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Comm Graphics 1
History of Communication Graphics Test 1
| Question | Answer |
|---|---|
| foreshortened | The result of a drawing technique that allows for the accurate representation of elements perpendicular to the picture plane, such as a finger pointing at the viewer |
| Rubrication | the process of highlighting words through the utilization of colored inks. |
| Italics | type that slants elegantly upward and to the right |
| Incunabula | a book printed before 1501 |
| Gothic | An alternative name for blackletter type that imitates medieval script; alternatively, in the U.S. it can refer to Sans Serif type. |
| Garamond | Fifteen-century Old Style type designed in France by Claude Garamond |
| Historicist | A work that references styles from the past |
| Hoardings | Akin to a billboard, a hoarding is an exterior space (such as a wall) intended for the presentation of posters |
| Fraktur | Blackletter type characterized by "fracture" forms that originated in Germany in the early sixteenth century; also used as a general synonym for blackletter type |
| Didot | Eighteenth-century Modern type designed in France by Firmin Didot |
| Akzidenz Grotesk | One of the first high-quality sans serif typefaces, it was released by German foundry Berthold in 1896 |
| Art Nouveau | Literally "new art," a late nineteenth-century decorative arts movement in Europe & U.S. that favored a unified design style based on organic forms, and featured a significant Asian, particularly Japanese, formal influence |
| Arts and Crafts | A late nineteenth-century decorative arts movement in Europe and U.S. that rejected industrial production in favor of handcrafted goods with simple, often geometric, designs. |
| Baskerville | Eighteenth-century Transitional type designed in England by John Baskerville |
| Chromolithography | color lithography; the process whereby a color image is reproduced using flat stones that have been drawn on with greasy ink or crayons. A separate stone is used for each color |
| Blackletter | The general term for typefaces that resemble the forms of medieval script; the positive space formed by black ink overwhelms the negative white space of the paper |
| Bembo | A fifteenth-century Old Style type designed in Venice by Aldus Manutius |
| Bodoni | Eighteenth-century Modern typeface designed in Italy by Giambattista Bodoni |
| Caslon | Eighteenth century Transitional type designed in England by William Caslon |
| Jenson-Eusebius | A fifteenth-century Old Style type designed in Venice by the typographer Nicolas Jenson |
| Justified | The spacing of the text so that the ends of lines are even |
| Letterpress | Printing technique whereby the ink is supported on a raised surface, such as the letters of metal type |
| Modern Type | Eighteenth-century roman type that is characterized by extreme contrast in stroke thickness, staunchly vertical stress, and hairline serifs |
| Old Style | Roman type of the fifteenth and sixteenth centuries that is characterized by understated contrast, bracketed serifs, and oblique stress. |
| Roman | A typeface style dating from the Renaissance, originally derived from Carolingian Minuscule; roman letters feature serifs |
| Sans Serif | A roman letter or typeface that does not feature serifs |
| Schwabacher | Blackletter type that originated in Germany in about the fifteenth-century |
| Slab Serif | a typeface that features heavy rectangular serifs |
| Small Capitals | uppercase letters that are sized equal to the "x-height" of a given typeface and therefore smaller than the standard uppercase letters |
| Stress | In a typeface, this denotes the angle of the major axis around which the strokes of a letter are structured (not the angle of the strokes themselves) |
| Transitional | Seventeenth-century roman type that is characterized by vertical stress, significant contrast, wide proportions, and thin, elegant serifs |
| Textura | A kind of early blackletter type that was utilized in the Gutenberg Bible |
| Unger-Fraktur | Blackletter type introduced in 1793 by Johann Friedrich Unger, who attempted to adopt the geometric structure of Modern style roman type |
| Woodcut | Relief printing in which the image is carved into a block of wood to facilitate reproduction |
| X height | A standardized type measurement based on the size of a lowercase letter (excluding any ascenders or descenders) such as the letter x |
| Rococo | An Eighteenth-century unified design style that featured exuberant color, sinuous forms, and an overall emphasis on a sensual atmosphere |
