Arth 176A | Graphic Design History & Theory | Study For Final

Front 1

What is the Jugendstil?

Back 1

Nouveau in Germany.

Front 2

How did Jugendstil appear in German graphic design? What does it stand for or mean?

Back 2

Appeared in Germany as a clash of generations. Jugendstil means “Youth style, young, associated with younger generations.

Front 3

Discuss this furniture poster and tell why does this not have any words?

Back 3

You use your senses to understand and experience the world. Hence the furniture poster has no words to describe the objects, you can see the function.

Front 4

What is the story with this devil boot poster?

Back 4

Allegory with its playful devil, demonstrates the water-proofness.
The devil & color helps understand the name of the product like a brand. Establishes a legacy with the company because its memorable.

Front 5

Who was Otto Eckmann and what journal did he design for?

Back 5

Designer Otto Eckmann was an artist of fine and applied arts. He designed for Journals like Jugend.

Front 6

How does Otto Eckmann's typography, & Otto Weisert's Böcklin Typeface, bridge German letter styles and the French Art Nouveau? What artist is it comparable to?

Back 6

It takes the black letter style and adds the curvilinear elements of Art Nouveau. This is much like the same stylized curves of the hair of the figures in posters of Alphonse Mucha.

Front 7

What is blackletter?

Back 7

also known as Script or Gothic, strongly resembles calligraphy, routed in the middle ages.

Front 8

What is "Fraktur"?

Back 8

a form of blackletter, combine with curvilinear elements of Art Nouveau, associated with German national identity, lines arebroken up and the letter forms contain many angles.

Front 9

What is a ligature?

Back 9

two or more letters are joined as a single unit of writing.

Front 10

What was Lucian Bernhard known for?

Back 10

First designer to do something outside of Art Nouveau.

Front 11

What was Lucian Bernhard's primary innovation?

Back 11

“addition by subtraction” Sachplakat [the object poster].

Front 12

Why is Sachplakat (literally, “Object-poster”) such a startling innovation?

Back 12

direct rejection of ornamental style, this poster works cause the color logic, we encounter every element in the order of importance. 45 degree angle suggest movement, doesn’t compete with the product, product should be easily recognizable.

Front 13

What was Ludwig Hohlwein known for?

Back 13

Most successful representative of the Sachplakat style.

Front 14

What characterizes Ludwig Hohlwein's work?

Back 14

Strong figurative elements, Beggarstaff-like reductive style, captures the essence of the product, hierarchy of type

Front 15

Why was Peter Behren's hired at AEG? What kind of style did he use and why was it important?

Back 15

unified look for their products at AEG [corporate identity]. Style: technical determinism, functionalism & machine aesthetic. Established a historical distance for modernism, a relation to art and industry.

Front 16

How did Peter Behrens incorporate the AEG corporate identity in the buildings?

Back 16

the electric light represented a domestic stronghold for the country. It was also illuminated at night to make it look like a giant light bulb.

Front 17

How did Behrens incorporate the corporate identity into the products like the tea kettle?

Back 17

Kettle made to match the logo, using 6 side honey-comb type shape.

Front 18

Peter Behrens lightbulb poster for AEG. What was so successful?

Back 18

good example of light, feeling of energy, objectivity.

Front 19

Describe the “Spirit of Capitalism” and who said this?

Back 19

a spirit of production and trade.
[Frederic J. Schwartz]

Front 20

Describe the "Enterprising Spirit" and who said this?

Back 20

cultural and absent of profit [a matter of will not money]
[Frederic J. Schwartz]

Front 21

Describe the "Merchant spirit" and who said this?

Back 21

expansive and free, to look beyond its own walls.
[Frederic J. Schwartz]

Front 22

In general, what historical factors contributed to early 20th century German designers' interest in function, as opposed to aesthetics?

Back 22

The appeal of function was so great because the country was in despair, monetary value had been destroyed, and the German people wanted to be reminded of stability and solidarity.

Front 23

How did the concern with "essence" enter into German design?

Back 23

Historically, Germany was a country that is obsessed with essence because it was stable and solid.

Front 24

What can we get out of Lucian Bernhard's Boche Spark Plug poster?

Back 24

Color completes the words, its about energy. Top 2/3rds demonstrate the quality of the product, and the essence of the energy of the spark.

Front 25

Who did the headlight object poster, and what is it telling us?

Back 25

Lucian Bernhard, Displays function by illuminating the night. It shows how how effective the product it becomes, and shows action & quality.

Front 26

What was the Deutscher Werkbund?

Back 26

German Work Federation. Purpose was to raise the quality for Germany aethetics and functionalism.

