Study Guide to Accompany Meggs' History of Graphic Design

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Chapter 14 Pictorial Modernism Chapter 15 A New Language of Form Chapter 16 The Bauhaus and the New Typography Chapter 17 The Modern Movement in America Part Five The Age of Information: graphic design in the global village Chapter 18 The International Typographic Style Chapter 19 The New York School Chapter 20 Corporate Identity and Visual Systems Chapter 21 The Conceptual Image Chapter 22 National Visions within a Global Dialogue Chapter 23 Postmodern Design Chapter 24 The Digital Revolution and Beyond Answer Key iv
Acknowledgments I would like to thank Chris McCampbell and Jenny Yoshida for their assistance in the development of these online materials. They provided pertinent student perspectives, and their insight, diligence, and calming personalities were invaluable. Without their help, completing this project would have been even more difficult than it was. I am grateful to my friend and colleague Michelle Hays, assistant professor of communication design, Department of Art and Design, Texas State University, San Marcos, for her guidance and expertise in matters of teaching and learning. Special thanks to my husband and partner in design, Calvin Woo, for his unwavering support; Senior Editor, Margaret Cummins, and Assistant Developmental Editor, Lauren LaFrance, of John Wiley & Sons, Inc. for their patience and encouragement; and copyeditor Andrew Miller for his expertise. I would like to acknowledge Phil Meggs for his contributions to design education and for making all of us aware through his book of the rich history of graphic design. v
Page 1 and 2: Study Guide to Accompany Meggs’ H
Page 3: Table of Contents Acknowledgements
Page 7 and 8: Introduction, 4 Prehistoric visual
Page 9 and 10: Multiple Choice Chapter 1 - Study Q
Page 11 and 12: 9. Throughout the world, from Afric
Page 13 and 14: C. annual records of crop productio
Page 15 and 16: E. A tall, geometric, totem-like Eg
Page 17 and 18: Introduction, 18 Cretan pictographs
Page 19 and 20: Phoenicians, page 19 Cadmus of Mile
Page 21 and 22: A. the most important words in a se
Page 23 and 24: A. codex B. rotulus C. scroll D. di
Page 25 and 26: 1. The invention of the alphabet an
Page 27 and 28: Dharani, page 36 Accordion-style bo
Page 29 and 30: was also called bone-and-shell scri
Page 31 and 32: Matching I. Match the key term with
Page 33 and 34: Introduction, 42 The classical styl
Page 37 and 38: 8. During the Romanesque period (A.
Page 39 and 40: Matching C. Les très riches heures
Page 41 and 42: Introduction, 64 Early European blo
Page 45 and 46: D. textura 8. Early surviving examp
Page 47 and 48: True/False E. In casting type, the
Page 49 and 50: Introduction, 78 Chapter 6 - The Ge
Page 53 and 54: D. Aesop’s Vita et fabulae (Aesop
Page 55 and 56:
page design, and makeup of books. T
Page 57 and 58:
Introduction, 94 Chapter 7 - Renais
Page 59 and 60:
Multiple Choice Chapter 7 - Study Q
Page 61 and 62:
per line of a given measure was ach
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B. copperplate engravings C. delica
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1. Francesco da Bologna, surnamed G
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B. Erhard Ratdolt C. Stephen and Ma
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Axes, page 125 Cartesian coordinate
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8. Baskerville’s type design repr
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B. classics by Virgil C. plays by M
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3. Fig. 8-14 ____ A. John Baskervil
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Egyptian type, page 137, (Fig. 9-3)
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Darius Wells (1800-1875), page 139
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D. Darius Wells 8. In 1834, _______
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following advances in graphic desig
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A. Harper’s New Monthly Magazine
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Matching I. Match the key people wi
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Chapter 10 - The Arts and Crafts Mo
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Arts and Crafts Exhibition Society,
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Multiple Choice Chapter 10 - Study
Page 99 and 100:
C. The use of seven different color
Page 101 and 102:
15. __________ established Eragny P
Page 103 and 104:
II. Match each of the images shown
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Art nouveau, page 194 Historicism,
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Henri de Toulouse-Lautrec (1864-190
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C. Celtic ornament D. Assyrian moti
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11. A member of the Flemish Group o
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6. The coloring book style of Aubre
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Chapter 12 - The Genesis of Twentie
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epresent the first use of sans-seri
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B. Peter Behrens C. Koloman Moser 1
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Photomontage, page 259 Merz, page 2
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press: a head wrapped in newspaper
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the authority of the military, educ
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Introduction, 269 Plakatstil, 270 S
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E. surrealsim 8. ____________ of Mu
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3. Fig. 14-8 ______________________
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Dev\tsil (Nine Forces), page 307 Ke
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D. Basic Concepts of Form-Making 4.
