History of Graphic Design exam 2 (ch 7-12)
Renaissance
"revival" or "rebirth." Originally this term was used to denote the period that began in the fourteenth and fifteenth centuries in Italy, when the classical literature of ancient Greece and Rome was revived and read anew. However, the word is now generally used to encompass the period marking the transition from the medieval to the modern world.
(10) The head of typeface development at the American Type Founders Company, Morris F. Benton designed important revivals of many typefaces, including one of Nicolas Jenson's, under the name Cloister. He carefully studied human perception and reading comprehension to develop ___________ Schoolbook, a type designed for and widely used in textbooks.
(10) Century
10-2. John Ruskin, along with other artists, believed that beautiful things were valuable simply because they were beautiful.
10-2. True
10-3. William Morris, whose own family was poor, sought quality goods for all.
10-3. False
10-4. The first book to be printed in Morris' Kelmscott Press was the 556-page The Works of Geoffrey Chaucer.
10-4. False
10-5. The Doves Press Bible is best known for its exquisite line illustrations and decorative elements.
10-5. False
George Bickham, "A Poem, On the Universal Penman," c. 1740
(copperplate) The scripts of twenty-five writing masters were skillfully presented. Bickham the elder was most likely assisted in the engraving by his son, George Bickham the Younger, but this has never been firmly established.
10-6. The art of calligraphy was greatly influenced by the research and teachings of Edward Johnston, who gave up his medical studies for the life of a scribe
10-6. True
10-7. William Morris strongly supported the Guild of Handicraft, Charles Ashbee's program to unify the teaching of design with workshop experience
10-7. False
10-8. In a Hobby Horse article, Selwyn Image defined art as painting and crafts as applied arts such as printing
10-8. false
10-9. Ironically, while William Morris was returning to printing methods of the incunabula, he used modular, interchangeable, and repeatable elements; he applied industrial production methods to the printed page
10-9. True
11-1.Ukiyo-e refers to an art movement beginning in the seventeenth century and ending in the nineteenth century, a time period when Japan actively sought trade with Western European countries.
11-1. False
11-10.Art nouveau was first seen in America on Harper's magazine covers illustrated by Will Bradley, one of the two major American practitioners of art nouveau-inspired graphic design and illustration
11-10.False
11-11.Beginning in 1894, Will Bradley's work for the Inland Printer and the Chap Book ignited art nouveau in America.
11-11. True
11-12.Ethel Reed became the first woman in England to achieve national prominence for her work as a graphic designer and illustrator.
11-12. False
11-13.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.
11-13. False
11-14. Eckmannschrift, designed by Otto Eckmann, attempted to revitalize typography by combining fraktura with modern type.
11-14. False
11-15. Jugendstil artist Otto Eckmann abandoned painting in order to turn his full attention to the applied arts
11-15. True
10-10. Lucien and Esther Pisarro of Eragny Press were best known for purely typographic books, which contained no illustrations or decorations
10-10. false
10-11. Elbert Hubbard's Roycrofters arts and crafts center in upstate New York brought relatively high-quality products to ordinary people who could not likely have afforded them otherwise
10-11. true
10-12. Those involved in the Dutch book design movement at the turn of the twentieth century viewed the Industrial Revolution as a blessing and soon adopted the fully automated methods of printing
10-12. false
10-1. According to John Ruskin, art and society separated after the Renaissance. Industrialization and technology brought the separation to a critical stage
10-1. True
11-16. Jugend, an art nouveau-style magazine popular in Germany, allowed each week's cover designer to design a different logotype to match his or her own illustration.
11-16. True
11-17. Italian turn-of-the-century posters were characterized by sensuous exuberance and elegance like that of France's La Belle Époque
11-17. True
11-2.In Japan, ukiyo-e practitioners were considered mere artisans, but they captivated European artists, who drew inspiration from their calligraphic line drawing, abstraction and simplification, flat color and silhouettes, unconventional use of black shapes, and decorative patterns.
11-2. True
11-3.The late-nineteenth-century Western mania for all things Japanese is called japanned ware.
11-3.False
11-4.Unlike contemporary literary artists, visual artists working in the art nouveau style rejected realism in favor of the metaphysical and the sensuous.
11-4.True
11-5.Eugène Grasset, like his rival Jules Chéret, incorporated exuberant women in his poster illustrations.
11-5.False
11-6.The coloring book style of Aubrey Beardsley used a thick black contour drawing to lock forms into flat areas of color in a manner similar to medieval stained-glass windows
11-6.False
11-7.Although Charles Ricketts's page designs were influenced somewhat by William Morris, his work tended to be much lighter, more open, and geometric
11-7.True
11-8.The Netherlands' relationship with the Dutch East Indies (Indonesia) allowed Dutch designers to access the traditional craft of batik. Its introduction as a contemporary design medium was one of Holland's important contributions to the international art nouveau movement.
11-8.True
11-9.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
11-9.True
12-1. Dutch architect J. L. Mathieu Lauweriks, who was fascinated with geometric form, developed grids that began with a square circumscribed around a circle and made numerous permutations by subdividing and duplicating this basic structure.
12-1. 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
12-2. True
Henri van de Velde, poster for Tropon food concentrate, 1899
6 Sparrows hidden, abstracts of eggs and yolks
7-1. The Medicis, a wealthy family in Florence, embraced humanism but rejected the technology of printing.
7-1. True
7-2. The Aldine Press trademark, designed around 1500, consisted of a lion and a shield that signified the epigram, "Make haste slowly."
