Test Questions to Accompany Graphic Design: A New History by Stephen J

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L%30(n'( King P3blis*ing www.laurenceking.co.uk Test Questions to Accompany Graphic Design: A New History by Stephen J. Eskilson This series of test questions was created by the author to accompany Graphic Design: A New History and provides multiple choice, short answer, and matching questions based on the text and arranged by chapter that you can use with your students. There is a separate answer key available.

INtroductIoN M3l2ipl( c*.i'( 1. Justi ed text re7ers to: a. starting (or stopping) each line so that text starts (or ends) evenly at a de ned margin b.

text which is relevant to the matter at hand c. the appropriate or desirable text 7or a given message d. text relating to justice or 7airness, such as the Guttenberg Bible 2.

The development o7 mechanical printing with movable type: a. ushered in the Dark Ages, as children were increasingly con ned in dark, oppressive schools b. surprisingly enough, was initiated by Chinese scholars long be7ore Europeans discovered the art c.

was discouraged by the French royal government during the years be7ore the French Revolution, 7or 7ear o7 instigating widespread discontent through literacy d. none o7 the above 3. Blackletter re7ers to: a.

letters shaped with the fourishes and design similar to ... more. less.

medieval calligraphy b. type7aces which cannot be printed in color c. the usual 7orm o7 o7 cial writing used on judgments demanding execution o7 o77enders d. both ___ and ___ above e. none o7 the above 4. Johann Guttenberg: a. invented the printing press b. created the rst cast metal type c. published a two-volume Bible using the new technology d. none o7 the above e. only __ and __ above 5. Once a clear, reproducible type7ace (Garamond, 7or example) was introduced: a. there was no need 7or 7urther experimentation in type7ace b. printers 7ound that 10 3 20 type7aces satis ed all their needs c. type7aces continued to increase in number and variety, with more than 300 identi ed by the early 1800s d. So-called cmodern d type7aces were rejected by tradition-bound Europe 6. One important infuence on type7aces and printing in the 19th century was: a. the birth and development o7 graphic design b. the invention o7 movable type c. the discovery o7 indelible ink d. the need 7or political posters 7ostering the French Revolution Test Questions to Accompany Graphic Design: A New History 2 7. The Industrial Revolution re7ers to: a. the unrest o7 7actory workers prior to unionization b. the 19th century shi7t 7rom home and 7arm production, to 7actory production c. the introduction o7 electricity to speed industrial production d. the hard work (industry) that went into changing how printing occurred 8. An important connection between the Industrial Revolution and graphic design is: a. an end to the use o7 sans seri7 type7aces, since printing presses could not reproduce them b. the stimulus to graphic design, given the need 7or legible, inviting typography to advertise products c. vastly overestimated, as graphic design already was a major art eld d. graphic design chelp wanted ads d seeking 7actory workers speeded up the revolution e. none o7 the above 9. The typographical 7orm cseri7, d and its counterpart, csans seri7 d: a. are irrelevant to present day typography b. make re7erence to the written 7orm o7 the Chinese alphabet c. denote presence or absence o7 small strokes at the ends o7 letter7orms d. are 7orms o7 photographic reproduction popular in the 19th century 10. The Victorian era (the mid and late 19th centuries) yielded a. uni7ormly pro7essional and aesthetically pleasing typography b. special sites called choardings d where posters and images could be displayed publicly c. great graphic consistency in the magazine and advertising usage o7 type7aces and images d. a 7ully developed artistic pro7ession 7or talented graphic designers chaPter 1: art Nouveau 1: a New StyLe for a New cuLture M3l2ipl( c*.i'( 1. According to infuential design theorists and practitioners in the mid and late 19th century, the increased production associated with the Industrial Revolution: a. had enriched both the work environment and the aesthetic lives o7 workers b. led to mass production o7 works o7 art hereto7ore available only to the rich c. created a whole new social class o7 highly skilled cra7tsmen d. negatively a77ected the lives and quality o7 work o7 millions 2. Among the infuences on the design tradition that came to be called Art Nouveau were: a. the Arts and Cra7ts movement b. the French Rococo style