135-5

Digital technology enabled graphic designers to control most -or even all- of these functions thanks to ___________ which introduced powerful hardware and/ or software to the marketplace during the 1980s.

-Adobe systems -Aldus Corporation -Apple Computer

In the 1950s Max Bill, Otl Aicher, and Anthony Froshaug developed the graphic design program at the Institute of Design in Ulm, Germany teaching scientific and methodological approaches to design problems, such as _________________.

-Asymmetrical organization of elements on a 4-column grid and only 2 type sizes -Sans-serif typography set flush-left, ragged-right -Strictly objective photography and factual information

Changes in technology have drawn comparisons between the Digital Revolution and changes during the Industrial Revolution. What remains the essence of graphic design?

-to give order to information, -to give form to ideas, -to express our cultural, economic, and social existence.

Saul Bass redesigned the Bell Telephone System trademark in 1969. In 1984, he designed a new mark to reposition _________ as "a global communications company" rather than "the national telephone system."

AT&T

In Switzerland, Max Bill designed layouts of geometric elements with absolute order: mathematical proportion, geometric spatial division and the use of _______________ type.

Akzidenz Grotesk

Which Italian graphic designer was one of the first to use surrealism with easily recognizable symbols in his posters and advertisements to communicate in as few words as possible, sometimes with only the product name?

Armando Testa

This 36-year-old former newspaper editor formed a company called Aldus (after the 15th-century printer Aldus Manutius) to develop software for the Macintosh so newspapers could produce advertisements efficiently.

Bill Gates

His designs for Westvaco Inspirations showed thorough knowledge of printing and typesetting, combined with a knack for experimentation. Large, bold, organic and geometric shapes were used to bring graphic and symbolic power to the page. Later in his career, he designed Smithsonian and ArtNews magazines and established design standards for the US Postal Service.

Bradbury Thompson

Inspired by European modern art, these young designers formed a New York firm of ___________________ in the 1950s. Known for their visual problem-solving abilities, they played a major role in the development of postwar corporate identity.

Brownjohn, Chermayeff, and Geismar

Lou Dorfsman became art director for CBS Radio in1946 and by 1968 rose to corporate vice president. His design approach combined effective communication and problem-solving, designing all aspects of typographic information, right down to the numerals on the wall clocks, elevators and exit signs. Which of the following was NOT designed by Dorfman?

CBS Logo

Chermayeff & Geismar Associates moved to the forefront of the corporate identity movement in 1960 with a comprehensive visual image program for _____________.

Chase Manhattan Bank

Third world countries relied on posters for outreach and support of their ideological viewpoints. Cuban graphic designers made the image of _______________ into a powerful symbol representing the struggle against oppression - one of the most reproduced icons of the late twentieth century.

Che Guevara

She was an art director's assistant at Vogue magazine during the 1930s and 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. She became the first woman admitted to membership in the New York Art Director's Club.

Cipe Pineles

David Carson, a former surfer and schoolteacher turned editorial designer, shunned grid formats and flouted design conventions in his magazine layouts. Which ONE of the following is NOT a hallmark of his computer design experimentation?

Clearly legible type.

Beginning in the 1960s and into the 1990s, a poetic approach to graphic design emerged in Europe. Gunther Kieser was a master of the __________ movement. His "Alabama Blues" poster combines two photographs, of a dove and a civil-rights demonstration, with typography inspired by nineteenth-century wood type.

European visual poets

_______________ 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.

Good design is good business

Wolfgang Weingart 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 in to an academic style. Weingart encouraged his students to use the ___________ by staying involved in all aspects of the process, including concept, typesetting, prepress & printing.

Gutenberg approach

In 1957, another new sans-serif was released as Neue Haas Grotesk. Produced in Germany, the font was renamed with the Latin name for Switzerland:_____________. It soon became a hallmark of the International Typographical Style.