7-2. False
7-3. Aldus Manutius designed new capitals for his book Hypnerotomachia Poliphili (The Strife of Love in a Dream or The Dream of Poliphilus), which used a one-toten stroke weight to height proportion advanced by leading mathematicians of the era and made the height of the lowercase ascenders taller than the capitals to correct an optical color problem that had plagued earlier Roman fonts
7-3. False
7-4. The 1476 book entitled Calendarium (Record Book) by Regiomontanus contained the first complete title page used to identify a book
7-4. True
7-5.The pot cassé trademark Geoffroy Tory used on the sign of his bookseller's shop in Paris was symbolic of the death of his daughter
7-5. True
7-6. Tory's Champ Fleury was the author's attempt to analyze, describe, and prescribe rules of the French language, both spoken and written
7-6. True
7-7. Hans Holbein the Younger created a series of forty-one woodcuts illustrating Imagines Mortis (The Dance of Death), in which skeletons are depicted leading the living to their graves
7-7. True
7-8. Not much innovation occurred in typography during the seventeenth century in Europe. Since there was an abundance of stock ornaments, punches, matrices, and woodblocks, there was little incentive for printers to commission new graphic material
7-8. True
8-1.2. The Romain du Roi types began a new category of types called ____________ roman. The new typeface had increased contrast between thick and thin strokes, sharp horizontal serifs, and an even balance to each letterform.
8-1.2 transitional
8-1.8 Baskerville's type design represents the zenith of the __________ style. His types are wider, the contrast between the weight of the thick and thin strokes greater, and the serifs flow smoothly out of the major strokes and terminate in fine points.
8-1.8 transitional
8-2.1 Old style typefaces retain calligraphic qualities and have bracketed serifs.
8-2.1 True
8-2.10 Giambattista Bodoni was an important innovator in typographic design and processes, more so than the Didot family in Paris. They were rivals, and therefore were never influenced by each other.
8-2.10 True
8-2.2 Fournier Le Jeune' s type specimen book, Modèles des Caractères de l'Imprimerie (Models of Printing Characters), presented transitional roman forms based on the Romain du Roi letters from 1702
8-2.2 True
8-2.3 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.
8-2.3 False
8-2.4 Cartesian coordinates on an x- and y-axis represent use a pair of numbers to represent a point in space and are named after the French philosopher, mathematician, and scientist René Descartes.
8-2.4 True
8-2.5 Types designed for the Imprimerie Royale brought about an upgrade of printing throughout Paris when they appeared in booksellers' shops.
8-2.5 False
8-2.6 Louis-René Luce, who had designed letterpress borders and ornaments for the Imprimerie Royale, found that his designs were being used in political tracts after the French Revolution.
8-2.6 False
8-2.7 The rococo style of art, closely associated with the reign of King Louis XV, is best represented in the graphic designs of the Didot family of printers.
8-2.7 False
8-2.8 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.
8-2.8 True
8-2.9 William Caslon modified Nicolas Jenson's type designs for his own types.
8-2.9 False
9-1. 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.
9-1. True
9-10. In 1844, William Henry Fox Talbot began publishing The Pencil of Nature, which included twenty-four photographs in each issue
9-10. True
9-11. 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
9-11. False
9-12. Victorian type and hand-drawn lettering were characterized by simplicity with few embellishments
9-12. False
9-13. In the four decades from 1860 to 1900, lithography was the dominant printing medium for advertising posters.
9-13. True
9-14. Scrap refers to printer's proofs that lithographers discard after the plates of colors have been approved for the final printing
9-14. False
9-15. 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
9-15. True
9-16. 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
9-16. False
9-2.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
9-2. True
9-3. 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
9-3.True
9-4. 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
9-4.True
9-5.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 wiremesh conveyer belt.
9-5. True
9-6.The Linotype led to a surge in the production of periodicals and illustrated weeklies, including the Saturday Evening Post and Collier's
9-6.True
9-7. 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.
9-7.True
9-8. Before early experiments with photography, the camera obscura was used by artists to capture images without the use of a drawing utensil.
9-8. False
9-9. William Henry Fox Talbot's calotypes were sharp and clear, in contrast to daguerreotypes.
9-9. False
Christophe Plantin Title page from Les singularitez de la France Antartique, autrement nommée Amerique, & de plusieurs terres & isles decouvertes de nostre temps, by André Thevet, 1558, 1569-72.
A book describing travel to America.
Francesco da Bologna, surnamed Griffo (TERM)
A brilliant typeface designer and punch cutter at Aldine Press whose initial project in Venice was a roman face for De Aetna by Pietro Bembo, in 1495, which survives today as the book text face Bembo
Christophe Plantin pages from the Polyglot Bible, 1571.
A double-page format, with two vertical columns over a wide horizontal column, contained Hebrew, Latin, Aramaic, Greek, and Syriac translations of the Bible
Alfred Roller (Term)
A graphic designer and illustrator, he sacrificed legibility in order to achieve an unprecedented textural density in his hand-lettered, rectangular numbers and letters, such as in his 1902 posters for the fourteenth and sixteenth Secessionist exhibitions
Nicolas Jenson (TERM)
A master of the Royal Mint of Tours, France, he was a highly skilled cutter of the dies used for striking coin. He established Venice's second press shortly after Johannes de Spira's death, and became one of history's greatest typeface designers and punch cutters, whose ability to design the spaces between the letters and within each form created an even tone throughout the page. The characters in his fonts aligned more perfectly than those of any other printer of his time. His types first used in Eusebius's De praeparatione evangelica (Evangelical Preparation) present the full flowering of Roman type design.
Calendaring
A method of hot-pressing paper to give it a smooth, refined surface
Modern (TERM)
A new category of roman type introduced in Europe during the eighteenth century and was first used by Fournier le Jeune in his Manuel Typographique to describe the design trends that culminated in Bodoni s mature work
Neoclassicism (term)
A revival of classic Greek and Roman aesthetic forms characterized by order, simplicity, and symmetry
Folio
A sheet of paper folded once vertically down the center to create four pages
Geoffroy Tory (TERM)
A true renaissance man who introduced the apostrophe, the accent, and the cedilla to the French language and developed a uniquely French Renaissance school of book design and illustration, as seen in Champ Fleury (subtitled The art and science of the proper and true proportions of the attic letters, which are otherwise called antique letters, and in common speech roman letters). In Champ Fleury, first published in 1529, he discusses the history of roman letters and compares their proportions with the ideal proportions of the human figure and face, which influenced a generation of French printers and punch cutters. He became the most influential graphic designer of his century.
