FINAL TEST

Question 1

International Typographic Style

Answer 1

Visual characteristics include a visual unity of design achieved by asymmetrical organization of the design elements on a mathematically constructed grid; objective photography and copy that present visual and verbal information in a clear and factual manner, free from exaggerated claims of propaganda and commercial advertising; and the use of sans-serif typography set in a flush-left and ragged-right margin configuration.

Question 2

Semiotics

Answer 2

The general philosophical theory of signs and symbols; has three branches: semantics, syntactics, and pragmatics.

Question 3

Univers

Answer 3

Sans-serif typeface created by Adrian Frutiger in 1954. Different weights and variations within the type family are designated by the use of numbers rather than names.

Question 4

Helvetica

Answer 4

Sans-serif typeface developed by Edouard Hoffman and Max Miedinger in 1961. It has well-defined forms and excellent rhythm of positive and negative shapes. However, it’s various weights, italics, and widths were developed in different countries which made it lack cohesiveness.

Question 5

The Golden Mean

Answer 5

Used to describe aesthetically pleasing proportioning within a piece. However, it is not merely a term, it is an actual ratio.

Question 6

Logotype

Answer 6

It is a graphic mark or emblem commonly used by commercial enterprises, organizations and even individuals to aid and promote instant public recognition. a.k.a: logo.

Question 7

Corporate Identity

Answer 7

It is the overall image of a corporation or firm or business in the minds of diverse publics, such as customers and investors and employees. It is a primary task of the corporate communications department to maintain and build this identity to accord with and facilitate the attainment of business objectives.

Question 8

Annual Report

Answer 8

It is a comprehensive report on a company’s activities throughout the preceding year.

Question 9

Corporate identity manual

Answer 9

A set of guidelines for how a logo should be used in various typographic settings.

Question 10

Push Pin Almanack

Answer 10

Seymour Chwast and Edward Sorel created this publication after being fired from Esquire.

Question 11

Push Pin Studio

Answer 11

Is a graphic design and illustration studio formed in New York City in 1954. Cooper Union graduates Milton Glaser, Seymour Chwast, Reynold Ruffins, and Edward Sorel founded the studio.

Question 12

Iconography

Answer 12

Is the branch of art history which studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. Particularly pertaining to the organization and classification of typefaces.

Question 13

Push Pin style

Answer 13

Distinctive, eclectic union of illustration and design derived, according to Chwast, not from premeditation but from the requisites of the assignments themselves. It was a desire to state the client’s message in as personal yet as accessible a vocabulary as possible.

Question 14

Print magazine

Answer 14

The journal was founded by William Edwin Rudge to demonstrate “the far reaching importance of the graphic arts” including art prints, commercial printing, wallpaper, etc. Contents were eclectic covering typography, book making, book printing, fine prints as well as the trade journal aspects of printing candy bar wrappers.

Question 15

Psychedelic posters

Answer 15

Is any art inspired by psychedelic experiences induced by substances such as LSD, mescaline, psilocybin, and dimethyltryptamine.

Question 16

Grapus

Answer 16

Was a collective of graphic artists, working together between 1970 and 1991, which sought to combine excellence of design with a social conscience.

Question 17

Third-World poster

Answer 17

These address two constituencies: In their native lands, they speak about political and social issues, motivation people toward one side of a political or social struggle; a secondary audience exists in the industrial democracies, where distributors such as Liberation Graphics in Alexandria, Virginia, make posters available to Westerners who feel strongly about international issues.

Question 18

Postmodernism

Answer 18

Is a late-20th-century movement in the arts, architecture, and criticism that was a departure from modernism. Includes skeptical interpretations of culture, literature, art, philosophy, history, economics, architecture, fiction, and literary criticism.

Question 19

Late modernism

Answer 19

Describes movements which both arise from, and react against, trends in modernism and reject some aspect of modernism, while fully developing the conceptual potentiality of the modernist enterprise.

Question 20

Supermannerism

Answer 20

American style of interior decoration dating from the 1960s employing odd optical tricks, synthetic materials that were either shiny and mirror-like, or transparent, and over-sized elements, so it was referred to as ‘mega-decoration’, and owed more to images in ‘Superman’ comics than to Mannerism. The term was applied in the 1970s to some large buildings falling into the category of Post-Modernism.

Question 21

Supergraphics

Answer 21

Brightly colored and simply designed graphic shapes of billboard proportions.

Question 22

New-wave typography

Answer 22

Refers to an approach to typography that actively defies strict grid-based arrangement conventions. Characteristics include inconsistent letterspacing, varying typeweights within single words and type set at unusual angles.

Question 23

Retro design

Answer 23

A style that is consciously derivative or imitative of trends, modes, fashions, or attitudes of the recent past. It generally implies a vintage of at least fifteen or twenty years.

Question 24

Vernacular design

Answer 24

Is a category of design based on local needs and construction materials, and reflecting local traditions.

Question 25

Desktop publishing

Answer 25

The design and production of publications using personal computers with graphics capability.

Question 26

Émigré

Answer 26

Is a digital type foundry, publisher and distributor of graphic design centered information based in Berkeley, California, that was founded in 1984 by husband-and-wife team Rudy VanderLans and Zuzana Licko.

Question 27

Zines

Answer 27

It can be used to indicate a magazine is being published for profit or not, as in fanzine and prozine. Or it can describe what technology was used to reproduce it (carbonzine, mimeozine); how it is distributed: as part of an Amateur Press Association mailing (apazine), from person to person to person (chainzine), or electronically (ezine); or who is producing it (clubzine). Combozines consist of multiple fanzines bound together in a single issue. And finally, bad fanzines are known as crudzines, although not generally by their editors.

Question 28

Hypertext

Answer 28

A computer-based text retrieval system that enables a user to access particular locations in webpages or other electronic documents by clicking on links within specific webpages or documents.

Question 29

Interactive media/hypermedia

Answer 29

A computer-based information retrieval system that enables a user to gain or provide access to texts, audio and video recordings, photographs, and computer graphics related to a particular subject. a.k.a: hyperlinks