Final Exam Study Sheet

 

The exam will consist of identifying slides as well as multiple choices and true false.  There will be some open ended questions where you will have to write a brief paragraph, but the exam in predominately Slides and multiple choice.

 

Your best option for this exam is to study and remember all that is listed.  However, I know that many of you will use your notes.  Because this is open-notes and you only have 2.5 hours to take the exam, please prepare everything on this list so that when you take the exam you will have everything in front of you.  There is not time for searching for the answers so please have all that you need well organized.

 

 

 

Early Printing, Typography, & Publications

Images to Know

 

Please know the following for each images:

  • Title
  • Designer/Artist
  • Movement

 

 

15th century

(5-2) Jack of Diamonds woodblock playing card, c. 1400

 

(5-3)Woodblock print of Saint Christopher, 1423

 

(5-10) Engravings illustrating of Gutenberg’s system for casting type, c. 1800

 

(5-12) Johann Gutenberg, letters of indulgence, c. 1454

 

(5-13) Johann Gutenberg, Gutenberg Bible, 1450-55

 

(6-9) Anton Koberger, pages from The Nuremberg Chronicle, 1493

 

 

Key People and their Major Contributions:

 

Johann Gutenberg, page 69

Johann Fust, page 71

 

Terms you should know:

 

Xylography, page 64

Typography, page 64

Block printing, page 65

Block book, page 65

Textura, page 69

Punch, page 70

Matrix, page 70

Copperplate engraving, page 77

Metal alloy Incunabula, page 78

Broadsheet, page 78

Broadsides, page 78

Exemplars, page 83

 

16th  & 17th Century

 

 

Key People and their Major Contributions:

 

 

Erhard Ratdolt (1442–1528), page 95,

Aldus Manutius (1450–1515), page 100,-( Aldine Press )

Francesco da Bologna, surnamed Griffo (1450–1518), page 100

Claude Garamond (c. 1480–1561), page 104

Robert Granjon (d. 1579), page 112

Stephen Daye (c. 1594–1668), page 113

 

Terms you should know:

 

Renaissance, page 94

Renaissance man, page 104

Type specimen sheet, page 99

Bracketing, page 116

 

 

18th Century

 

People you should know:

 

John Baskerville (1706–1775), page 122

William Caslon (1692–1766), page 121

Franćois Didot (1689–1757), page 127

Franćoise-Ambroise Didot (1730–1804), page 127

Pierre Didot (1761–1853), page 127

Giambattista Bodoni (1740–1813), page 126

Firmin Didot (1764–1836), page 127

 

Terms you should know:

 

Renaissance, page 94

Type specimen sheet, page 99

Fleurons, page 99

Renaissance man, page 104

Bracketing, page 116

Didot type

Romain du Roi, page 117

Transitional style type

Old style, page 117

Modern, page 127

Type family, page 118

Point, page 117

Neoclassicism, page 127

 

 

19th Century

(9-2) Robert Thorne, fat-face types, 1821

 

(9-3)Vincent Figgins, Antique type, c. 1815

 

(9-4) Robert Thorne, Egyptian type, 1821

 

(9-7)Tuscan and Antique Tuscan type

 

(9-19)Nineteenth-century box camera obscura

(9-58)Richard G. Tietze, poster for Harper’s Magazine, 1883

 

Harper’s Weekly, page 161, (Fig. 9-59)

 

 

People you should know:

 

Vincent Figgins (1766–1844), page 137

Robert Thorne (d. 1820), page 135

Ottmar Mergenthaler (1854–99), 141

Stephen H. Horgan (1854–1941), page 147

Owen Jones (1809–1874), page 153

William Caslon IV (1781–1869), page 138

Thomas Cotterell (d. 1785), page 135

Charles Dana Gibson (1867–1944), page 163

George Eastman (1854–1932), page 147

 

Terms you should know:

 

Industrial Revolution, page 134

Victorian Era, page 152,

The wood-type poster, 139

The development of lithography, 153

The rise of American editorial and advertising design, 160

Fat faces, page 135, (Fig. 9-2)

Sans-serif type, page 138, (Fig. 9-12)