Claude Garamond (TERM)
A typeface designer and punch cutter who was the first to work independently of printing firms, he established his type foundry to sell cast type ready to distribute into compositors' cases. The types he cut during the 1540s achieved a mastery of visual form and a tighter fit that allowed closer word spacing and a harmony of design between capitals, lowercase letters, and italics. The influence of writing as a model diminished in his work, for typography was evolving into a language of form rooted in the processes of making steel punches, casting metal type, and printing instead of imitating forms created by hand gestures.
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
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
fleurons
Decorative elements cast like type
Giambattista Bodoni had planned a monumental type specimen book presenting three hundred type fonts that he had designed. After his death, his widow and foreman published the two-volume __________ in 1818. This massive work celebrated Bodoni's genius and is a milestone in the history of graphic design.
Manuale Tipografico
Printer's trademark, 1481. Attributed to Andreas Torresanus.
One of the oldest symbolic themes, the orb and cross is found in a chamber of Cheops's pyramid at Giza, where it was hewn into stone as a quarry mark. A fairly common design device at this time, it symbolized that "God shall reign over earth."
Christoffel van Dyck.
Dutch designer and punch cutter. Designed to resist the wear and tear of printing, his types had stubby serifs with heavy bracketing (the connecting curves that unify the serif with the main stroke of the letter) and fairly stout hairline elements. His 111 matrixes and types were used continuously until 1810, when modern-style types with extreme thicks and thins became the fashion, leading the Haarlem foundry that owned his types to melt them down to reuse the metal.
British national pride led to the establishment of the ______________ in 1786, which printed editions of equal quality to the folio volumes of Paris and Parma.
Shakespeare Press
Henri de Toulouse-Lautrec, "La Goulue au Moulin Rouge" poster, 1891
Shapes as symbols
Peter Behrens, AEG electric lamp poster, c. 1910. (Peter Behrens and the New Objectivity)
Geometric elements structure the space and signify the radiant energy of illumination
Inspired by Kelmscott Press books, the interest of ___________ shifted toward the total design of books. He joined the Riverside Press of the Houghton Mifflin Company in 1896 and designed books with a strong arts and crafts influence. In 1900, Riverside established a special department for high-quality limited editions, and he was the designer for sixty limited editions over the next twelve years. Centaur, his 1915 typeface design, is one of the finest of the numerous fonts inspired by Nicolas Jenson. He applied the ideal of the beautifully designed book to commercial book production and set the standard for twentieth-century book design.
Albert Bruce Rogers
_______________ was an important humanist and scholar of the Italian Renaissance who established Aldine Press and published major works of the great thinkers of the Greek and Roman cultures.
Aldus Manutius (DEF)
This company established an extensive typographic research library and produced revivals of past typeface designs, such as Bodoni and Garamond.
American Type Founders Company (ATF)
____________ is a sans-serif typeface designed by the Berthold Foundry. Ten variations were designed: four weights plus three expanded and three condensed versions, which allowed compositors to achieve contrast and emphasis within one family of typefaces. This was a major step in the evolution of the unified and systemized type family.
Akzidenz Grotesque
Romanticism (term)
An artistic and intellectual movement originating in Europe in the late eighteenth century with a focus upon the imagination, introspection, and emotions in natural forms
trademarks (TERM)
An emblem designed to identify a book produced by a certain printer
Sir John Herschel
An eminent astronomer and chemist, was the first to use sodium thiosulfate to fix the photographic image on paper, thereby halting the action of light. He also named the process of photography (from the Greek photos graphos, meaning "light drawing").
Aldus Manutius (TERM)
An important humanist and scholar of the Italian Renaissance, he founded the Aldine Press, which published major works of the great thinkers of the Greek and Roman worlds and the prototype of the pocket book, which addressed the need for smaller, more economical books. Especially noteworthy is Aldine's 1499 edition of Fra Francesco Colonna's Hypnerotomachia Poliphili (The Strife of Love in a Dream or The Dream of Poliphilus), a masterpiece of graphic design that achieved an elegant harmony of typography and illustration that has seldom been equaled
tailpiece
An ornamental design at the bottom of a page
headpiece
An ornamental design at the top of a page
Johann Oporinus (printer), page from De Humani Corporis Fabrica , 1543
Anatomical illustrations of skeletons and muscles in natural poses appear throughout.
Although art nouveau artists did not use a historicist approach to their designs, they were influenced by past as well as contemporary art. All but one of the examples below were influences on art nouveau. Which does NOT belong?
Assyrian motifs
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
In 1722, William Caslon, an engraver of gunlocks and barrels, designed Caslon Old Style and its italic version. ________________ introduced the typeface Caslon into the American colonies, where it was used extensively, including for the official printing of the Declaration of Independence.
Benjamin Franklin
Peter Behrens, Celebration of Life and Art, 1900
Blue-gray borders and red initials surrounded by rust-colored decorations frame the umprecedented sans-serif running text
Otto Eckmann, cover for Allgemeine Elektrizitats-Gesellschaft catalogue, 1900
Brush-drawn lettering and ornaments express the kinetic energy of electricity.
In 1912, Type Foundry Amsterdam issued ___________, the first typeface designed and produced in the Netherlands for over a century. Designed by Sjoerd H. de Roos, the text face was based on fifteenth-century Venetian types. This was followed by eight more type designs from de Roos.
Hollandsche Mediaeval
Henri Estienne the Elder, title page for Aristotle's Metaphysics , 1515.
By setting the type in geometric shapes, Estienne achieved a distinctive graphic design with minimal means.
Fear and superstition were swept away as scientists began to understand natural phenomena, leading to a shift in content for graphic design. In Erhard Ratdolt's ____________, sixty diagrams printed in black and yellow were used to scientifically explain solar and lunar eclipses. The understanding of eclipses moved from black magic to predictable fact, and the book contains a three-part mathematical wheel for calculating solar cycles.
