thirtieth anniversary of the end of World War II, the folly of war is expressed simply by turning a shell back toward a gun. The optical illusion featured in his 1975 exhibition poster for the Keio Department Store is typical of his work.
Paul Rand
Which designer designed the trademarks for the American Broadcasting Company (ABC) and Westinghouse?
Herbert Matter
Who designed the New York, New Haven, and Hartford Railroad trademark in 1954? The design included a geometric slab-serif capital N above an H, and a red, black, and white color scheme.
Matthew Carter of Carter & Cone Type
Who designed this 1995 Walker Art Center typeface, which has snap-on serifs, ligatures, and alternate characters that extend the formal range of the typeface and provide designers with freedom of typographic expression appropriate to a center for art, design, and performance.
All of the above
William Golden designed one of the most successful trademarks of the twentieth century for ____________. Two circles and two arcs form a pictographic eye. When the pictographic eye first appeared, it was superimposed over a cloud-filled sky and projected an almost surreal sense of an eye in a sky. The effectiveness of the symbol demonstrated to the larger management community how a contemporary graphic mark could compete successfully with more traditional illustrative or alphabetic trademarks.
Edward Fella
With roots in American vernacular design and early modernist typography, __________ s experimental work became a major influence on a generation of designers. From 1983 until 1991, he contributed graphics to the Detroit Focus Gallery and produced flyers, such as the one shown here, and catalogues whose typography and lettering challenged the reader in the same way advanced art in a gallery challenged the viewer. He explored entropy, the disintegration of form from repeated copying, and an unbounded range of techniques: found typography, scribbles, brush writing, typesetting, rubdown letters, public-domain clip art, stencils, etc. He investigated the aesthetic potential of invented letterforms, irregular spatial intervals, eccentric characters, personal glyphs, and vernacular imagery. Although his influence permeates work by young designers vigorously committed to computer graphics, he rarely uses computers and favors hand processes.
Herbert Spencer
__________ became an important voice in renewing British graphic design after World War II through his writing, teaching, and graphic design practice. As editor and designer of the journal Typographica and author of Pioneers of Modern Typography, an influential 1969 book that informed the postwar generation about the accomplishments of earlier twentieth-century designers, he encouraged a worldwide dialogue.
Saul Bass
____________ brought the sensibilities of the New York School to Los Angeles in 1950. He frequently reduced his graphic designs to a single dominant image, often centered in the space. The simplicity and directness of his work allowed the viewer to interpret the content immediately. He had a remarkable ability to identify the nucleus of a design problem and to express it with images that became glyphs, or elemental pictorial signs, which exerted great graphic power. The 1955 design program for Otto Preminger s film The Man with the Golden Arm was the first comprehensive design program unifying both print and media graphics for a movie. In addition to his film work, he created numerous corporate-identity programs, such as AT&T s, the Girl Scouts , and United Airlines .
Willi Kunz
_____________ accepted a one-year appointment to teach typography at the Basel School of Design while Wolfgang Weingart was on sabbatical. Inspired by the research of Weingart and his students, and with the type shop at his disposal, he began a series of typographic interpretations of writings by Canadian philosopher Marshall McLuhan. These were hand-printed and published under the title 12 T y p o graphical Interpretations. McLuhan s thoughts on communications and printing were visualized and intensified by contrasting type weights, sometimes within the same word; geometric stair-step forms; unorthodox letter, word, and line spacing; lines and bars used as visual punctuation and spatial elements; and textual areas introduced into the spatial field.
Wolfgang Weingart
_____________ and other pioneers strongly rejected the notion of style and saw their work as an attempt to expand the parameters of typographic communication, yet their work was so widely imitated, especially in design education, that it gave rise to a prevailing typographic approach in the late 1970s and 1980s. Specific design ideas explored by him and his students in the late 1960s and early 1970s and adopted a decade later include letter-spaced, sans-serif type; bold, stair-step rules; ruled lines punctuating and energizing space; diagonal type; the introduction of italic type and/or weight changes within words; and type reversed from a series of bars.
Lou Dorfsman
_____________ became the art director for CBS Radio in 1946; in 1954 he was named the director of advertising and promotion for the CBS Radio Network. After William Golden s sudden death at age forty-eight, he became the creative director of CBS Television. He was named director of design for the entire CBS Corporation in 1964 and vice president in 1968, in keeping with CBS President Frank Stanton s philosophy that design is a vital area that should be managed by a professional.