Egyptian type, page 137, (Fig. 9-3)

Tuscan-style letters, page 137, (Fig. 9-7)

Wood type, page 139

Compositor, page 139

Century typeface, page 164

brass matrices

Linotype machine, page 141, (Figs. 9-17 and 9-18) Halftone screen, page 147, (Figs. 9-31 and 9-32)

Phototypography, page 142

Camera obscura, page 142, (Fig. 9-19)

The Grammar of Ornament

Chromolithographie, page 153

Lithography, page 153

Planographic printing, page 153

Bracket, page 137, (Fig. 9-5)

 

 

 

Bridge to Modernism

Images to Know

Please know the following for each images:

  • Name
  • Designer/Artist
  • Movement
  • A sentence about the images (should be a complete sentence)

 

Arts & Crafts

(10-2)William Pickering, pages from The Elements of Euclid, 1847

 

 

(10-15) William Morris, Golden Typeface, 1888-90

 

(10-16) William Morris, trademark for the Kelmscott Press, 1892

 

(10-17)William Morris and Walter Crane, title page spread for The Story of the Glittering Plane, 1894

 

(10-18)William Morris, illustrated page from The Works of Geoffrey Chaucer, 1896

 

(10-35) Rudolf Koch, Specimen of Neuland, 1922-23.

 

(10-44) Morris F. Benton, typeface designs: Alternate Gothic, 1906; Century Schoolbook, 1920; clearface, 1907; Cloister Bold, 1913; Franklin Gothic, 1905; News Gothic, 1908; Souvenir, 1914; Stymie Medium, 1931

 

Art Nouveau

(11-11) Jules Chéret, “Élysée Montmartre bal masqué” poster, 1896

 

(11-15) Aubrey Beardsley, cover for The Studio, 1893

 

(11-17 and 11-18) Aubrey Beardsley, pages from Le Morte d’Arthur, 1893

 

(11-20) Aubrey Beardsley illustration for Oscar Wilde’s Salome, 1894

 

(11-24) Henri de Toulouse-Lautrec, “La Goulue au Moulin Rouge” poster, 1891

 

(11-29) Théophile Alexandre Steinlen, poster “Tournee du Chat noir” de Rodolphe. 1896

 

(11-32) Alphonse Mucha, poster for Gismonda, 1894

 

(11-33) Alphonse Mucha, poster for Job cigarette papers, 1898

 

(11-43) Will Bradley, poster for The Chap Book, 1895

 

 

(11-45) Will Bradley, pages from The American Chap-Book, 1905

 

(11-55) Henri van de Velde, poster for Tropon Food concentrate, 1899

 

(11-69) Peter Behrens, The Kiss, 1898

 

 

Vienna Secession

(12-9) Gustav Klimt, poster for the first Vienna Secession exhibition, 1898

 

(12-11) Alfred Roller, cover design for Ver Sacrum, initial issue, 1899.

 

(12-12) Alfred Roller, cover design for Ver Sacrum, 1898.

 

(12-13) Koloman Moser, cover design for Ver Sacrum, 1899.

 

(12-19) Koloman Moser, illustration and page design for Ver Sacrum, 1901.

 

 

(12-23) Koloman Moser, poster for the thirteenth Vienna Secession exhibition, 1902

 

(12-27) Alfred Roller, poster for the sixteenth Vienna Secession exhibition, 1902

 

 

Key People and their Major Contributions:

 

William Pickering (1796–1854), page 167

William Morris (1834–1896), page 167

Walter Crane, page 172

Morris F. Benton (1872–1948), page 188

Frederic W. Goudy (1865–1947), page 185

William Addison Dwiggins (1880–1956), page 186

Arthur Mackmurdo

 

Jules Chéret (1836–1933), page 195

Aubrey Beardsley (1872–1898), page 199

Henri de Toulouse-Lautrec (1864–1901), page 202

Alphonse Mucha (1860–1939), page 205,

 

Josef Hoffmann (1870–1956), page 225

Koloman Moser (1868–1918), page 225

Alfred Roller (1864–1935), page 231

Peter Behrens (1868–1940), page 233

Henri van de Velde

 

