History Of Graphic Design Test 5

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  • 1/70 Questions

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} __________ was the designer of the typeface mentioned in the preceding question, which was created as a palette of twenty-one visually-related fonts that 160 all have the same x-height and baseline and whose ascenders and descenders are the same length.

    • Adrian Frutiger
    • Emil Ruder
    • Karl Gerstner
    • Otl Aicher
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About This Quiz

This quiz assesses knowledge on the history of graphic design, focusing on significant movements like the International Typographic Style and key typefaces such as Univers and Helvetica. It evaluates understanding of design pioneers' philosophies and their impact on modern design.

History Of Graphic Design Test 5 - Quiz

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  • 2. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In 1953, Vienna-born ________________ became the art director of Esquire, and in 1958 he became art director of Harper’s Bazaar. He sought to make the magazines he designed visually beautiful. He experimented with typography, making it large enough to fill the page on one spread and then using petite headlines on other pages. His vision of the magazine cover was an exquisitely simple image conveying a visual idea. The sophistication and inventiveness of photography commissioned by Harper's Bazaar during his tenure were extraordinary.

    • Henry Wolf

    • Otto Storch

    Correct Answer
    A. Henry Wolf
    Explanation
    Henry Wolf is the correct answer for this question because the passage states that he became the art director of Esquire in 1953 and then became art director of Harper's Bazaar in 1958. It also mentions that he sought to make the magazines visually beautiful and experimented with typography. The passage further describes the sophistication and inventiveness of photography commissioned by Harper's Bazaar during his time as art director.

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  • 3. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} ___________ was a leading design theorist and practitioner in Zurich, Switzerland. He sought absolute and universal graphic expression through an objective and impersonal presentation, communicating to the audience without the interference of the designer’s subjective feelings or propagandistic techniques of persuasion, as in his 1960 public awareness poster “Weniger Lärm” (“Less Noise”). In his celebrated concert posters, like the “Musica Viva” concert poster of 1972, the language of constructivism created a visual equivalent to the structural harmony of the music to be performed. He worked extensively with mathematical grid structures. His 1960 exhibition poster “der Film” demonstrates the universal design harmony achieved by mathematical spatial division.

    • Josef Muller-Brockman

    • Armin Hofmann

    • Siegfried Odermatt

    • Rudolph de Harak

    Correct Answer
    A. Josef Muller-Brockman
    Explanation
    Josef Muller-Brockman was a leading design theorist and practitioner in Zurich, Switzerland. He believed in achieving absolute and universal graphic expression through objective and impersonal presentation. He aimed to communicate to the audience without the interference of the designer's subjective feelings or propagandistic techniques of persuasion. This can be seen in his public awareness poster "Weniger Lärm" ("Less Noise") and his concert posters, such as the "Musica Viva" concert poster of 1972. Muller-Brockman extensively used mathematical grid structures in his work, as demonstrated in his exhibition poster "der Film".

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  • 4. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} _______________ 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.

    • "Design for all."

    • "Good design is good business."

    • "We start by designing the price."

    Correct Answer
    A. "Good design is good business."
    Explanation
    During the 1950s, the graphic design community had a rallying cry, which was "Good design is good business." This statement emphasizes the importance of design in shaping a company's reputation for quality and reliability. It suggests that investing in well-designed products, branding, and marketing materials can have a positive impact on a company's success and profitability. This rallying cry reflects the understanding of perceptive corporate leaders who recognized the value of corporate design programs in achieving business goals.

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  • 5. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In 1974, the U.S. Department of Transportation commissioned ____________ to create a master set of thirty-four passenger- and pedestrian-oriented symbols for use in transportation facilities. This effort represented an important first step toward the goal of unified and effective graphic communications transcending cultural and linguistic barriers in a shrinking world. A 225-page book published by the Department of Transportation provides invaluable information about the design and evaluation process used to arrive at this system.

    • The American Institute of Graphic Arts (AIGA)

    • Vignelli Associates

    • John Massey

    • Chermayeff & Geismar Associates

    Correct Answer
    A. The American Institute of Graphic Arts (AIGA)
    Explanation
    In 1974, the U.S. Department of Transportation commissioned the American Institute of Graphic Arts (AIGA) to create a master set of symbols for use in transportation facilities. This initiative aimed to establish a standardized and effective graphic communication system that could be universally understood, transcending cultural and linguistic barriers. The AIGA's involvement in this project suggests their expertise and reputation in the field of graphic design, making them a suitable choice for this commission.

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  • 6. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Music Television (MTV), a round-the-clock music television station, first went on the air in 1981 at a time when music videos had not yet reached their peak as a creative medium. ___________, a New York City studio noted for its independence and risk-taking experimentation, especially for music-industry clients, was commissioned to design the logo.

    • Vignelli Associates

    • Chermayeff & Geismar Associates

    • Manhattan Design

    • John Jerde Partnership

    Correct Answer
    A. Manhattan Design
    Explanation
    Manhattan Design was commissioned to design the logo for MTV because they were known for their independence and risk-taking experimentation, which made them a suitable choice for a creative medium like music videos.

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  • 7. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The Swiss style was embraced in American corporate and institutional graphics during the 1960s and remained a prominent aspect of American design for over two decades. A notable example was found in the graphic design office at the Massachusetts Institute of Technology (MIT). In the early 1950s, MIT established a graphic design program enabling all members of the university community to benefit from free, professional design assistance on their publications and publicity materials. This was an early recognition of the cultural and communicative value of design by an American university. MIT based its graphic design program on a commitment to the grid and sans-serif typography. The staff was innovative in the use of designed letterforms, and manipulated words as vehicles to express content. This approach evolved in the work of ___________, the director of the Design Services Office. Letterforms became illustrations, for the design and arrangement of the letters in key words frequently became the dominant image, as in the 1974 poster for an MIT open house in which stencil letterforms announce the open house, and the open O does double duty as a concrete symbol of the opening of the campus to visitors.