Bradbury Thompson
_____________ emerged as one of the most influential graphic designers in postwar America. His designs for Westvaco Inspirations, four-color publications demonstrating printing papers, made a significant impact. A thorough knowledge of printing and typesetting, combined with a penchant for adventurous experimentation, allowed him to expand the range of design possibilities. He discovered and explored the potential of eighteenth- and nineteenth-century engravings as design resources. Large, bold, organic and geometric shapes were used to bring graphic and symbolic power to the page. Letterforms and patterns, such as the details from halftone reproductions, were often enlarged and used as design elements or to create visual patterns and movements. During the 1960s and 1970s, he turned increasingly to a classical approach to book and editorial format design. Readability, formal harmony, and a sensitive use of old style typefaces marked his work for periodicals such as Smithsonian and ARTnews.
Stefan Sagmeister
_____________ s graphic design is consistently characterized by an uncompromising and harsh directness. On a poster for a Lou Reed album, lyrics from one of Reed s songs are handwritten across his face like graffiti. Born in Austria, he received his first diploma in graphic design from the University of Applied Arts in Vienna, and while on a Fulbright scholarship, he earned a master s from Pratt Institute in New York. After first working in New York and later as the creative director for the Hong Kong office of the Leo Burnett advertising agency, he returned to New York in 1993 to found his own studio. He has designed graphics and packaging for the Rolling Stones, David Byrne, Lou Reed, Aerosmith, and Pat Metheny, among other clients.
Saul Bass
_____________ s mastery of elemental form can be seen in the iconic and widely imitated trademarks produced by his firm. He believed a trademark must be readily understood yet possess elements of metaphor and ambiguity that will attract the viewer again and again. Many of his trademarks became important cultural icons. Within two years after he redesigned the Bell Telephone System bell trademark, public recognition of the symbol rose from 71 to more than 90 percent. After the AT&T long-distance telephone network was split from the local Bell system telephone companies in 1984, he designed a new mark to reposition the firm as a global communications company rather than the national telephone system. This concept was expressed through a computer graphics animation with information bits circling a globe, which became the identification tag for AT&T television commercials.
Seymour Chwast
_____________ s vision is very personal, yet communicates on a universal level. In his work, an absolute flatness is usually maintained. He has a love of Victorian and figurative letterforms; the ability to integrate figurative and alphabetic information has enabled him to produce unexpected design solutions. His album cover for The Threepenny Opera demonstrates his ability to synthesize diverse resources the German expressionist woodcut, surreal spatial dislocations, and dynamic color found in primitive art into an appropriate expression of the subject. From antiwar protest to food packaging and magazine covers, he has reformulated earlier art and graphics to express new concepts in new contexts.
Unimark
_____________, an international design firm, was founded in Chicago by a group of partners including Ralph Eckerstrom, James K. Fogleman, and Massimo Vignelli. The firm rejected individualistic design, believing that design could be a system: a basic structure set up so that other people could implement it effectively. The basic tool for this effort was the grid, which standardized all graphic communications for dozens of large clients, including Alcoa, Ford Motor Company, JCPenney, Memorex, Panasonic, Steelcase, and Xerox. Helvetica was the preferred typeface for all their visual identity systems, as it was considered the most legible type family. Objectivity was the firm s goal, and it spread a generic conformity across the face of multinational corporate communications. The design programs that it created were rational and so rigorously systemized that they became virtually foolproof as long as the standards were maintained.
the World Wide Web
_____________, which provides a means to easily organize and access the vast and ever-increasing digital content of text, images, sound, animation, and video, was first developed in 1990 by physicist Tim Berners-Lee at the European Organization for Nuclear Research (CERN) in Geneva, Switzerland. Berners-Lee developed the three main building blocks: Hypertext Transfer Protocol (HTTP), Hypertext Markup Language (HTML), and a specification for the address of every file, called the Uniform Resource Locator (URL).
Good design is good business.
_______________ was the rallying cry within the graphic design community during the 1950s, and more perceptive corporate leaders understood the need to develop corporate design programs to help shape their companies reputations for quality and reliability.
True
Galliard, which was designed by Matthew Carter in 1978, is a masterful adaptation of a sixteenth-century design by Robert Granjon.
Open Texts
Greater freedom for imaginative interpretation by introducing surrealist imagery, photomontages using torn and fragmented images, and brightly colored shapes
Ettore Sottsass
Identify the designer.
