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garphic design hist4
garphic design history exam 4
| Question | Answer |
|---|---|
| Appropriation | To Borrow; this term refers to the way in which postmodern artists often borrow imagery from outside the art and design worlds and include them in their work |
| Arcadia | Neville Brody designed it in 1986 based on his earlier work for Arena magazine |
| Arial | a typeface designed in 1988 as an inexpensive copy of adobe's postscript helvetica |
| Avant-‐Garde | from a french military term, refers to artists who are at the revolutionary edge of stylistic and conceptual experimentation |
| Avant-‐Garde Gothic | herb lubalin designed this stylish sans serif typeface in 1967 for the masthead of the magazine of the same name |
| Bit-‐mapped | these letters are made up of an array of pixels (tiny dots), which drastically limit their scalability because of their extremely low resolution |
| Bits | Paul Elliman released the first version of his decorative typeface in 1997 |
| Comic Sans | a decorative typeface released by microsoft in 1995 |
| Electrance | a typeface with a technological aesthetic designed by dirk uhlenbrock, a typographer and graphic designer based in cologne, germany |
| Elliott’s Blue Eyeshadow | part of the apollo program font set this is a typeface designed by elliott earls in the 1990s that partakes of a grunge aesthetic |
| Emperor8 | an early 1980s bit-mapped type-face by zuzana licko, it utilized a ratio of a two-pixel stem to a one-pixel counter |
| Fetish No. 338 | jonathan hoefler's typeface represented an ironic commentary on the postmodern love of historical pastiche |
| Garage Gothic | tobias frere-jones designed the typeface, which features vernacular references, in 1992 |
| Grunge | an unofficial category describing contemporary graphic design that appears in a holistic sense to be unpolished, grungy, and scruffy |
| Hoefler Text | a family of twenty-seven elegant, traditional typefaces released by him as a part of macintosh's gx project in 1994 |
| Kosmik | a "flipper" typeface designed in 1993 by dutch typographer erik van blokland |
| Modula | zuzana licko's 1986 typeface utilized postscript technology in order to create a high-resolution version of her earlier bit0mapped font emperor |
| MoMA Gothic | in 2005 matthew carter created it a bespoke version of morris fuller betnon's franklin gothic, as part of the museum's renewal of it's corporate identity |
| Not Caslon | an ironic decorative typeface designed by mark andresen in 1991 |
| Open Type | a font format that allows for cross-platform utilization and increased flexibility versus postscript and truetype; it was developed by adobe and microsoft, and released in 2000 |
| Pop Art | an art movement that rose to prominence in the 1960s in britain and the united states, focusing on aspects of popular culture that had traditionally been ignored by fine artists, such as consumerism, comic books, and celebrity |
| Rebus | the representation fo a word by a picture that creates the same sound; for example the famous american designer paul rand used a drawing of a bee in place of the letter "B" in a version of the classic IBM logo |
| Souvenir | designed by ed benguiat in 1970, this sans serif typeface featured subtly fluid, rounded forms |
| Taser | a font family with a technological aesthetic designed by jim marcus in 1988 |
| Template Gothic | a typeface designed by berry deck in the early 1990s, which combined hand-drawn characteristics with the firm structure of international style typography |
| Verdana | an elegant typeface designed by matthew carter for microsoft in 1996, it is hoped that it will eventually displace the ubiquitous arial. |
| Walker | mathew carter created this typeface, featuring a variety of 'snap-on' serifs, for a place in minneapolis |
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