ARTH 121 | History of Graphic Design

Quiz 1 ch 9-15

Fat Face

Slab Serif

Kerning

Heliogravure / Heliography

Photogram

Halftone (method of printing)

Lithography

ukiyo-e

Pattern Poetry

Vincent Figgins, “Antique Typeface, Two Lines Pica,” 1815

Rand and Avery Foundry, “Ornamental Typefaces,”

Harrild and Sons, “Ornamental Wood-Type Fonts,”

Walter Crane, “Pages from Absurd ABC,” 1874

John F. Cummings, “Complex Typeface Designs,” 1870s-1890s

William Morris, “Troy Typeface,” 1890

Selwyn Image, “Page from
The Century Guild Hobby Horse,” publication series, 1884-1891

T.J. Cobden-Sanderson and Emery Walker, “Page from Doves Press Bible,” 1903

Rudolph Koch, “Pages from Eine deutsche Schrift (A German Script),” 1906

Morris Fuller Benton, “Franklin Gothic Typeface,” 1905

Katsushika Hokusai, “Under the Wave of Kanagawa (aka The Great Wave)” 1830/32

Henri Toulouse-Latrec, “Jane Avril,” poster, 1893

Alphonse Mucha, “Monaco – Monte Carlo,” travel poster, 1897

Aubrey Beardsley, “The Peacock Skirt from Salome by Oscar Wilde,” 1894

Peter Behrens, “Page Layout for Jugend,” 1904

F. T. Marinetti, “A Tumultuous Assembly,” 1919

Kurt Schwitters, Theo van Doesburg and Kate Steinitz, “The Scarecrow: Fairy Tales,” 1922

John Heartfield (Helmut Herzfelde), “Hurray, the Butter is Finished! Collage,” 1935

Rene Magritte, “Illustration for Les Chants de Maldoror,” 1937

Man Ray, “Page from Easy by Paul Eluard,” 1936

The Beggarstaffs (James Pryde and William Nicholson), “Poster for Harper’s Magazine,” 1895

Lucian Bernhard, “Poster for Priester Matches,” 1905

Niklaus Stoecklin, “Poster for the Swiss City Planning Exhibition,” 1925

Saville Lumley, “Daddy, What Did YOU Do in the Great War?,” 1914

Cassandre, “Bifur Typeface,” 1929

Piet Mondrian,“Tableau No. 1,” 1921

Georgii and Vladimir Stenberg,“Poster for Man with a Movie Camera,” 1929

Theo van Doesburg, “De Styl Alphabet,” 1917

Kasimir Malevich, “Black Square” c. 1913

El Lissitzky, “Poster for a Soviet Exhibition at the Zurich Arts & Crafts Museum,” 1929

What was the first published Sans Serif typeface and what year was it published?

“Two Lines English Egyptian”—also known as “Caslon Egyptian”— by William Caslon IV in 1816

Explain the typical visuals characteristics of 19th century (Victorian) package designs
chromolithographed on tin for food and tobacco products.

bright/flat colors, elaborate lettering, and iconic imagery

Explain the typical visuals characteristics of 19th century(Victorian) trademarks.

trademarks had ornamental complexity, usually through outlandish typography. Swirls, curls, cursive

Explain the Arts & Crafts Movement’s attitude towards industrialization (For? Against? Couldn’t
care less?) and how this affected graphic design.

not completely against, concerned the industrial process removed the “joy of making” from the factory worker

What specific characteristics of Japanese ukiyo-e prints can be seen in Art Nouveau graphic designs?

asymetric composition, flowing lines, styalized figures, and woodblock printing techniques

Explain the Art Nouveau Movement’s attitude towards industrialization (For? Against? Couldn’t care
less?) and how this affected graphic design.

embrace instead of reject industrialization

Using one of the Avant-Garde art movements of the early 20th century (Cubism, Futurism, Dada, or
Surrealism) explain one influence of Modern Art on early 20th century graphic design.

on your own pookie

What does the term “Pictorial Modernism” mean?

An umbrella term for the style of posters in the early twentieth century that were influenced by the stylistic innovations of Modern art movements.

Compare or Contrast the posters made by the Central Powers (Germany, etc) and the posters made by
the Allied Powers (England, etc) during World War 1 (1914-18).

• Central powers - symbolic approach - followed Plakatstil where graphics/posters are more minimalist

• Alies- pictorial approach - literal approach - Imagery is straightforward and illustrative, promoted morals and patriotism bc protecting the world from aggression

What effect did German “Plakatstil” design have on poster advertising design? How did that
influence WWII German propaganda posters?

flat backgrounds, bold type, and singular styalized images. The clear and simlpe imagery appealed to a large amount of people since posters were the main form of communication for the masses

What was the Russian Constructivists’ attitudes towards art and towards design and what happened
to the Russian Avant-Garde under Stalin dictatorship?

What were the dictator’s preferences and why?

Constructivists = art/design is a way to improve the lives of the people - avant garde seen as a rebellion to the Tsar

Stalin = art is a utilitarian tool to be used to create proporganda for the west/ help the regime. Avant garde art seen as useless because it was created with emotion.

What was the aim of the Dutch De Stijl movement in areas of fine art, graphic design, architecture,
interior and furniture design.

Create a universal design language that transcended the individual to promote harmony/organization through primary colors and geometric abstraction.