Front 27

How did the larger cultural concept of the Gesamtkunstwerk, or "total work of art" contribute to his A.E.G. Commission?

Back 27

honeycomb is the storage chamber, the golden power source or latent energy. Roman letters = stability. Bees are workers, which gives you consistency and nobility in the image.

Front 28

Who was Walter Gropius?

Back 28

Walter Gropius was the founder of the Bauhaus

Front 29

What was the Bauhaus?

Back 29

Bauhaus was a school that studied the arrangement of forms.“House of Building”, state funded school, originating in Weimar, Germany.

Front 30

What were some of the ideals Gropius and the Bauhaus brought to the practice of graphic design (as well as to other spheres of design activity)?

Back 30

By way of Gropius, he used expressionism in the curriculum. They did not want to be associated with German National Identity.

Front 31

Which other designers were active at the Bauhaus? [A B B K S S M G]

Back 31

Albers, Breuer, Schlemmer, Kandinsky, Groupius, Bayer, Moholy-Nagy, Scheper

Front 32

What was the point of Herbert Bayer's "universal alphabet"? How did Bayer explain it in his essay?

Back 32

printed by machines. Single-case alphabet [which became political], easier to learn and read, saving for the print industry. un-german, associated with France [Germany’s enemy].

Front 33

What other forms of graphic design did Herbert Bayer create?

Back 33

Bank notes during the hyper-inflation period. People are in a panic,he created reassurance and stability. Clear sense of info on the money.

Front 34

Describe the who and what of this Bauhaus red and blue poster.

Back 34

optical vibration & rhythmic tension: blue shrinks, red expands.

Front 35

What style did Herbert bayer bring to the Bauhaus?

Back 35

constructivist style. Eye must travel around the composition. integration of typography and photos. machine aesthetic

Front 36

Who is Laszlo Moholy-Nagy?

Back 36

Laszlo Moholy-Nagy was a professor at the Bauhaus,; Constructivism; advocate of the integration of technology and industry into the arts.

Front 37

What is "Typophoto"?

Back 37

Typophoto is a term that was coined by Moholy-Nagy, to word the aesthetics of combining type and photos.

Front 38

What "functionalist" principles did Moholy-Nagy establish as part of the Bauhaus curriculum?

Back 38

Moholy – Nagy; De Stijl & Constructivism; Taught principles of design & 3-d, Tools were allowed to distance the hand of the artist literally as well as conceptually.

Front 39

What were the main goals and innovations of Tschichold's original 1928 version of the "New Typography" (Die Neue Typographie)?

Back 39

theory and practice of designers. Standardized a set of principles that could be easily understood. He worked to make typography a science. Mathematical underlying for graphic design.

Front 40

What were Jan Tschichold's views on the use of asymmetry into graphic design?

Back 40

tear down old habits; spark change in style; the right and wrong way of clustering items on a page layout; the conflict between essence and appearance; asymmetry is also a symbol of modern life.

Front 41

How is Tschichold's design work influenced by Soviet Constructivist graphic design?

Back 41

Impartation = Constructivism. Effective graphic design uses 2 colors make a direct connection to a product. Red is also very soviet.

Front 42

Who is Otto Neurath and what is the Isotype movement? What does Isotype stand for?

Back 42

Otto Neurath's “Isotype” = International System of Typographic Picture education | visual classification system, bold symbols that convey factual information in a mathematical way | visual demonstration of the info the numbers

Front 43

what kinds of graphic design and typography were favored by the National Socialist (Nazi) Party?

Back 43

most media-aware governments; rejected modern styles; idealized Nazi leadership; plain-drawing techniques. Photomontage, blackletter script, classical idealism

Front 44

what role did the totalitarianisms play for fascism in Italy in shaping graphic design?

Back 44

futurist style, welcomed war, destroyer of forms

Front 45

what role did the totalitarianisms play for communism in Soviet Russia in shaping graphic design?

Back 45

constructivist style Using words as things with movement and meaning. Abstract geometric style like Lissitsky.

Front 46

what role did the totalitarianisms play for National Socialism in Germany in shaping graphic design?

Back 46

direct narrative [propaganda]; continuation of the classical ideal

Front 47

What is promotion?

Back 47

promotion is communicating with the public in an attempt to influence them toward buying your products and/or services.

Front 48

What is propaganda?

Back 48

to assist or damage the cause of a government, by propagating information within a culture. Promotion of ideals or a way of thinking.

Front 49

What is agitational propaganda, or agitprop?

Back 49

any kind of highly politicized art, or the urging of people to adopt the ideals presented through propaganda.

