Graphic Design History Chapter 11 and 12

Hugo Ball

A poet who opened the Cabaret Voltaire in Zurich, Switzerland, as a gathering place for independent young poets, painters, and musicians. This led to the spontaneous development of the Dada literary movement, which would later branch into the visual arts.

Kelmscott Press

A printing enterprise started by William Morris, located in a rented cottage near Kelmscott Manor in Hammersmith.The press was committed to recapturing the beauty of incunabula books with meticulous hand-printing, handmade paper, hand-cut woodblocks, and initials and borders similar to those used by Ratdolt. Its most outstanding volume is the ambitious, 556-page Works of Geoffrey Chaucer.

Futurism

A revolutionary movement in which all the arts were to test their ideas and forms against the new realities of scientific and industrial society. Its manifesto voiced enthusiasm for war, the machine age, speed, and modern life.

Dadaists

Adopted Futurism's violent, revolutionary techniques. Dada writers and artists sought absolute freedom from tradition and, using shock, protest, and nonsense, their work rebelled against the horrors of World War

________ , a German-born designer, created work after World War II with simple shapes that effectively communicated invisible processes and physical forces.

Anton Stankowski

Jules Chéret

Approaching color as a fundamental of composition rather than an addition

Herbert Matter

At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue

Lubalin created layout designs for the periodical ________, a square-format magazine that published essays, fiction, and articles. Its logotype consisted of ligatured capital letters.

Avant Garde

Cubism

Cubism became a catalyst for experiments that pushed art and design toward geometric abstraction and new attitudes toward pictorial space and subject matter was depicted with simplified cylinders, spheres, and cones. - Tribal images had a big influence on Cubism - Cubism was a broken viewpoint - Cubism was a way to describe 3D in 2D - The Cubists favored neutral palettes

The Bauhaus

Das Staatliche Bauhaus, a German design school whose faculty and students shaped the modern design aesthetic.. Stained glass, wood, and metal workshops were taught by both an artist and a craftsman and organized along medieval lines of master, journeyman, apprentice. Moved away from expressionism and toward on rationalism and design for the machine. "Less is more"

The de Stijl movement

De Stijl's philosophy and visual forms developed from the pure, geometric abstraction in the paintings of Piet Mondrian. The visual vocabulary of de Stijl artists was reduced to red, yellow, blue; black, gray, white; straight horizontal and vertical lines; and flat rectangular or square planes. Deeply concerned about the spiritual and intellectual climate of their time. Universal harmony through mathematical structure.

William Caslon

Designer of typefaces, Caslon's typefaces were inspired by the Dutch Baroque types, the most commonly used types in England before Caslon's faces.

Constructivists

Devoted themselves to serving the new communist society through industrial design, visual communications, and applied arts.

This advertising agency developed strategy for each campaign surrounding any important advantage, useful difference, or superior feature of the product. It fused word and image into a conceptual expression of an idea so that the two became completely interdependent. One of its most memorable ad campaigns was for Volkswagen Beetles, which it marketed to a public used to luxury and high horsepower as status symbols.

Doyle Dane Bernbach

Pierre Simon Fournier le Jeune

Enlightenment typist influenced by the Romain du Roi and the ornate French rococo style (letterpress boarders/ ornaments)

Vincent Figgins

Established his own type foundry and quickly built a respectable reputation for type design and the design of mathematical, astronomical, and hundreds of other kinds of symbolic materials. -Dubbed types sans-serifs

Designers who initiated the International Typographic Style held a philosophy that includes three of the ideas below. Which does NOT belong?

Exaggerated claims of propaganda and commercial advertising

Bea Feitler's design for Ms. magazine used a single unified typographic style throughout because her main concern was consistency.

False

Each advertisement from the Doyle Dane Bernbach Agency resulted from a strong concept and copy first; visuals were added later.

False

Force-justified text was a trademark of Swiss design.

False

Josef Mueller-Brockmann's design for the public awareness poster on noise pollution, "Weniger Lärm," is based on the ancient Greek golden mean.

False

Paul Rand's 1946 book From Lascaux to Brooklyn has inspired a generation of designers decades after it was written.

False

Phototypography, the setting of type by exposing negatives of alphabetic characters to photographic paper, had actually been used in 1815.

False

Roots of the International Typographic Style include futurism and Dada.

False

The 1984 AT&T trademark, redesigned by Chermayeff and Geismar Associates, was intended to alter the image of the corporation from a national telephone system to a global communications company.

