History of Graphic Design - Meggs Final 2018

Logotype

"A company brand mark consisting of only letterforms."

Annual Report

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

Letterhead

"A printed heading on stationery stating a person's or organization's name and address."

Corporate Identity

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

Max Bill's designs reflect his belief, stated in 1949, that ________

"it is possible to develop an art largely on the basis of mathematical thinking."

New-wave typography

A typographic revolt, as practitioners and teachers schooled in the International Typographic Style sought to reinvent typographic design.

He had an exceptional ability to integrate words and images into a total composition, achieving concise statements by combining text with powerful geometric forms, symbolic imagery, and pictographic silhouettes. Among his best-known works are the Dubonnet advertising campaign and typefaces for the Deberny and Peignot type foundry, including Bifur, a quintessential art deco display face.

A.M. Cassandre

________ , the art director at Harper's Bazaar from 1934 to 1958, used white space as a design element and sought "a musical feeling" in the flow of texts and visuals.

Alexey Brodovitch

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

Anton Stankowski

________ , who studied in Basel with Wolfgang Weingart, opened a studio in Los Angeles in the early 1970s. This designer's early work particularly reflects the influence of El Lissitzky and his PROUNS.

April Greiman

In his work and in his teaching, __________ sought both unified dynamic harmony and relationships among contrasting elements. He evolved a design philosophy based on the elemental graphic-form language of point, line, and plane. His work includes the logotype for the Stadt Theater Basel, the poster for the Basel Theater's production of Giselle, and the trademark for the Swiss National Exhibition, Expo 1964.

Armin Hofmann

America was introduced to modernism at the 1913 _____________ , but it was met by public protest and initially rejected. However, a small number of American typographers and designers recognized the value of the new ideas, and modernism slowly gained ground.

Armory Show

Memphis

As the 1970s ended and the 1980s began, a new movement in postmodern design swept into international prominence. Function became secondary to surface pattern texture, color, and fantastic forms in designers' lamps, sofas, and cabinets.

Located in Weimar, Germany from 1919-1924, the __________ was the German design school where ideas from all the advanced art and design movements were explored, combined, and applied to problems of functional design and machine production.

Bauhaus

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

The Duffy Design Group demonstrated the effectiveness of graphic design in its label for ________ , which helped increase sales in spite of a small advertising budget.

Classico spaghetti sauce

During their brief collaboration, James Pryde and William Nicholson, under the pseudonym The Beggerstaffs, developed a new technique that was later named _____________. Their 1895 poster for Harper's Magazine is an example that uses this technique.

Collage

_____________ , an American who studied at the Ulm Institute of Design and at the Basel School of Design, taught courses at Yale University and the Philadelphia College of Art in 1970 and 1971. 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.

Dan Friedman

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

True or False? Barbara Stauffacher Solomon collaborated with architect Robert Venturi when she designed supergraphics for the Football Hall of Fame.

False

True or False? Bauhaus instructor Lyonel Feininger was pivotal early on in creating a distinct Bauhaus style in 1920.

False

True or False? Roots of the International Typographic Style include futurism and Dada.

False

True or 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

In 1935, the federal government created the Works Progress Administration (WPA), which provided job opportunities for the unemployed. The WPA _____________ enabled actors, musicians, visual artists, and writers to continue their professional careers. Through this program, thousands of posters were designed and silk-screen printed for government-sponsored cultural events and public-service communications.

Federal Art Project

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

________ was one of the most prominent émigré book designers in the 1920s and 30s. His work includes jackets for important twentieth century literary works, including Berlin Alexanderplatz, Fang and Claw, and Absalom, Absalom!

George Salter

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

During the depths of World War II, graphic designer Walter Herdeg launched a bimonthly international graphic design magazine called __________. He published, edited, and designed the magazine for forty-two years and 246 issues. This magazine stimulated an unprecedented global dialogue among graphic designers and is still being published today.

Graphis

During the Dessau period the Bauhaus's typography workshop, taught by __________ , solicited printing orders from local businesses and made typographic design innovations. This professor designed a universal type that reduced the alphabet to clear, simple, and rationally constructed forms.

Herbert Bayer

Who designed Universal Alphabet?

Herbert Bayer

This designer's update of the New York, New Haven, and Hartford Railroad identity system created a more modern look using a mathematically harmonious slab-serif N and H.

Herbert Matter

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.

Herman Zapf

__________, the son of a designer and sign painter in Leipzig, Germany, applied the new design approaches to a wide audience of printers, typesetters, and designers through his book Die Neue Typographie (The New Typography). He was disgusted with the "degenerate typefaces and arrangements" and sought to find a new asymmetrical typography to express the spirit, life, and visual sensibility of the day.