Calendarium
Peter Behrens (term)
Called the first industrial designer, he designed electric household products including teakettles and fans.
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
_____________, architect, graphic designer, jeweler, silversmith, and follower of John Ruskin, established a workshop in 1888 called the Guild of Handicraft, which was inspired by socialism and the ideals of the arts and crafts movement. In 1890, the guild leased Essex House and formed the Essex House Press, where its design masterpiece, the Essex House Psalter of 1902, was produced. The Psalter was based on a unique graphic program for each psalm that consisted of a roman numeral, the Latin title in red capitals, an English descriptive title in black capitals, an illustrated woodcut initial, and the body of the psalm.
Charles R. Ashbee
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
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.
Chérettes
___________, 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 (DEF)
type specimen sheet
Displays a range of typographic sizes and styles—Erhard Ratdolt issued the first one upon his return to Augsburg, Germany from Venice
In 1916, dissatisfaction with typography on Underground materials prompted Frank Pick to commission the eminent calligrapher __________ to design an exclusive, patented typeface for the world's first underground electric railway system, which had opened in London in 1890. Railway Type is a sans-serif typeface whose strokes have consistent weight; however, the letters have the basic proportions of classical Roman inscriptions. The designer achieved absolute functional clarity by reducing the characters to the simplest possible forms: the M is a perfect square whose forty-five degree diagonal strokes meet in the exact center of the letter. The O is a perfect circle. All of the letters have a similar elemental design. The lowercase I has a tail to avoid confusion with the uppercase I.
Edward Johnston
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
Aubrey Beardsley, the "enfant terrible" of art nouveau
Erotic novel with "shocking images" that got him banned in the Victorian era
On Christmas Eve 1894, the young Czech artist Alphonse Mucha was at the Lemercier's printing company correcting proofs for a friend when the printing firm's manager burst into the room, upset because the famous actress Sarah Bernhardt was demanding a new poster for the play Gismonda by New Year's Day. Mucha was the only artist available, so he received the commission. He used the basic pose from an earlier poster of Bernhardt in Joan of Arc that had been done by __________.
Eugène Grasset
Aldus Manutius, H-Poliphili, 1499
Extravagant woodcut designs, best of their time. Artist of woodcuts never identified.
Aldus Manutius trademark
Fast sea creature + anchor =Signifies the epigram "make haste slowly"
William Henry Fox Talbot (image)
First Photogram
Type family
Fonts in a variety of weights and widths that are visually compatible and can be mixed
With the sack of Rome, the Italian Renaissance began to fade and eventually innovation in book design and printing passed to ___________, where two brilliant graphic artists, Geoffroy Tory and Claude Garamond, created visual forms that were embraced for two hundred years
France
_______________ 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) (DEF)
During the final years of the nineteenth century, American architect ____________ was becoming known to European artists and designers not only for his architecture, but for his design interests in furniture, fabrics, wallpapers, and stained-glass windows. He rejected historicism and saw space as the essence of design. His repetition of rectangular zones and use of asymmetrical spatial organization were adopted by other designers.
Frank Lloyd Wright
William Morris, a pivotal figure in the history of design, was concerned about the problems of industrialization and the factory system and tried to implement John Ruskin's ideas. Committed to recapturing the beauty of incunabula books, Morris established the Kelmscott Press and designed three typefaces for use in books printed at the press. Two were based on incunabula types, but _____________ was based on Nicolas Jensen's Venetian roman faces, which were designed between 1470 and 1476.
Golden
Charles R. Ashbee, page from the Essex House Psalter, 1902
Hand-cut woodblock initials, calligraphic type, handmade paper, and handpress printing combine to recreate the quality of the incunabula.
James and John Harper launched a New York printing firm in 1817 and by midcentury, 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
Robert Granjon (TERM)
He created delicate italic fonts featuring beautiful italic capitals with swashes to replace regular capitals that were being used with italic lowercase letters. The fleurons he designed were modular and could be put together in endless combinations to make headpieces, tailpieces, ornaments, and borders.
Koloman Moser (term)
He played a major role in defining the graphic approach to The Vienna Secession. His illustrations in Ver Sacrum incorporated elemental geometric forms that were repeated, building complex kinetic patterns. His poster for the thirteenth Vienna Secession exhibition is a masterpiece of the mature phase.
A new concern for human potential and value characterized Renaissance __________, a philosophy of human dignity and worth that defined man as capable of using reason and scientific inquiry to achieve an understanding of the world and self-meaning. This new spirit was accompanied by a renewed study of classical writings.
Humanism
John Pine, Page from Horace's Opera, Volume II, 1737
Illustration and text were hand-engraved upon a copper printing plate and printed in one pass through the press.
In the Netherlands, the traditional vanguard, led by Sjoerd H. De Roos and __________, the preeminent book designer of his generation, sought to revive the printing arts through a return to traditional standards. Their guidelines included symmetrical layouts, tranquil harmony and balance, careful margin proportions, proper letter and word spacing, single traditional typefaces in as few sizes as possible, and skillful letterpress printing. They believed the typographer should first serve the text and otherwise remain in the background.
Jan van Krimpen
Stephen and Matthew Daye, title page for The Whole Booke of Psalmes , 1640.
In the title typography, a rich variety is achieved by combining three type sizes and using all capitals, all lowercase, and italics to express the importance and meaning of the words.
Charles Rennie Mackintosh, poster for the Scottish Musical Review , 1896. (the Glasgow School)
In this towering image that rises 2.5 meters (over 8 feet) above the spectator, complex overlapping planes are unified by areas of flat color. The white ring and birds around the figure create a strong focal point.
Giambattista Bodoni, title page from Saggio tipographico (Typographic Essay), 1771
Influence of Fournier le Jeune upon earlier work is evident in this page design.
