HGD FINAL 2021
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.
new york
___________, the first punch cutter who worked independently of printing firms, established his type foundry to sell cast type that was ready to distribute into compositors' cases. The fonts he cut during the 1540s achieved a tighter fit that allowed closer word spacing and a harmony of design between capitals, lowercase letters, and italics.
Claude Garamond
Henri van de Velde's works are early examples of the modernist integration of form and function; their forms communicated their uses objectively and clearly.
False
Illuminated manuscripts in the Middle Ages were costly and time consuming to produce. In addition to expensive minerals for ink, the skins of up to five animals were often required to make parchment for one text.
False
In early block books, woodblock images were cut separately from the wood type and could be set in different arrangements on the page.
False
Printing with movable type was a technological advancement eagerly welcomed by artisans involved in book production throughout Europe.
False
The wove finish paper used by John Baskerville had a textural pattern of horizontal lines created by heavier wire woven into a screen of thinner wire.
False
While Max Bill's work tended toward complexity, Max Huber took a purist approach to design.
False
William Caslon modified Nicolas Jenson's type designs for his own types.
False
_______________ was a brilliant typeface designer and punch cutter who cut Roman, Greek, Hebrew, and the first italic types for Aldine Press editions. His initial project in Venice was a Roman face for De Aetna by Pietro Bembo in 1495, which survives as the book text face Bembo. He researched pre-Caroline scripts to produce a Roman type that was more authentic than Nicolas Jenson's designs.
Francesco Griffo (Francesco da Bologna)
Italy was at the forefront of Europe's transition from the feudal medieval world to one of cultural and commercial renaissance. Italy sponsored the first printing press outside of Germany when Cardinal Turrecremata of the Benedictine monastery at Subiaco invited two printers, _____________, to establish a press. The types that they designed marked the first step toward a Roman-style typography based on letterforms that had been developed by Italian scribes. They created a typographic "double alphabet" by combining the capital letters of ancient Roman inscriptions with the rounded miniscules that had evolved in Italy from the Caroline miniscule.
Arnold Pannartz and Konrad Sweynheym
In 1894, Oscar Wilde's Salomé received widespread notoriety for the obvious erotic sensuality of __________'s illustrations. Late-Victorian English society was shocked by the celebration of evil, which reached its peak in an edition of Aristophanes's Lysistrata; banned by English censors, it was widely circulated on the Continent.
Aubrey Beardsley
The __________ may be the oldest extant artifact combining words and pictures on the same surface.
Blau monument
___________, which ranged in size from small enough to fit in a person's hand to about 10 by 14 inches, were the first known European block printings with a communications function. Image and lettering were cut from the same block of wood and printed as a complete word-and-picture unit.
Block Books
In the early 1400s, the___________, a private devotional text that contained religious texts, prayers, and calendars listing the days of the important saints, became Europe's most popular book.
Book of Hours
Charlemagne mandated reform by royal edict in 789 ce and succeeded in reforming the alphabet with the use of four guidelines, ascenders, and descenders. The resulting uniform script, called __________, is the forerunner of our contemporary lowercase alphabet.
Caroline Miniscules
__________ design, as seen in the Book of Durrow, is abstract and extremely complex; geometric linear patterns weave, twist, and fill the space with thick visual textures, and bright, pure colors are used in juxtaposition.
Celtic
Jules Chéret, the father of the modern poster, featured beautiful young women in his posters. At a time when options for women were limited, these self-assured, happy women were depicted enjoying life to the fullest, wearing low-cut dresses, dancing, drinking wine, and even smoking in public. Dubbed ___________, these female archetypes became the new role model for women in the late Victorian period.
Cherettes
William Caxton left his native land for the textile center of Bruges in the Low Country, where he set up his own business as a merchant and diplomat. In the early 1470s, while spending a year and a half in Cologne, he learned printing. Upon returning to Bruges, he set up a press. The typographic works of William Caxton are significant for three of the reasons listed below. Which does NOT belong? ______________
They were elegant and refined.
A diminuendo is the transition from large introductory script into the smaller text.
True
Aniconism was a common governing principle in Islamic manuscripts.
True
In addition to the rapid spread of knowledge, the invention of the typographic press is also directly responsible for increased literacy in the fifteenth century.
True
Old Style typefaces retain calligraphic qualities and have bracketed serifs.
True
Rubrication, decoration, and illumination were almost always done by hand in the period just following Gutenberg's invention of movable type due to the difficulties of color printing and, possibly, because of political pressure.
True
The 1476 book entitled Calendarium (Record Book) by Regiomontanus contained the first complete title page used to identify a book.
True
The illustrations and decorations in illuminated manuscripts were intended to educate the reader as well as beautify the book.
True
The printing of classics from antiquity spurred interest in ancient Greek and Roman culture. The fusion of the medieval with the classical became a catalyst for the creation of the modern world.
True
Thomas Bewick in England developed a "white line" technique of engraving, which came to be used as an illustration method in letterpress printing until it was replaced by the halftone printing method.
