Chapter 12 Quiz

At the end of the 19th 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.
geometric
The Glasgow School refers to ____________ in Scotland.
four artists working in a similar style
Charles Rennie Mackintosh created graphic designs characterized by three of the following. Which does NOT belong?
stylized natural forms
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.
Peter Behrens
The Vienna Secession formed in 1897 when a group of young Viennese artists __________.
broke from the Viennese Creative Artists’ Association
The periodical Ver Sacrum was innovative primarily because __________.
it was a design lab
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.
underground electric railway system
Peter Behrens’s architectural and graphic designs, beginning in 1904, evolved toward forms based on __________.
rational geometry
Peter Behrens’s Allgemeine Elektricitats-Gesellschaft (AEG) designs represent a synthesis of neoclassicism and Sachlichkeit, which loosely translate to ______________.
The AEG graphic identity program made consistent use of three primary elements. Which element does NOT belong? (a typeface, a consistent layout of elements, a clear concept, a logo)
a clear concept
T/F The design of Frank Lloyd Wright was influenced by the harmonious proportion of Japanese design and mathematical repetition of pre-Columbian architecture and art.
True
The MacDonald sisters of the Glasgow School sought purely objective designs devoid of “romantic notions, religious overtones and spiritual mysticism.”
False
To maintain the design consistency of Ver Sacrum, Vienna Secession publishers required advertisers to commission advertisements from member artists.
True
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