    • Jacqueline Casey

    • Ralph Coburn

    • Dietmar Winkler

    • Rosmarie Tissi

    Correct Answer
    A. Jacqueline Casey
    Explanation
    Jacqueline Casey is the correct answer because the passage mentions that the director of the Design Services Office at MIT was innovative in the use of designed letterforms and manipulated words as vehicles to express content. This aligns with Jacqueline Casey's style, as she was known for her experimental use of typography and creating visual impact with words. Additionally, the passage mentions a specific example of a poster for an MIT open house where stencil letterforms were used, which is consistent with Casey's design approach.

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  • 8. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The poster craze in the United States during the 1960s was a grassroots affair fostered by a climate of social activism. These posters made statements about social viewpoints rather than advertising commercial messages. The first wave of poster culture emerged from the late-1960s hippie subculture centered in the Haight-Ashbury section of San Francisco. Because the media and general public related these posters to antiestablishment values, rock music, and psychedelic drugs, they were called psychedelic posters. The graphics movement that expressed this cultural climate drew from a number of resources: the flowing, sinuous curves of ____________; intense optical color vibration associated with the brief op-art movement popularized by a Museum of Modern Art exhibition; and the recycling of images from popular culture or by manipulation that was prevalent in pop art (such as reducing continuous-tone images to high-contrast black-and-white).

    • Art nouveau

    • Art deco

    • De Stijl

    • Dada

    Correct Answer
    A. Art nouveau
    Explanation
    The graphics movement that emerged during the poster craze in the 1960s drew inspiration from various artistic styles and movements. One of these influences was art nouveau, which is known for its flowing, sinuous curves. The use of intense optical color vibration can be attributed to the brief op-art movement, while the recycling of images from popular culture or manipulation of images was prevalent in pop art. Therefore, art nouveau is the most fitting answer as it aligns with the description of the graphics movement during this time period.

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  • 9. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Over the course of the 1950s, a revolution in editorial design occurred, and editorial design experienced one of its greatest eras. In 1953, ____________ was named the art director of McCall’s magazine and in 1958 was given a free hand to upgrade the graphics; an astounding visual approach subsequently developed. Typography was unified with photography by designing the type to lock tightly into the photographic image. Type was warped and bent, or became the illustration. He ranks among the major innovators of the period. His philosophy that idea, copy, art, and typography should be inseparable in editorial design influenced both editorial and advertising graphics.

    • Henry Wolf

    • Otto Storch

    Correct Answer
    A. Otto Storch
    Explanation
    Otto Storch was named the art director of McCall's magazine in 1953 and was given the freedom to upgrade the graphics in 1958. As a result, he developed an astounding visual approach in editorial design. Storch unified typography with photography by designing the type to tightly lock into the photographic image. He also experimented with warping and bending the type or using it as an illustration. Storch's philosophy that idea, copy, art, and typography should be inseparable greatly influenced both editorial and advertising graphics during this period.

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  • 10. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In 1950, Max Bill became involved in developing the graphic design program at the Institute of Design Institute in Ulm, Germany, which attempted to establish a center for research and training to address the design problems of the era. Otl Aicher, one of the Ulm cofounders, played an important role in establishing the graphic design program, and Anthony Froshaug set up the typography workshop. The curriculum included a study of __________: the general philosophical theory of signs and symbols.

    • Semantics

    • Pragmatics

    • Semiotics

    • Syntactics

    Correct Answer
    A. Semiotics
    Explanation
    The correct answer is semiotics. Semiotics is the study of signs and symbols and their interpretation. In the context of the graphic design program at the Institute of Design Institute in Ulm, Germany, studying semiotics would have been important in understanding how to effectively communicate through visual elements and design.

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  • 11. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A publication that federal law requires all public companies to provide to their stockholders ____

    • Annual report

    • Corporate identity

    • Corporate identity manual

    • Logotype

    Correct Answer
    A. Annual report
    Explanation
    The correct answer is "annual report" because federal law mandates that all public companies must provide this publication to their stockholders. An annual report is a comprehensive document that provides information about a company's financial performance, operations, and future prospects. It is typically distributed to shareholders and other stakeholders to keep them informed about the company's activities and financial health.

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  • 12. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} As photography stole illustration’s traditional function, a new approach to illustration emerged. This more 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. Freelance assignments were solicited through a joint publication called the 188 _____________. Published bimonthly, it featured interesting editorial material from old almanacs illustrated by the group.

    • Push Pin Graphic

    • Push Pin Almanack

    • Push Pin Group

    • Push Pin

    Correct Answer
    A. Push Pin Almanack
    Explanation
    The correct answer is "Push Pin Almanack" because the passage mentions a joint publication called the "Push Pin Almanack" that featured editorial material from old almanacs illustrated by the group of graphic artists.

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  • 13. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} _____________ became the art director for CBS Radio in 1946; in 1954 he was named the director of advertising and promotion for the CBS Radio Network. After William Golden’s sudden death at age forty-eight, he became the creative director of CBS Television. He was named director of design for the entire CBS Corporation in 1964 and vice president in 1968, in keeping with CBS President Frank Stanton’s philosophy that design is a vital area that should be managed by a professional.

    • Lou Dorfsman

    • Eero Saarinen

    • Georg Olden

    • Reynolds Ruffin

    Correct Answer
    A. Lou Dorfsman
    Explanation
    Lou Dorfsman is the correct answer because the passage states that he became the art director for CBS Radio in 1946 and later held various positions within the CBS Corporation, including creative director of CBS Television and director of design for the entire company. This information aligns with the statement in the passage about his career progression and his role within CBS.

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  • 14. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Milton Glaser’s 1967 image of the popular folk-rock singer Bob Dylan is presented as a black silhouette with brightly colored hair patterns inspired by _____________ sources. Nearly six million copies of the poster were produced for inclusion in a best-selling record album. It became a graphic icon in the collective American experience. A photographer told Glaser about being on assignment on the Amazon River and seeing the Dylan poster in a hut in a remote Indian village.

