History Of Graphic Design Test 6
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Questions and Answers
- 1.
The 1960s saw the beginning of a global dialogue that embraced the fine arts, performing arts, and design. During the 1980s and 1990s, the rapid growth of electronic and computer technology began to change the processes and appearance of design. Overnight express mail, fax machines, global televisual communications such as the continuous Cable News Network (CNN), and directdial international long-distance telephone service all served to further shrink the human community into Marshall McLuhan’s “global village.” This complex world of cultural and visual diversity created an environment in which a vast global dialogue co-existed with national visions, resulting in an explosive and pluralistic era for graphic design. A design partnership, which formed in London in 1962, made significant contributions to international design. Thorough evaluation of the communications problem and the specific nature of the environmental conditions under which the design was to appear combined with British wit and a willingness to try the unexpected summarize the essence of __________ approach to graphic design.
- A.
Push Pin Studios'
- B.
Pentagram's
- C.
Chermayeff & Geismar Associates
- D.
Vignelli Associates
Correct Answer
B. Pentagram'sExplanation
During the 1960s, there was a global shift towards embracing the fine arts, performing arts, and design. The rapid growth of electronic and computer technology in the 1980s and 1990s further changed the design processes and appearance. This led to a diverse and pluralistic era for graphic design, where a vast global dialogue coexisted with national visions. Pentagram, a design partnership formed in London in 1962, made significant contributions to international design. Their approach to graphic design involved thoroughly evaluating the communication problem and environmental conditions, combining it with British wit and a willingness to try the unexpected.Rate this question:
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- 2.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Dutch designer ______________ learned all aspects of printing by working at his father’s printing company, De Jong & Co., near Amsterdam. He curated small exhibitions intended to introduce advanced art and graphic design to a wider audience. These exhibitions were held in a small gallery at the printing firm. He designed posters for these exhibitions, which were constructed on a grid of fifteen squares. One or more of these modules always appeared as an element in the design, such as the 1960 exhibition poster for “De Man Achter due Vormgeving van de PTT” (The Man Behind the Design for the Dutch Post Service). He also edited a square-format journal called Kwadraatblad (Quadrate), which was printed at De Jong and showcased the work of leading artists and designers while demonstrating printing capabilities. And he designed posters and publications for the well-known Kröller-Müller Museum in Otterlo.
- A.
Wim Crouwel
- B.
Gert Dumbar
- C.
Anthon Beeke
- D.
Pieter Brattinga
Correct Answer
D. Pieter BrattingaExplanation
Pieter Brattinga is the correct answer because the passage mentions that he curated small exhibitions and designed posters for these exhibitions, which were constructed on a grid of fifteen squares. The passage also mentions that he edited a square-format journal called Kwadraatblad and designed posters and publications for the Kröller-Müller Museum. This information aligns with the given answer choice, Pieter Brattinga.Rate this question:
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- 3.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The Provo youth movement, which emphasized individual freedom and rejected social conformity, inspired a new expressionism in Dutch graphic design, which increased dramatically during the 1970s and 1980s. Late twentieth-century designers, such as ______________, and groups such as Studio Dumbar, Hard Werken, and Wild Plakken, pushed beyond the traditional values of harmony, unity, and order in their quests for individual meaning and subjective expression.
- A.
Wim Crouwel
- B.
Gert Dumbar
- C.
Anthon Beeke
- D.
Pieter Brattinga
Correct Answer
C. Anthon BeekeExplanation
During the 1970s and 1980s, the Provo youth movement in the Netherlands emphasized individual freedom and rejected social conformity. This movement had a significant impact on Dutch graphic design, leading to a new expressionism. Late twentieth-century designers like Anthon Beeke, along with groups like Studio Dumbar, Hard Werken, and Wild Plakken, embraced this new approach. They pushed beyond traditional values of harmony, unity, and order in their designs, seeking individual meaning and subjective expression. Anthon Beeke was one of these designers who embraced this new wave of Dutch graphic design.Rate this question:
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- 4.
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 provocateur who pushed for maximum freedom of expression and thought, Dutch graphic designer and photographer _____________ sought unconventional solutions to visual communications assignments. Many of his works, like the 1979 theater poster for Leonce and Lena, contain jolting ambiguities and erotic overtones. His typographic oeuvre is unrestrained, from handwritten titles jotted onto photographs to eloquent classical typography—and sometimes both combined.
- A.
Wim Crouwel
- B.
Gert Dumbar
- C.
Anthon Beeke
- D.
Pieter Brattinga
Correct Answer
C. Anthon BeekeExplanation
Anthon Beeke is the correct answer because the passage describes a graphic designer and photographer who sought unconventional solutions and created works with jolting ambiguities and erotic overtones. This aligns with Beeke's style, as he was known for pushing boundaries and creating provocative designs. Additionally, the passage mentions his unrestrained typographic oeuvre, which further supports the identification of Anthon Beeke as the correct answer.Rate this question:
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- 5.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} More of an informal association than a structured business, _____________ embraced the contemporary art scene and rejected design refinement. The group, which included Henk Elenga, Gerard Hadders, Tom van der Haspel, Helen Howard, and Rick Vermeulen, developed a relaxed, anything-goes attitude and rejected all styles and theories in favor of the subjective interpretation of a problem. They were open to any conceivable typographic or image possibility. They emphasized the message as well as materials and methods used to convey the message to an audience.
- A.
Wild Plakken
- B.
Studio Dumbar
- C.
