History Of Graphic Design Test 6

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.

• Wim Crouwel

• Gert Dumbar

• Anthon Beeke

• Pieter Brattinga

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.

• Wim Crouwel

• Gert Dumbar

• Anthon Beeke

• Pieter Brattinga

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.

• Wim Crouwel

• Gert Dumbar

• Anthon Beeke

• Pieter Brattinga

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.

• Wild Plakken

• Studio Dumbar

• Hard Werken

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. __________

• Wild Plakken

• Studio Dumbar

• Hard Werken

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 ____

• Fluxus

• Closed Texts

• Open Texts

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 ____

• Fluxus

• Closed Texts

• Open Texts

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 ____

• Fluxus

• Closed Texts

• Open Texts

• 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.

• .

• 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.

• .

• 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.

• .

• Shigeo Fukuda

• .

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.

• New wave

• Mannerism

• Modern radicalism

• Vernacular

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.

• Retro

• Memphis

• New-wave typography

• Vernacular

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.

• Steff Geissbuhler

• Rosmarie Tissi

• William Longhauser

• Barbara Stauffacher

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).

• Dan Friedman

• Willi Kunz

• Steff Geissbuhler

• Wolfgang Weingart

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.

• Dan Friedman

• Willi Kunz

• Steff Geissbuhler

• Wolfgang Weingart

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.

• Dan Friedman

• Willi Kunz

• Steff Geissbuhler

• Wolfgang Weingart

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.

• Alexander Rodchencko

• El Lissitzky

• Jan Tschichold

• Herbert Bayer

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.

• Dan Friedman

• Willi Kunz

• Steff Geissbuhler

• Kenneth Hiebert

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.

• Robert Venturi

• Michael Graves

• Ettore Sottsass

• Le Corbusier

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).

• Michael Vanderbyl

• Michael Manwaring

• Michael Cronin

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.

• Paula Scher

• Lorraine Louie

• Louise Fili

• Barbara Stauffacher

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.

• Armin Hofmann

• Josef Müller-Brockmann

• Herbert Matter

• Walter Herdeg

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).

• Joe Duffy

• Daniel Pelavin

• Charles S. Anderson

• Neville Brody

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. ____

• Memphis

• New-wave typography

• Retro

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. ____

• Memphis

• New-wave typography

• Retro

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. ____

• Memphis

• New-wave typography

• Retro

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. 

• Neville Brody

• .

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? 

• Memphis

• .

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?

• April Greiman

• .

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?

• Rosmari Tissi

• .

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? 

• New-wave typography

• .

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?

• Wolfgang Weingart

• .

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? 

• Paula Scher

• .

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.

• Metal type

• Lithography

• Phototype

• Wood type

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.

• Photographic

• Offset lithographic

• Laser

• Digital

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? __________

• Adobe Systems

• Microsoft

• Apple Computer

• Aldus

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.

• Adobe Systems

• Émigré Fonts

• Linotype

• Monotype

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.”

• April Greiman

• Katherine McCoy

• Edward Fella

• Zuzana Licko

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.

• David Carson

• Fred Woodward

• Edward Fella

• John Hersey

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.

• David Carson

• Fred Woodward

• Edward Fella

• John Hersey

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.

• David Carson

• Fred Woodward

• Edward Fella

• John Hersey

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.

• Adobe Systems

• Microsoft

• Apple Computer

• Aldus

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? ____________

• Ray Gun

• Billboard

• Wired

• Zembla

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.

• Robert Slimbach

• Carol Twombly

• Summer Stone

• Susan Kare

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.

• Rudy Vanderlans

• Matthew Carter

• Robert Slimbach

• Carol Twombly

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.

• Illustration

• Photograph

• Painting

• Lithographic print