Front 50

how did Fascist-era Italian graphic design work contribute to the "colonial consciousness" of its viewers?

Back 50

colonies sexualized the women, which connected all the parts of a woman’s body to a delicious experience [like with chocolate] “I am coffee” - is the idea that gets attached.

Front 51

Who was Kasimir Malevich?

Back 51

painter; theorist; geometric abstract art, Avant Garde - Suprematism movement

Front 52

What is Suprematism?

Back 52

coined by Malevich to describe the spiritual, mystical philosophy under abstract painting of the 1910s.

Front 53

How did Suprematism influence the Constructivist works of the Soviet avant-garde?

Back 53

supreme feeling, rising verticality, beyond your expectations, Confusing the senses, you feel yourself gravitating

Front 54

Describe Aeroplane Flying [1915]

Back 54

[1915] “the supremacy of feeling in creative art” heavy dark elements are rooted, creates a different sense of feeling

Front 55

Describe Malevich, cover design for Punin’s First Circle of Lectures (1920); Supremacist composition 58 (1916)

Back 55

constructivist style, asymmetrical layout, dynamic because illusion of floating open as it is moving upward.

Front 56

What was the political basis of Constructivism, and how did it relate to graphic design?

Back 56

Constructivism & Soviet agitation-propaganda like : “let's build a fleet of airships in Lenin's name” [1931]

Front 57

Describe Valentina K. Cover for Kranaia Nive [1930 letterpress]. Gustav Klutsis, design for social construction poster [1927]...; “Workers must vote [1930]

Back 57

Red signifies the importance of the soviet state. Link the ideas to give the fuller message. Joined in work [elements], comradeship.

Front 58

Who were the Stenberg Brothers?

Back 58

movie posters in the 1920's; close ups; freeze frames, film montage to create excitement and drama, that captured the mood of the film.

Front 59

Describe why Stenberg Brothers, 1928 movie poster for Symphony of a Great City (1927, dir. Walther Ruttmann, Germany); original German poster from 1927. was important

Back 59

effective part of bringing people in to the movies and having people understand what they are going to be watching. Kind of like a trailer today. “movies for the millions”

Front 60

Why was the cinema considered so important to the Soviets?

Back 60

shows progression of movement. Used as propaganda. The viewer is having an actual experience. Your mind automatically tries to connect the things because of their juxtaposition [contrasting position].

Front 61

What prompted the stylistic shift to Social Realism in Soviet graphics ca. 1934?

Back 61

Stalin pushed for greater realism in the arts, the use of photomontages of heroic images.

Front 62

What was the significance of Sergei Eisenstein, and why did graphic designers follow his work on "film montage"?

Back 62

often considered the “father on montage”. Innovative use and writings on montage. revolutionary potential of modern film.

Front 63

What are the five formal characteristics of the International Typographic Style?

Back 63

1. rigid grid system
2. structured layout
3. sans serif fonts
4. objective photography
5. left justification

Front 64

What specific events or factors made the International Style dominant in the post- World War II era?

Back 64

clarity, shows activity, there is no lie involved and is a rational approach to design.

Front 65

Why is Jan Tschichold important to the creation of the International Typographic Style?

Back 65

Jan Tschichold helped the style gain a foothold that was associated with the neutrality if the country.

Front 66

Why did graphic designers using the International Style in Switzerland use Akzidenz Grotesk?

Back 66

Closest thing perfection, sans-serif type played well with the clean forms

Front 67

What factors made other, earlier typographies unavailable for their use with the Swiss Style?

Back 67

Ornamental typefaces distract the viewer when reading. Clean lines and forms go along with the same quality of a sans-serif.

Front 68

Why was Univers so important to the International Style and to the Post-War era?

Back 68

had symbolic qualities, and was a more logical system. first to be used with phototypesetting systems. Type could be re-sized easily.

Front 69

Why was Helvetica so important to the International Style and to the Post-War era?

Back 69

Helvetica : bland flavor, high legibility, icon of the International style due to being associated with the Swiss, availability and high legibility.

Front 70

In an leading example of the International Typographical Style such as Armin Hofmann's poster for the ballet Giselle, what is the relationship between text and image?

Back 70

engages the viewers participation, it leads the viewer to constructive thinking, and this represents a subjective essence; you can see the action, we see the sign, not the full image.

Front 71

How does Armin Hoffman's poster relate to the overall goals of the International Typographic Style?

Back 71

This poster reaches the goals of the International style by inferring meaning. We don't have to see the full image to tell what this poster is about.