Hard Werken
Correct Answer
C. Hard WerkenExplanation
Hard Werken is the correct answer because the description provided matches the characteristics of this informal association. Hard Werken was a group of artists and designers who embraced the contemporary art scene and rejected design refinement. They had a relaxed, anything-goes attitude and rejected all styles and theories in favor of subjective interpretation. They were open to any typographic or image possibility and emphasized the message and materials used to convey it.Rate this question:
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- 6.
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} Its name can be translated as “Unauthorized Bill-Posting.” The group, believing that designers should match their beliefs to the content of their graphic designs, accepts or rejects commissions based on the client’s ideological viewpoint. Its work has addressed such issues as the environment, women’s rights, gay rights, and racism, such as the 1984 poster for the anti-apartheid movement of the Netherlands. It does all of its own photography, so its designers can feel free to experiment in the darkroom, cutting, tearing, and combining images without needing to maintain the integrity of an outside photographer’s work. __________
- A.
Wild Plakken
- B.
Studio Dumbar
- C.
Hard Werken
Correct Answer
A. Wild PlakkenExplanation
The given passage provides information about a group that believes in matching their beliefs to the content of their graphic designs and accepts or rejects commissions based on the client's ideological viewpoint. They address various social issues such as the environment, women's rights, gay rights, and racism. They also do their own photography, allowing their designers to freely experiment with cutting, tearing, and combining images. The correct answer, "Wild Plakken," fits the description provided in the passage.Rate this question:
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- 7.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Clear, straightforward images that viewers can only interpret in one specific, carefully controlled way ____
- A.
Fluxus
- B.
Closed Texts
- C.
Open Texts
Correct Answer
B. Closed TextsExplanation
Closed Texts refers to clear, straightforward images that viewers can only interpret in one specific, carefully controlled way. This means that the images have a fixed meaning and do not allow for multiple interpretations. The term "closed" implies that the meaning of the image is predetermined and cannot be altered or expanded upon by the viewer. This concept is often associated with certain art movements or styles that prioritize clarity and directness in communication.Rate this question:
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- 8.
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 1960s neo-Dadaist movement that explored conceptual and performance art, happenings, experimental poetry, and language art ____
- A.
Fluxus
- B.
Closed Texts
- C.
Open Texts
Correct Answer
A. FluxusExplanation
Fluxus was a 1960s neo-Dadaist movement that explored conceptual and performance art, happenings, experimental poetry, and language art. This movement rejected traditional art forms and sought to blur the boundaries between art and everyday life. Fluxus artists created works that were often playful, interactive, and incorporated elements of chance and randomness. They aimed to challenge the notion of art as a precious object and instead emphasized the process and experience of art-making. Fluxus had a significant impact on the development of contemporary art and continues to influence artists today.Rate this question:
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- 9.
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} Greater freedom for imaginative interpretation by introducing surrealist imagery, photomontages using torn and fragmented images, and brightly colored shapes ____
- A.
Fluxus
- B.
Closed Texts
- C.
Open Texts
Correct Answer
C. Open TextsExplanation
The correct answer is "Open Texts." Open Texts allow for greater freedom of interpretation by incorporating surrealist imagery, photomontages with torn and fragmented images, and brightly colored shapes. This means that the text is not limited or restricted in its meaning, allowing for multiple interpretations and creative exploration.Rate this question:
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- 10.
- A.
In this 1981 "Nihon Buyo" poster designed by Ikko Tanaka, vibrant planes of color are arranged on a grid to signify an abstracted and expressive portrait of a traditional Japanese theatrical character.
- B.
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Correct Answer
A. In this 1981 "Nihon Buyo" poster designed by Ikko Tanaka, vibrant planes of color are arranged on a grid to signify an abstracted and expressive portrait of a traditional Japanese theatrical character.Explanation
The explanation provided accurately describes the content and meaning of the "Nihon Buyo" poster. It mentions that the poster was designed by Ikko Tanaka in 1981 and highlights the use of vibrant colors arranged on a grid. It further explains that these elements symbolize an abstracted and expressive portrait of a traditional Japanese theatrical character.Rate this question:
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- 11.
- A.
In this poster designed by Takenobu Igarashi for Expo '85, the isometric letters, which he calls "architectural alphabets," become a metaphor for the materials and processes of the built environment.
- B.
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Correct Answer
A. In this poster designed by Takenobu Igarashi for Expo '85, the isometric letters, which he calls "architectural alphabets," become a metaphor for the materials and processes of the built environment.Explanation
The isometric letters in the poster designed by Takenobu Igarashi for Expo '85 are referred to as "architectural alphabets" because they symbolize the materials and processes used in the construction of the built environment. The use of isometric perspective creates a three-dimensional effect, representing the depth and complexity of architectural design. By using these letters as a metaphor, the poster highlights the importance of architecture and its impact on the physical world.Rate this question:
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- 12.
- A.
Wild Plakken accepted or rejected commissions based on the client's ideological viewpoint; the group believed a designer should match his or her beliefs to the content of his or her graphic designs, as in this poster they designed for the antiapartheid movement.
- B.
.
Correct Answer
A. Wild Plakken accepted or rejected commissions based on the client's ideological viewpoint; the group believed a designer should match his or her beliefs to the content of his or her graphic designs, as in this poster they designed for the antiapartheid movement.Explanation
Wild Plakken accepted or rejected commissions based on the client's ideological viewpoint. The group believed that a designer should align their beliefs with the content of their graphic designs. This is evident in the poster they designed for the antiapartheid movement, where they used their design skills to support a cause they believed in.Rate this question:
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- 13.
