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Graphic Design - University of Utah > deck_1815086 > Flashcards

deck_1815086 Flashcards

1
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1-1 Lascaux Cave Painting 15,000 BC France First visual communications

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1-5 Early Sumerian pictorgrahpic tablet

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1-17 The Code of Hammurabi, Cuneiform detail 1,800 BC Babylonia Excellent example of Cuneiform writing

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1-32 Papyrus of Ani, the final judgment 1,420 BC Egypt Dramatic example of The Book of the Dead funerary papyri

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2-17 Carved Roman inscription from base of Trajan’s column 114 AD Rome Masterful example of capitalis monumentalis

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6
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3-15 The Diamond Sutra 868 AD China Oldest surviving printed manuscript

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7
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4-7 The Book of Kells, the Chi-Rho initial page 795 AD Ireland The zenith of Celtic illumination

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8
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4-11 Coronation Gospels, portrait of St. Mark’s, Caroline manuscript Late 8th C. Germany Height of illumination under Charlemagne’s revival of the arts

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9
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4-18 Douse Apocalypse, Gothic manuscript 1265 Eng. / Fr. Masterpiece of Gothic illumination

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10
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4-25 Limbourg Brothers, Les Tres Riches Heures du Duc de Berry 1413-16 French Pinnacle of the illuminated book

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11
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5-3 Woodblock print of St. Christopher 1423 Europe One of the earliest dated European block prints

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12
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5-14 Johann Gutenberg, pages from 42-line bible 1450-55 Germany First book printed with movable type (typographic book)

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13
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6-4 Gunter Zainer, page with hand-colored woodcut from Das goldene Spiel 1473 Germany Fine early example of illustrated typographic book

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14
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6-11 Anton Koberger, pages from Nuremberg Chronicle 1493 Germany Masterpiece of incunabula graphic design

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15
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6-18 Albrecht Durer, The Four Horsemen of the Apocalypse 1498 Germany Monumental achievement of woodcut illustration

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16
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7-12 Ratoldt, Loeslein, Maler, title page, Euclid’s Geometriae elementa 1482 Italy Early Renaissance book with woodcut borders & initials

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17
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7-18 Aldus Manutius, typographic page from Hypnerotomachia Poliphili 1499 Italy Height of the Italian Renaissance with Aldine Press books

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18
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7-35 Geoffrey Tory, pages from Champ Fleury 1529 France Influential 3 volume work on language, letters & letterforms

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19
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7-38 Henri Estienne (ptr), Claude Garamond (type dsgr), title page 1557 France Fine book using Garamond’s old style type

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20
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7-45 Johann Oporinus, De humani corporis fabrica by Andreas Vesalius 1543 Germany 677 page masterpiece by the founder of modern anatomy

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21
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8-11 William Caslon, specimen of Caslon roman and italic 1734 England Old style face popular in the British Empire into the 19th century

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22
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8-14 John Baskerville, title page for the Virgil’s Bucolia, Georgica et Aeneis 1757 England Represents the zenith of the transitional Roman typeface

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23
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8-23 Giambattista Bodoni, title page for Manuale tipografico 1818 Italy Representative of the Modern category of typestyles

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24
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8-26 Pierre Didot, title page for Vergil’s Bucolica, Georgica, et Aeneis 1798 France With his brother and father, pushed the Modern typestyle & Neoclassical design

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25
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9-17 William Caslon IV, first sans-serif type, Two-line English Egyptian 1816 England The very first appearance of a sans-serif typestyle

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26
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9-27 Joseph Niepce, first photograph from nature 1826 France The first photograph ever taken from nature

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27
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9-52 J.H. Bufford’s Sons Lithography, Poster for Swedish Song Quartet 1867 USA Masterful example of the Boston style of chromolithography

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28
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9-71a Thomas Nast, political cartoon from Harper’s Weekly 1872 USA Represents the “Father of American Political Cartooning”

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29
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9-72 Charles Dana Gibson (ilstr), poster for Scribner’s 1895 USA Representative of the idealized women he made famous

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30
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10-17 William Morris (dsgr), Walter Crane (ilstr), Story of the Glittering Plain 1894 England Kelmscott Press’s 1st production of the Arts & Crafts Movement

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31
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10-26 T.J. Cobden-Sanderson & Emery Walker, the Doves Press Bible 1903 England Monumental masterpiece of the private-press movement

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32
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11-11 Jules Cheret, poster for Palais de Glace 1893 France Represents the work of the “Father of the modern poster”

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33
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11-15 Aubrey Beardsley, first cover of the Studio 1893 England Made Beardsley famous with powerful compositions

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34
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11-25 Henri de Toulouse-Lautrec, poster for Moulin Rouge 1891 France Milestone depiction of simplified symbolic shape & pattern

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35
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11-36 Alphonse Mucha, poster Job cigarette papers 1898 France Art Nouveau’s most comprehensive statement

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36
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11-46 Will Bradley, poster for the Chap Book 1895 USA Major American practitioner of Art Nouveau graphic design

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37
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11-56 Edward Penfield, poster for Harper’s 1894 USA Well-known art director of Harper & Bros. publications

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38
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11-58 Maxfield Parrish, poster for Scribner’s magazine 1897 USA Major illustrator for magazines & books during the 20th cent.