False

The identity program for the 1972 Munich Twentieth Olympiad was the first of its kind; it set the standard for identity programs for all future games.

False

The signage system for the U.S. Department of Transportation consists of entirely original designs by Roger Cook and Dan Shanosky.

False

The tectonic element used by Anton Stankowski in his design program for the city of Berlin consisted of a trademark and unique typographic logo.

False

William Golden, who designed the CBS Television trademark "eye," insisted upon retaining the logo when the corporation's president was ready to change it.

False

Early television could not display subtle tonal or color contrasts and required graphics that could be recognized quickly by viewers. To overcome this problem, ________ designed on-air graphics with simple imagery and strong silhouettes.

Georg Olden

Industrial Revolution

Graphics played an important role in marketing factory output to a growing middle class. The French and American revolutions resulted in greater human equality, which led to increased public education and literacy and an increased audience for reading materials. Mass media dawns

In 1953, Vienna-born _____________ became the art director at Esquire and in 1958 he became the art director of Harper's Bazaar. 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.

Henry Wolf

A native of Nuremberg, Germany, _________ became a freelance book designer and typographic designer and, at age 22, premiered the first of his more than fifty typefaces, which include Palatino (1950), Melior (1952), and Optima (1958). He developed an extraordinary sensitivity to letterforms as calligrapher, typeface designer, typographer, and graphic designer.

Hermann Zapf

Standardization

In 1723, the French government agreed that types should be subject to standards. Fournier started creating his type on scale. Fournier also developed a new musical typestyle that made the notes round, more elegant, and easier to read.

Frank Pick

In England, the Underground Electric Railways of London under the leadership of Frank Pick launched a successful poster campaign to encourage use of public transportation. (Mind the Gap)

Albert Bruce Rogers

Influenced by Kelmscott books, he became the most important American book designer of the early twentieth century. He joined the Riverside Press of the Houghton Mifflin Company in 1896 and designed books with a strong Arts and Crafts influence.

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 and anticipated the kinetic world of motion graphics soon to explode.

MTV

In 1929, Théo van Doesburg formulated a ________ that called for a universal art of absolute clarity based on controlled arithmetic construction. The International Typographic Style incorporated formal elements from this text.

Manifesto of Art Concret

The design system for the Nineteenth Olympiad in Mexico City resulted from research on ________.

Mexican cultural heritage

Designs from the Unimark design firm were based on a structure that could be implemented by people other than its designers. ________ was the goal, and ________ was the preferred typeface.

Objectivity/Helvetica

In 1953, ____________ was named the art director of McCall's magazine, and in 1958 was given a free hand to upgrade its graphics; an astounding visual approach developed. His philosophy that idea, copy, art, and typography should be inseparable in editorial design influenced both editorial and advertising graphics.

Otto Storch

American designer ____________ masterfully handled visual contrasts in his work: playing 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. His collaborations with copywriter Bill Bernbach became a prototype for the now ubiquitous art/copy team.

Paul Rand

The trademark for International Business Machines (IBM) was developed by _________ from an infrequently used geometric slab-serif typeface, which lent the mark 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.

Paul Rand

Fell types

Presumed to be the work of Dutch punch-cutter Dirck Vosken. Shorter extenders, higher stroke contrast, narrowing of round letters, and flattened serifs on the baseline and descenders

Suprematism

Rejected pictorial content in favor of pure geometric form and color

____________ brought the sensibilities of the New York School to Los Angeles in 1950, frequently reducing his graphic designs to a single powerful dominant image reduced to a sign, often centered in the space. The simplicity and directness of his work allowed the viewer to interpret the content immediately. He also created numerous corporate-identity programs, including those for AT&T, the Girl Scouts, and United Airlines.

Saul Bass

Modern Era

Seeking a formal rupture with the past and a transcendence of stylistic relativity, Modern designers embraced: • functionalism • geometric formalism • machine aesthetics

William Morris

The leader of the English Arts and Crafts movement who called for a fitness of purpose, truth to the nature of materials and methods of production, and individual expression by both designer and worker.

John Ruskin

The writer and artist who inspired the philosophy of the Arts and Crafts Movement by rejecting the mercantile economy and pointing toward the union of art and labor in service to society, as exemplified in the design and construction of the medieval Gothic cathedral.

Armin Hofmann's 1962 poster for Herman Miller furniture incorporates contrasts of light and dark and geometric type vs. the organic shapes of furniture silhouettes.