Front 72

Who made the point, “Signs stem from language, people are understood by signs, and can only think in signs.”

Back 72

Armin Hoffman

Front 73

How does Hofmann define "visual sign," and how are designers advised to work with these?

Back 73

For designers, you must have a deep understanding of the system, and you should study how meaning can be graphically manipulated.

Front 74

Who was Josef Müller-Brockmann?

Back 74

Josef Müller-Brockmann was an illustrator, teacher and graphic designer

Front 75

How does Josef Müller-Brockmann's work relate to Max Bill's "musical model"?

Back 75

“Musica Viva” [1959] almost being asked to read this as a sheet of music. mix of ideology, clarity [reminiscent of musical forms) to give visual pleasure to the viewer, an almost mathematical representation.

Front 76

In general, what characteristics made the International style attractive to American designers?

Back 76

communication clarity and visual order.

Front 77

Who did the 9 book jackets for McGraw Hill and describe them.

Back 77

Rudolph de Harak, grid surface, allows to catch the meaning. suggestive of the content of the book, design should include sociology, communication clarity and visual order.

Front 78

Describe Jacqueline C. Casey, Director of MIT Design Services Office: Poster; Open House [1974]

Back 78

For the open house poster, separate elements of the letters gives the understanding of openness, we get the concept of what the event is.

Front 79

Why would no one would mistake a Dwiggins designed book for one by the European Modernists"?

Back 79

ornament is his most distinctive element, they are highly original, and he designed books from the inside out, which gives it a harmonious appearance throughout

Front 80

What is the importance of Dwiggins' book?

Back 80

Cultivate simplicity, create clarity and legibility, and use common sense, give the message the advantage of arrangement

Front 81

What are the main points of the Remington excerpt on Lester Beall?

Back 81

Chicago Tribune allowed him to constantly experiment. Constructivist. We need to get an emotional reaction out of our work, harnesses human instinct.

Front 82

What was the purpose of Lester Beall's design work for the Rural Electrification Administration (1937 series)?

Back 82

electrifying the country, optimistic, they look to the future, stripes are suggesting that the whites are carrying electricity.

Front 83

What elements did Beall use to make his visual communication effective for his specific audience?

Back 83

demonstrating radio. Patriotic colors. The strong lines that move your eye throughout the composition. No directional endpoint. understanding the process and seeing the benefit.

Front 84

Saul Bass | Man with the Golden Arm [describe]

Back 84

architectural, things start fraying apart, lines fuse, and become an evil force. The false structure around the arm has been collapse like a house of cards, the arm is broken.

Front 85

Describe Paul Rands, poster for No Way Out [1950]

Back 85

figure seems trapped, the black elements establish an environment. This movie about paranoia.

Front 86

Describe New York School: Alvin Lustig, cover Anatomy for Interior Designers [1948]

Back 86

this simplified organic form that convey a message unique in itself, simple and playful.

Front 87

Describe Alvin Lustig's The man who died book cover.

Back 87

there are no fixed rules to designing or producing, communicates spirit

Front 88

Alvin Lustig, covers Men's reporter, the “Fun issue; typical Joan Miro

Back 88

fine art painting style starts crossing over to corporate America. Suggestive of fun, how do you show it? This way.

Front 89

Why did lecture on Alvin Lustig and other New York School designers feature the photographer Aaron Siskind and the artistic style of Abstract Expressionism?

Back 89

style that coincides with American rise to a super power, photos are not in a set of rule,

Front 90

The graphic design of the New York School has been described as "pragmatic, intuitive, and less formal in its approach to organizing space." How do examples of this design style fit this description?

Back 90

we see the possibility of the application, look how smoothly does on, instead we get the sense of the experience and results.

Front 91

The graphic design of the New York School has been described as "pragmatic, intuitive, and less formal in its approach to organizing space." How do examples of Lustigs design style fit this description?

Back 91

Fortune cover introduces abstract expression, by connecting one element to the other. This is an an abstract understanding, the move from the tangible to the investment to the future.

Front 92

Be able to discuss the circumstances of Paul Rand's logo for United Parcel Service (UPS) [original]

Back 92

very durable, simple yet effective [Rand had longevity in mind]

Front 93

What were the specific conditions of the UPS logo redesign by FutureBrand in 2003?

Back 93

we see UPS being about defense and protection However it has been criticized for being cliche in: fake 3-d shading, extremely fake 3-d effects on a 2-d logo, Looks like curvilinear element like the Nike swoosh.

Front 94

What is an identity program?

Back 94

An identity program is a marketing strategy to give a corporation or a company a persona or universal look, to help achieve this companies goals.