Thomas H. Geismar
Images and symbols are combined with a surreal sense of dislocation to convey the essence of the subject on this c. 1958 book jacket for Bertrand Russell's Common Sense and Nuclear Warfare designed by ____________. The atomic blast becomes a visual metaphor for the human brain and graphically echoes the title.
Erik Spiekermann
Headed MetaDesign, an information graphics firm with offices in Berlin, London, and San Francisco. Designed the Meta type family and founded the FontShop digital type foundry.
Henry Wolf
In 1953, Vienna-born ________________ became the art director of Esquire, and in 1958 he became art director of Harper s Bazaar. He sought to make the magazines he designed visually beautiful. He experimented with typography, making it large enough to fill the page on one spread and then using petite headlines on other pages. His vision of the magazine cover was an exquisitely simple image conveying a visual idea. The sophistication and inventiveness of photography commissioned by Harper's Bazaar during his tenure were extraordinary.
the American Institute of Graphic Arts (AIGA)
In 1974, the U.S. Department of Transportation commissioned ____________ to create a master set of thirty-four passenger- and pedestrian-oriented symbols for use in transportation facilities. This effort represented an important first step toward the goal of unified and effective graphic communications transcending cultural and linguistic barriers in a shrinking world. A 225-page book published by the Department of Transportation provides invaluable information about the design and evaluation process used to arrive at this system.
April Greiman
Graphic designer _____________ created a 1987 issue of Design Quarterly magazine for the Walker Art Center in Minneapolis as a 12-by-6-foot single-sheet digital collage executed entirely on the Macintosh computer. Images were captured from video and digitized, and words and pictures were integrated into a single computer file. In 1988, this designer expressed an obligation to take on the challenge of continuing forward toward a new landscape of communications, adding, [t]o use these tools to imitate what we already know and think is a pity. I think there has to be another layer applied here. And that s about ideas.
Herb Lubalin
Hailed as the typographic genius of his time (1918 1981), ____________ s achievements included advertising and editorial design, trademark and typeface design, posters, and packaging. He abandoned traditional typographic rules and practice and looked at the characters of the alphabet as both visual forms and a means of communication. Words and letters could become images; images could become a word or a letter. He practiced design as a means of giving visual form to a concept or message, as in the proposed logo for Mother and Child magazine, in which the ampersand enfolds and protects the child in a visual metaphor for motherly love. Among his typeface designs is Avant Garde. He was also the design director for International Typeface Corporation s tabloid-size journal known as U&lc.
Figurative typography is the influence on this 2003 poster by Parisian Philippe Apeloig for the exhibition "Bateaux sur l'Eau" ("Boats on Water: Rivers and Canals").
Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.
Helmut Schmid has worked as a graphic designer in Osaka, Japan, since 1977. His poster designed in 2000 for the exhibition "On Typography" at the Kobu Design University clearly reflects the International Typographic Style, also known as Swiss design.
Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.
Paula Scher draws upon historical models while transforming them into her own unique form of expression, as in this 1994 poster for New York's Public Theater, which captures the spontaneity and shock of Dada.
Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.
Russian Constructivism was the primary influence on this 1993 layout for Rolling Stone magazine. Under the art direction of Fred Woodward, Rolling Stone constantly reinvented its design in response to content. Here, the typeface, its treatment, the color palette, and the image all grew out of associations with the article topic.
Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.
Surrealism, and more specifically the Polish poster artist Roman Cieslewicz, were influences on Mexican graphic designer Alejandro Magallanes, as seen in "Las (a)versiones del ojo" [Eyes' (A)versions], a poster designed by Magallanes in 2000.
Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.
Plakatstil influence is evident in this 2001 poster by Israeli graphic designer David Tartakover in celebration of the Henri de Toulouse-Lautrec centennial. The beauty of this poster comes from its minimalism: an image of a hat (the style worn by Lautrec) and the French word "chapeau" (hat).
Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence referenced in the image.
Wolfgang Weingart
Identify the designer:
Woody Pirtle
Illustrative, conceptual images and the influence of Push Pin Studios often mingled with Wild West, Mexican, and Native American motifs and colors in a regional school of graphic design that emerged in Texas during the 1970s and became a major force in the 1980s. The work of ______________, one of many major Texas designers who worked for the Stan Richards Group in Dallas during their formative years, epitomizes the originality of Texas graphics. His logo for Mr. and Mrs. Aubrey Hair evidences an unexpected wit, while his Knoll Hot Seat poster ironically combines the clean Helvetica type and generous white space of modernism with regional iconography. In 1988, he moved on to join the Manhattan office of the British design studio Pentagram.