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39
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11-60 Henri van de Velde, poster for Tropon Food Concentrate 1899 Belgium Imp’t theoretical source for 20th cent. architecture & design

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40
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12-1 Frank Lloyd Wright, The House Beautiful, title page from the book 1896-7 USA Early influence in evolution to rectilinear spatial organization

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41
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12-3 Margaret & Frances Macdonald, w/ J. Herbert McNair, poster for the Glasgow Institute 1895 Scotland 3 of “The Four” that made up the Glasgow School

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42
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12-4 Charles Rennie Mackintosh, poster for Scottish Musical Review 1896 Scotland Leader of Glasgow School, imp’t transition to 20th cent. design

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43
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12-21 Koolman Moser, thirteenth Vienna Secession exhibition poster 1902 Austria Leader of the Vienna Secession

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44
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12-44 Peter Behrens, poster for A.E.G. lights 1910 Germany First corporate design director

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45
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13-3 Pablo Picasso, Man with Violin 1911-12 Spain Beginning of Cubist movement, new approach to handling space

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46
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13-10 Filippo Marinetti, Mountains+Valleys+Streets+Joffre 1915 Italy Developed a new & painterly typographic design, Words in Freedom

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47
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13-23 Fortunato Depero, cover for Depero futurista 1927 Italy Applied the Futurist philosophy to graphic & advertising design

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48
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13-31 Kurt Schwitters, untitled collage of found material c. 1920 Germany Dada collage artist and graphic designer

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49
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13-38 John Heartfield, anti-Nazi propaganda poster 1935 Germany Use of photomontage to promote political beliefs

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50
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13-46 Rene Magritte, illustration for Les Chants de Maldoror 1937 Beligum Surrealistic painter who has influenced visual communications

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51
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14-2 The Beggarstaff’s, poster for Harpers Magazine 1895 England Rejected the Art Nouveau for powerful colored shapes

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52
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14-8 Lucien Bernhard, poster for Priester matches 1905 Germany Moved the poster toward simplification of graphic shapes

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53
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14-31 Ludwig Holwein, poster for men’s clothing store 1908 Germany His excellent graphic art evolved with changing social conditions

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54
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14-37 E. McKnight Kauffer, poster for the Daily Herald 1918 England Incorporated Cubist ideas of space and imagery

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55
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14-53 A.M. Cassandre, poster for the ocean liner L’Atlantique 1931 France Exceptionally creative posters & type inspired by Cubism

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56
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15-5 Kasamir Malevich, Black Square 1913 Russia Founded Suprematism, a painting style of basic forms and pure color

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57
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15-9 El Lissitzky, poster, Beat the Whites with the Red Wedge 1919 Russia Constructivist designer, photographer with profound influence

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58
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15-26 Alexander Rodchenko, cover for Lef, no. 1, 1923 1924 Russia Inventive Constructivist typography, photography & montage

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59
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15-31 Georgy & Vladimir Stenberg, film poster N.D. Russia Combined realistic renderings with flat forms of bright color

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60
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15-41 Piet Mondrian, Composition with Red, Yellow and Blue 1927 Holland De Stijl painter, founding member of the movement

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61
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15-42 Theo van Doesburg, cover for Grundbegriffe der Neuen Gestalenden 1925 Holland Founder & guiding spirit of the De Stijl movement

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62
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15-53 Gerrit Rietveld, model for the Schroeder House 1924 Holland De Stijl theory applied to architecture and furniture design

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63
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16-5 Joost Schmidt, Bauhaus exhibition poster 1923 Germany Combines cubism, constructivism, & de Stijl at Bauhaus

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64
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16-9 Laslo Moholy-Nagy, poster for tires 1923 Germany Bauhaus instructor, designer, photographer, experimenter

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65
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* Marcel Bruer, chair, tubular steel and black fabric 1925 Germany Bauhaus tubular steel furniture was produced in relatively large quantities

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66
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16-21 Herbert Bayer, exhibition poster 1926 Germany Innovative Bauhaus professor of graphic design & typography