Stephen H. Horgan
Invented the halftone screen
A true renaissance man, Geoffroy Tory's accomplishments include the following. Which does NOT belong? _______________ A. Translating, editing, and publishing Latin and Greek texts B. Introducing the apostrophe, accent, and cedilla to the French language C. Issuing the first printer's type specimen sheet D. Writing books on the proportions of roman letters.
Issuing the first printer's type specimen sheet
As a twenty-six-year-old architect, Arthur Mackmurdo met William Morris and was inspired by his ideas and accomplishments in applied design. He led the group that established the Century Guild, which aimed to elevate the design arts. They incorporated Renaissance and __________ design ideas into their work. Their designs provide one of the links between the arts and crafts movement and the floral stylization of art nouveau. Some of their swirling organic forms, in fact, seem to be pure art nouveau in their conception and execution.
Japanese
One of Dutch designer Jan Toorop's biggest sources of inspiration was ___________, which can be seen especially in his use of silhouette, his linear style, and the forms, expressions, and hair styles of his female figures.
Japanese culture
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
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 (DEF)
___________, 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
Peter Behrens, poster for the Anchor Linoleum exhibition pavilion, 1906.
Lauweriks's grid theory is applied to graphic design.
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 asocial realism, and he chose to depict poverty, exploitation, and the working class.
Le Chat Noir
__________ established Eragny Press, where both the past and the present inspired them. They collaborated on designing, wood engraving, and printing. Their books combined the traditional sensibilities of the private press movement with an interest in the blossoming art nouveau movement and expressionism.
Lucien and Esther Pissarro
Koloman Moser, poster for the thirteenth Vienna Secession exhibition, 1902.
Mathematical patterns of squares and rectangles contrast with the circular forms of the figures and letterforms.
Pierre Simon Fournier le Jeune was influenced by the Romain du Roi and by the ornate French rococo style. Fournier le Jeune and his contemporary, Louis- René Luce, contributed to the French monarchy's graphic expression of authority and opulence through their type designs and series of letterpress borders, ornaments, trophies, and other devices. Fournier le Jeune's other typographic innovations include three of the following. Which one does NOT belong? A. The idea of a type family of various weights and widths, and roman and italic faces B. Moveable type C. Single-, double-, and triple-ruled lines up to 35.5 cm (about 14 inches)
Moveable type
_______________, 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. 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 (DEF)
A mathematics professor and author, his abilities as a graphic artist complemented his scientific publications. __________ illustrated his own mathematics, geography, and astronomy books and worked closely with printers, particularly Simon de Colines, in the design and production of his books. The border on the title page for his 1533 book Arithmetica used carefully measured strapwork, symbolic figures representing areas of knowledge, and a criblé background. This border, combined with de Coline's typography, created a masterpiece of Renaissance graphic design.
Oronce Finé
The English designer, author, and authority on color _____________ became a major design influence in the mid-nineteenth century. During his mid-twenties, he traveled to Spain and the Near East and made systematic studies of Islamic design. 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
Selwyn Image, title page to The Century Guild Hobby Horse, 1884
Packing it with detail, Image designed a "page within a page" that reflects the medieval preoccupation of the Arts and Crafts movement.
Charles Nypels
Pages from Het Voorhout ende't kostelijke mal (The Voorhout and the Delightful Comedy), by Constantin Huygens, typeface Grotius and initial designed by De Roos, 1927
Laid finish
Paper that has a textural pattern of horizontal lines created during manufacturing by wires that form the screen in the papermaker's mold
The German artist, architect, and designer ____________ played a major role in charting a course for design in the first decade of the twentieth century. He sought typographic reform and was an early advocate of sans-serif typography. In 1900, he set the twenty-five-page booklet Celebration of Life and Art: A Consideration of the Theater as the Highest Symbol of Culture in sans-serif type. The German typographic historian Hans Loubier believed this booklet may represent the first use of sans-serif type as running book text. His work pushed twentieth-century design toward rational geometry as an underlying system for visual organization. He introduced the concept of Gesamkultur (total design) to industry with the first comprehensive visual identification system that included graphic design, architecture, and product design.
Peter Behrens
William Henry Fox Talbot
Pioneered a process of making images without the use of a camera by holding objects over paper treated with silver compounds and exposing it to light. He called these images photogenic drawings, and they formed the basis for both photography and photographic printing plates.
____________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
Julia Margaret Cameron
Received a camera and the equipment for processing collodion wet plates as a forty-ninth birthday present and extended the artistic potential of photography through portraiture that recorded "faithfully the greatness of the inner man as well as the features of the outer man."
Margaret Macdonald, bookplate design, 1896.
Reproduced in Ver Sacrum (Sacred Spring) in 1901 as part of an article on the Glasgow group, this design depicts Wisdom protecting her children within the leaflike shelter of her hair before a symbolic tree of knowledge, whose linear structure is based on Macdonald's metalwork.
Kitagawa Utamaro, portrait of a courtesan, late 1700s.
Restrained color palette and exquisitely simple composition characterized Utamaro's prints of tall, graceful women.
William Pickering, pages from The Elements of Euclid, 1847
Revolutionary design format
In 1695, Louis Simonneau created large engraved copperplate prints of the master alphabets for France's Imprimerie Royale, the royal printing office. These copperplate engravings were intended to establish graphic standards for the new typeface, which was called ____________.
Romain du Roi
Mathew Brady
Sent a score of his photographic assistants to document the American Civil War, which had a profound impact upon the public's romantic ideas about war. His 1862 photograph "Dunker Church and the Dead" was shot in the aftermath of the Battle of Antietam, the bloodiest battle of the Civil War
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? A. Factory output increased and designers were needed to help market goods. B. Signage was needed to guide residents through the streets of fast-growing cities. C. Greater human equality sprang from the French and American Revolutions and led to increased public education and literacy. D. The production of printed materials increased due to advances in technology, which lowered per-unit costs.
Signage was needed to guide residents through the streets of fast-growing cities.