    • Art deco

    • Art nouveau

    • Cubism

    • Surrealism

    Correct Answer
    A. Art nouveau
    Explanation
    Milton Glaser's 1967 image of Bob Dylan is presented as a black silhouette with brightly colored hair patterns inspired by art nouveau sources. This style, characterized by intricate and organic designs, was popular in the late 19th and early 20th centuries. The use of art nouveau in the poster made it visually striking and memorable, leading to its widespread popularity and recognition as a graphic icon in American culture. The fact that the poster was seen in a remote Indian village further emphasizes its global reach and impact.

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  • 15. 

    Visual/verbal syntax

    • The Bernbach approach—word and image fused into a conceptual expression of an idea so that they become completely interdependent— evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach.

    • A playful direction taken by New York graphic designers during the 1950s and 1960s spearheaded by Gene Frederico, which took many forms. Letterforms sometimes became images, such as the wheels in the Frederico’s ad for Woman’s Day. Sometimes, the visual properties of words themselves, or their organization in space, were used to express an idea, such as in Don Egensteiner’s “Tonnage” advertisement, in which the visual form of the word takes on a connotative meaning.

    • The setting of type by exposing negatives of alphabet characters to photographic paper dawned in 1925 with the public announcement of the Thothmic photographic composing machine invented by E. K. Hunter and J. R. C. August of London. A keyboard produced a punched tape to control a long, opaque master film with transparent letterforms. As a given letter moved into position in front of a lens, it was exposed to photographic paper by a beam of light.

    • A brief, visual typographic form in which concept and visual form are merged into a oneness.

    Correct Answer
    A. The Bernbach approach—word and image fused into a conceptual expression of an idea so that they become completely interdependent— evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach.
    Explanation
    During the 1950s and 1960s, Bill Bernbach developed the Bernbach approach at the New York advertising agency Doyle Dane Bernbach. This approach involved merging words and images together to create a conceptual expression of an idea. The goal was to make the word and image completely interdependent, so that they relied on each other to convey the intended message. This approach was a departure from traditional advertising methods and allowed for more creative and playful designs, where letterforms could become images or the visual properties of words themselves could be used to express an idea.

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  • 16. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A mundane advertising slogan, “End Bad Breath,” gained new life when it was combined with a blue woodcut and offset-printed green and red areas in this 1968 poster (Fig. 21-26) protesting the American bombing of Hanoi. Who is its designer? _________

    • Seymour Chwast

    • Woody Pirtle

    • Wes Wilson

    • Milton Glaser

    • Victor Moscoso

    Correct Answer
    A. Seymour Chwast
  • 17. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Who designed the New York, New Haven, and Hartford Railroad trademark in 1954? The design included a geometric slab-serif capital N above an H, and a red, black, and white color scheme.

    • Herbert Matter

    • Norman Ives

    • Paul Rand

    • Chermayeff & Geismar

    Correct Answer
    A. Herbert Matter
    Explanation
    Herbert Matter is the correct answer because he designed the New York, New Haven, and Hartford Railroad trademark in 1954. The design featured a geometric slab-serif capital N above an H, and a red, black, and white color scheme.

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  • 18. 

    Figurative typography

    • The Bernbach approach—word and image fused into a conceptual expression of an idea so that they become completely interdependent— evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach.

    • A playful direction taken by New York graphic designers during the 1950s and 1960s spearheaded by Gene Frederico, which took many forms. Letterforms sometimes became images, such as the wheels in the Frederico’s ad for Woman’s Day. Sometimes, the visual properties of words themselves, or their organization in space, were used to express an idea, such as in Don Egensteiner’s “Tonnage” advertisement, in which the visual form of the word takes on a connotative meaning.

    • The setting of type by exposing negatives of alphabet characters to photographic paper dawned in 1925 with the public announcement of the Thothmic photographic composing machine invented by E. K. Hunter and J. R. C. August of London. A keyboard produced a punched tape to control a long, opaque master film with transparent letterforms. As a given letter moved into position in front of a lens, it was exposed to photographic paper by a beam of light.

    • A brief, visual typographic form in which concept and visual form are merged into a oneness.

    Correct Answer
    A. A playful direction taken by New York graphic designers during the 1950s and 1960s spearheaded by Gene Frederico, which took many forms. Letterforms sometimes became images, such as the wheels in the Frederico’s ad for Woman’s Day. Sometimes, the visual properties of words themselves, or their organization in space, were used to express an idea, such as in Don Egensteiner’s “Tonnage” advertisement, in which the visual form of the word takes on a connotative meaning.
    Explanation
    The correct answer explains that figurative typography is a playful direction taken by New York graphic designers during the 1950s and 1960s. It was spearheaded by Gene Frederico and took many forms. Sometimes, letterforms would become images, like the wheels in Frederico's ad for Woman's Day. Other times, the visual properties of words themselves or their organization in space would be used to express an idea, as seen in Don Egensteiner's "Tonnage" advertisement, where the visual form of the word takes on a connotative meaning. This approach merged concept and visual form into a oneness.

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  • 19. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} By the late 1960s, the concept of comprehensive design systems had become a reality. Planners realized that comprehensive planning for large organizations and events was not only functional and desirable but actually necessary if large numbers of people were to be accommodated. This was particularly true for international events, including world’s fairs and Olympic Games, for which international and multilingual audiences had to be directed and informed. Among many outstanding efforts to develop comprehensive design systems for the Olympic Games, three of the following were cited in Chapter 20 as milestones in the evolution of graphic systems. Which one does NOT belong? ____________

    • The 1968 Mexico City Nineteenth Olympiad

    • The 1972 Munich Twentieth Olympiad

    • The 1980 Moscow Twenty-second Olympiad

    • The 1984 Los Angeles Twenty-third Olympiad

    Correct Answer
    A. The 1980 Moscow Twenty-second Olympiad
    Explanation
    The 1980 Moscow Twenty-second Olympiad does not belong because it is not mentioned as one of the milestones in the evolution of graphic systems for the Olympic Games in Chapter 20.