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67
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16-30 Jan Tschichold, brochure for his book, Die Neue Typographie 1928 Germany Spread Constructivist typography as the “New Typography”

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68
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16-39 Paul Renner, Futura typefaces 1927-30 Germany Teacher and designer of Futura, geometric sans-serif

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69
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16-41 Stanley Morrison (typography), The Times 1932 England Designed Times Roman for The Times of London

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70
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16-45 Piet Zwart, folder 1924 Holland A “Typotekt” practitioner of the New Typography

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71
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16-61 Herbert Matter, Swiss tourism poster 1934 Switzerland Designer, photographer who applied modern movement ideas

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72
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17-7 Lester Beall, poster for Rural Electrification Administration 1937 USA Early American adopter of European modernism

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73
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17-13 Alexy Brodovich (AD), Man Ray (phtgr), Harper’s Bazaar 1934 USA Art director, Harper’s Bazaar, imp’t editorial design teacher

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74
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17-22 Joseph Binder, poster for New York World’s Fair 1939 USA Widely acclaimed Austrian immigrant, used airbrush, 2-D planes

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75
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** Charles & Ray Eames, Eames Molded Plywood Lounge Chair, LCW 1946 USA Has been referred to as the “most famous chair of the century”

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76
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17-54 Ladislav Sutnar, title page for Catalog Design Process 1950 USA Vital force in modern USA design, particularly informational graphics

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77
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18-8 Max Huber, poster for an exhibition 1931 Swiss / Italy Pioneer of the Swiss design movement

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78
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18-14 Adrian Fruitger, schematic diagram of 21 Univers typestyles 1954 Swiss / Fr Designer of Univers typestyle

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79
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18-16 Edouard Hoffman and Max Miedinger, Helvetica typestyle 1961 Switzerland Designed Helvetica typestyle

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80
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18-19 Hermann Zapf, page from Manuale Typographicum 1968 Germany Major 20th cent. Type designer (Palatino, Optima, Melior, etc.)

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81
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18-21 Emil Ruder, page spread from Typography: A Manual of Design 1967 Switzerland Influential instructor at Basel. Explored creative potential of Univers

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82
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18-23 Armin Hoffman, poster for the Basel theater production of Giselle 1959 Switzerland Deep aesthetic values applied to teaching & design

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83
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18-35 Josef Muller-Brockman, exhibition poster, Of the Film 1960 Switzerland Masterpiece of Swiss design based on the “golden mean”

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84
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19-9 Alvin Lustig, cover for Lorca’s Three Tragedies 1949 USA Incorporated his subjective vision in book & record covers

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85
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19-16 Bradbury Thompson, pages from Westvaco Inspirations, 186 1951 USA One of the most influential graphic designers in post-war USA

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86
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19-22 Saul Bass, symbol for the film, Exodus 1955 USA Noted for film graphics and corporate identity programs

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87
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19-31 Cipe Pineless, cover for Seventeen 1949 USA Pioneering editorial, 1st woman admitted to NY Art Directors Club

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88
Q

19-39 Henry Wolf (AD), cover for Harper’s Bazaar 1959 USA Conceptually imaginative editorial art director

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89
Q

19-47 Doyle Dane Bernbach (agency), Helmut Krone (AD), advertisement 1960 USA Advertising with word & image conceptually tied together

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90
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19-63 Herb Lubalin (dsgr), section page from Avant Garde magazine 1960 USA Editorial art director & “The typographic genius of his time”

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91
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19-70 George Lois (dsgr), Carl Fischer (phtgr), Esquire magazine cover 1968 USA Fully integrated verbal/visual concepts

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92
Q

20-5 William Golden, symbol for CBS television 1951 USA Art director at CBS for 20 years, designer of CBS “eye” logo

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93
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20-9 Lou Dorfsman, advertisement for CBS 1968 USA CBS corporation director of design & vice president

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94
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20-11 Raymond Loewy, Lucky Strike package design 1942 USA Representative of emerging importance of design in commerce

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95
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20-19 Paul Rand, trademark for IBM 1956 USA Began USA modern design in editorial, ads, & corporate design

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96
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20-28 Chermayeff & Geismar, Chase Manhattan Bank corporate identity 1960 USA Corporate design where the solution evolves from the problem

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97
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20-40 Massimo Vignelli, Unigrid design system for National Park Service 1977 USA Standardized format for presentation of large, complex information

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98
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20-52 Otl Aicher (and staff), graphic standards manual, 1972 Olympiad, Munich 1970 Germany Very formal & systematized design program for the Olympics