Helvetica

___________ are dynamic websites and software programs that allow each viewer to pursue information on a personally chosen path. Usually, they're created by teams of professionals: audiovisual specialists, writers, computer programmers, content specialists, directors, graphic designers, information architects, image makers and producers

Interactive media

During the 1950s, a design movement emerged in Switzerland and Germany called Swiss design, or more appropriately, the___________. Designers clarified their roles not as artists, but as objective conduits spreading information. Achieving clarity and order was the ideal.

International Typographic Style

What media logo led an ongoing collaboration of animation, illustration & photography —credited for changing the nature of graphic identity in 1981?

MTV

The International Typographic Style was embraced in America at the _____________. Letterforms became the key illustrations for the design, as in the 1969 poster for a computer programming course: the letters "cobol" emerge from a kinetic construction of type.

Massachusetts Institute of Technology (MIT), U.S.

Conceptual image making was not just the exclusive province of the illustrator. Graphic designers combine images with words to make conceptual book covers, posters and advertisements. Which ONE is NOT conceptual?

Massimo Vignelli Big Bend National Park brochure 1977 Factual information is presented in an easily understood manner.

In the early 1980s, San Francisco designers & art schools were strongly influenced by the International Typographical Style, but deeply enamored with patterns, textures, bright colors and bold geometrics. This inspiration came from an Italian architectural design group known as ___________.

Memphis

In 1960 George Lois was asked by the editor of Esquire magazine to design its covers, helping to recapture the audience of the nearly bankrupt men's magazine. Lois' skill in persuading people to participate in photographs resulted in powerful images. Which famous people took part in his famously collaborative covers?

Muhammad Ali, Richard Nixon, & Andy Warhol

Rock-and-roll magazine Rolling Stone went digital in the 1990s where art director Fred Woodward sought a hand-made quality combining traditional and digital methods. Designers had total freedom to design whatever they wanted, so long as they respected the photography and the "Oxford rules" — what were the "Oxford rules"?

Multi-line thick-and-thin borders around the editorial content used to separate the editorial from the ads.

Adobe typeface designer Carol Twombly created original and respected digital adaptations of classic typefaces, including three masterful families inspired by historical lettering. Which is NOT one of these classics?

PAPYRUS, based on Egyptian hieroglyphics

German designer Herman Zapf was a master of classical typography. What three typefaces designed during the 1940s and 1950s are regarded as major type designs?

Palatino, Melior, & Optima

American designer, _________ initiated the American approach to modern design more than any other. His magazine covers broke with the traditions of American publication design with his ability to manipulate shapes, color, space and lines into playful, visually dynamic symbols. His later work emphasized trademark and corporate design for such clients as IBM and UPS.

Paul Rand

The trademark for International Business Machines (IBM) was designed in 1930 from a typeface called City Medium. In the 1970s, the logo was updated with stripes to unify the three letter forms and evoke scan lines on video terminals. Who designed this?

Paul Rand

"_____________" emerged in San Francisco's hippie sub culture during the late 1960s. A grassroots affair, these posters were more of a social statement than a commercial message, representing antiestablishment values, rock music, and psychedelic drugs.

Psychedelic posters

As photography stole illustration's traditional function, the 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. What was the name of this conceptual studio formed in 1954?

Push Pin Studio

____________ brought New York School design ideas to Los Angeles in 1950. He frequently reduced his graphic designs to a single dominant image, often centered in the space. 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.

Saul Bass

Swiss designers _______________ and _______________ broke tradition with the International Typographical Style with their playful sense of typography, the unexpected manipulation of space, geometry, and designs with strong graphic impact.

Siegfried Odermatt & Rosemarie Tissi

During the 1960s in America, the era of large magazine pages with huge photographs ended. What led to the demise of major magazines such as Look, Life, and The Saturday Evening Post?

Television, escalating postal rates, paper shortages and higher printing costs

In 1949, Doyle Dane Bernbach opened its doors at 350 Madison Avenue in New York City. Its "creative teams" made up of writers and art directors combined words and images into conceptual ideas. One of its most memorable ad campaigns was for Volkswagen with a unique headline: "__________________" and a tiny image of the car.

Think small.