Terms you should know:

 

Arts and Crafts Movement, page 167

Century Guild, page 169

Private press movement, page 171

Kelmscott Press, page 172

Golden typeface, page 172

Troy typeface, page 172

Neuland typeface, page 185

 

 

Ukiyo-e, page 190

Art nouveau, page 194

The Studio, page 199

The black spot,” page 200,

L’art nouveau, page 205

Chapbook style, page 209

American Chap-Book, page 209,

Jugendstil, page 205

Sezessionstil, page 205

 

 

The Glasgow School (The Four), page 222

Sezessionstil (The Vienna Secession), page 225

Ver Sacrum (Sacred Spring), page 225

Line and Form, page 231

Schoolbook Century typeface

Akzidenz Grotesk, page 235, (Fig. 12-35)

 

 

Pictorial Modernism

Images to Know

 

 

Plakastil

(14-1) The Beggarstaffs, poster for Kassama Corn Flour, 1894

 

(14-6) Lucian Bernhard, poster for Priester matches, c. 19015

 

(14-7) Lucian Bernhard, poster for Stiller shoes, 1912

 

 

WWI Posters

 

(14-23) Hans Rudi Erdt, “U-Boats Out” poster heralding German submarines, c. 1916

 

(14-26) Saville Lumlet, World War I poster” Daddy, What Did YOU do in the Great War?, 1914

 

(14-27) James Montgomery Flagg, I Want You, poster for Military recruiting, 1917

 

(14-28) Joseph C. Leyendecker, poster celebrating a successful bond drive, 1917

 

(14-28) Ludwig Hohlwein, recruitment poster for the Nazi Party, early 1940s

 

Art Deco

(14-43) A. M. Cassandre, poster for the North Star Paris-to-Amsterdam night train, 1927.

(14-44) A. M. Cassandre, Express Nord poster, 1927.

(14-45) A. M. Cassandre, poster for the ocean liner L’Atlantique, 1931.

 

 

Key People and their Major Contributions:

 

Lucian Bernhard (1883–1972), page 270

 

Julius Klinger (1876–1950), page 271

Alfred Leete (1882–1933), page 275

James Montgomery Flagg (1877–1960), page 275

Jesse Willcox Smith (1863–1935), page 276

 

M. Cassandre (1901–1968), page 279

Jean Carlu (1900–1989), page 283

 

Terms you should know:

 

The Beggarstaffs, page 269

Plakatstil (poster style), page 270

Sachplakat (object poster), page 274

 

Art deco, page 279

Armory Show, page 279

 

Difference in design between Central Powers countries (i.e., Germany and Austria-Hungary) and the Allied Powers countries (i.e., England and the United States).

 

Modernist—Avant-Garde

Images to Know

 

 

Futurism

(13-9) Filippo Marinetti, composition of the poem “Montagne + Vallate + Strade x Joffre” (“Mountains + Valleys + Streets x Joffre”), 1915

 

(13-10) Ardengo Soffici, composition of the verse “Bifszf + 18 SimultaneitŹ Chimismi lirici,” 1915

 

(13-15) Guillaume Apollinaire, poem from Calligrammes, 1918

 

(13-20) Fortunato Depero, cover for Depero futurista, 1927

 

Dada

(13-33) John Heartfield, anti-Nazi propaganda poster, Adolf, the Superman: swallows gold and talks tin, 1935

 

(13-37) John Heartfield, cover for AIZ, 1934

 

(13-40) Ilya Zdanevitch, poster for the play Party of the Bearded Heart, 1923

 

 

Key People and their Major Contributions:

 

Filippo Marinetti (1876–1944), page 250

Fortunato Depero (1892–1960), page 255

 

 

Hugo Ball (1886–1927), page 257

Raoul Hausmann (1886–1977), page 259

Kurt Schwitters (1887–1948), page 259

John Heartfield (1891–1968), page 259

 

Terms you should know:

Cubism, page 249

Collage, page 249

Futurism, page 250

Manifesto, page 250

Parole in libertá (words in freedom), page 251

Calligrammes, page 253

 