- A.
Shigeo Fukuda
- B.
.
Correct Answer
A. Shigeo Fukuda -
- 14.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} By the 1970s, many believed the modern era was drawing to a close in art, design, politics, and literature. The social, economic, and environmental awareness of the period caused many to believe the modern aesthetic was no longer relevant in an emerging postindustrial society. People in many fields, including architects, economists, feminists, and even theologians, embraced the term postmodernism to express a climate of cultural change. Maddeningly vague and overused, this term became a byword in the last quarter of the twentieth century. Late modernism and ______________ are proffered as alternative terms for late twentieth-century design.
- A.
New wave
- B.
Mannerism
- C.
Modern radicalism
- D.
Vernacular
Correct Answer
B. MannerismExplanation
In the given passage, it is mentioned that the term "postmodernism" became overused and vague in the last quarter of the twentieth century. As a result, alternative terms for late twentieth-century design were proffered, and one of these alternative terms is "mannerism". Therefore, "mannerism" is the correct answer.Rate this question:
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- 15.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The term ______________ design refers to artistic and technical expression broadly characteristic of a locale or historical period.
- A.
Retro
- B.
Memphis
- C.
New-wave typography
- D.
Vernacular
Correct Answer
D. VernacularExplanation
The term "vernacular" design refers to artistic and technical expression that is broadly characteristic of a locale or historical period. This type of design reflects the local culture, traditions, and aesthetics, capturing the essence of a specific time and place. It often incorporates elements and motifs that are unique to a particular region or era, creating a sense of authenticity and identity.Rate this question:
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- 16.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Siegfried Odermatt and ____________ sought logical and effective solutions to design problems through a playful sense of form, the unexpected manipulation of space, and designs with strong graphic impact. They achieved typographic vitality by overlapping and combining letterforms in the presentation folder for the printing firm Anton Schöb (Fig. 23-6). Placing typography on geometric shapes whose configuration was generated by the line lengths of the text itself was a technique they frequently used during the 1980s.
- A.
Steff Geissbuhler
- B.
Rosmarie Tissi
- C.
William Longhauser
- D.
Barbara Stauffacher
Correct Answer
B. Rosmarie TissiExplanation
Siegfried Odermatt and Rosmarie Tissi sought logical and effective solutions to design problems through a playful sense of form, the unexpected manipulation of space, and designs with strong graphic impact. They achieved typographic vitality by overlapping and combining letterforms in the presentation folder for the printing firm Anton Schöb. Placing typography on geometric shapes whose configuration was generated by the line lengths of the text itself was a technique they frequently used during the 1980s.Rate this question:
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- 17.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Through his instruction at the Basel School of Design and his personal projects, ____________ consciously sought to breathe a new spirit into the typography of order and neatness by questioning the premises, rules, and surface appearances that were hardening the innovations of the Swiss masters into an academic style in the hands of their followers. In the mid-1970s, he experimented with offset printing and film systems. The printer’s camera was used to alter images, and the unique properties of the film were explored. He began to move away from purely typographic form and embraced collage as a medium for visual communication, as shown in the 1974 announcement from Typographische Monatsblätter magazine (Fig. 23-13).
- A.
Dan Friedman
- B.
Willi Kunz
- C.
Steff Geissbuhler
- D.
Wolfgang Weingart
Correct Answer
D. Wolfgang WeingartExplanation
Wolfgang Weingart consciously sought to bring a fresh perspective to typography by questioning the established rules and appearances that were becoming rigid in the hands of Swiss design followers. In the 1970s, he experimented with offset printing and film systems, using the printer's camera to alter images and exploring the unique properties of film. He also moved away from purely typographic form and embraced collage as a medium for visual communication. This is evident in the 1974 announcement from Typographische Monatsblätter magazine, showcasing his innovative approach.Rate this question:
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- 18.
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} _____________ and other pioneers strongly rejected the notion of style and saw their work as an attempt to expand the parameters of typographic communication, yet their work was so widely imitated, especially in design education, that it gave rise to a prevailing typographic approach in the late 1970s and 1980s. Specific design ideas explored by him and his students in the late 1960s and early 1970s and adopted a decade later include letter-spaced, sansserif type; bold, stair-step rules; ruled lines punctuating and energizing space; diagonal type; the introduction of italic type and/or weight changes within words; and type reversed from a series of bars.
- A.
Dan Friedman
- B.
Willi Kunz
- C.
Steff Geissbuhler
- D.
Wolfgang Weingart
Correct Answer
D. Wolfgang WeingartExplanation
Wolfgang Weingart and other pioneers strongly rejected the notion of style and saw their work as an attempt to expand the parameters of typographic communication. However, their work was widely imitated, especially in design education, leading to a prevailing typographic approach in the late 1970s and 1980s. Weingart's specific design ideas, such as letter-spacing, sans-serif type, bold stair-step rules, and diagonal type, were explored by him and his students in the late 1960s and early 1970s and adopted a decade later. This widespread adoption of Weingart's ideas and techniques explains why he is considered a pioneer in typography.Rate this question:
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- 19.
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} Some young designers who spent time at the Basel School of Design came to the United States to teach and practice afterwards. _____________, an American who studied at the Ulm Institute of Design in 1967 and 1968 and at the Basel School of Design from 1968 to 1970, taught courses at Yale University and the Philadelphia College of Art in 1970 and 1971. He addressed the problem of teaching the basics of typography through syntactic and semantic investigations, using such ordinary copy as a daily weather report (Fig. 23-18). He urged his students to make their work both functional and aesthetically unconventional. The 1973 publication of this work in the journal Visible Language had a widespread influence on typographic education in the United States and other countries.