The 1977 visual identity system was developed by the U.S. Park Service with Vignelli Associates to unify design standards and improve government communications. The _____ was key to a structured design.

Unigrid

In 1957, Swiss designer Adrian Frutigar released the sans-serif type design _____________: twenty-one visually related fonts that can be combined to achieve dynamic contrasts of weight, tone, width, and direction within one type family.

Universe

Credited as the most successful trademark of the twentieth century, who designed the CBS (Columbia Broadcasting Systems) logo?

William Golden

The design team of Plunkett + Kuhr envisioned a magazine that would do for the digital age what Rolling Stone had done for rock-and-roll a generation earlier. With its postmodern designs, edgy type and fluorescent inks, there was no other magazine that looked like ______.

Wired

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 ______________, epitomizes the originality of Texas graphics evidenced by his Knoll "Hot Seat" poster.

Woody Pirtle

A corporate philosophy and approach to advertising emerged in the late 1940s and early 1950s. Advertising was not created by an outside agency but by ____________ allowing a company to create a unified approach to advertising and other graphics.

an internal staff

For the 1986 issue of Design Quarterly magazine for the Walker Art Center in Minneapolis, April Greiman created a 2x6-foot digital collage executed entirely on the Macintosh computer. Images were captured from video, and words and pictures were integrated into a single computer file printed from a matrix of low-resolution pixels called ______.

bitmaps

After the war, the Olivetti Corporation used graphic design to promote their business machines. Giovanni Pintori designed the company's logotype and used simplified graphic shapes to visualize mechanisms and processes to suggest the function or purpose of the product. What kind of corporate image did he promote?

cheap and affordable business machines

George Lois was young art director at Doyle Dane Bernbach in the late 1950s with a reputation as the enfant terrible of American mass communications. His efforts to sell his work included climbing out on the third-floor ledge of a client's office _______________________.

demanding that his poster proposal be approved.

In Zurich, Max Huber studied ideas of the Bauhaus and experimented with photomontage. Unlike the purist approach of the Ulm Institute, Huber's graphics were ____.

designs pushed to the edge of chaos, but through balance and alignment, he maintained order in the midst of complexity.

In the 1950s, Otto Storch, the a.d. of McCall's magazine and Henry Wolf, the a.d. at Esquire and later Harper's Bazaar, both contributed to a major revolution in ______________ design. Storch combined typography with photography by designing the type to lock tightly into the photographic image. Wolf's vision of the magazine cover was an exquisitely simple image conveying a visual idea.

editorial

Paula Scher is a New York graphic designer whose large-scale typographic treatments transform interior spaces and building façades. This presentation of information in physical surrounds is known as _________.

environmental graphics

Willi Kunz does not construct his work on a predetermined grid; rather, __________________. He generally does not spend a large amount of time working on preliminary sketches. After the basic ideas are formed, he sets the actual type material and develops the final solution from a careful probing of the organizational possibilities of the project.

he starts the visual composition and permits structure and alignments to grow from the design process.

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

In the midst of the technological revolution, designers using centuries-old techniques are enjoying a renaissance in ____________________.

letterpress typographical design and printmaking.

Dan Friedman, 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 addressing typography through syntactic and semantic investigations, using such ordinary copy as a daily weather report. He urged students to _____.

make their work both functional and aesthetically unconventional

Josef Müller-Brockman was a leading design theorist and practitioner in Zurich, Switzerland. His 1960 exhibition poster "der Film" demonstrates the universal design harmony achieved by ____________.

mathematical grid structures

Saul Bass pioneered animated title sequences for films in the 1950s. Today, computer-generated graphics using video footage and animation technology is a specialization called:

motion graphics

This movement was characterized by a typographic revolt, as practitioners and teachers schooled in the International Typographic Style sought to reinvent typographic design.

new wave

Graphic designer Georg Olden was hired by CBS in 1945 to establish a graphics department to design _________________. Due the limitations of early black and white television, Olden's designs emphasized the quick connotative power of simple signs, symbols, and images.

