Meggs History of Graphic Design ch.9

Dissatisfied with the thin modern typefaces used in one of the magazines that his firm printed, Theodore Low De Vinne commissioned Linn Boyd Benton to design a blacker, more readable typeface that was slightly extended, with thicker thin strokes and short slab serifs. This typeface is called _____

Century

Based on the simple chemical principle that oil and water do not mix, _______ is the process of printing color pictures and lettering from a series of stone or zinc printing plates. Each color requires a separate stone or plate and a separate run through the press.

Chromolithography

An American printer named ______ experimented with hand-carved wooden types and in 1827 invented a lateral router that enabled the economical mass manufacture of wood types for display printing.

Darius Wells

A second major innovation of nineteenth-century type design were the antique faces, also known as ______, which convey a bold, machine-like feeling through slablike serifs, an even weight throughout the letters, and short ascenders and descenders. Vincent Figgins displayed a full range of antiques in his 1815 printing specimens.

Egyptian faces

Before early experiments with photography, the camera obscura was used by artists to capture images without the use of a drawing utensil.

False

Charles Dana Gibson's images of young women, called Gibson Girls, were featured in Scribner's magazine posters and established a canon of physical beauty in the mass media. Gibson was as meticulous in his selection of type as he was in his renderings of idealized beauty.

False

In 1888, George Eastman, an American dry-plate manufacturer, introduced the Minolta camera, which allowed ordinary citizens to create images and preserve a graphic record of their lives and experiences

False

Scrap refers to printer's proofs that lithographers discard after the plates of colors have been approved for the final printing.

False

Victorian type and hand-drawn lettering were characterized by simplicity with few embellishments

False

William Henry Fox Talbot's calotypes were sharp and clear,incontrastto daguerreotypes.

False

James and John Harper launched a New York printing firm in 1817 and by mid- century, Harper and Brothers had become the largest printing and publishing firm in the world. With the rapid expansion of the reading public and the economies resulting from new technologies, publishers focused on large press runs and modest prices. In 1859, the firm opened the era of the pictorial magazine. Which of the following does NOT fall into this category? ______

Harper's Illuminated and New Pictorial Bible

_______, the first person credited with producing a photographic image, was a lithographic printer of popular religious images who was searching for a new way to make printing plates other than by drawing.

Joseph Niepce

Designers had access to a broad range of type sizes, styles, weights, and novel ornaments, and the design philosophy was to use it all. However, there was a practical reason for the extensive mixing of styles: the ______.

Limited number of characters in each font

The English designer, author, and authority on color _______ became a major design influence in the mid-nineteenth century. He introduced Moorish ornament to Western design in his 1842-1845 book Plans, Elevations, Sections, and Details of the Alhambra, but his main influence was through his widely studied 1856 book of large color plates, The Grammar of Ornament. This catalog of design possibilities from Eastern and Western cultures, "savage" tribes, and natural forms became the nineteenth- century designer's bible of ornament.

Owen Jones

_______developed a passion for drawing, possessed a unique sense of the absurd, and had an ability to exaggerate movement and facial expressions of both people and animals: dishes and plates are personified, cats make music, children are at the center of society, and adults become servants. This illustrator's humorous drawing style became a prototype for children's books and later, animated films.

Randolph Caldecott

During the Industrial Revolution—a radical process of social and economic change that occurred in England between 1760 and 1840—the role of graphic design and graphic communications expanded due to three the following situations. Which does NOT belong? ____

Signage was needed to guide residents through the streets of fast-growing cities.

Victoria became queen of the United Kingdom of Great Britain and Ireland in 1837, and her reign spanned two-thirds of the nineteenth century. Three of the following advances in graphic design occurred during the Victorian era. Which does NOT belong? _________

The first use of sans-serif typography as a running book text

During the Industrial Revolution, inventors applied mechanical theory to the design of printing presses, and new presses with cast-iron parts eventually replaced the wooden hand presses, increasing efficiency and the size of the impression.

True

During the Industrial Revolution, the unity that had existed between design and production ended, and the specialization of the factory system fractured graphic communications into separate design and production components.