 

Dada, page 256

Photomontage, page 259

Merz, page 259

 

 

A New Language of Form

Images to Know

 

 

Constructivist

(15-9) El Lissitzky, “Beat the Whites with the Red Wedge,” 1919

 

(15-15 through 15-17) El Lissitzky, Cover and pages from For the Voice, 1923

 

(15-18 through 15-21) El Lissitzky, Cover and pages from The Isms of Art, 1924

 

(15-25) Alexander Rodchenko, cover for Lef, no.1, 1923

 

(15-26) Alexander Rodchenko, cover for Lef, no.2, 1923

 

(15-25) Alexander Rodchenko, cover for Lef, no.3, 1923

 

 

De Stijl

(15-46) Vilmos Huszár, cover design for De Stijl, 1917

 

(15-48) Théo van Doesburg, cover design for De Stijl, 1922

 

 

Bauhaus

(16-4) Joost Schmidt, Bauhaus exhibition poster, 1923

 

(16-8) Lazlo Moholy-Nagy, typophoto poster for tires, 1923

 

(16-15) Herbert Bayer, cover for Bauhaus magazine, 1928

 

(16-19) Herbert Bayer, universal Alphabet, 1925

 

 

The New Typography

(Die Neue Typographie)

(16-25) Jan Tschichold, cover for “Elementare Typographie” 1925

 

(16-26) Jan Tschichold, pages for “Elementare Typographie” 1925

 

 

Type design (first half of 20th century)

(16-35) Eric Gill, the Gill Sans type family, 1928-30

 

(16-39) Paul Renner, Futura Typeface, 1927

 

(16-40) Rudolf Koch, Kabel light Typeface, 1928

 

(16-41) Stanley Morison, Time New Roman, 1932

 

Dutch Design

 

Key People and their Major Contributions:

 

Kasimir Malevich (1878–1935), page 287

Alexander Rodchenko (1891–1956), page 287

El Lissitzky (1890–1941), page 289

 

Théo van Doesburg, page 299

Piet Mondrian (1872–1944), page 299

 

László Moholy-Nagy (1895–1946), page 300

Walter Gropius (1883–1969), page 269

Herbert Bayer (1900–1985), page 316

Jan Tschichold (1902–1974), page 319

 

 

Terms you should know:

 

Constructivists, page 289

PROUNS, page 290

Novyi lef (Left Front of the Arts), page 294

 

De Stijl, page 299

De Stijl [journal], page 300

 

The Bauhaus, page 310

Typophoto, page 313

Kabel, page 324,

Gill Sans

Futura

 

 

Die Neue Typographie, page 319

Kabel typeface, page 324

Typotekt, page 330

“Experimenta Typographica,” page 333

 

 

Other:

Constructivists, De Stijl artists and artists associated with the Bauhaus shared the philosophy that art should be used for the better of society

 

Typography and Swiss

Images to Know

 

 

Type Design

(16-13) Adrian Frutiger, schematic diagram of the 21 univers font family, 1954

 

(16-15) Edourard Hoffman and Max Miedinger, Helvetica typeface, 1961

 

(16-16) Herman Zapt, typeface, Palatino, 1950; Melior, 1952; and Optima, 1958.

International Typographic Style

(16-62) Herbert Matter, Swiss tourism poster, 1934

 

(16-63) Herbert Matter, Swiss tourism poster, 1935

 

(16-21) Armin Hofmann, poster for Basel theater production of Giselle, 1929

 

(16-23) Armin Hofmann, poster for Herman Miller furniture, 1962

 

(16-30) Josef Müller-Brockmann, Swiss Auto Club, 1954

 

(16-31) Josef Müller-Brockmann, public awareness poster “Weniger Lärm” (“Less Noise”), 1960

 

 

Key People and their Major Contributions:

 

Herbert Matter, page 333

Ernst Keller, page 356

Théo Ballmer, page 356

Max Huber, page 358

Armin Hofmann, page 363

Josef Müller-Brockmann, page 364

Anton Stankowski (1906–1998), page 359

Edouard Hoffman (d. 1980) and Max Miedinger (1910–1980), page 361

Hermann Zapf (b. 1918), page 361

 

Terms you should know:

 

International Typographic Style, page 356

 

Typefaces (Who designed them and what do they look like):

Palatino

Optima

Univers, page 361

Helvetica, page 361

The golden mean, page 365

 

Modern Movement in America

Images to Know

 

 

WWII posters

(17-24) Jean Carlu, poster for the US office of Emergancy Management, 1943.