True

At Rolling Stone magazine, Michael Salisbury used typography differently for each article in the issue, combining randomness and order.

True

Austrian-born Henry Wolf replaced Alexey Brodovitch as the art director of Harper's Bazaar when Brodovitch retired.

True

Editorial designer Otto Storch explored the use of scale in large-format publications by using enlarged photographs of small objects.

True

Herb Lubalin was instrumental in forming the International Typeface Corporation, an organization that confronted the issue of design piracy.

True

In designing a trademark for a broadcasting corporation, Paul Rand adapted and applied Herbert Bayer's 1925 Universal Alphabet.

True

Max Huber incorporated bright, pure hues using overlapping printed inks with shapes and images in his work. One example is the "Monza Motorcar" poster of 1948.

True

Muriel Cooper founded the Visible Language Workshop at MIT in pursuit of dynamic media, using early computers to work in three dimensions.

True

One of the most important mentors to corporate designer Norman Ives was Josef Albers, who urged clarity and purpose in a design.

True

Saul Bass revolutionized film graphics by designing unified graphic materials to promote films such as The Man With the Golden Arm and Exodus.

True

Saul Bass's redesign of the Bell Telephone System trademark increased public recognition of the symbol from 71 to 90 percent.

True

The International Typeface Corporation (ITC) developed fonts with large x-heights and short ascenders and descenders, which became the style in the 1970s and 1980s.

True

The International Typographic Style was a precursor to corporate design.

True

The new sans-serif fonts used in the International Typographic Style were inspired by the nineteenth-century typeface Akzidenz Grotesk.

True

Typophotography, which used photo negatives to set type, was exploited by Herb Lubalin in his typograms.

True

While van Doesburg's concepts concerning pure elements were adopted by proponents of the International Typographic Style, his ideas regarding the content of art were antithetical to graphic design.

True

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. One of the most successful federal visual identification systems was the Unigrid system, a standardized format developed in 1977 for the _______________.

U.S. Department of Transportation

This international design firm was founded in Chicago by partners Ralph Eckerstrom, James K. Fogleman, and Massimo Vignelli. They rejected individualistic design, believing that design could be a system that would enable other people to implement it effectively. Objectivity was the firm's goal, as it spread a generic conformity across the face of multinational corporate communications.

Unimark

The emerging Swiss design gained its typographic expression in several new sans-serif type families created in the 1950s. In 1954, Adrian Frutiger designed the ________ family of typefaces, a uniform, cohesive set of twenty-one fonts.

Univers

Giambattista Bodoni

Was an Italian engraver, publisher, printer and typographer. was hired by the Duke Ferdinand of Bourbon-Parma to organize a printing house in Parma, to be one of the great houses of Italy, called la Stamperia Reale. Reproduce letterforms with very thin "hairlines," standing in sharp contrast to the thicker lines constituting the main stems of the characters

Arts and Crafts movement

Was inspired by writer and artist John Ruskin,This movement flourished in England during the last decades of the nineteenth century as a reaction against the social, moral, and artistic confusion of the Industrial Revolution. Design and a return to handicraft were advocated, and the "cheap and nasty" mass-produced goods of the Victorian era were abhorred. The leader of this movement in England was William Morris, who called for a fitness of purpose, truth to the nature of materials and methods of production, and individual expression by both designer and worker.

Pierre Simon Fournier

a French mid-18th century punch-cutter, typefounder and typographic theoretician. Fournier's contributions to printing were his creation of initials and ornaments, his design of letters, and his standardization of type sizes.

Tristan Tzara

a Paris-based Romanian poet who edited the periodical DADA beginning in July 1917. Tzara joined Hugo Ball, Jean Arp, and Richard Huelsenbeck in exploring sound poetry, nonsense poetry, and chance poetry. He wrote a steady stream of Dada manifestos and contributed to all major Dada publications and events.

Chromolithography

a colored picture printed by the lithographic process from a series of stone or metal plates, the impression from each plate being in a different color

Piet Mondrian

a painter who worked during the de Stijl movement. Like Théo van Doesburg, he reduced his visual vocabulary to the use of primary colors (red, yellow, and blue) with neutrals (black, gray, and white), straight horizontal and vertical lines, and flat planes limited to rectangles and squares. Believed in the diagonal line.