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B. Théo van Doesburg C. Alexander
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3. Alexander Rodchenko designed thi
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Experimenta Typographica, page 333,
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6. Much of the creative innovation
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layouts and de Stijl’s insistence
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Introduction, 336 Chapter 17 - The
Page 157 and 158:
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C. Joseph Binder D. Jean Carlu 6. I
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11. An important milestone in the v
Page 163 and 164:
Introduction, 356 Chapter 18 - The
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A. Adrian Frutiger B. Max Miedinger
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ased on the elemental graphic-form
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Introduction, 374 Pioneers of the N
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A. Paul Rand B. Saul Bass C. Alvin
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format and grid became the norm. Am
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2. Visual/verbal syntax ____ 3. Fig
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Adriano Olivetti (1901-1970), page
Page 183 and 184:
Page 185 and 186:
A. Herbert Matter B. Norman Ives C.
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spread a generic conformity across
Page 189 and 190:
Matching A. Georg Olden B. Massimo
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Key People and Their Major Contribu
Page 193 and 194:
Page 195 and 196:
developed for a Mademoiselle poster
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12. The vibrant contrasting colors
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Chapter 22 - National Visions withi
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Page 203 and 204:
Biennial Exhibition of Prints in To
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designers, such as ______________,
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A. Masuda Tadashi B. Takenobu Igara
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Key People and Their Major Contribu
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widespread influence on typographic
Page 215 and 216:
C. Herbert Matter D. Walter Herdeg
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II. Identify the postmodern movemen
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Desktop publishing, page 490 Émigr
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Hideki Nakajima (b. 1961), page 508
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designers vigorously committed to c
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B. Matthew Carter C. Robert Slimbac
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from the image on the cover, he put
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4. Susan Kare ____ 5. Carol Twombly
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of interactive media who believed d
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Matching I. II. III. 1. determinati
Page 237 and 238:
Multiple Choice 1. B - sounds 2. C
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Multiple Choice 1. A - oil paint 2.
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Multiple Choice 1. C - copisti 2. A
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Multiple Choice 1. A - Devotional p
Page 245 and 246:
Multiple Choice Chapter 6 - Answer
Page 247 and 248:
Multiple Choice 1. D - Venice 2. A
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II. 4. Fig. 7-27: Geoffroy Tory, pa
Page 251 and 252:
4. True 5. False 6. False 7. False
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23. B - Century 24. A - market rese
Page 255 and 256:
Page 257 and 258:
Multiple Choice 1. B - screen paint
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II. 1. Fig. 11-3: E - Kitagawa Utam
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II. 6. Fig. 12-30: Josef Hoffmann,
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III. 1. collage: D 2. manifesto: A
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II. 3. Fig. 14-8: Hans Rudi Erdt, P
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III. 1. C - Novyi lef (Left Front o
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Multiple Choice 1. B - Armory Show
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Page 273 and 274:
2. B - Figurative typography 3. C -
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2. B - corporate identity 3. A - an
Page 277 and 278:
Multiple Choice 1. B - Pentagram’
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Multiple Choice 1. B - mannerism 2.
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Multiple Choice 1. C - phototype 2.
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VI. 1. linear series - C 2. spatial
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