In 1639, _______________, a Bristish locksmith and his son, designed and printed the first book in the English American colonies, The Whole Booke of Psalms (now called The Bay Psalm Book). The design and production of this book understandably lacked refinement. In spite of strong censorship and a stamp tax on newspapers and advertising, printing grew steadily in the colonies.
Stephen and Matthew Dye
Alphonse Mucha, poster for Job cigarette papers, 1898
Stylistic hair is characteristic of him
The new art had different names in different countries. Which of the following was NOT one of them?
Surimono
"The Studio" and its reproductions of work by Aubrey Beardsley and Jan Toorop had a strong influence on a young group of Scottish artists who became friends at the Glasgow School of Art. The students began to collaborate and were soon christened _____________. The rising verticality and integration of flowing curves with a rectangular structure are hallmarks of their mature works, as shown here in Margaret Macdonald's 1896 bookplate design
The Four
Lodovico degli Arrighi, Pages from La operina da imparare di scrivere littera cancellaresca , 1522.
The ample spaces between lines leave room for the plume-shaped ascenders waving to the right in elegant counterpoint to the descenders sweeping gracefully to the left.
Transitional (TERM)
The category of typefaces that broke with the traditional calligraphic qualities, bracketed serifs, and relatively even stroke weights of earlier styles. The work of Englishman John Baskerville represents the zenith of this style.
bracketing
The connecting curves that unify a serif with the main stroke of a letter
Rococo (term)
The fanciful French art and architecture that flourished from about 1720 until around 1770 and was characterized by florid and intricate scrollwork, tracery, and plant forms derived from nature, classical and oriental art, and even medieval sources.
Berthold Löffler (term)
The figures in his posters and illustrations were reduced to symbolic images of thick contours and simple geometric features. They became elemental significations rather than depictions.
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
Frederic W. Goudy, booklet cover, 1911
The ideals of the Arts and Crafts movement were actualized in printing for commerce.
Vincent Figgins, two lines pica, Antique, c. 1815.
The inspiration for this highly original design, first shown by Figgins, is not known. Whether Figgins, Thorne, or an anonymous sign painter first invented this style is one of the mysteries surrounding the sudden appearance of slab-serif letterforms.
Old style (TERM)
The name given to the Venetian tradition of roman type design, which retained calligraphic qualities.
Romain du Roi (term)
The new typeface France s King Louis XIV ordered to be developed for the royal printing office, which was characterized by an increased contrast between thick and thin strokes, sharp horizontal serifs, and an even balance to each letterform.
The American Type Founders Company (ATF) Pages from "Specimen Book and Catalogue 1923"
This company played an important role in reviving type designs of the past. These pages demonstrate the revival of French and Italian Renaissance borders.
Pages from "Ishtar's Descent to the Nether World" by Lucien and Esther Pissaro's Eragny Press.
This book combines the traditional sensibilities of the private press movement with an interest in the blossoming art nouveau movement and expressionism.
William Caslon and William Caslon II, title page from A Specimen of Printing Types , 1764.
This book was published two years before the death of William Caslon. Leadership of the company would soon pass to his son, William Caslon II.
Erhard Ratdolt, Peter Loeslein, and Bernhard Maler, TITLE page for Calendarium , by Regiomontanus, 1476.
The title and author are identified in verse describing the book. The date and printers' names in Latin appear below.
9-64. Morris Père et Fils (letterpress printers) and Emile Levy (lithographer), "Cirque d'hiver" poster, 1871.
The type on this1871 French poster was printed by letterpress using wood type and the image was printed by chromolithography and pasted onto the poster.
Kelmscott Press's The Works of Geoffrey Chaucer included all of the following EXCEPT:
The use of seven different colors of ink
Johannes da Spira, Typography from Augustine of Hippo's De civitate Dei , 1469
The vertical stress and sharp angles of textura evident in Sweynheym and Pannartz's fonts yielded to an organic unity of horizontal, vertical, diagonal, and circular forms.
Charles Ricketts, pages from The Sphinx, 1894
The white space and typography printed in rust and olive-green ink are without precedent.
Louis René Luce (designer) and Jean Joseph Barbou (printer), ornaments page from Essai d'une nouvelle typographie , 1771.
These meticulously constructed cornices and borders express the authority and absolutism of the French monarchy.
Katsushika Hokusai apprenticed as a woodblock engraver before turning to drawing and painting. During seven decades of artistic creation, he produced an estimated thirty-five thousand works that spanned the gamut of ukiyo-e subjects, including album prints, genre scenes, historical events, illustrations for novels, landscape series, nature studies, and privately commissioned prints for special occasions called surimono. He is perhaps best known for _______________, his series of prints that depicts the external appearances of nature and symbolically interpret the vital energy forces found in the sea, winds, and clouds surrounding Japan's famous twelve-thousand-foot volcano.
Thirty-six Views of Mount Fuji
William Playfair, Chart no. 1 from A Letter on Our Agricultural Distresses , 1822.
This hand-colored engraving uses a fever and bar chart to depict "in one view the price of the quarter of wheat."
S. S. Frizzall (artist) and J. H. Bufford's Sons (printers), poster for the Cleveland and Hendricks presidential campaign, 1884.
This is an excellent example of chromolithography.
Owen Jones, color plate from The Grammar of Ornament , 1856.
This plate shows patterns found in the arts and crafts of India.
Peter Behrens, The Kiss , 1898.
This six-color woodcut, controversial for its androgynous imagery, was first reproduced in Pan magazine
William Caslon, broadside type specimen, 1734.
This was the first broadside type specimen issued by Caslon. The straightforward practicality of Caslon's designs made them the dominant roman style throughout the British Empire far into the nineteenth century.
Katsushika Hokusai, South Wind, Clear Dawn , c. 1830-32.
This woodcut of Mount Fuji struck by early morning light is also called Red Fuji .