c. Japanese woodblock prints d. all o7 the above 3. Designers who were important in producing and 7urthering Art Nouveau images include: a. the Englishmen William Morris and John Ruskin b. early poster artists such as Jules Cheret and Leonetto Cappiello c. Henri de Toulouse-Lautrec d. all o7 the above e. only ____ and ____ above 4. Recurrent examples o7 Art Nouveau imagery include: a. sensuous young women, plant tendrils, alcohol, and dance b. geometric gures in monochromatic designs c. the plight o7 exploited workers in csatanic mills d d. primitive, o7ten unclothed, South Sea islanders 5. Art Nouveau style posters in the 1890s: a. mostly originated in the lush American art scene b. utilized the art o7 color lithography c. o7ten advertised products, per7ormances, and the like d. all o7 the above e. only ____ and ____ above Test Questions to Accompany Graphic Design: A New History 3 6. The contribution o7 Japanese aesthetics to American poster design: a. included large color blocks and heavy black lines delineating images b. 7anci7ul, transparently cdressed d 7emale gures c. utilization o7 every square inch 7or detail d. sinuous, intertwining lines curving throughout the composition: 7. The depictions o7 women in poster art during the Art Nouveau period: a. included images o7 women in realistic, non-sensual activities and poses b. 7ailed to refect the trend o7 broader participation o7 women in ordinary li7e c. were modest almost to the point o7 prudery in many American posters d. were erotic and disturbing in this otherwise conservative Victorian era e. all except ___ above 8. Type7aces and lettering as elements o7 design during this time: a. changed little, as the emphasis was on images, not words b. 7requently 7ailed to complement the Art Nouveau images c. underwent massive change with the invention o7 typesetting machinery d. evolved to include type7aces still used widely today e. only ___ and ___ above 9. Sans seri7 type7aces: a. are an example o7 the infuence o7 Japanese design b. literally lack seri7s c. are most o7ten used in dense, small-size text d. vanished 7orever under the infuence o7 Art Nouveau style 10. An important aspect relating to graphic design derived 7rom the industrial revolution was: a. the development o7 advertising agencies to promote products b. ever-increasing markets 7or consumer goods stimulated in part by posters c. the invention o7 the monotype and the linotype machines d. all o7 the above e. only ___ and ___ above 11. Magazines that made important use o7 art nouveau graphic design included: a. National Geographic and Li7e b. Ladies Home Journal and Sports Illustrated c. Moulin Rouge and Le Chat Noir d. Harpers and Lippincott 9s 12. One issue in the development o7 graphic design as a recognized art 7orm was: a. the tendency 7or all graphic design to look alike b. the inability o7 existing technologies to reproduce color accurately c. 7ailure by graphic designers to publicize their best works d. a public perception that true art consisted o7 painting and sculpture, not images o7ten used to sell products 13. French Symbolism 9s infuence on graphic design during this period: a. is refected in mystical, o7ten sensual, images b. is illustrated in American circus posters c. was inconsequential d. all o7 the above 14. The Aesthetic movement in late 19th century England: a. was critiqued as overly erotic and decadent b. in part was inspired by the elements o7 Japanese design c. spawned Aubrey Beardsley 9s illustrated literary journal, The Yellow Book d. was a counter-infuence to the Art Nouveau trend e. all except ___ above Test Questions to Accompany Graphic Design: A New History 4 15. The Beggarsta77 brothers: a. part o7 a 7amily o7 divinely gi7ted graphic and c ne d artists b. the pseudonym 7or two artists whose strong, simpli ed designs exempli ed the Japanese style c. ran an important advertising agency out o7 the burgeoning borough o7 Manhattan d. designed cthe most 7amous poster never published d e. only ___ and ___ above chaPter 2: art Nouveau II: ScotLaNd, auStrIa, aNd GerMaNy M3l2ipl( c*.i'( 1. The Four, 7rom Scotland, consisted o7: a. 7our pro7essional graphic designers who started the rst Scottish advertising agency b. a group o7 artists sentenced to 7our years in prison 7or outrageous eroticism in their work c. the 7our central 7orms o7 Scottish art: painting, sculpture, architecture, and poetry d. 7our related Scottish artists who imbued Art Nouveau imagery with a Celtic favor 2. A notable element in posters designed by the MacDonald sisters and their husbands was: a. their use o7 diagonal stripes to delineate sections o7 each work