- A.
Dan Friedman
- B.
Willi Kunz
- C.
Steff Geissbuhler
- D.
Wolfgang Weingart
Correct Answer
A. Dan FriedmanExplanation
The passage mentions that an American, who studied at the Ulm Institute of Design and Basel School of Design, taught courses at Yale University and the Philadelphia College of Art. The correct answer is Dan Friedman because he is the only American mentioned in the passage who fits this description.Rate this question:
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- 20.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Typographic design has usually been the most two-dimensional of all the visual disciplines, but April Greiman evolved a new attitude toward space. She achieved a sense of depth in her typographic pages. Overlapping form, diagonal lines that imply perspective or reverse perspective, floating forms that cast shadows, and gestured strokes that move back in space, overlap, or move behind geometric elements are the means she uses to make forms move forward and backward from the surface of the printed page. Greiman’s typographic space operates with the same governing principle defined by ____________ in his PROUN paintings but that he never applied to his typographic designs.
- A.
Alexander Rodchencko
- B.
El Lissitzky
- C.
Jan Tschichold
- D.
Herbert Bayer
Correct Answer
B. El LissitzkyExplanation
El Lissitzky is the correct answer because the passage states that April Greiman achieved a sense of depth in her typographic pages using techniques such as overlapping form, diagonal lines, floating forms, and gestured strokes. These techniques are similar to the principles defined by El Lissitzky in his PROUN paintings, which he did not apply to his typographic designs. Therefore, El Lissitzky is the most appropriate choice.Rate this question:
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- 21.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} _____________ accepted a one-year appointment to teach typography at the Basel School of Design while Wolfgang Weingart was on sabbatical. Inspired by the research of Weingart and his students, and with the type shop at his disposal, he began a series of typographic interpretations of writings by Canadian philosopher Marshall McLuhan. These were hand-printed and published under the title 12 T y p o graphical Interpretations (Fig. 23-25). McLuhan’s thoughts on communications and printing were visualized and intensified by contrasting type weights, sometimes within the same word; geometric stair-step forms; unorthodox letter, word, and line spacing; lines and bars used as visual punctuation and spatial elements; and textual areas introduced into the spatial field.
- A.
Dan Friedman
- B.
Willi Kunz
- C.
Steff Geissbuhler
- D.
Kenneth Hiebert
Correct Answer
B. Willi KunzExplanation
Willi Kunz accepted a one-year appointment to teach typography at the Basel School of Design while Wolfgang Weingart was on sabbatical. Inspired by Weingart's research and his students, Kunz used the type shop at his disposal to create a series of typographic interpretations of writings by Marshall McLuhan. These interpretations, titled "12 Typographical Interpretations," were hand-printed and published. Kunz employed various techniques such as contrasting type weights, geometric forms, unorthodox spacing, and visual punctuation to visualize and intensify McLuhan's thoughts on communications and printing.Rate this question:
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- 22.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The postmodernist architect _____________ used an energetic, high-spirited geometry of decorative surfaces and tactile repetitive patterns. His visual motifs 208 are expressed in a poster designed by Philadelphia graphic designer William Longhauser (Fig. 23-30) for an exhibition of the architect’s works. In this poster, which became an influential postmodern design in itself, a background pattern of repetitive dots is produced by the letters M I C H A E L letter spaced on a grid.
- A.
Robert Venturi
- B.
Michael Graves
- C.
Ettore Sottsass
- D.
Le Corbusier
Correct Answer
B. Michael GravesExplanation
The correct answer is Michael Graves. The passage describes the architect as using an energetic, high-spirited geometry of decorative surfaces and tactile repetitive patterns, which aligns with Michael Graves' architectural style. The poster mentioned in the passage, which features a background pattern of repetitive dots produced by the letters of the architect's name, is a visual representation of Michael Graves' design approach.Rate this question:
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- 23.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} In the early 1980s in San Francisco, Michael Vanderbyl, Michael Manwaring, and Michael Cronin forged a postmodern design movement that positioned San Francisco as a creative center of design. Although the San Francisco designers share gestures, shapes, palettes, intuitive spatial arrangements, and assign symbolic roles to geometric elements, personal attitudes are nonetheless evident in their work. __________ combines a casual postmodern vitality with a typographic clarity, which reflects his background in the international style. This influence is evident in the 1979 “California Public Radio” poster (Fig. 23-31) and the 1985 promotional mailer for the Simpson Paper Company (Fig. 23-32).
- A.
Michael Vanderbyl
- B.
Michael Manwaring
- C.
Michael Cronin
Correct Answer
A. Michael VanderbylExplanation
The given passage discusses the postmodern design movement in San Francisco in the early 1980s and mentions three designers - Michael Vanderbyl, Michael Manwaring, and Michael Cronin. It states that each designer has their own personal attitudes evident in their work. The blank in the passage is filled with "Michael Vanderbyl" because it mentions that his work combines a casual postmodern vitality with typographic clarity, reflecting his background in the international style. This information suggests that Michael Vanderbyl is the correct answer.Rate this question:
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- 24.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Retro thrived in book jacket design, as is evident in the work of _____________. She finds inspiration in the vernacular graphics of France and Italy, which she collects during summer vacations in Europe. Eccentric letterforms on signs and vernacular graphics with long-lost typefaces discovered in flea markets and used-book stalls inform her highly personal and intuitive approach.