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  • 20. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Just as Paris had been receptive to new ideas and images during the late nineteenth and early twentieth centuries, ____________ assumed that role during the middle of the twentieth century.

    • Berlin

    • London

    • New York City

    • Zurich

    Correct Answer
    A. New York City
    Explanation
    During the middle of the twentieth century, New York City assumed the role of being receptive to new ideas and images, much like Paris had been during the late nineteenth and early twentieth centuries. New York City became a hub of cultural and artistic innovation, attracting artists, writers, musicians, and thinkers from around the world. The city's vibrant and diverse population, along with its thriving art scene and intellectual environment, made it a center for creativity and new ideas during this time period.

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  • 21. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica} “A symbol is an image of a company, an institution or an idea that should convey with a clear statement, or by suggestion, the activity it represents…. The symbol, besides being memorable and legible, must be designed so that it can be used in many sizes and situations without losing its identity. The designer must distort, unify, and create a new form for the letter, so that it is unique, and yet has the necessary attributes of the letter for recognition. There is no part of a symbol that can be eliminated without destroying the image it creates. It is a true gestalt, in which the psychological effect of the total image is greater than the sum of its parts would indicate….” Who said this in 1960 about the designer’s mission in logo design?

    • Herbert Matter

    • Norman Ives

    • Paul Rand

    • Chermayeff & Geismar

    Correct Answer
    A. Norman Ives
  • 22. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In May 1974, the U.S. government initiated the Federal Design Improvement Program in response to a growing awareness of design as an effective tool for achieving objectives. All aspects of federal design, including architecture, interior space planning, landscaping, and graphic design were upgraded under the program. The Graphics Improvement Program set out to improve the quality of visual communications and the ability of governmental agencies to communicate effectively to citizens. One of the most successful federal visual identification systems was the Unigrid system, developed in 1977 for the _______________. The Unigrid unified the hundreds of informational folders used at about 350 different locations. The standardized format of the Unigrid enabled the publications staff to focus on achieving excellence in the development and presentation of pictorial and typographic information.

    • U.S. Internal Revenue Service

    • U.S. Department of Transportation

    • U.S. National Park Service

    • U.S. Department of Labor

    Correct Answer
    A. U.S. National Park Service
    Explanation
    The correct answer is U.S. National Park Service. The passage states that the Unigrid system was developed to unify the hundreds of informational folders used at about 350 different locations. This suggests that the Unigrid system was implemented by an organization that had multiple locations and needed a standardized format for their informational materials. The U.S. National Park Service fits this description as they have numerous national parks and visitor centers across the country.

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  • 23. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A firm’s book of guidelines and standards for implementing its corporate identity program ____

    • Annual report

    • Corporate identity

    • Corporate identity manual

    • Logotype

    Correct Answer
    A. Corporate identity manual
    Explanation
    A firm's book of guidelines and standards for implementing its corporate identity program is called a corporate identity manual. This manual serves as a comprehensive guide for employees and stakeholders on how to consistently represent the firm's brand and visual identity across various communication channels. It outlines specifications for logo usage, typography, color palettes, and other design elements to ensure brand consistency and maintain a strong corporate identity.

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  • 24. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the 1950s, a design movement emerged in Switzerland and Germany that has been called Swiss design or, more appropriately, the __________. The visual characteristics of this design movement include visual unity of design achieved through the asymmetrical organization of the design elements on a mathematically constructed grid; objective photography and copy that present visual and verbal information in a clear and factual manner, free from the exaggerated claims of much propaganda and commercial advertising; and sansserif typography set flush left, ragged right. The initiators of this movement believed sans-serif typography expressed the spirit of a progressive age and that mathematical grids were the most legible and harmonious means for structuring information. This design movement won converts throughout the world and remained a major force for over two decades, and its influence continues.

    • Dada

    • Memphis

    • International Typographic Style

    • New wave

    Correct Answer
    A. International Typographic Style
    Explanation
    The correct answer is International Typographic Style because the description provided matches the characteristics of this design movement. The use of asymmetrical organization, objective photography and copy, sans-serif typography, and mathematical grids are all key features of the International Typographic Style. Additionally, the movement's influence lasting for over two decades and gaining popularity worldwide further supports this answer choice.

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  • 25. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Another new sans-serif was released as Neue Haas Grotesk by Edouard Hoffman and Max Miedinger. When this design was produced in Germany by the now-defunct D. Stempel AG in 1961, the face was renamed with the traditional Latin name for Switzerland. _________

    • Neuland

    • Futura

    • Helvetica

    • Univers

    Correct Answer
    A. Helvetica
    Explanation
    Helvetica is the correct answer because the question mentions that the design was renamed with the traditional Latin name for Switzerland. Helvetica is a widely used sans-serif typeface that originated in Switzerland, so it fits the given context.

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  • 26. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The _____________has a three-to-five ratio. A rectangle with this ratio was considered by the ancient Greeks to be the most beautifully proportioned rectangle.

    • Tectonic element

    • Art concret

    • Golden mean

    • Manuale typographicum

    Correct Answer
    A. Golden mean
    Explanation
    The correct answer is the golden mean. The golden mean is a mathematical ratio of approximately 1.618:1, which is considered to be aesthetically pleasing and harmonious. The ancient Greeks believed that a rectangle with this ratio was the most beautifully proportioned. This ratio can be found in many natural and man-made objects, and it is often used in art and design to create visually appealing compositions.

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  • 27. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Although talented European immigrants who had fled totalitarianism in Europe introduced modern design in America during the 1940s, an original American approach to modernist design gained international prominence in the 1950s and continued as a dominant force in graphic design until the 1970s. An egalitarian society with capitalist values, limited artistic traditions before World War II, and a diverse ethnic heritage engendered an original approach to American modernist design. Where European design was often theoretical and highly structured, American design was pragmatic, intuitive, and less formal in its approach to organizing space. Emphasis was placed on the expression of _____________ and an open, direct presentation of information. Novelty of technique and originality of concept were much prized in this highly competitive society, and designers sought to solve communications problems while satisfying a need for personal expression.

