Chapters 18-21 Flashcards
Hermann Zapf, who created a number of major type designs, based most of them on the calligraphic lettering of medieval letterforms such as textura.
- True
- False
False
Herb Lubalin experimented with the form and meaning of alphabetic characters in ________ such as Marriage and Mother and Child.
- typophotos
- photoletters
- phototypes
- typograms
typograms
Lubalin created layout designs for the periodical ________, a square-format magazine that published essays, fiction, and articles. Its logotype consisted of ligatured capital letters.
- Avant Garde
- Life
- Upper and Lower Case
- Eros
Avant Garde
American designer ____________ masterfully handled visual contrasts in his work: playing red against green, organic shape against geometric shape, photographic tone against flat color, cut or torn edges against sharp forms, and the textural pattern of type against white margins. His collaborations with copywriter Bill Bernbach became a prototype for the now ubiquitous art/copy team.
- Bradbury Thompson
- Alvin Lustig
- Saul Bass
- Paul Rand
Paul Rand
In contrast to the modernist European approach to design, the American approach in the mid-twentieth century was characterized by three of the following. Which does NOT belong?
- structured
- pragmatic
- informal
- intuitive
structured
____________ brought the sensibilities of the New York School to Los Angeles in 1950, frequently reducing his graphic designs to a single powerful dominant image reduced to a sign, often centered in the space. The simplicity and directness of his work allowed the viewer to interpret the content immediately. He also created numerous corporate-identity programs, including those for AT&T, the Girl Scouts, and United Airlines.
- Saul Bass
- Bradbury Thompson
- Paul Rand
- Alvin Lustig
Saul Bass
________ had been the cultural and artistic center of the Western world in the late nineteenth and early twentieth centuries, but New York City assumed that role in the mid-twentieth century.
- Milan
- Paris
- Berlin
- Zurich
Paris
“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?
- Lester Beall
- Norman Ives
- Paul Rand
- Otl Aicher
Norman Ives
The trademark for International Business Machines (IBM) was developed by _________ from an infrequently used geometric slab-serif typeface, which lent the mark 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.
- Norman Ives
- Otl Aicher
- Paul Rand
- Lester Beall
Paul Rand
Designs from the Unimark design firm were based on a structure that could be implemented by people other than its designers. ________ was the goal, and ________ was the preferred typeface.
- Expressiveness/Garamond
- Restraint/Bodoni
- Objectivity/Helvetica
- Communication/Futura
Objectivity/Helvetica
This international design firm was founded in Chicago by partners Ralph Eckerstrom, James K. Fogleman, and Massimo Vignelli. They rejected individualistic design, believing that design could be a system that would enable other people to implement it effectively. Objectivity was the firm’s goal, as it spread a generic conformity across the face of multinational corporate communications.
- Chermayeff & Geismar Associates
- Vignelli Associates
- Saul Bass & Associates
- Unimark
Unimark
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 as an important first step toward using graphic communications to transcend cultural and linguistic barriers in a shrinking world.
- Vignelli Associates
- Chermayeff & Geismar Associates
- the American Institute of Graphic Arts (AIGA)
- John Massey
the American Institute of Graphic Arts (AIGA)
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. One of the most successful federal visual identification systems was the Unigrid system, a standardized format developed in 1977 for the _______________.
- U.S. National Park Service
- U.S. Internal Revenue Service
- U.S. Department of Transportation
- U.S. Department of Labor
U.S. National Park Service
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 and anticipated the kinetic world of motion graphics soon to explode.
- 1984 Los Angeles Olympiad star-in-motion
- MTV
- Lufthansa Airlines
- U.S. Department of Labor striped Ls
MTV
Visual identification systems that were developed in the 1950s went beyond trademarks, which had been used since the medieval guilds; corporate-wide consistent design systems were produced. These systems needed to project cohesive images because ________.
- the number of corporations was rapidly increasing
- mergers and acquisitions brought about lack of identity
- the economic climate was poor for major corporations
- many corporations were becoming multinational in scope
many corporations were becoming multinational in scope