| Job Printer | A general term for a printing house and its employees that work "job to job" w/o apparent specialization or design training |
| Monotype | An industrial machine developed in 1889, that facilitated mechanical typesetting by producing type character by character, thereby revolutionizing the field |
| Kunstegewerbeschule | a Viennese school dedicated to the theory and practice of the decorative arts |
| Logotypes | A visual symbol that identifies a give company or institution, such as a trademark |
| Jugendstil | a German synonym for Art Nouveau meaning "young art," derived from the magazine Jugend |
| Planar | a design dominated by flat planes |
| Orthogonal | a design that is structured mostly with right angles, such as a grid |
| Secessionstil | Literally "seccession style," a synonym for Art Nouveau as it was practiced in Vienna |
| Stylized | Designs that appear to be structured around a set style or group of compositional rules |
| Symbolist | a late nineteenth-century movement in literature and the other arts based in France, which focused on themes of spirituality, sensuality, and the artist's subjective experience of the world |
| Rectilinear | a design characterized by straight lines |
| Ukiyo-e | Literally "pictures of the floating world," it generally refers to Japanese woodblock prints that feature images of actors, courtesans, and landscape views |
| Vienna Secession | A group of young artists in late nineteenth-century Vienna who rejected the conservative artistic conventions of the era |
| Whiplash Curve | A defining stylistic element of Art Nouveau, it is an S curve that is suggestive of the pent-up energy of a whip suspended in mid-air |
| Wiener Werkstatte | The "Viennese Workshops," a group of artists sun off from the Vienna Secession who wanted to raise the quality of Austrian decorative arts |
| Architectonic | a composition structured in such a way that its forms are suggestive of the elements of architecture |
| Aesthetic Movement | A British corollary to the French Symbolist movement in literature and the arts. Artists such as Oscar Wilde reveled in sensuality, mysticism, and beauty; it was sometimes disparagingly referred to as Decadent movement |
| Auriol | An Art Nouveau typeface designed in 1901 by Georges Auriol that displayed an Asian influence |
| Arabesques | The term denotes the geometric patterns that were a popular part of Art Nouveau style |
| Behrens-Antiqua | A roman typeface designed by Peter Behrens in 1908 for the AEG corporation |
| Behrens-Fraktur | A decorative typeface desgned by Peter Behrens in the early 1900s as a compromise between the blackletter and Art Nouveau styles |
| Behrens-Schrift | A typeface designed by Peter Behrens in 1901 that combined elements of blackletter script and roman structure |
| Bijin-ga | a subset of Ukiyo-e woodblock prints that showcase images of beautiful young women, mainly courtesans |
| Bocklin | A German Art Nouveau typeface designed by Otto Weisert in 1904 |
| Curvilinear | a design characterized by fluid curving lines |
| Deutscher Werkbund | A German organization founded in Munich in 1907 w/the intent of raising the quality, both aesthetic and functional, of the nation's industrial production |
| Eckmann | A German typeface devised by Otto Eckmann in 1900 to reconcile Art Nouveau and blackletter elements |
| Em Box | A unit of measurement in typography that corresponds to the size of the frame around a letter |
| Expressionism | Generally speaking, any artistic style that focuses more on reproducing the way the world feels, as opposed to how it looks |
| Franklin Gothic | A high-quality sans serif typeface designed in 1902 by the American Morris Fuller Benton |
| Gesamtkunstwerk | a "total work of art," meaning a piece - originating w/the music dramas of William Wagner - that collapses every possible aesthetic experience into a unified whole |
| Grotesque | A synonym for sans serifs type commonly used in Britain and Europe |
| Linotype | An industrial machine developed in 1886, that facilitated mechanical typesetting by setting an entire line of type |
| Japonisme | The European, especially French, adoption of Japanese art and fashion during the late nineteenth century |
| Organic Form | A form in art that is derived form the natural world through its shape which is often curving, irregular, and plant-like |
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a_redfish
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