Father of Wood Engraving
Thomas Bewick
Jean de Tournes (printer) and Bernard Salomon (illustrator), title page from Ovid's La vita et metamorfoseo ( Metamorphoses ), 1559.
Three tonal qualities—Salomon's border designs, his denser illustrations, and Granjon's italics echoing the borders' flowing curves—are used by de Tournes with just the right amount of white space.
William Morris
Title page spread from "The Story of the Glittering Plain" by Kelmscott Press, which features an illustration by Walter Crane.
Vincent Figgins's 1815 printing specimens also showed the first nineteenthcentury version of __________ letters whose serifs are extended and curved, sometimes with bulges, cavities, and ornaments.
Tuscan-style
Jan Jacob Schipper, page from Calvin's Commentary , 1667.
Using types designed by Christoffel van Dyck, Schipper's mixture of sizes, letterspacing, and leading in the heading material is an excellent representation of the baroque sensibility.
Pierre Simon Fournier le Jeune, title page for Ariette, mise en musique (Short Aria, Set to Music), 1756.
Vast numbers of floral, curvilinear, and geometric ornaments were needed to construct designs like this, which set the standard of excellence of the rococo period.
In America, the arts and crafts movement had an influence on the revitalization of typography and book design. Frederic W. Goudy had a passionate love of letterforms and, inspired by the Kelmscott Press, he established the Camelot Press and then designed Camelot, his first typeface. Goudy went on to design a total of 122 typefaces, many of which were based on ____________ type designs.
Venetian and French Renaissance
the center of commerce and Europe's gateway to trade with the eastern Mediterranean nations, India, and the Orient, led the way in Italian typographic book design.
Venice
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
Koloman Moser, Ver Sacrum, 1901
Vienna Secession
Each designer and foundry assigned its own name to type without serifs: 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
_____________, the Scottish author and scientist who converted statistical data into symbolic graphics, introduced the first "divided circle" diagram (called a pie chart today) in his 1805 English translation of The Statistical Account of the United States of America. He created a new category of graphic design, now called information graphics.
William Playfair
Wove finish
Wire marks are virtually eliminated from this type of paper.
Financed by industrialist Fritz Wändorfer, the _____________ was an outgrowth of Sezessionstil and sought a close union of the fine and applied arts in the design of lamps, fabrics, books, greeting cards, and other printed matter. The goal was to offer an alternative to poorly designed, mass-produced articles and trite historicism. Decoration was used only when it served these goals
Wiener Werkstätte (Vienna Workshops)
In the 1920s, ____________ was the first to use the term "graphic designer" to describe his professional activities. He was a book designer who established a house style for the Alfred A. Knopf publishing company, where he designed hundreds of books. He also designed Caledonia, one of the most widely used book faces.
William Addison Dwiggins
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
Upon viewing Aubrey Beardsley's illustrations in a new edition of Thomas Malory's Morte d'Arthur, ____________ was so angry that he considered legal action because he believed Beardsley had vulgarized the design ideas of the Kelmscott style by replacing the formal, naturalistic borders with more stylized, flat patterns.
William Morris
The renowned English writing master and engraver ___________ was the most celebrated penman of his time. In 1743, he published The Universal Penman.
William Playfair
William Pickering played an important role in the separation of graphic design from printing production. Pickering's 1847 edition of Oliver Byrne's The Elements of Euclid, a geometry text, marked a break from tradition because ______________.
color was used to identify the lines and shapes in the diagrams
A member of the Flemish Group of Twenty, Henri van de Velde had enormous influence on design and architecture. His only poster design was for Tropon, ____________, for which he created labeling and advertisements in 1899. Rather than communicating information about the product or depicting people using it, van de Velde engaged the viewer with symbolic form and color.
a concentrated food supplement
The long-range effect of William Morris's body of work was ______ throughout the world.
a significant upgrade of book design
Graphics from the Victorian era can be identified by their ____________.
aesthetic confusion
The most important of the German type designers during the early twentieth century was Rudolf Koch, who designed the Neuland typeface. He was deeply mystical, medieval in his viewpoints, and a devout Catholic who felt that the _________ was a supreme spiritual achievement of humanity
alphabet
Pierre Didot l'Aîné printed the Éditions du Louvre from the printing office once occupied by the Imprimerie Royale, The Éditions du Louvre series included ____________.
classics by Virgil
In his teaching and writings, Belgian designer Henri van de Velde became a vital source for the development of twentieth-century architecture and design theory. He taught that all branches of art share a common language of form and are of equal importance to the human community. He demanded __________. He saw ornament not as decoration but as a means of expression that could achieve the status of art.
appropriate materials, functional forms, and a unity of visual organization
A native of rural Worcestershire, John Baskerville had "admired the beauty of letters" as a boy; as a young man, he became a master writing teacher and stonecutter. After making a fortune manufacturing japanned ware, he returned to his first love, the art of letters, and began to experiment with printing. His refined printing resulted from three of the four elements listed below. Which does NOT belong? A. elegant type B. ink made of boiled linseed oil with resin C. paper formed by a mold with fine, woven wires D. arabesques in headpieces and tailpieces
arabesques in headpieces and tailpieces
John Ruskin, an English social critic, writer, and artist inspired the philosophy of the arts and crafts movement. He rejected the mercantile economy and pointed toward the union of __________ and labor in service to society as exemplified in the design and construction of the medieval Gothic cathedral.
art
Roberto Valturio's manual on warfare, De re militari (About Warfare), which is identified as having been printed by Johannes Nicolai de Verona, includes examples of the fine-line style of woodblock illustration that became popular in Italian graphic design later in the fifteenth century. This extraordinary book is a compendium of contemporary techniques and devices for scaling walls, catapulting missiles, ramming fortifications, and torturing enemies. The text is set in a tight column with wide margins, and the freely shaped images are spread across the pages in dynamic, __________ layouts.
asymmetrical
Robert Thorne, Egyptian type designs, 1821.
based this lower-case on the structuare of modern-style letters, but he radically modified the weight and serifs.