b. the sexual suggestiveness o7 their 7emale images c. Vertically elongated lines and gures, with some use o7 symmetry d. the use o7 animal shapes to 7orm letters 3. Near the turn o7 the 20th century, artists in Vienna 7ormed a progressive alliance called: a. the Vienna Secession b. the Arts and Cra7ts movement c. Art Nouveau d. the Symbolist movement 4. Foremost among members o7 this new artists 9 group was: a. Henri de Toulouse-Lautrec b. Gustav Klimt c. The Beggarsta77 brothers d. Aubrey Beardsley 5. Various members o7 this avant-garde artists 9 group: a. sought to exempli7y Gesamtkunstwerk ( ctotal work o7 art d) in their creations b. designed and 7acilitated construction o7 what became one o7 Vienna 9s most notable buildings c. promoted innovative aspects o7 Art Nouveau style in typography, as well as in graphics d. all o7 the above e. only ___ and ___ above 6. The graphic work o7 these Viennese artists: a. evolved over time to incorporate more geometric 7orms b. utilized style elements 7rom European traditions other than those o7 Austria c. showed little o7 the Japanese infuence d. all o7 the above e. only ___ and ___ above 7. The term ccra7ts, d as used 7or example to denote the Arts and Cra7ts movement, re7ers to: a. home industries such as quilting and lace-making b. 7urniture design and decorative metalwork c. book design and binding d. all except ___ above. 8. At the theoretical level, many o7 the artists in this general time period: a. hoped to beauti7y a world they saw as increasingly dull and mass-produced b. longed 7or the riches and 7ame o7 artistic generations which had preceded them c. sought to establish design styles refecting their own national or regional identity Test Questions to Accompany Graphic Design: A New History 5 d. believed that the industrial age had created a utopia 7or workers and artists alike e. only ____ and ____above. 9. A new organization, the Wiener Werkstatte, developed a7ter the turn o7 the century, emphasizing: a. a more geometric style b. collaborative credit 7or artistic productions c. sleek and elongated 7urniture and household objects d. a 7urther rejection o7 Japanese moti7s 7avored by earlier designers e. all except ____ above 10. A subset o7 graphic designers o7 this era also espoused Expressionism, meaning: a. they attempted to describe the world as it actually appeared b. they sought to express rationality and literal depictions o7 everyday objects c. their aim was to emphasize 7eelings and emotions d. both ___ and ____ 11. Expressionist posters such as those by Kokoschka and Schiele are notable 7or: a. the lyric beauty they express b. the re7erence to nature and the natural world c. raw emotion o7ten coupled with expressions o7 pain d. sensuous, idealized portraits o7 women 12. The German Art Nouveau movement: a. emerged as a result o7 French and Viennese artists moving to Berlin b. was stimulated by a journal called Pan, which disseminated many Art Nouveau works c. did not get under way until a7ter the First World War d. was unconcerned with issues o7 national identity 13. The term cblackletter d re7ers to: a. the ostracism, black-listing and imprisonment o7 certain German designers b. a very modern, stark 7orm o7 typography 7avored by Germans in this era c. the term given to poor reviews o7 exhibits o7 German graphics d. type7aces that resemble medieval script 14. The various Art Nouveau related design themes and theoretical trends 7ound expression in Germany in: a. satirical journals and book design b. decorative arts such as textile and interior design c. posters and typography d. architecture and the creation o7 household objects e. all o7 the above 15. Peter Behrens was noted as: a. a creative architect who designed an electrical company 9s headquarters b. a member o7 the Darmstadt art colony c. an inventive designer o7 type7aces and company logos d. the designer o7 an elegant electric tea kettle e. all o7 the above chaPter 3: SachPLaKat, the fIrSt worLd war, aNd dada M3l2ipl( c*.i'( 1. Sachplakat re7ers to: a. the name o7 a dollar coin designed to represent a Native American woman who helped explorers b. a term meaning roughly, cspread the image d throughout the cplate d or design c . a poster style in which the speci c 7ocus o7 the poster is clear and unadorned d. an organization o7 German poster artists who used abstract images Test Questions to Accompany Graphic Design: A New History 6 2. A7ter about 1905, many graphic designs, especially those created to showcase products: a. 7orsook the distracting ornamentation associated with Art Nouveau style b. were perceived to need clearer 7ocus, so as to be