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HOGD
design
| Question | Answer |
|---|---|
| who elaborated that typography is a tool of communication and advocated that form follows function | Bauhaus (dessau) |
| what did tschicholds brochure imply about new typography | rejected decoration in favor of rational design planned for communicative function |
| what does modernism refer to | spiritual content and a beauty more closely bound to the materials used |
| who believed that kinetic asymmetrical design of contrasting elements expressed the new age of the machine | tschichold |
| what affect did the bauhaus exhibition in 1923 have on tschichold | he assimulated the new design concepts of the bauhaus ans the russian constructivists into his work and became a practitioner of die neve typographic (the new typography) |
| why is it supposed that tschicholds attitude towards typography did an about face in the 1940s | its intolerant attitude certainly corresponds in particular to the german inclination to the absolute |
| the early incarnation of the bauhaus was based on beliefs embraced by what modern movement | expressionism form follows function |
| johannes itten had some unconventional teaching methods such as | direct experience called otherworldliness |
| who was walter gropius | the new director of an institution the weimar academy |
| why did the bauhaus move to dessau | the government didnt agree with the teachings so the teachers resigned and the students said they would leave with the masters |
| what are some of the tenents of german expressionism | color,drawing,and proportion were exaggerated or distorted and symbolic content was very important/ line and color pronounced |
| what was the purpose of the preliminary course | release each students creative abilities, understand physical nature of material, teach fundamental principles of design underlying all visual art |
| how did theo van doesburg maintain an influence on the bauhaus | expressed subjective and emotional states of mind, offered talks at his house, de stijl at the bauhaus |
| international constructivism | based on functionality |
| what was the legacy of the bauhaus | created viable, modern design in architecture, product and visual communication/ synthesized the avant gerde into various aspects of the design discipline |
| what were some of the themes in the new typography | clarity, not simply beauty, its goal was to develop form from the functions of the text |
| jan tschichold felt two modern movements pioneered the new typography. what two movemnts did he refer to | modern-art movement and bauhaus |
| leaders of the international style believed......typography expressed a spirit of a progressive age | san serif |
| mathematical proportion, geometric spatial division, the use of akzidenze grotesk type, and ragged right margins along with spaces instead of paragraphs indents marked whose international style | max bill |
| what was art concrete | max bill/ universal art of absolute clarity based on controlled arithmetical construction |
| typeface designed by adrian frutiger that consists of 21 variations, replacing traditional nomenclature with numbers | univers 55 |
| zapf designed his typefaces with an understanding of the....but they are original inventions designed with a full understanding of......... | past/ twentieth century |
| the ulm institute of design had a course on semiotics. that 3 branches does semiotics include and what are they about | semantics- the study of the meaning of signs and symbols syntactic- the study of how signs and symbols are connected and ordered into a structual whole pragmatics- the study of the relation of signs and symbols to their users |
| as a leading theorist and practitioner of the international typographic style, josef muller-brockman sought an absolute and universal grphic expression through what | objective and impersonal presentation, communicating to the audience with the interference of the designers subjective feelings or propagandistic techniques of persuasion |
| which were zapfs major type designs | palatino- roman style with broad letters, strong serifs and elegant proportions/ melior is modern/ optima is thick and thin san serifs with tapered strokes |
| this graphic designer argued that a solution to a design problem should emerge from it's content; thus he exhibited a variety of styles | ernst keller |
| what was josef muller brockmann portraying in his poster for beethoven | asymmetrical text/ motion through regulated curves/ curves suggest the power of music |
| what was muller-brockmanns concept in the der film poster | functional communication needs |
| what 3 type faces were born of the international style | helvetica optima univrs |
| what did bass have a remarkable ability to do | express the nucleus of a design with images that become glyphs, or elemental pictorial signs that exert great graphic power |
| what campaign spent an unprecedented $11,000 in 1882 | proctor and gamble on ivory soap |
| who was bill bernbach | became a prototype for the now ubiquitous art/copy team working closely together to create a synergistic visual verbal integration |
| who was the first art/copy team ever in the history of advertising | francis wayland ayer and nw ayer and sons |
| what was gene frederico known for pioneering | type could be used to emphasize a messsage |
| what was leo burnett known for | the master of symbols |
| who was the first woman to serve as chief copywriter at doyle dane bernbach | phyllis k robinson |
| the bauhaus was similar to the arts and crafts movement, although more successful, in what way | art and handicraft embraced the machine |
| what is one of the most important developments to come out of the 1923 exhibit | san serif type classification |
| how did muller-brockmanns volg poster break away from the clear and logical ways of the swiss stlye | grape juice with no picture of product |
| which poster design led to the creation of an animated title sequence? what did preminger, the creator of the film do to ensure audience would watch these titles | man with golden arm/ saul bass animate titles |
| how did the influence of modernism change advertising in the us? what was advertising like before the influence of modernism | ad was bland in us b4 modernism repetitive slogans and exaggerated product claims after modernism intellegence and pleasing design |
| who often reduced their graphic designs to a single dominant image that was often centered in the space | saul bass |
| what company spent the most ever on sing-product advertising? what was that product | american tobacco comapny/ 12.3 million lucky strike cigs |
| mary wells is a remarkable talented woman who got her start on madison avenue name one of the campaigns that she is remembered for | braniff airlines campaign jets bright colors |
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lloyde08
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