Jan Tschichold

In 1941, as America's entry into the global conflict became more obviously inevitable, the federal government began to develop propaganda posters to promote production. A famous poster created by _____________ for the Office of Emergency Management is known as the "America's answer! Production" poster. Visual and verbal elements are inseparably interlocked into an intense symbol of productivity and work.

Jean Carlu

________ , who taught himself to draw with his left hand after an accident, experimented with the effectiveness of communications by moving posters past spectators at varying speeds to test their legibility and impact.

Jean Carlu

On the eve of World War II, world events forced the United States to cast aside its neutrality, traditionalism, and provincialism in order to embrace modernism, technology, and global power. This is signified in the design of the 1939 poster "Iced A&P Coffee" by _____________ , whose strong cubist beginnings yielded to a stylized realism.

Joseph Binder

The following were influences on Art Deco. Which one does NOT belong?

Käthe Schmidt Kollwitz

_______ worked in close association with Sweet's Catalog Service and defined informational design as a synthesis of function, flow, and form. He and Sweet's research director Knut Lönberg-Holm explained their approach in two books on catalog design.

Ladislav Sutnar

The work of __________ broke with traditional advertising layout. He often combined flat planes of color and elementary signs, such as arrows with photography. In a poster for the Rural Electrification Administration, a federal agency charged with bringing electricity to less populated areas in America, patriotic graphics and happy farm children imply improved rural life from governmental programs.

Lester Beall

____________ applied a rich range of textures and decorative patterns to his images. Hitler's ideas gained a visual presence through his work, which moved toward a bold imperial and militaristic style of tight, heavy forms and strong tonal contrasts.

Ludwig Hohlwein

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 staff photographer for Harper's Bazaar was one of a new breed of editorial and advertising photographers who combined the visual dynamic of László Moholy-Nagy and Man Ray with the fresh approach made possible by the new 35-mm Leica camera.

Martin Munkacsi

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

Mexican Cultural Heritage

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 William Longhauser that became an influential postmodern design in itself. In it, a background pattern of repetitive dots is produced by the letters M I C H A E L letterspaced on a grid.

Michael Graves

From the San Francisco design community of the 1980s, the Bay Area postmodern design emerged in the work of independent designers who frequently exchanged ideas. Identify the designer below who was NOT part of this group.

Michael Salisbury

The Bauhaus closed in 1933 because ________.

Nazi harassment made instruction and learning impossible

The English designer _____________ wondered, "Why can't you take a painterly approach within the print medium?" His work evolved from an effort to discover an intuitive yet logical approach to design, expressing a personal vision that could have meaning for his audience. His typographic configurations project an emblematic authority that evokes heraldry and military emblems.

Neville Brody

"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?

Norman Ives

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

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

Who designed Futura typeface?

Paul Renner

The Isotype concept originated by Otto Neurath involves the use of ________ to convey complex statistical information.

Pictographs

Dutch designer __________ combined the Dada movement's playful vitality and de Stijl's functionalism and formal clarity. He rejected both traditional symmetrical layout and de Stijl's insistence on strict verticals and horizontals. Instead he designed the space as a "field of tension" brought alive by rhythmic composition, vigorous contrasts of size and weight, and a dynamic interplay between typographic form and the background page.

Piet Zwart

Lucian Bernhard inspired the reductive design approach that emerged in Germany early in the twentieth century known as _____________.

Plakastil

The poster reached the zenith of its importance as a communications medium during World War I (1914-18). Which of the following communications goals does NOT belong to the role of the poster during this period?

Posters promoted radio programs that kept listeners informed about the conditions of the war.

Known for his streamlined and modern aesthetic, ____________ changed the way industrial designers engaged with corporate design culture; he assumed more control over entire industrial and visual campaigns.

Raymond Loewy

Siegfried Odermatt and ____________ used strong graphic impact, a playful sense of form, and unexpected manipulation of space in seeking logical and effective solutions to design problems. They achieved typographic vitality by overlapping and combining letterforms in the presentation folder for the printing firm Anton Schöb.

Rosmarie Tissi

Who designed Leichte Kabel typeface?

Rudolph Koch

In Switzerland, the work of Niklaus Stoecklin, Otto Baumberger, and Herbert Leupin, which was characterized by a simple, laconic, and a sometimes hyperrealistic approach, were called _____________ because they featured individual objects as the main subject.

Sachplakat

Who designed Times New Roman?