- A.
Paula Scher
- B.
Lorraine Louie
- C.
Louise Fili
- D.
Barbara Stauffacher
Correct Answer
C. Louise FiliExplanation
Louise Fili is the correct answer because the passage mentions that the person finds inspiration in the vernacular graphics of France and Italy, which they collect during summer vacations in Europe. Louise Fili is known for her work in book jacket design and her use of vernacular graphics and typefaces in her designs. Therefore, it can be inferred that Louise Fili's work aligns with the description given in the passage.Rate this question:
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- 25.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A famous 1930s Swiss travel poster designed by _____________ is parodied in Paula Scher’s 1985 retro-style poster for Swatch (Fig. 23-40), the Swiss watch manufacturer.
- A.
Armin Hofmann
- B.
Josef Müller-Brockmann
- C.
Herbert Matter
- D.
Walter Herdeg
Correct Answer
C. Herbert MatterExplanation
The correct answer is Herbert Matter because the question asks for the designer of the famous 1930s Swiss travel poster that is parodied in Paula Scher's 1985 retro-style poster for Swatch. Therefore, the correct answer is Herbert Matter, as he is the designer of the original travel poster.Rate this question:
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- 26.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Postmodernism heralded a spirit of liberation that allowed designers to respond positively to vernacular and historic forms and to incorporate them into their work. An atmosphere of inclusion and expanding possibilities encouraged designers to experiment. The English designer _____________ wondered, “Why can’t you take a painterly approach within the print medium?” His work evolves from an effort to discover an intuitive yet logical approach to design, expressing a personal vision that could have meaning to his audience. His typographic configurations project an emblematic authority that evokes heraldry and military emblems (Fig. 23-52).
- A.
Joe Duffy
- B.
Daniel Pelavin
- C.
Charles S. Anderson
- D.
Neville Brody
Correct Answer
D. Neville BrodyExplanation
Neville Brody is the correct answer because the passage mentions that the designer wondered about taking a painterly approach within the print medium, which aligns with Brody's experimental and innovative style. Additionally, the passage describes his typographic configurations as projecting an emblematic authority, which is characteristic of Brody's work that often incorporates bold and impactful designs.Rate this question:
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- 27.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} This movement was characterized by a typographic revolt, as practitioners and teachers schooled in the International Typographic Style sought to reinvent typographic design. ____
- A.
Memphis
- B.
New-wave typography
- C.
Retro
Correct Answer
B. New-wave typographyExplanation
The correct answer is "new-wave typography". This movement was characterized by practitioners and teachers who were trained in the International Typographic Style but wanted to reinvent typographic design. New-wave typography was a departure from the clean and minimalist style of the International Typographic Style, embracing more experimental and expressive approaches to typography. The Memphis movement and retro are not directly related to this typographic revolt.Rate this question:
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- 28.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} As the 1970s closed and the 1980s began, a new movement in postmodern design swept into international prominence. Function became secondary to surface pattern and texture, color, and fantastic forms in the lamps, sofas, and cabinets of this movement’s designers. ____
- A.
Memphis
- B.
New-wave typography
- C.
Retro
Correct Answer
A. MemphisExplanation
In the context of postmodern design, the Memphis movement emerged in the late 1970s and early 1980s. It prioritized surface pattern and texture, color, and unique forms over functionality. The designers associated with this movement created lamps, sofas, and cabinets that were characterized by bold and unconventional designs. Therefore, the correct answer is Memphis.Rate this question:
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- 29.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} This movement was characterized by an uninhibited, eclectic interest in modernist European design, particularly in the decades between the world wars; a flagrant disregard for the rules of proper typography; and a fascination with eccentric typefaces designed and widely used during the 1920s and 1930s. ____
- A.
Memphis
- B.
New-wave typography
- C.
Retro
Correct Answer
C. RetroExplanation
The given paragraph describes a movement characterized by an interest in modernist European design, a disregard for typography rules, and a fascination with eccentric typefaces from the 1920s and 1930s. The term "retro" best fits this description as it refers to a style that imitates or draws inspiration from past trends or eras. This movement can be seen as embracing and reviving the design styles of the past, making "retro" the correct answer.Rate this question:
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- 30.
This English designer's work evolved from an effort to discover an intuitive yet logical approach to design, expressing a personal vision that could have meaning to his audience. The designer's typographic configurations, like the one shown here, project an absolute emblematic authority that evokes heraldry and military emblems. Identify the designer.
- A.
Neville Brody
- B.
.
Correct Answer
A. Neville BrodyExplanation
Neville Brody is the correct answer because his work is known for its intuitive yet logical approach to design, expressing a personal vision that resonates with his audience. His typographic configurations, like the one shown here, exude a sense of absolute emblematic authority reminiscent of heraldry and military emblems. Brody's unique style and influential contributions to the field of design make him the designer being referred to in this question.Rate this question:
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- 31.
The visual motifs of architect Michael Graves are expressed in this poster designed by William Longhauser for an exhibition of Graves's work. Which category of post-modernism does this poster represent?
- A.
Memphis
- B.
.
Correct Answer
A. MemphisExplanation
This poster represents the category of post-modernism known as Memphis. Memphis design is characterized by bold, colorful patterns, geometric shapes, and a playful and eclectic mix of styles. This can be seen in the poster's use of vibrant colors, geometric shapes, and the overall whimsical and unconventional design.Rate this question:
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- 32.