Many people, including the writer Mark Twain, invested millions of dollars in the search for automatic typesetting. 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
When a serious arm injury ended Christophe Plantin's bookbinding career in the early 1550s, he changed his occupation to printing, and the Netherlands found its greatest printer. His company became the world's largest and strongest publishing house and printed a full range of material, including classics and Bibles, herbals and medicine books, music and maps. Plantin's main design contribution was the use of __________ to illustrate his books
copperplate engravings
Pierre Simon Fournier le Jeune, pages from Manuel typographique , 1768. Volume two
displays specimens of alphabets as well as Fournier's vignettes and ornaments.
During the Industrial Revolution, the range of typographic sizes and letterform styles exploded, and type grew steadily bolder. 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
As the nineteenth century drew to a close and the twentieth century began, designers across the disciplines of architectural, fashion, graphic, and product design searched for new forms of expression. Technological and industrial advances fed these concerns. The artists and designers discussed in Chapter 12 moved away from the floral and curvilinear elements of art nouveau toward a more____________ style of composition.
geometric
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
John Baskerville, title page for Vergil's Bucolica, Georgica, et Aeneis (Pastorals, Georgics, and the Aeneid), 1757.
he reduced content to author, title, publisher, date, and city of publication.
The Dutch book design style of Nieuwe Kunst spanned roughly the fourteen years between 1892 through 1906. After 1895, mathematics was seen as a creative source in itself, with symmetry and rationalism each playing a part. Some of the special qualities of the movement's book design are described below. Which one doe NOT apply?
illustrative
Will Bradley, COVER from The American Chap-Book, 1905
liked repeating shapes and textures
In the late nineteenth century, poster houses specialized in letterpress display materials, and wood and metal types were used together freely in the design of handbills, posters, and broadsheets. 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 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
While German Jugendstil shared common characteristics with French and English art nouveau, one distinction was that it reflected the German interest in ____________, as can be seen in the blending of contradictory influences in Eckmannschrift by Otto Eckmann.
medieval letters
Giambattista Bodoni was asked to take charge of the Stamperia Reale, the official press of Ferdinand, Duke of Parma. He accepted, became the private printer of the court, and printed official documents and publications as well as projects he conceived and initiated himself. Bodoni redefined roman letterforms, giving them a more mathematical, geometric, and mechanical look. He reinvented the serifs by making them hairlines that formed sharp right angles to the upright strokes; the thin strokes of his letterforms were the same weight as the hairline serifs. His typeface design exemplifies the ________________.
modern style
An adventurous photographer who lived in San Francisco and photographed Yosemite National Park, Alaska, and Central America, 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
Late works printed by Giambattista Bodoni, such as Virgil's Opera (Works) reflect the contemporary late eighteenth-century ____________ style, which demonstrated a return to "antique virtue."
neoclassical
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 de roi
Arthur H. Mackmurdo, title page for Wren's City Churches, 1883.
plant forms are stylized into flamelike, undulating rhythms that compress the negative space between them. This establishes a positive and negative interplay between black ink and white paper.
In 1501, the Aldine Press published Virgil's Opera (Works), which was the prototype of the ________ book. This edition had a 3.75-by-6-inch page size and was set in the first italic type font. Between the smaller type size and the narrower width of italic characters, a 50 percent gain in the number of characters per line of a given measure was achieved over Nicolas Jenson's and Francesco Griffo's types.
Englishman John Pine printed independent books such as Opera Horatii (Works of Horace), in which he ____________, resulting in the serifs and thin strokes of letterforms being reduced to delicate lines. The contrast in the text was dazzling and inspired imitation by typographic designers.
printed both the illustrations and text from one copper plate for each page
The private press movement, which included Kelmscott, Doves, and Essex House Presses, was most concerned with _______________.
regaining high standards of design, materials, and workmanship
William Blake's illustrations for his poetry are in the style known as _____________, which contrasted with the styles of layout and typography of Bodoni and Didot.
romanticism
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
During Japan's Tokugawa period, the country adopted an official policy of national seclusion. This was a time of economic expansion, internal stability, and flourishing cultural arts. The entertainment districts of major cities were called "the floating world," and became the focus of inspiration for many artists. The earliest Japanese ukiyo-e ("pictures of the floating world") were __________ depicting these entertainment districts of urban Japan.
screen paintings
The process of ___________ involves casting a duplicate of a relief printing surface by pressing a molding material (such as damp paper pulp, plaster, or clay) against it to make a matrix, then pouring molten metal into the matrix to form a duplicate printing plate. This achievement of Firmin Didot's made longer press runs possible.
stereotyping
Many trademarks of art nouveau origin have been in continuous use since the 1890s, such as those of General Electric and Insel-Verlag, both of which are characterized by __________.
swirling organic lines
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
A _______________ is a word, phrase, symbol, or design—or a combination of words, phrases, symbols, or designs—that identifies and distinguishes the source of the goods or services of one party from those of others.
trademark (DEF)
The revolt against the French monarchy led to rejection of the lush designs that were popular during the reigns of Louis XV and XVI. All areas of design required a new approach to replace the outmoded rococo style. Giambattista Bodoni led the way in evolving new ___________ and page layouts
typefaces
Nicolas Jenson, Typography from Eusebius's De praeparatione evangelica , 1470.
wider letterforms, lighter tone, and a more even texture of black strokes on the white ground.
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, one-of-a-kind images of predetermined size with polished surfaces that had a tendency to produce glare. 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
The publication of Ludovico Arrighi's small volume of 1522 entitled La Operina da Imparare di scrivere littera cancellerescha was the first of many sixteenth century _____________ manuals and marked the beginning of a new era that ended the exclusive domain of the scriptorium.
writing
During an 1895 visit to the Boston Public Library, Will Bradley studied the collection of small, crudely printed books from colonial New England called chapbooks. These inspired a new direction in graphic design that became known as the chapbook style. All of the following traits except one apply. Which does NOT apply?
yellow covers