True
The most beautiful of the turn-of-the-century magazines was the Vienna Secession's elegant _____________, published from 1898 until 1903. A continuously changing editorial staff, design responsibility handled by a rotating committee of artists, and unpaid contributions of art and design were all focused on experimentation and graphic excellence. The publication was more of a design laboratory than a magazine and enabled designers to experiment with innovative graphics as they explored the merger of text, illustration, and ornament into a lively unity.
Ver Sacrum
By 1920, a deep ideological split developed in Russia concerning the role of the artist in the new communist state. Some artists argued that art should remain an essentially spiritual activity apart from the utilitarian needs of society. They rejected a social or political role, believing the sole aim of art to be realizing perceptions of the world by inventing forms in space and time. Others renounced "art for art's sake" to devote themselves to industrial design, visual communications, and applied arts serving the new communist society. For example, _____________ turned from sculpture to the design of a stove that would provide maximum heat from minimum fuel, and ____________ gave up painting for graphic design and photojournalism.
Vladimir Tatlin and Alexander Rodchenko
The constructivist ideal was best exemplified by ____________, who was influenced by Kasimir Malevich and applied suprematist theory to constructivism, as evident in the 1919 poster "Beat the Whites with the Red Wedge," in which he transformed suprematist design elements into political symbolism for communication purposes.
el lissitzy
A famous 1930s German propaganda poster designed by Josef Müller-Brockmann is parodied in Paula Scher's 1985 retro-style poster for Swatch, the Swiss watch manufacturer.
false
Hammerpress is one of the oldest continuously running letterpress shops in the United States.
false
Hans Dieter Reichert initiated the concept of "designer as author" and developed a procedure through which content and form evolve in tandem, with one enhancing the other.
false
In the late 1960s, large pages and lavish photography came to be used in design-centered magazines.
false
Paula Scher, Louise Fili, and Carin Goldberg initiated the retro style in San Francisco.
false
Roots of the International Typographic Style include futurism and Dada.
false
Shuichi Nogami's work explores the interaction of typography and color and is a synthesis of the international style and a Japanese sensitivity to light, color, line, and plane.
false
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 two instances of the perfectly round o of Futura form bicycle wheels.
figurative typography
Some of the carved or scratched signs on the rocks may be __________, or symbols to represent ideas or concepts.
ideographs
The work of __________ broke with traditional advertising layout. He understood Jan Tschichold's new typography and the Dada movement's random organization, the intuitive placement of elements and role of chance in the creative process. He often combined flat planes of color and elementary signs, such as arrows with photography. He admired the strong character and form of nineteenth-century American wood types and incorporated them into his work. He sought visual contrast and a rich level of information content. In his posters for the Rural Electrification Administration, a Federal agency charged with bringing electricity to less densely populated areas of the United States, the benefits of electricity are presented through signs understandable to illiterate and semiliterate audiences.
lester beall
Early visual language systems were complex and required knowledge of hundreds of signs and symbols, whereas an alphabet, a set of visual symbols or characters that represent the elementary __________ of a spoken language, requires only twenty or thirty easily learned signs.
sounds
The term ______________ design refers to artistic and technical expression broadly characteristic of a locale or historical period.
vernacular
Three schools that were influential in the evolution of graphic design and design education were introduced in Chapter 12. Which one does not belong? ________
The Bauhaus in Germany
One of the most influential book designs of the 1920s was ______________, a forty-eight-page pictorially illustrated portfolio that El Lissitzky edited with Dadaist Hans Arp. The format for this book was an important step toward the creation of a visual program for organizing information. Other important design considerations included asymmetrical balance, silhouette halftones, a skillful use of white space, and sans-serif typography with bold rules, an early expression of the modernist aesthetic.
The Isms of Art
Force-justified text was a trademark of Swiss design.
False
__________ was the designer of the typeface mentioned in the preceding question, which was created as a palette of twenty-one visually related fonts that all have the same x-height and baseline and whose ascenders and descenders are the same length.
Adrian Frutiger
_____________ one of the most prominent émigré book designers of the 1920s and 1930s, his sensitivity to literary expression made him the ideal artist to capture a book's contents on its cover.
Georg Salter
______________, the master of propaganda photomontage, referred to the medium as "the art construction for socialism." He used the poster as a means of extolling Soviet accomplishments, as in the 1931 poster "We Will Repay the Coal Debt to the Country." His work has been compared to John Heartfield's powerful political posters.
Gustav Klutsis
Among those who drew inspiration from the Glasgow School were ______________, whose medieval-style fantasy illustrations accompanied by stylized lettering influenced fiction illustration throughout the twentieth century, and _____________, who became the art director of the Glasgow publishing firm Blackie's, which provided a forum for applying the geometric spatial division and lyrical organic forms of the Glasgow group to mass communication.
Jessie Marion King and Talwin Morris
The magnificent Latin Psalter published by _________ on August 14, 1457, was the first book to bear a printer's trademark and imprint, printed date of publication, and colophon. In addition, the Psalter had large red and blue initials printed from two-part metal blocks that were inked separately, reassembled, and either printed with the text in one press impression, or stamped after the text was printed. These famous decorated two-color initials were a major innovation.