 

 

New York School  

(17-39) Alexy Brodovitch, pages from Portfolio, 1951  

 

(19-1) Paul Rand, cover for Direction Magazine, 1940 

 

(19-8) Alvin Lustig, cover for Arthur Rimbaud's A season in Hell, 1945

 

(19-31) Cipe Pineles, Cover for Seventeen Magazine, 1949

 

(19-64) Herb Lubalin, pages from Eros, 1962

 

(19-74) George Lois, cover for Esquire magazine, April 1968.

Key People and their Major Contributions:

 

Alexey Brodovitch, page 339Saul Bass

Herbert Bayer, page 342 (see also Chapter 16)

Herbert Matter (1907–1984), page 342

George Lois (b. 1931), page 397

Cipe Pineles (1910–1991), page 383

Henry Wolf (b. 1925), page 385

Paul Rand (1914–1996), page 374

Alvin Lustig (1915–1955), page 375

Bradbury Thompson (1911–1995), page 377

Herb Lubalin (1918–1981), page 393

Terms you should know:

 

 Figurative typography, page 391

Phototypography, page 392

 

Changes from Modernism to Postmodernism

Images to Know

 

 

Conceptual 

 (21-19) Milton Glaser, Bob Dylan poster, 1967

 

 (21-43) Wes Wilson, Concert poster for the Asscoation, 1966

 

Postmodern Design

(23-38) Paula Scher, poster for CBS records, 1979 

(23-41) Louise Fili, book cover for The Lover, 1985

 

(23-40) Paula Scher, Swatch Poster, 1985

 

(23-42) Caren Goldberg, book cover for The Sonnets of Orpheus, 1987

 

 

Key People and their Major Contributions:

 

Milton Glaser (b. 1929), page 429

Seymour Chwast (b. 1931), page 429

Robert Wesley “Wes” Wilson (b. 1937), page 438

 

Paula Scher (b. 1948), page 481

Carin Goldberg (b. 1953), page 481,

Louise Fili (b. 1951), page 481

Terms you should know:

 

Concept, page 424

Push Pin Almanack, page 429

Push Pin Studio, page 429

Push Pin style, page 431

Psychedelic posters, page 438

Postmodernism, page 466

Late modernism, page 466

Digital Technology Changes Graphic Design

Images to Know

 

 

Digital Revolution (Pioneers)

 

(24-5) April Greiman, Design Quarterly 133, 1987

 

(24-6) Rudy VanderLans, cover for Émigré 11, 1989

 

(24-12)David Carson (art director), Beach Culture, 1991

 

(24-13)David Carson (art director), Beach Culture, 1994

 

 

Contemporary 

 (24-57) Stefan Sagmeister, Lou Reed poster, 1996

 

Key People and their Major Contributions:

 

April Greiman (b. 1948), page 472

Wolfgang Weingart (b. 1941), page 467

Neville Brody (b. 1957), page 484

 

Katherine McCoy (b. 1945), page 492

The Cranbrook Academy of Art

David Carson (b. 1956), page 495

Edward Fella (b. 1939), page 492

Fred Woodward (b. 1953), page 495

Vaughan Oliver (b. 1957), page 519

Rudy Vanderlans (b. 1955), page 490

Zuzana Licko (b. 1961), page 490

Matthew Carter (b. 1937), page 500

Stefan Sagmeister (b. 1962), page 510

Max Kisman (b. 1953), page 528

Paula Scher (b. 1948), page 522

Chip Kidd

Terms you should know:

 

Émigré, page 490

New-wave typography, page 469

Halftone dots, page 471

Vernacular design, page 481

Retro design, page 481

Desktop publishing, page 490

Zines, page 495

Kern, page 495