History Of Graphic Design Test 5

Adrian Frutiger was the designer of the typeface mentioned in the preceding question. The typeface was created as a palette of twenty-one visually-related fonts that all have the same x-height and baseline and whose ascenders and descenders are the same length.

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.

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".

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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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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.

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.

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.

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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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.

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.

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.

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.

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.

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.

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."

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.

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

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.

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.

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.

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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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.

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.

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.

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.

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.

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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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.

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.

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.

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.

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.

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.

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.

During the 1950s, visual identification systems evolved from the traditional use of trademarks, which had been used since medieval guilds. These systems aimed to create consistent design systems that projected a cohesive image for corporations with national and multinational presence.