True

During the Industrial Revolution, type foundries modified letterforms and proportions and applied all manner of decoration to their alphabets because the mechanization of manufacturing processes made the application of decoration more economical and efficient

True

During the nineteenth century, product packaging was printed in reverse on thin paper, then transferred to tin under great pressure. The paper backing was soaked off, leaving printed images on the tin plate.

True

In 1844, William Henry Fox Talbot began publishing The Pencil of Nature, which included twenty-four photographs in each issue.

True

In the four decades from 1860 to 1900, lithography was the dominant printing medium for advertising posters.

True

The Fourdrinier machine, from which an unending sheet of paper can be manufactured, is still in use today. It is a mechanized papermaking process that pours a suspension of fiber and water in a thin stream upon a vibrating wire- mesh conveyer belt.

True

The Linotype led to a surge in the production of periodicals and illustrated weeklies, including the Saturday Evening Post and Collier's

True

The basic organizing principle of the wood-type poster was horizontal and vertical emphasis, which resulted from the need to lock all elements tightly on the press.

True

The typographic poster houses that produced letterpress posters began to decline after 1870, in part because of the increased use of colorful lithographic posters and the decline of traveling entertainment shows.

True

Vincent Figgins's 1815 printing specimens also showed the first nineteenth- century version of ____ letters whose serifs are extended and curved, sometimes with bulges, cavities, and ornaments.

Tuscan-style

William Caslon called them "Doric," William Thorowgood named them "grotesque," Stephenson Blake named its version "sans-surryph," and in the United States, the Boston Type and Stereotype Foundry called them "Gothic." But _______ called them "sans serif" in his 1832 specimen in recognition of the style's most apparent feature, and the name stuck.

Vincent Figgins

As a teenager, ______ apprenticed as a wood engraver and was twenty years old when Railroad Alphabet, a children's picture book, was published in 1865. Breaking with the tradition of earlier children's books, this illustrator sought to entertain rather than teach or preach to the young. His inspiration came from the flat color and flowing contours of Japanese woodblock prints.

Walter Crane

In 1834,______combined the pantograph with the router, making it so easy to introduce new wood-type fonts that customers were invited to send a drawing of one letter, based on which the manufacturer would design and produce the entire font—without any additional charge.

William Leavenworth

Graphics from the Victorian era can be identified by their _______.

aesthetic confusion

Ottmar Mergenthaler, a German immigrant working in a Baltimore machine shop, demonstrated his Linotype machine on July 3, 1886, in the office of the New York Tribune. The Linotype allowed the operator to compose an entire line of type by operating a keyboard that released a ______ for a particular character.

brass matrix

Around 1803, Robert Thorne of England created a major category of type design called ______, roman faces whose contrast and weight were increased by expanding the thickness of the heavy strokes. The ratio of the stroke width to the capital height was 1 to 2.5 or even 1 to 2.

fat faces

A _______ changes continuous tones into dots of varying sizes. Squares are formed by horizontal and vertical rules etched on pieces of glass. The amount of light that passes through each square determines the size of each dot.

halftone screen

The development of advertising agencies such as N. W. Ayer and Son not only placed advertisements in periodicals but also provided additional services. Which services below did advertising agencies during the Victorian period NOT offer? _____

market research

Eadweard Muybridge helped settle a $25,000 bet by documenting a trotting horse and demonstrating that the horse lifted all four feet off the ground simultaneously. The development of _______ was a logical extension of Muybridge's innovation.

motion picture photography

A third major innovation of nineteenth-century type design were the_____ faces, which were introduced in an 1816 specimen book issued by William Caslon IV. The specimen looked a lot like an Egyptian face with its serifs removed, which is probably how Caslon designed it.

sans-serif

The Victorians developed a more tender attitude toward children, and this was expressed through the development of colorful picture books for preschool children called ______.

toy books

On January 7, 1839, Louis-Jacques Daguerre presented his process to the French Academy of Sciences. The members marveled at the clarity and minute detail of Daguerre's early daguerreotype prints. In the daguerrotype "Paris Boulevard," the Paris street appears almost empty because Daguerre made the image ______.

with a long exposure time, so moving subjects, such as carriages and pedestrians, were not recorded