Cipe Pineles, the art director for Glamour, Seventeen, and Mademoiselle magazines in the 1940s and 1950s, became the first woman ________.

admitted to membership in the New York Art Director's club

Frederic W. Goudy

an American typeface designer with a love of books and diligent work. He became a freelance designer in Chicago, specializing in lettering and typographic design. Goudy designed a total of 122 typefaces, many of which were based on Venetian and French Renaissance type designs.

A legal publication required by federal law to stockholders of a public company.

annual report

George Lois pushed the limits of propriety in his designs for Esquire magazine. The April 1968 issue cover, for example, showed the boxer Muhammed Ali, a conscientious objector, ________.

as St. Sebastian

Graphic designer Siegfried Odermatt, who originally planned to become a photographer, turned ordinary photographs into convincing and engaging communication through the careful use of cropping, scale, and lighting. He played an important role in applying the International Typographic Style to the communications of ________.

business and industry

A system of visual elements used in a comprehensive program to project a consistent image of the company.

corporate identity

Berlin Dadaists John Heartfield

created visual communications to raise public awareness and promote social change

Types of Modernism

cubism, futurism, dada, and expressionism

The Century Guild Hobby Horse

featured the work of guild members and was the first printed magazine devoted exclusively to the visual arts

In the 1950s and 1960s, a playful direction called ____________ emerged among New York graphic designers: letterforms became objects, and objects became letterforms. Gene Federico was one of the first graphic designers who delighted in using letterforms as images. In his 1953 double-page advertisement from the New Yorker magazine, the perfectly round Os of Futura form bicycle wheels

figurative typography

Dugald Sturmer, the art director of Ramparts magazine, along with three of its editors, were almost indicted for conspiracy by the State of California in 1967 because of a magazine cover showing ________.

four hands holding burning copies of draft cards

The _________ , used in Josef Müller-Brockmann's Der Film poster, has a three-to-five ratio. A rectangle with this ratio was considered by the ancient Greeks to be the most beautifully proportioned.

golden mean

the Enlightenment era

increase in the variety and distribution of printed matter helped establish communities among readers who were connected by common interests and beliefs, rather than geographical proximity; and distinctive designs made these media visually identifiable -Copperplate engraving -Baroque/Rocco styles -Simplified type

A company brand mark consisting of only letterforms.

logotype

Visual identification systems that were developed in the 1950s went beyond trademarks, which had been used since the medieval guilds; corporate-wide consistent design systems were produced. These systems needed to project cohesive images because ________.

many corporations were becoming multinational in scope

Kurt Schwitters

offshoot of the Dada movement that he named Merz from the word Kommerz (commerce). Found in one of his collages. His Merz collages were strong design compositions based on nonsense, surprise, and chance that were made by combining printed ephemera, rubbish, and found materials. Schwitters wrote and designed poetry, which he defined as the interaction of elements: letters, syllables, words, and sentences. In the 1920s, constructivism became an added influence on Schwitters

Lithography

originally used an image drawn in wax or other oily substance applied to a lithographic stone as the medium to transfer ink to the printed sheet.

In contrast to the modernist European approach to design, the American approach in the mid-twentieth century was characterized by three of the following. Which does NOT belong?

structured

Programmed visual identification systems of the 1960s, such as the one for Lufthansa German Airlines, resulted from a combination of the visual identity movement and ____________.

the International Typographic Style

Jacqueline Casey, the director of the Design Services Office at ________, applied the International Typographic Style to American graphic designs in publications and posters for the university community.

the Massachusetts Institute of Technology

Herb Lubalin experimented with the form and meaning of alphabetic characters in ________ such as Marriage and Mother and Child.

typograms

The book covers designed by Rudolph de Harak for McGraw-Hill Publishers had which of the following in common?

uniform typographic system and grid

The Doyle Dane Bernbach advertising agency, which opened in 1949, revolutionized American advertising in several ways listed below. Which does NOT belong?

using celebrity testimonials

AM Cassandre

was a painter, commercial poster artist and typeface designer. His inventive graphic techniques executed in clear, simplified forms show influences of Surrealism and Cubism and became very popular in Europe and the US during the 1930s

Art nouveau

was a transitional style that bridged the aesthetic confusion of the Victorian era and modernism. Art nouveau thrived from about 1890-1910 and encompassed all the design arts—architecture, furniture, product design, fashion, and graphics.

Henri de Toulouse-Lautrec

was well known as painter as well. the industrialized production promoted many of these artists to a position of popularity. Posters became collectable objects and the line between fine art and mass production commercial art was blurred. The posters were not only reflections of the 19th cent. society but very much a part of life and culture.