    • Modernism

    • Ideas

    • Politics

    • Simultaneity

    Correct Answer
    A. Ideas
    Explanation
    The passage describes how an original American approach to modernist design emerged in the 1950s and continued until the 1970s. This approach was influenced by the country's egalitarian society, capitalist values, limited artistic traditions, and diverse ethnic heritage. Unlike European design, which was often theoretical and highly structured, American design was pragmatic, intuitive, and less formal. The passage also mentions that emphasis was placed on the expression of ideas and an open, direct presentation of information. Therefore, the correct answer is "ideas."

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  • 28. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} More than any other designer, ____________ initiated the American approach to modern design. He had an ability to manipulate visual form (i.e., shape, color, space, line, and value), and to skillfully analyze communications content, reducing it to a symbolic essence without making it sterile or dull. Visual contrasts marked his work: he played red against green, organic shape against geometric shape, photographic tone against flat color, cut or torn edges against 168 sharp forms, and the textural pattern of type against white margins. The cover design for Direction magazine shows the important role of visual and symbolic contrast in his designs. His 1946 book Thoughts on Design inspired a generation of designers. His collaborations with copywriter Bill Bernbach became a prototype for the now ubiquitous art/copy team at advertising agencies. The emphasis of his later work was on trademark and corporate design for such clients as IBM.

    • Alvin Lustig

    • Bradbury Thompson

    • Paul Rand

    • Saul Bass

    Correct Answer
    A. Paul Rand
    Explanation
    Paul Rand is the correct answer because the passage describes how he initiated the American approach to modern design and his ability to manipulate visual form and analyze communications content. It also mentions his collaborations with copywriter Bill Bernbach and his emphasis on trademark and corporate design for clients such as IBM. Additionally, his book "Thoughts on Design" is mentioned as an inspiration for a generation of designers.

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  • 29. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} ____________ brought the sensibilities of the New York School to Los Angeles in 1950. He frequently reduced his graphic designs to a single dominant image, often centered in the space. The simplicity and directness of his work allowed the viewer to interpret the content immediately. He had a remarkable ability to identify the nucleus of a design problem and to express it with images that became glyphs, or elemental pictorial signs, which exerted great graphic power. 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. In addition to his film work, he created numerous corporateidentity programs, such as AT&T’s, the Girl Scouts’, and United Airlines’.

    • Paul Rand

    • Saul Bass

    • Alvin Lustig

    • Brabury Thompson

    Correct Answer
    A. Saul Bass
    Explanation
    Saul Bass is the correct answer because he brought the sensibilities of the New York School to Los Angeles in 1950. He was known for reducing his graphic designs to a single dominant image and his ability to express the nucleus of a design problem with elemental pictorial signs. He was also the first to create a comprehensive design program for a movie, The Man with the Golden Arm, which unified both print and media graphics. In addition to his film work, he also created corporate identity programs for various companies.

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  • 30. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Launched in Munich in 1959, the German periodical Twen (Fig. 21-52) derived its name by chopping the last two letters from the English word that signified the age group of sophisticated young adults to whom the magazine was addressed. The magazine featured excellent photography used in dynamic layouts by its art director, _____________.

    • Gunter Rambow

    • Willy Fleckhouse

    • Gunther Kieser

    • Michael van de Sand

    Correct Answer
    A. Willy Fleckhouse
    Explanation
    Willy Fleckhouse is the correct answer because the question is asking for the name of the art director of Twen magazine.

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  • 31. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In his work and in his teaching, __________ sought a dynamic harmony through which all the parts of a design were unified. He saw the relationship of contrasting elements as the means of breathing life into a visual design. These contrasts included light to dark, curved lines to straight lines, form to counterform, and dynamic to static. He began teaching at the Basel School of Design in 1947, after completing his education in Zurich, Switzerland, and working as a staff designer for several studios. At the same time he opened a design studio in collaboration with his wife. He applied a deep sense of aesthetic values and understanding of form to both teaching and designing. He evolved a design philosophy based on the elemental graphic-form language of point, line, and plane. His work includes the logotype for the Stadt Theater Basel (Basel Civic Theater), 1954; the poster for the Basel Theater’s production of Giselle, 1959; and the trademark for the Swiss National Exhibition, Expo 1964.

    • Emil Ruder

    • Max Huber

    • Armin Hofmann

    • Josef Muller-Brockman

    Correct Answer
    A. Armin Hofmann
    Explanation
    Armin Hofmann is the correct answer because the passage describes his work and teaching philosophy. It mentions that he sought a dynamic harmony in design, emphasizing the relationship of contrasting elements. He taught at the Basel School of Design and opened a design studio with his wife. The passage also mentions his deep sense of aesthetic values and understanding of form, which aligns with his design philosophy based on the elemental graphic-form language. The examples of his work, such as the logotype for Basel Civic Theater and the trademark for Swiss National Exhibition, further support the identification of Armin Hofmann as the correct answer.

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  • 32. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A system of visual elements used in a comprehensive program to project a consistent image of the company ____

    • Annual report

    • Corporate identity

    • Corporate identity manual

    • Logotype

    Correct Answer
    A. Corporate identity
    Explanation
    The correct answer is "corporate identity" because a system of visual elements is used to project a consistent image of the company. This includes elements such as the company's logo, color scheme, typography, and other visual elements that help to establish and maintain the company's brand identity. An annual report is a financial document that provides information about a company's performance over the course of a year. A corporate identity manual is a document that outlines the guidelines for using the company's visual elements consistently. A logotype refers specifically to the company's logo.