The typographic space in the China Club advertisement operates with the same governing principle defined by El Lissitzky in his PROUN paintings. Overlapping forms, diagonal lines that imply perspective or reverse perspective, gestured strokes that move back in space, overlap, or move behind geometric elements, and floating forms that cast shadows are the means used to make forms move forward and backward from the surface of the printed page. Who is the designer of this ad?
- A.
April Greiman
- B.
.
Correct Answer
A. April Greiman -
- 33.
Tendencies toward postmodern graphic design first emerged from individuals working within the dicta of the International Typographic Style, such as the designer who designed this presentation folder in 1981 for the printing firm Anton Schöb. Dynamic color and letterform shapes create an expressive backdrop for the message. Placing text typography on white geometric shapes whose configuration is generated by the line lengths of the text is a technique that was frequently used during the 1980s. Who was the designer?
- A.
Rosmari Tissi
- B.
.
Correct Answer
A. Rosmari TissiExplanation
The designer of the presentation folder in 1981 for the printing firm Anton Schöb was Rosmari Tissi. The tendencies towards postmodern graphic design can be seen in the dynamic color and letterform shapes used in the design, which create an expressive backdrop for the message. The technique of placing text typography on white geometric shapes, whose configuration is generated by the line lengths of the text, was commonly used during the 1980s.Rate this question:
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- 34.
During a one-year appointment at the Basel School of Design as Weingart's sabbatical-leave replacement, Willi Kunz began a series of 12 typographic interpretations of writings by Canadian philosopher Marshall McLuhan. Which post-modern category does his work represent?
- A.
New-wave typography
- B.
.
Correct Answer
A. New-wave typographyExplanation
Willi Kunz's series of typographic interpretations of Marshall McLuhan's writings represents the post-modern category of new-wave typography. New-wave typography emerged in the late 1970s and early 1980s as a reaction against the strict grid-based design principles of modernism. It embraced experimental and expressive typography, often incorporating unconventional layouts, vibrant colors, and playful typography treatments. Kunz's typographic interpretations of McLuhan's writings likely reflect this spirit of experimentation and innovation, making them a fitting example of new-wave typography.Rate this question:
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- 35.
Postmodern graphic design can be loosely categorized as moving into several major directions. One such direction was new-wave typography, which began in Basel, Switzerland, through the teaching and research of the designer who produced this announcement in 1974 for Typografische Monatsblätter magazine. This early layered collage, with overlapping images and complex dropouts, uses numbers and arrows rather than left-to-right and top-to-bottom sequencing to direct the reader through the page. Who was the designer?
- A.
Wolfgang Weingart
- B.
.
Correct Answer
A. Wolfgang WeingartExplanation
Wolfgang Weingart is the correct answer because the passage mentions that the designer who produced the announcement in 1974 for Typografische Monatsblätter magazine was a pioneer of new-wave typography and taught and researched in Basel, Switzerland. This aligns with Weingart's background and his significant contributions to the field of graphic design during that time.Rate this question:
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- 36.
The famous Herbert Matter poster from the 1930s is parodied in this 1985 retro poster for Swatch, the Swiss watch manufacturer. Who is the designer?
- A.
Paula Scher
- B.
.
Correct Answer
A. Paula ScherExplanation
Paula Scher is the designer of the retro poster for Swatch that parodies the famous Herbert Matter poster from the 1930s.Rate this question:
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- 37.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the 1960s, when ______________ became a prevalent means of typesetting, it took a team of skilled specialists to create and print graphic communications. These specialists included graphic designers, who created page layouts; typesetters, who operated text and display typesetting equipment; production artists, who pasted all of the elements into position on boards; camera operators, who made photographic negatives of the paste-ups, art, and photographs; strippers, who assembled these negatives together; plate makers, who prepared the printing plates; and press operators, who ran the printing presses.
- A.
Metal type
- B.
Lithography
- C.
Phototype
- D.
Wood type
Correct Answer
C. PhototypeExplanation
During the 1960s, when phototype became a prevalent means of typesetting, it took a team of skilled specialists to create and print graphic communications. Phototype refers to the process of typesetting using photographic techniques, where text and display typesetting equipment were operated by typesetters. This process involved creating page layouts by graphic designers, pasting all elements into position on boards by production artists, making photographic negatives by camera operators, assembling these negatives by strippers, preparing printing plates by plate makers, and running the printing presses by press operators.Rate this question:
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- 38.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} By the 1990s, ______________ technology enabled one person operating a desktop computer to control most—or even all—of these functions. New photooptical printing machines used computer-controlled lasers to photosensitize printing drums, making short-run and even individualized full-color press sheets possible.
- A.
Photographic
- B.
Offset lithographic
- C.
Laser
- D.
Digital
Correct Answer
D. DigitalExplanation
In the 1990s, digital technology allowed one person operating a desktop computer to control various functions, including printing. New photooptical printing machines utilized computer-controlled lasers to photosensitize printing drums, making it possible to produce short-run and even individualized full-color press sheets. Therefore, the correct answer is "digital."Rate this question:
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- 39.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the 1980s, three companies introduced powerful hardware and software to the marketplace, bringing the digital revolution to the desktops of individual graphic designers. Which company does NOT belong to that group? __________
- A.
Adobe Systems
- B.
Microsoft
- C.
Apple Computer
- D.