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99
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21-19 Milton Glaser, poster of Bob Dylan 1967 USA Wellspring of USA conceptual illustrative approach; Push Pin partner

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100
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21-26 Seymour Chwast, poster protesting bombing of Hanoi 1968 USA Same as Glaser (above), but more personal & uninhibited

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101
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21-44 Wes Wilson, concert poster for the Grateful Dead 1966 USA Representative of psychedelic poster movement

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102
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21-53 Rambow, Lienemeyer, van de Sand, poster for S. Fischer-Verlag 1976 Germany Representative of European photographic/manipulative approach

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103
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21-67 Raul Martinez, poster honoring the Cuban people 1967 Cuba Representative of the third-world poster tradition

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104
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22-12 Wolfgang Weingart, experimental text setting 1969 Germany Early influence in New Wave Typography

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105
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22-9 Yusaku Kamejura, Tokyo Olympics logo and poster 1964 Japan Influential Japanese design leader; used Constructivist ideals

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106
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22-20 Dan Friedman, Bonwit Teller gift packaging 1977 USA Spread Postmodern New Wave Typography in U.S. after studying in Basel

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107
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22-32 Michael Vanderbyl, Post-Modern architecture poster 1984 USA San Francisco school of Post-Modern design

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107

108
Q

*** Tibor Kalman (cre dir), Alexander Isley, (dsgr), M&Co (firm), postcard 1986 USA Vernacular influenced post-modern

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109
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22-47 Charles Spencer Anderson, label design, Classico pasta sauce 1985 USA Retro, & particularly vernacular styles

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109

110
Q

22-53 Neville Brody, editorial pages for The Face 1985 England Influential magazine & album cover typographic configurations

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111
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23-1 Colin Forbes (dsgr), Petagram (firm), cover for Graphis

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112
Q

23-25 Tadanori Yokoo, poster for Koshimaki Osen 1966 Japan Traditional Japanese mixes with mass media & popular culture

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113
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23-33 Wim Crouwel, postage stamps for Dutch postal service 1976 Netherlands Total Design partner, minimalistic & functional in Netherlands

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114
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23-57 Experimental Jetset, “Meet the Cast” movie poster for Helvetica 2006 Netherlands Current practitioners; represents blend of Dutch modernist & post-punk

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115
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23-68 Stefan Sagmeister, Lou Reed Poster 1996 USA Current practitioner, characterized by uncompromising directness

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116
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24-73 Chip Kidd, book cover for Naked 1997 USA Current practitioner, helped foment a book design revolution

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117
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24-3 April Greiman, poster, Los Angeles Institute of Contemporary Art 1986 USA Post-Modern, computer aided & hybrid image design

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118
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24-5 Rudy Vanderlans, cover for Emigre #11 1989 USA Experimentation with computer technology in layout & type design

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119
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24-8 Katherine McCoy, Cranbrook Academy of Art, recruiting poster 1989 USA Co-chaired the design department at Cranbrook, pushed design boundaries

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120
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24-10 Ed Fella, mailer for Detroit Focus Gallery, 1987 1987 USA Experimental modern plus vernacular typography became major influence

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121
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24-11 David Carson (art dir), Beach Culture 1991 USA Personal expression & rejection of conventional magazine design

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122
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24-14 Fred Woodward (dsgr), article on Sinead O’Connor, Rolling Stone 1990 USA Wide range of typestyles & handmade look in magazine design

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123
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24-18 John Plunkett, Barbara Kuhr (art dir), Wired magazine, front of book spread 1994 USA Layered form to express multidimensional content of the Internet

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124
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24-20 Kit Hinrichs (Pentagram), cover, @issue magazine 1997-2003 USA

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125
Q

24-28 Zuzana Licko, typeface design: Totally Gothic, Filosofia, Mrs. Eaves 1990-96 USA Significant revivals of classic typefaces

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125

126
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24-39 Jonathan Hoefler & Tobias Frere-Jones, Gotham typeface 2000 USA Remarkable partnership of typographic design

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126

127
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24-63 Kyle Cooper, Imaginary Forces, film title, Spiderman 2002 USA Current practitioner, a leader in film titles, combining graphic design w/ other media

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128
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24-79 Paula Scher, poster for the Public Theater 1994 USA Current practitioner, often draws on historical models, Pentagram partner

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129
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24-89 Michael Beirut (design), Marian Bantjes (calligrapher), poster for Seduction Symposium 2002 USA Current practitioner, uses ITS, Pentagram partner, editor Looking Closer

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130
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24-100 Hatch Show Print, “Three Baseball Shoes”, monotype 2008 USA Representative of letterpress revival

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Graphic Design - University of Utah (13 decks)

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