Johann Fust and Peter Schoeffer
At his press in Ulm, ____________ used woodblock prints in many of his books that were not completely enclosed with rectangular borders, allowing the white space from the margins to flow into the pictures. This approach can be seen in the 175 woodcuts of the 1479 edition of Aesop's Vita et fabulae (Life and Tales) by printer Anton Sorg.
Johann Zainer
A goldsmith from Mainz, Germany, _______________ was given a five-year monopoly on printing in Venice. He printed the first typographic book with page numbers, the 1470 edition of De civitate dei, and designed an innovative and handsome Roman type that cast off some of the Gothic qualities found in earlier fonts.
Johannes De Spira
There is an affinity between the posters and prints of Théophile-Alexandre Steinlen and his friend and sometime rival, Henri de Toulouse-Lautrec. Steinlen's first commissions were drawings for _____________. He had a mania for cats and during the 1880s and 1890s became a prolific illustrator. His radical political views, socialist affiliations, and anticlerical stance led him toward social realism, and he chose to depict poverty, exploitation, and the working class.
La Chat Noir
All but one of the scripts listed below are found on the Rosetta Stone. Which does NOT belong? __________
Latin
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.
Neville brody
_______________, who had been master of the Royal Mint of Tours, France, was a highly skilled cutter of the dies used for striking coins. He established Venice's second press and was one of history's greatest typeface designers and punch cutters. His fonts were characterized by extreme legibility and established a new standard of excellence, with wider letterforms, lighter tone, and a more even texture of black strokes on the white background.
Nicolas Jenson
_____________ draws upon historical models while transforming them into her own unique form of expression. Her posters for the Public Theater's productions of Hamlet, Hair, Twelfth Night, and The Bacchae, are refined and more expressive versions of nineteenth-century typographic posters combined with the playful spirit of Dada.
Paula Scher
During the second millennium BCE, the __________ became seafaring merchants whose ships linked settlements throughout the Mediterranean region. Influences and ideas were absorbed from other areas, such as cuneiform from Mesopotamia in the west and Egyptian hieroglyphics and scripts from the south.
Phoenicians
When the Greeks adopted Phoenician writing, they developed a writing method called boustrophedon, which means __________.
alternating left to right and right to left
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 preferred as alternative terms for late twentieth-century design.
mannerism
Throughout the world, from Africa to North America to the islands of New Zealand, prehistoric people left numerous __________, which are carved or scratched signs or simple figures on rocks.
petroglyphs
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.
photograph
The animals and objects painted on the caves are ___________, elementary pictures or sketches representing the things depicted.
pictograohs
The Didot family type foundry revised Pierre Simon Fournier le Jeune's system of type measurement and created the ___________ system, which divided a French inch into seventy-two points. Type size was identified by the measure of the metal type body in points. In 1886, the Didot system was revised to suit the English inch and adopted as a standard point measure by American type foundries.
pied du roi
America was introduced to modernism at the 1913 _____________ but it was met by public protest and initially rejected. The same reaction awaited Jan Tschichold's "Élémentaire Typographie" insert. However, a small number of American typographers and designers, such as William Addison Dwiggins, S. A. Jacobs, Merle Armitage, and Lester Beall, recognized the value of the new ideas, and modernism slowly gained ground in book design, editorial design for fashion and business magazines catering to affluent audiences, and promotional and corporate graphics. By the 1930s, modernist European design had become a significant influence in America.
the armory show
Alexey Brodovitch commissioned work from established artists such as Salvador Dalí and Man Ray for Harper's Bazaar.
true
American modernism differed from European modernism, in part because America lacked the artistic traditions against which European artists rebelled.
true
Armin Hofmann's 1962 poster for Herman Miller furniture incorporates contrasts of light and dark and geometric type versus the organic shapes of furniture silhouettes.
true
Around 2000 BCE, the Phoenicians developed an early alphabetic writing system called sui generis, which was a script devoid of any pictorial meaning.
true
Gustav Klimt's controversial poster for the first exhibition of the Vienna Secession featured Greek mythological figures that represented the struggle between the Secession and the established art world.
true
Henri de Toulouse-Lautrec developed a journalistic, illustrative style that captured the nightlife of La Belle Époque (The Beautiful Era)—a term used to describe late nineteenth-century Paris.
true
Ladislav Sutnar originally came to the United States as the design director of the Czechoslovakian Pavilion of the New York World's Fair in 1939.
true
Russian lectures by futurist F. T. Marinetti influenced the Russian avant-garde art styles suprematism and constructivism.
true
The Berthold Foundry designed a family of ten sans-serif typefaces that were variations on one original font, Akzidenz Grotesk (called Standard in the United States). This marked a major step in the evolution of the unified and systematized type family and had a major influence on twentieth-century typography.
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 invention of the alphabet and the subsequent spread of literacy had a leveling effect on society; it eventually diminished the power of priests and scribes found in earlier societies.
true
So named because they were written between two guidelines that were one inch apart, __________ were rounded, freely drawn letters more suited to rapid writing.
unicals