on-air visuals for its new television division

During the 1960s, _______ became a prevalent means of typesetting. It took a team of skilled specialists to create and print graphics: designers created layouts; typesetters set display type; production artists made the paste-ups; camera operators made photographic negatives of the paste-ups, art, and photographs; strippers assembled these negatives together; plate makers prepared the printing plates; and press operators, who ran the printing presses.

phototype

By the 1970s, people in many fields, including architects, economists, feminists, and even theologians, embraced the term ____________ to express a climate of cultural change. Maddeningly vague and overused, this term is exchanged with Late modernism and mannerism as alternatives for late twentieth-century design.

postmodernism

The 1940s saw an original American approach to modernist design that borrowed freely from the work of European designers. European design was often theoretical and highly structured, American design was:

pragmatic, intuitive, and less formal in its approach to organizing space.

Armin Hoffman studied in Zurich and taught at the Basel School of Design in Switzerland. His designs sought to solve problems of unifying type and images, by __________.

replacing traditional pictorial ideas with a modern aesthetic

A famous 1930s Swiss travel poster designed by Herbert Matter is parodied in Paula Scher's 1985 retro-style poster for Swatch, the Swiss watch manufacturer. What does the term "retro" refer to?

retrograde, or backward looking

American culture valued competition, novelty of technique and originality of concept. Designers sought to solve communications problems, present information directly, and _____________________.

satisfy a need for personal expression

Yusaku Kamekura designed the first identity program for the Tokyo Olympic games, setting the standard. By 1968, Lance Wyman continued the evolution of Olympic pictographs, owing to the importance of _____.

signs and symbols that can be easily understood by people of all language backgrounds.

More than any other individual, the quality and discipline found in the Swiss design movement is that of Ernst Keller. His designs demonstrate __________________________.

symbolic imagery and simple geometric forms

German designer/photographer Gunter Rambow often manipulates straightforward photographs with a sense of magic or mystery. In a series of posters for a publisher, the book becomes a _____________, representing convenience and portability.

symbolic object

Anton Stankowski transformed invisible scientific processes and physical forces into visual concepts underlying these forces. Instead of designing a trademark or unique typographic logo for use as the unifying visual element, Stankowski developed a_______________ for consistent use on all material.

tectonic element

The United States Postal Service commissioned Georg Olden, the grandson of a Civil War-era slave, to design a postage stamp. His reductive design symbolizes __________________.

the end of slavery

From the end of WWII until the fall of the IronCurtain in 1989, industrialized nations formed two groups: capitalist democracies (Western Europe, NorthAmerica & Japan) and the communist block (SovietUnion & China). What were the emerging nations of LatinAmerica, Asia and Africa called?

third world

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.

trademarks

Hailed as the typographic genius of his time, Herb Lubalin used words and letters as images; images could become a word or a letter. Called a ______________, this playful use of type/art is exemplified by Lubalin's proposed logo for Mother & Child magazine:

typogram

Charles S. Anderson reinvented historical graphics from old matchbook covers and newspaper ads, 19th century woodcuts, official seals and old trademarks in his packaging designs. The term _______________ refers to a style characteristic of a locale or historical period, such as nostalgic graphics that look like they came from the early 20th century, but are actually brand-new designs.

vernacular design

Retro thrived in book-jacket design. Louise Fili fell in love with the typographical history of her European travels. Elegant and refined, her retro style revives the look and feel of long-forgotten type faces, as well as the ___________ found in the used-book stalls of French and Italian flea markets.

vernacular graphics

In 1987 Rudy Vanderlans, a recent Dutch immigrant living in San Francisco, left his newspaper design job to start a partnership with designer Zuzana Licko, whose background included computer programming. What was the name of the experimental magazine which used low-resolution Macintosh type for early issues?

Émigré

Dissatisfied with the limited fonts available, Zuzana Licko started designing digital typefaces with public domain software: FontEditor. She and Rudy Vanderlans licensed and sold their typefaces through ____________, with idiosyncratic and novel fonts from outside designers. Soon, new typefaces virtually exploded as large type evendors were joined by independent type manufacturers.

Émigré Fonts