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  • 33. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} _____________ emerged as one of the most influential graphic designers in postwar America. His designs for Westvaco Inspirations, four-color publications demonstrating printing papers, made a significant impact. A thorough knowledge of printing and typesetting, combined with a penchant for adventurous experimentation, allowed him to expand the range of design possibilities. He discovered and explored the potential of eighteenth- and nineteenth-century engravings as design resources. Large, bold, organic and geometric shapes were used to bring graphic and symbolic power to the page. Letterforms and patterns, such as the details from halftone reproductions, were often enlarged and used as design elements or to create visual patterns and movements. During the 1960s and 1970s, he turned increasingly to a classical approach to book and editorial format design. Readability, formal harmony, and a sensitive use of old style typefaces marked his work for periodicals such as Smithsonian and ARTnews.

    • Alvin Lustig

    • Bradbury Thompson

    • Paul Rand

    • Saul Bass

    Correct Answer
    A. Bradbury Thompson
    Explanation
    Bradbury Thompson emerged as one of the most influential graphic designers in postwar America. His designs for Westvaco Inspirations, four-color publications demonstrating printing papers, made a significant impact. He had a thorough knowledge of printing and typesetting and combined it with adventurous experimentation, expanding the range of design possibilities. He discovered and explored the potential of eighteenth- and nineteenth-century engravings as design resources, using large, bold, organic, and geometric shapes to bring graphic and symbolic power to the page. In the 1960s and 1970s, he shifted towards a classical approach to book and editorial format design, focusing on readability, formal harmony, and a sensitive use of old-style typefaces. His work for periodicals like Smithsonian and ARTnews showcased these design principles.

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  • 34. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Who designed the United States postage stamp commemorating the onehundredth anniversary of the Emancipation Proclamation?

    • Georg Olden

    • Massimo Vignelli

    • Lou Dorfsman

    • William Golden

    Correct Answer
    A. Georg Olden
    Explanation
    Georg Olden is the correct answer because he was an African-American graphic designer who designed the United States postage stamp commemorating the one-hundredth anniversary of the Emancipation Proclamation. He was known for his innovative and impactful designs, and his work on this stamp was a significant contribution to the recognition and celebration of the Emancipation Proclamation's historical importance.

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  • 35. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the decades 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. The creation of conceptual images became a significant design approach in Poland, the United States, Germany, and Cuba. The first poster artist to emerge in Poland after World War I was ______________. His famous 1953 antiwar poster (Fig. 21-3) demonstrates his technique of distilling content to the simplest statement. A few simple shapes symbolize a devastated city, which is superimposed on a silhouette of a falling bomb. The word nie! (no!) expresses the tragedy of war.

    • Tadeusz Trepkowski

    • Armando Testa

    • Jerzy Flisak

    • Henryk Tomaszewski

    Correct Answer
    A. Tadeusz Trepkowski
  • 36. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the 1940s, only a moderate number of American magazines were designed well. These included Fortune, Harper’s Bazaar, and Vogue. An art director’s assistant at Vogue during the 1930s, ____________ 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. Her publication designs were characterized by a lyrical appreciation of color, pattern, and form. She became the first woman admitted to membership in the New York Art Director’s Club. On a cover for Seventeen she designed in 1949, stripe patterns and a mirror-image reflection achieved a graphic vitality.

    • Rosmarie Tissi

    • Jaqueline Casey

    • Cipe Pineles

    • Bea Feitler

    Correct Answer
    A. Cipe Pineles
    Explanation
    Cipe Pineles is the correct answer because the passage mentions that she was an art director's assistant at Vogue during the 1930s and made a major contribution to editorial design during the 1940s and 1950s. It also states that her publication designs were characterized by a lyrical appreciation of color, pattern, and form. Additionally, it mentions that she became the first woman admitted to membership in the New York Art Director's Club, showcasing her significance in the field of design.

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  • 37. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The initial contribution of Brownjohn, Chermayeff, and Geismar to American graphic design sprang from a strong aesthetic background and an understanding of the major ideas of European modern art, which had been reinforced by their contacts with architect-teacher Serge Chermayeff, Ivan Chermayeff’s father; László Moholy-Nagy, with whom Brownjohn had studied painting and design; and Alvin Lustig, for whom Ivan Chermayeff had worked as an assistant. Solutions grew out of the needs of the client, and design problems were characterized by inventive and symbolic manipulation of imagery and forms, including letterforms and typography. Images and symbols were combined with a surreal sense of dislocation to convey the essence of the subject on posters and book jackets, such as the cover of Bertrand Russell’s Common Sense and Nuclear Warfare, on which the atomic blast became a visual metaphor for the brain. In 1960, Brownjohn left the partnership and moved to England, where he made significant contributions to British graphic design, especially in the area of film titles, such as for the motion picture Goldfinger. The firm then changed its name to Chermayeff & Geismar Associates and played a major role in the development of _____________.

    • Furniture design

    • Corporate identity

    • Advertising

    • Packaging

    Correct Answer
    A. Corporate identity
    Explanation
    The correct answer is corporate identity. The passage mentions that the design firm, after Brownjohn left, changed its name to Chermayeff & Geismar Associates and played a major role in the development of corporate identity. This suggests that the firm focused on creating visual identities for companies, including logos, branding, and overall design aesthetics.

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  • 38. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In the 1950s and 1960s, a playful direction called ____________ emerged among New York graphic designers. Letterforms became objects; objects became letterforms. Gene Federico was one of the first graphic designers who delighted in using letterforms as images, as shown in this 1953 double-page advertisement from the New Yorker magazine, in which the perfectly round Os of Futura form bicycle wheels.

    • The International Typographic Style

    • New wave

    • Figurative typography

    • Typogram

    Correct Answer
    A. Figurative typography
    Explanation
    In the 1950s and 1960s, a playful direction called figurative typography emerged among New York graphic designers. This involved using letterforms as images, blurring the line between letters and objects. Gene Federico was one of the first designers to embrace this style, as seen in the 1953 advertisement where the round Os of the Futura font are used as bicycle wheels. This style allowed for a creative and visually engaging approach to graphic design.

