Graphic Design History 12 – Flashcards

At the end of the nineteenth century, architects and fashion, graphic, and product designers moved away from the floral curvilinear elements of art nouveau and toward a more _________ style of composition.

The Glasgow School refers to ________ in Scotland.

Charles Rennie Mackintosh created graphic designs characterized by three of the following. Which does NOT belong?

The German artist, architect, and designer ____________ sought typographic reform and was an early advocate of sans-serif typography. He was the first to use sans-serif type as running book text.

The Vienna Secession formed in 1897 when a group of young Viennese artists________.

The periodical Ver Sacrum (1898-1903) was innovative primarily because ________.

Philosophically, the Vienna Workshops (Wiener Werkstätte) opening in 1903 was influenced by ________.

In 1916, the eminent calligrapher Edward Johnston was chosen to design an exclusive, patented typeface for the world's first __________. The strokes of this sans-serif typeface have consistent weight; however, the letters have the basic proportions of classical Roman inscriptions.

Among those who drew inspiration from the Glasgow School were _____________ , who created medieval-style fantasy illustrations accompanied by stylized lettering, and _____________ , who applied geometric spatial division and lyrical organic forms to mass communication while working for the publishing firm Blackie's.

Peter Behrens's architectural and graphic designs, beginning in 1904, evolved toward forms based on ________.

While the Deutsche Werkbund (German Association of Craftsmen) had strong ties to the English arts and crafts movement, one major difference was that the German artists ________.

The _____________ was an outgrowth of Sezessionstil and sought a close union of the fine and applied arts in the design of lamps, fabrics, books, greeting cards, and other printed matter as an alternative to poorly designed, mass-produced articles and trite historicism.

Peter Behrens's Allgemeine Elektricitäts-Gesellschaft (AEG) designs represent a synthesis of neoclassicism and Sachlichkeit, which loosely translates to ________.

The AEG graphic identity program made consistent use of three linchpin elements. Which element below does NOT belong?

American architect __________ became known for his repetition of rectangular zones and use of asymmetrical spatial organization in his design of furniture, wallpaper, and stained-glass windows.