Stanley Morison

Austin Cooper applied elements of ________ in his Southern Railway poster of Paris by including fragments and glimpses of landmarks.

Synthetic cubism

A major figure in the development of modern design beginning in the 1930s was a Chicago industrialist named Walter P. Paepcke, who founded __________ in 1926. Paepcke was unique among the captains of industry of his generation, for he recognized that design could serve both a pragmatic business function and become a major cultural thrust by the corporation.

The Container Corporation of America

Neville Brody has viewed the magazine as a dimensional object existing in time and space, and he has experimented with the continuity of design from one issue to the next. His contents page logo for ________ , for example, deconstructed from letters to abstract glyphs over several issues.

The Face

retro

This movement was based on an uninhibited eclectic interest in modernist European design, particularly 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.

True or False? Detractors from the International Typographic Style believe that the style is too formulaic and its design solutions too similar.

True

True or False? László Moholy-Nagy stated that typography, a tool of communication, had to be absolutely clear and legible.

True

True or False? The early years of the Bauhaus were characterized by a utopian desire to build a new spiritual society.

True

True or False? The label "supermannerism" was first used by those advocates of modernism who viewed new work by architects with disdain.

True

True or False? 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. National Park Service

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

The term ______________ design refers to artistic and technical expression broadly characteristic of a locale or historical period.

Vernacular

When the Bauhaus opened in 1919, ________ was the first director.

Walter Gropius

________'s keen understanding of science is reflected in designs for the Upjohn pharmaceutical company in which he visually interpreted complex subjects, such as bacteriology.

Will Burtin

Among the transitional designers in America who recognized the value of modernism was _____________. He experimented with uncommon title page layouts, two-column book formats, and collage-like stenciled ornaments as seen in the 1936 title pages from The Power of Print and Men. He also designed eighteen typefaces, including Caledonia, Electra, and Metro.

William Addison Dwiggins

In his teaching 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 of the Swiss masters. In the mid-1970s, he experimented with offset printing and film systems and embraced collage as a medium for visual communication.

Wolfgang Weingart

Edward McKnight Kauffer's c. 1940 poster, whose Portuguese headline translates "We Fight For the Liberty of All," was commissioned for the purpose of ________.

boosting the morale of the Allied nations

Dr. Mehemed Fehmy Agha, as art director of Condé Nast's Vogue, Vanity Fair, and House & Garden, overhauled their stuffy, dated approach to editorial design in the following ways. Which does NOT belong?

by using cubist illustrations

The three characteristic elements of Plakatstil are below. Which does NOT belong?

concept

Supergraphics are designs incorporating three of the elements below. Identify the item that does NOT belong.

deconstructed letter forms for printed materials

________ , a Dutch designer, began publishing The Next Call in 1923. This periodical was a small magazine of typographic experiments and texts, in which he explored type as concrete visual form as well as alphabetic communication.

hendrik werkman

Beginning in February 1950, an advertising campaign for the Container Corporation of America ran almost two hundred advertisements over three decades, with 157 visual artists creating artwork that presented the great ______________ of Western culture.

ideas

During World War I, posters of the Central Powers countries (i.e., Germany and Austria-Hungary) differed from those of the Allied Powers countries (i.e., England and the United States). American posters, for example, tended to be more ________ than those from Germany.

illustrative

In Mein Kampf, Adolf Hitler wrote that visual propaganda should appeal to the ________ members of society. The later work of Ludwig Hohlwein matched this style.

least intellectual

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 preferred as alternative terms for late twentieth-century design.

mannerism

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

The study of the relations of signs and symbols to their users

pragmatics

Lucian Bernhard's work anticipated later forms of modernist art such as constructivism because of his emphasis on ________.

reduction

The study of meaning of signs and symbols

semantics

the study of how signs and symbols are connected and ordered into a structural whole

syntactics

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 as an important first step toward using graphic communications to transcend cultural and linguistic barriers in a shrinking world.

the American Institute of Graphic Arts (AIGA)

American-born Edward McKnight Kauffer was so powerfully influenced by work he saw while visiting ________ that he decided to move to Europe to pursue a career in art.

the Armory Show in Chicago

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

Henry C. Beck's map designed for the London Underground appealed to the public for three of the reasons below. Which does NOT belong?

the layout of the routes was geographically accurate

László Moholy-Nagy experimented in unifying letterforms with photographic images in order to communicate a message with immediacy. The resulting graphic communication form he called ________.

the typophoto

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

uniform typographic system and grid

European pictorial modernism focused on the total integration of ________.

word and image