Aldus
Correct Answer
B. MicrosoftExplanation
During the 1980s, Adobe Systems, Apple Computer, and Aldus introduced powerful hardware and software to the marketplace, bringing the digital revolution to the desktops of individual graphic designers. However, Microsoft does not belong to that group as it primarily focused on developing software for operating systems and office productivity, rather than specifically targeting graphic design.Rate this question:
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- 40.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} By 1990, ____________ began receiving significant numbers of idiosyncratic and novel fonts from outside designers. Recognizing the originality of many of these submissions, partners Zuzana Licko and Rudy Vanderlans began to license and distribute the designs. Some of these typefaces (Fig. 24-26) were extremely controversial, even as they were rapidly adopted and used extensively in major advertising campaigns and publication designs. Licko designed the two typefaces at the bottom: Mrs Eaves is an exemplary interpretation of John Baskerville’s eighteenth-century transitional fonts, and Filosofia captures the spirit of modernstyle typefaces.
- A.
Adobe Systems
- B.
Émigré Fonts
- C.
Linotype
- D.
Monotype
Correct Answer
B. Émigré FontsExplanation
Émigré Fonts is the correct answer because the passage mentions that partners Zuzana Licko and Rudy Vanderlans began to license and distribute fonts from outside designers, and some of these fonts were controversial but widely adopted. The passage also specifically states that Licko designed two typefaces at the bottom, which suggests that Émigré Fonts is the correct answer as it is a well-known independent type foundry founded by Licko and Vanderlans.Rate this question:
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- 41.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Graphic designer _____________ created a 1987 issue of Design Quarterly magazine for the Walker Art Center in Minneapolis as a 12-by-6-foot single-sheet digital collage executed entirely on the Macintosh computer (Fig. 24-5). Images were captured from video and digitized, and words and pictures were integrated into a single computer file. In 1988, this designer expressed an obligation to “take on the challenge of continuing forward toward a new landscape of communications,” adding, “[t]o use these tools to imitate what we already know and think is a pity. I think there has to be another layer applied here. And that’s about ideas.”
- A.
April Greiman
- B.
Katherine McCoy
- C.
Edward Fella
- D.
Zuzana Licko
Correct Answer
A. April GreimanExplanation
April Greiman is the correct answer because she is the graphic designer who created the 1987 issue of Design Quarterly magazine for the Walker Art Center. She used a Macintosh computer to create a 12-by-6-foot single-sheet digital collage by capturing images from video and digitizing them. Greiman also expressed the importance of using these tools to go beyond imitating what is already known and to instead focus on ideas and innovation in communication.Rate this question:
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- 42.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} With roots in American vernacular design and early modernist typography, __________’s experimental work became a major influence on a generation of designers. From 1983 until 1991, he contributed graphics to the Detroit Focus Gallery and produced flyers, such as the one shown here (Fig. 24-10), and catalogues whose typography and lettering challenged the reader in the same way advanced art in a gallery challenged the viewer. He explored entropy, the disintegration of form from repeated copying, and an unbounded range of techniques: found typography, scribbles, brush writing, typesetting, rubdown letters, public-domain clip art, stencils, etc. He investigated the aesthetic potential of invented letterforms, irregular spatial intervals, eccentric characters, personal glyphs, and vernacular imagery. Although his influence permeates work by young designers vigorously committed to computer graphics, he rarely uses computers and favors hand processes.
- A.
David Carson
- B.
Fred Woodward
- C.
Edward Fella
- D.
John Hersey
Correct Answer
C. Edward FellaExplanation
Edward Fella's experimental work in typography and lettering challenged traditional design conventions and had a significant influence on a generation of designers. He explored various techniques and aesthetics, including found typography, brush writing, rubdown letters, and stencils. Fella's work often incorporated invented letterforms, irregular spatial intervals, eccentric characters, and vernacular imagery. Despite his influence on computer graphics, Fella preferred hand processes and rarely used computers.Rate this question:
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- 43.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} During the 1990s, many designers energized their work through advanced computer graphics. New directions migrated from personal exploration and design education to the mainstream as editorial designers for specialized magazines applied computer experimentation to their pages. As art director/designer for Transworld Skateboarding (1983–1987), Musician (1988), Beach Culture (1989–1991), Surfer (1991–1992), and Ray Gun (1992–1996), ____________ shunned grid formats and a consistent approach to typographic layout. Instead, he chose to explore the expressive possibilities of each subject and each page or spread, rejecting conventional notions of typographic syntax, visual hierarchy, and imagery. In the 1994 article “Morrissey: The Loneliest Monk,” in Ray Gun (Fig. 24-14), the unusual photographic cropping and deconstructed headline convey the musician’s romanticism and mystery.
- A.
David Carson
- B.
Fred Woodward
- C.
Edward Fella
- D.
John Hersey
Correct Answer
A. David CarsonExplanation
David Carson is the correct answer because the passage describes a designer who rejected conventional design principles and instead chose to explore the expressive possibilities of each subject. This aligns with David Carson's approach to design, as he is known for his experimental and unconventional typography layouts. The passage also mentions his work as art director/designer for various magazines, including Ray Gun, which is consistent with David Carson's career.Rate this question:
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- 44.
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} After art directing Texas Monthly and Regardie’s, ____________ became the art director of the semi-monthly rock-and-roll magazine Rolling Stone. An intuitive designer, he tried to match typefaces and images to content. In this 1990 breakthrough layout of an article on Sinead O’Connor (Fig. 24-15), large-scale display type over two pages is used as a dynamic counterpoint to the photographic portrait.
- A.
David Carson
- B.
Fred Woodward
- C.