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  • 39. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} _____________’s mastery of elemental form can be seen in the iconic and widely imitated trademarks produced by his firm. He believed a trademark must be readily understood yet possess elements of metaphor and ambiguity that will attract the viewer again and again. Many of his trademarks became important cultural icons. Within two years after he redesigned the Bell Telephone System bell trademark, public recognition of the symbol rose from 71 to more than 90 percent. After the AT&T long-distance telephone network was split from the local Bell system telephone companies in 1984, he designed a new mark to reposition the firm as “a global communications company” rather than “the national telephone system.” This concept was expressed through a computer graphics animation with information bits circling a globe, which became the identification tag for AT&T television commercials.

    • Ivan Chermayeff

    • Saul Bass

    • Lester Beall

    • Paul Rand

    Correct Answer
    A. Saul Bass
    Explanation
    Saul Bass is the correct answer because the passage describes how the person's mastery of elemental form can be seen in the iconic and widely imitated trademarks produced by his firm. It also mentions that he believed a trademark should be readily understood yet possess elements of metaphor and ambiguity, which aligns with Saul Bass's design philosophy. Additionally, the passage mentions specific examples of trademarks that he designed, such as the Bell Telephone System bell trademark and the new mark for AT&T.

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  • 40. 

    Phototypography

    • The Bernbach approach—word and image fused into a conceptual expression of an idea so that they become completely interdependent— evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach.

    • A playful direction taken by New York graphic designers during the 1950s and 1960s spearheaded by Gene Frederico, which took many forms. Letterforms sometimes became images, such as the wheels in the Frederico’s ad for Woman’s Day. Sometimes, the visual properties of words themselves, or their organization in space, were used to express an idea, such as in Don Egensteiner’s “Tonnage” advertisement, in which the visual form of the word takes on a connotative meaning.

    • The setting of type by exposing negatives of alphabet characters to photographic paper dawned in 1925 with the public announcement of the Thothmic photographic composing machine invented by E. K. Hunter and J. R. C. August of London. A keyboard produced a punched tape to control a long, opaque master film with transparent letterforms. As a given letter moved into position in front of a lens, it was exposed to photographic paper by a beam of light.

    • A brief, visual typographic form in which concept and visual form are merged into a oneness.

    Correct Answer
    A. The setting of type by exposing negatives of alphabet characters to photographic paper dawned in 1925 with the public announcement of the Thothmic photographic composing machine invented by E. K. Hunter and J. R. C. August of London. A keyboard produced a punched tape to control a long, opaque master film with transparent letterforms. As a given letter moved into position in front of a lens, it was exposed to photographic paper by a beam of light.
    Explanation
    The correct answer explains the process of phototypography, which involves setting type by exposing negatives of alphabet characters to photographic paper. This process was first introduced in 1925 with the invention of the Thothmic photographic composing machine. The machine used a keyboard to control a master film with transparent letterforms, and as each letter moved into position in front of a lens, it was exposed to photographic paper using a beam of light. This process allowed for the merging of concept and visual form in a brief, visual typographic form.

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  • 41. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The trademark for International Business Machines (IBM) was developed from an infrequently used typeface called City Medium, designed by Georg Trump in 1930. City Medium is a geometric slab-serif typeface. The slab serifs and square negative spaces in the B lent the trademark unity and distinction. In the 1970s, the IBM corporate trademark was updated by introducing stripes to unify the three letterforms and evoke scan lines on video terminals. Who designed this powerful logo? ___________

    • Herbert Matter

    • Norman Ives

    • Paul Rand

    • Chermayeff & Geismar

    Correct Answer
    A. Paul Rand
    Explanation
    Paul Rand designed the powerful logo for IBM. The logo was updated in the 1970s to introduce stripes that unified the three letterforms and evoked scan lines on video terminals. Paul Rand is a renowned graphic designer known for his iconic logo designs, and he was responsible for creating the updated IBM logo.

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  • 42. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A company brand mark consisting of only letterforms ____

    • Annual report

    • Corporate identity

    • Corporate identity manual

    • Logotype

    Correct Answer
    A. Logotype
    Explanation
    A logotype refers to a company brand mark that consists only of letterforms. This means that the brand mark does not include any symbols, images, or graphics, but instead is composed solely of the company's name or initials in a unique and stylized font. Logotypes are often used by companies to create a strong and recognizable visual identity, as the typography itself becomes the main element of the brand mark.

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  • 43. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Beginning in the 1960s and continuing into the 1990s, a poetic approach to graphic design emerged in Europe. It was based on imagery and its manipulation through collage, montage, and both photographic and photomechanical techniques. _______________, a German master of this movement, is a brilliant imagist who consistently demonstrated an ability to invent unexpected visual content to solve communications problems. He brings together images or ideas to create a new vitality, new arrangements, and the synthesis of disparate objects. His “Alabama Blues” poster combines two photographs, of a dove and a civil-rights demonstration, with typography inspired by nineteenth-century wood type (Fig. 21-49). His poetic visual statements always have a rational basis that link expressive forms to communicative content. It is this ability that separates him from design practitioners who use fantasy or surrealism as ends rather than means.

    • Gunter Rambow

    • Willy Fleckhouse

    • Gunther Kieser

    • Michael van de Sand

    Correct Answer
    A. Gunther Kieser
    Explanation
    Gunther Kieser is the correct answer because the passage describes him as a German master of the poetic approach to graphic design that emerged in Europe from the 1960s to the 1990s. It mentions that he consistently demonstrated an ability to invent unexpected visual content to solve communications problems and bring together images or ideas to create new arrangements. It also states that his visual statements have a rational basis linking expressive forms to communicative content, setting him apart from design practitioners who use fantasy or surrealism as ends rather than means.

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  • 44. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In 1947, Armin Hofmann began teaching graphic design at the _____________, and together with Emil Ruder, he developed an educational model linked to the elementary design principles of the Vorkurs (Preliminary Course) established in 1908. The same year, he opened a design studio in collaboration with his wife, Dorothea, where he applied deep aesthetic values and understanding of form to both teaching and designing. As time passed, he evolved a design philosophy 163 based on the elemental graphic-form language of point, line, and plane, replacing traditional pictorial ideas with a modernist aesthetic. In 1965, he published Graphic Design Manual, a book that presents his application of elemental design principles to graphic design.