Edward Fella
- D.
John Hersey
Correct Answer
B. Fred WoodwardExplanation
Fred Woodward became the art director of Rolling Stone after previously art directing Texas Monthly and Regardie's. He is known for his intuitive design approach, matching typefaces and images to content. In the given layout of an article on Sinead O'Connor, large-scale display type over two pages is used as a dynamic counterpoint to the photographic portrait. This innovative design choice showcases Woodward's creativity and his ability to create visually striking layouts.Rate this question:
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- 45.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} A virtual explosion in the release of new typefaces occurred in the 1990s, as large type vendors were joined by independent type foundries set up by studios and individual designers. _________________ became a prolific and influential digital type foundry. An early type family developed for its PostScript pagedescription language was Stone, designed by Sumner Stone.
- A.
Adobe Systems
- B.
Microsoft
- C.
Apple Computer
- D.
Aldus
Correct Answer
A. Adobe SystemsExplanation
Adobe Systems became a prolific and influential digital type foundry in the 1990s. They joined the large type vendors and independent type foundries that were releasing new typefaces during this time. One of their early type families, Stone, was designed by Sumner Stone for their PostScript page description language. This suggests that Adobe Systems played a significant role in the virtual explosion of new typefaces during the 1990s.Rate this question:
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- 46.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} John Plunkett and Barbara Kuhr, principals of Plunkett + Kuhr, located in Park City, Utah, envisioned a magazine that would do for the information superhighway what Rolling Stone had done for the rock-and-roll a generation earlier. What is the name of this magazine? ____________
- A.
Ray Gun
- B.
Billboard
- C.
Wired
- D.
Zembla
Correct Answer
C. WiredExplanation
The correct answer is Wired. The question states that John Plunkett and Barbara Kuhr wanted to create a magazine that would have a similar impact on the information superhighway as Rolling Stone did for rock-and-roll. Wired magazine is known for its coverage of technology, the internet, and digital culture, making it a fitting answer to the question.Rate this question:
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- 47.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} As a staff typeface designer at Adobe, _____________ created original designs and respected digital adaptations of classical typefaces, including three masterful families inspired by historical lettering: Charlemagne, which is freely based on the decorative capitals used as versals and titling in Carolingian-era illuminated manuscripts; Lithos, inspired by the monoline simplicity and even-textured economy of Greek stone inscriptions; and Trajan, inspired by the inscription on Trajan’s column.
- A.
Robert Slimbach
- B.
Carol Twombly
- C.
Summer Stone
- D.
Susan Kare
Correct Answer
B. Carol TwomblyExplanation
Carol Twombly is mentioned as the staff typeface designer at Adobe who created original designs and respected digital adaptations of classical typefaces. The question asks for the person who created these designs, and the correct answer is Carol Twombly.Rate this question:
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- 48.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Standardization and interchangeable parts became the norm of the industrial revolution; in typography, this conformity was realized through the repetition of letterform parts and redundant layout formats. The digital revolution ushered in an era of individualization, flexibility, and customization. London-born ____________’s typeface Walker (Fig. 24-28), designed for the Minneapolisbased Walker Art Center, provides a stunning example of expanding typographic possibilities. Sturdy sans-serif capitals have a series of five “snap-on” serifs, which can be attached at will to the vertical strokes of each letter.
- A.
Rudy Vanderlans
- B.
Matthew Carter
- C.
Robert Slimbach
- D.
Carol Twombly
Correct Answer
B. Matthew CarterExplanation
Matthew Carter is the correct answer because the passage mentions that the typeface Walker, designed for the Walker Art Center, provides an example of expanding typographic possibilities. Matthew Carter is a renowned typeface designer who has created numerous typefaces, including the widely used fonts Verdana and Georgia. Therefore, it is likely that he is the designer of the Walker typeface mentioned in the passage.Rate this question:
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- 49.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} Because electronic imaging software allowed seamless and undetectable image manipulation, the _____________ lost its status as the undisputed documentation of visual reality. The boundaries between photography, illustration, and fine art began to crumble along with those separating designer, illustrator, and photographer.
- A.
Illustration
- B.
Photograph
- C.
Painting
- D.
Lithographic print
Correct Answer
B. PhotographExplanation
The given passage suggests that electronic imaging software has made it possible to manipulate images seamlessly and undetectably. This has caused the boundaries between different visual mediums, such as photography, illustration, and fine art, to blur. Therefore, the correct answer is "photograph" because the passage implies that the traditional notion of a photograph as an undisputed documentation of visual reality has been challenged.Rate this question:
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- 50.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial} The 1982 press kit cover designed by Pat Gorman of Manhattan Design for _____________ is a forerunner of the image invention made possible with digital computers. This cover was created before the Macintosh computer at a time when the creative potential of electronic technology was seldom explored because designers rarely had access to sophisticated and costly technology. Gorman made color variations of the logo by exploring editing controls in a television studio. Randomly generated color combinations were selected and composed in a repeated pattern to convey the network’s constantly changing character in a nonverbal manner.
- A.
NBC
- B.
ABC
- C.
MTV
- D.
CBS
Correct Answer
C. MTVExplanation
The correct answer is MTV because the explanation mentions that the cover was created to convey the network's constantly changing character in a nonverbal manner. This aligns with MTV's brand identity as a music television network that constantly showcases new and evolving content. Additionally, the mention of exploring editing controls in a television studio aligns with the visual and audio editing that would be done for music videos, which is a key component of MTV's programming.Rate this question:
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