    • Achool of Applied Art in Zurich, Switzerland

    • Institute of Design in Ulm, Germany

    • Basel School of Design in Basel, Switzerland

    Correct Answer
    A. Basel School of Design in Basel, Switzerland
  • 45. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} 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 ______________, one of many major Texas designers who worked for the Stan Richards Group in Dallas during their formative years, epitomizes the originality of Texas graphics. His logo for Mr. and Mrs. Aubrey Hair (Fig. 21-41) evidences an unexpected wit, while his Knoll “Hot Seat” poster (Fig. 21-42) ironically combines the clean Helvetica type and generous white space of modernism with regional iconography. In 1988, he moved on to join the Manhattan office of the British design studio Pentagram.

    • John Berg

    • Woody Pirtle

    • Arnold Varga

    • Richard Hess

    Correct Answer
    A. Woody Pirtle
    Explanation
    Woody Pirtle is the correct answer because the passage states that the work of one of many major Texas designers who worked for the Stan Richards Group in Dallas during their formative years epitomizes the originality of Texas graphics. This suggests that Woody Pirtle's work was highly influential and representative of the unique style of Texas graphic design during that time period. Additionally, the passage mentions specific examples of Pirtle's work, such as the logo for Mr. and Mrs. Aubrey Hair and the Knoll "Hot Seat" poster, which further supports his significance in the field.

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  • 46. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The concept of a logo with a constantly changing persona is contrary to the widely held belief that trademarks and visual identifiers should be absolutely fixed and used in a consistent manner. The _____________ logo changed the face, the idea, and the speed of graphic design; it played a major role in redefining visual identity in the electronic age. This logo anticipated the kinetic world of motion graphics soon to explode as cable television, video games, and computer graphics expanded the variety and range of kinetic graphic messages.

    • 1984 Los Angeles Olympiad “Star-in-Motion”

    • U.S. Department of Labor “Striped Ls”

    • Lufthansa Airlines

    • Music Television (MTV)

    Correct Answer
    A. Music Television (MTV)
    Explanation
    The correct answer is Music Television (MTV). The passage mentions that the logo changed the face, idea, and speed of graphic design, and played a major role in redefining visual identity in the electronic age. It also mentions that the logo anticipated the kinetic world of motion graphics, which aligns with MTV's use of dynamic and constantly changing visuals in their branding. Additionally, MTV's logo is widely recognized and associated with the cable television and music industry, making it the most fitting choice among the options given.

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  • 47. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} More important than the visual appearance of Swiss design is the attitude developed by early pioneers about their profession. Which of the following statements does NOT belong? ____________

    • Design is a socially useful and important activity

    • Personal expression and eccentric solutions were rejected, while a more universal and scientific approach to design problem solving was embraced.

    • The designer is not an artist but an objective conduit for spreading important information among various components of society.

    • Ornamentation was prized for its decorative quality.

    • Achieving clarity and order is the ideal

    Correct Answer
    A. Ornamentation was prized for its decorative quality.
    Explanation
    The statement "Ornamentation was prized for its decorative quality" does not belong because Swiss design is known for its minimalist and functional approach, which emphasizes simplicity and clarity. Ornamentation, on the other hand, adds unnecessary decoration and goes against the principles of Swiss design.

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  • 48. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the 1960s in America, a new, smaller-format breed of periodicals emerged and thrived by addressing the interests of specialized audiences. The new editorial climate, with more emphasis on content, longer articles, and less opportunity for lavish visual treatment, necessitated a new approach to editorial design. Layout became more controlled, and the use of a consistent typographic 171 format and grid became the norm. Among the magazines listed below, which one became the journal of record for public opposition to the Vietnam War and for a host of other social and environmental issues? The art director, Dugald Stermer, did not commission images to illustrate the articles and topics; he used images as a separate communication to provide “information, direction, and purpose” distinct from the printed word. One cover of this magazine depicted four hands burning facsimile draft cards of Stermer and the three editors. ______________

    • New York

    • Ms.

    • Ramparts

    • Rolling Stone

    Correct Answer
    A. Ramparts
    Explanation
    Ramparts became the journal of record for public opposition to the Vietnam War and for a host of other social and environmental issues. The magazine's art director, Dugald Stermer, used images as a separate communication to provide "information, direction, and purpose" distinct from the printed word. This approach, along with the magazine's focus on content and longer articles, aligned with the new editorial climate of the 1960s and made Ramparts a leading publication in addressing the interests of specialized audiences.

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  • 49. 

    p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Hailed as the typographic genius of his time (1918–1981), ____________’s achievements included advertising and editorial design, trademark and typeface design, posters, and packaging. He abandoned traditional typographic rules and practice and looked at the characters of the alphabet as both visual forms and a means of communication. Words and letters could become images; images could become a word or a letter. He practiced design as a means of giving visual form to a concept or message, as in the proposed logo for Mother and Child magazine, in which the ampersand enfolds and protects the “child” in a visual metaphor for motherly love. Among his typeface designs is Avant Garde. He was also the design director for International Typeface Corporation’s tabloid-size journal known as U&lc.

    • George Lois

    • Mike Salisbury

    • Herb Lubalin

    Correct Answer
    A. Herb Lubalin
    Explanation
    Herb Lubalin is the correct answer because the given description matches his achievements and design philosophy. Lubalin was known for his innovative approach to typography and his ability to transform words and letters into visual forms. He was a pioneer in breaking traditional typographic rules and his designs often incorporated visual metaphors and unconventional layouts. Lubalin's notable works include the Avant Garde typeface and his role as the design director for International Typeface Corporation's journal, U&lc. Therefore, based on the information provided, Herb Lubalin is the most suitable answer.

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  • Mar 21, 2023
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  • Apr 25, 2011
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