instantly understood by potential buyers c. no longer included the fat two-dimensional spaces associated with Japonisme d. were exempli ed by Lucian Bernhard 9s and others 9 strikingly simple, direct images e. all except ____ above 3. One o7 the ways in which graphic design in the 7orm o7 posters was promoted was: a. through specialty journals which displayed poster art both as covers and within b. by o77ering posters at no cost, through the mail, to people buying certain products c. by giving posters to those who attended exhibitions and per7ormances d. through retail shops set up as poster boutiques 4. World War I (1914-1918) had the 7ollowing e77ect on graphic design: a. governments on both sides used posters to garner public support 7or the war b. recruitment on soldiers was sought through patriotic posters demanding that they enlist c. artists 9 energies were diverted into mundane war work, as art was seen as a luxury d. Art Nouveau style enjoyed a resurgence e. _____ and ____ above 5. English war posters used each o7 the 7ollowing themes: a. emasculation o7 men who 7ailed to serve as soldiers b. re7erence to gender roles, where women remained at home, and men must ght c. catrocity d posters, in which inhuman acts by the opposing 7orces were displayed d. appeals to young men that they would nd adventure and camaraderie at war e. all o7 the above 6. A WWI theme 7ound in English, American, and Canadian war posters: a. showed a pointing nger b. depicted scenes o7 possible victory c. illustrated examples o7 Japanese atrocities against civilians d. requested women to replace men to work in wartime 7actories 7. The United States entered the First World War in large part: a. because o7 impassioned appeals by English and French leaders b. to open up the 7ree fow o7 artistic and other cultural exchange, made impossible by the war c. because the American people could not stand by and watch the English army de7eated d. because o7 German attacks on commercial and passenger shipping between the U.S. and Europe 8. The most 7amous American poster ever made depicted: a. Uncle Sam b. the American 48-star fag c. George Washington d. the Moulin Rouge 9. The depiction o7 women in American recruitment posters: a. omitted any implication o7 sexual availability b. were less skill7ully drawn than the women in English posters c. avoided the guilt-inducing emasculation o7 some overseas posters d. was notable 7or the ideal image known as cthe Christy girl d 10. The nation which produced the most sophisticated posters 7or WWI was: a. The United States b. England c. France d. Germany e. they were all roughly equal in artistic sophistication Test Questions to Accompany Graphic Design: A New History 7 11. German and Austrian war posters: a. disdained the simpli ed Sachplakat design 7orm discussed at the beginning o7 this chapter b. generally 7avored elaborate emotional appeals c. partially revived the use o7 blackletter typography, as a marker o7 national tradition d. were o7ten stylishly abstract e. both ____ and ____ 12. The Dada movement rst emerged: a. among a small group o7 activists and artists in Switzerland who opposed the war b. in England in response to posters o7 7athers explaining the war to their children c. in France in an e77ort to rally the populace against the invading Germans d. at the Moulin Rouge, where regulars met to discuss world politics and drink absinthe 13. Both visual and per7ormance artists in the Dada tradition: a. 7requently used care7ul 7ormulas to design geometric images or project rational thought b. took great care that the meanings o7 their works be understandable by everyday people c. believed in a utopian vision, in which the world was moving toward greater harmony d. ordinarily used straight-7orward Sachplakat lettering in texts and posters e. none o7 the above 14. Which o7 the 7ollowing sets o7 adjectives best describes Dadaist style?: a. innovative, irreverent, ironic, provocative b. traditional, classical, cloying, inspirational c. logical, rational, meaning7ul, inspiring d. aggressive, violent, demeaning, antagonistic 15. The Dadaist 9s artistic, political, and social aspirations: a. were illustrated in exhibits such as the Dada Fair depicting a German o7 cer dummy with a pig 9s head b. were 7urthered when members o7 the group ran 7or political o7 ce a7ter the First World War c. 7ailed in large part because there were no journals or other publications to advance their cause d. never spread much beyond Switzerland e. ____ and ____ above chaPter 4: ModerN art, ModerN GraPhIc deSIGN M3l2ipl( '*.i'( 1. Early in the 20th century, the Parisian neighborhood o7 _______________ cradled a new art community: a. Montparnasse b. Moulin Rouge c. du Chat Noir d. the Follies Bergere 2. Foremost among the painting styles developed in this milieu was: a. Dadaism b. Expressionism c. Japonisme d. Cubism 3. In this era and in this art community: a. graphic design played a central organizing role b. commercial art, including per7ormance posters were highly developed c. many artists earned considerable pro t 7rom their ties to advertising d. the 7orms created by painters and writers were a 7ertile source 7or later graphic design Test Questions to Accompany Graphic Design: A New History 8 4. Picasso 9s painting Ma Jolie is an example o7: a. the 7aith7ul rendering o7 the 7emale 7orm b. Analytic Cubism c. the use o7 text to complement images d. abstract Dadaism e. Synthetic Cubism 5. One o7 the modern urban enterprises which utilized the work o7 graphic designers was: a. the advanced telephone system in Paris b. the Orient Express trains which linked western Europe to Russia c. the underground railway system in London d. the large London department store, Harrods 6. The infuence o7 Cubism on graphic design is well illustrated by: a. the transportation posters o7 Edward McKnight Kau77er b. the rejection by most graphic designers o7 any ties to industrial capitalism c. a poster using abstract square 7acets to create an image o7 re d. the repetition o7 green squares in the trademark signs o7 the Tube in London e. both ___ and ____ 7. Futurism was: a. the name given to a group o7 utopian artists in Belgium b. an Italian social movement that sought to revolutionize Italy though dynamic words and images c. a vision o7 paci sm and general social harmony 7or a more rewarding human 7uture d. a movement to bring world peace by spreading literacy and art throughout the non-Western world 8. An element shared by Futurists and Vorticists and other designers o7 this era was: a. the expression o7 movement and speed, through various graphic devices b. combining o7 human and machine parts to create meaning c. an explosive sense o7 energy and excitement d. the blending o7 animal and human 7eatures into hal7-human 7orms e. all except ____ above 9. Infuential contributors to British book design and typography produced: a. a broader availability o7 high quality, exquisitely designed books made on the Monotype machine b. the Nonesuch Press, a publisher o7 nely designed volumes c. a greater acceptance o7 mechanical, as opposed to handset, type d. several infuential type7aces, including Gill Sans and Johnston Sans e. all o7 the above 10. The term cMachine Aesthetic d re7ers to: a. the 7act that machines are capable o7 their own aesthetic creations b. the e77orts in early industrial England to make 7actories more attractive places to work c. an appreciation o7 the wonders o7 industrial society d. a visual style expressing the aesthetic elegance o7 well-7unctioning machines e. both ___ and ___ above 11. La Corbusier 9s interior displayed in the 1925 Parisian exhibition o7 decorative arts: a. harks back to the rococo visions o7 the earlier Art Nouveau movement b. is similar in style and e77ect to the Purists 9 paintings c. used abstract geometric shapes in 7orming an everyday living environment d. would seem cluttered by our simpler 2001 standards e. both ___ and ___ above 12. The Paris exhibition o7 decorative arts in 1925 presaged: a. the evolution o7 a decorative style that came to be known as Art Deco b. a renewed emphasis on historicism c. a trend away 7rom emphasizing design style in household usable objects d. a return to the lea7y tendrils and sexualized depictions o7 exquisite women in poster design Test Questions to Accompany Graphic Design: A New History 9 13. Poster art in the era now called Art Deco shows elements o7: a. Japonisme dark outlines and fat planes b. architectonic images c. Expressionism d. Dadaism e. ____ and ____ above 14. The ship poster which best represented the a7fuence o7 Art Deco-inspired consumer goods was o7: a. The Titanic b. The Queen Elizabeth c. The Lusitania d. The Normandie 15. Examples o7 typography in the era known as Art Deco: a. exclusively used sans seri7 styles b. showed no similarity to other Art Deco creations o7 the period c. are no longer used today d. are readily recognized as consistent with the look o7 this era e. none o7 the above chaPter 5: revoLutIoNS IN deSIGN M3l2ipl( '*.i'( 1. In the Netherlands a7ter the First World War: a. the De Stijl artists spearheaded a movement to promote realistic images b. expressist art was seen as a way to emotionally heal the trauma o7 WWI c. Mondrian and van Doesburg were artists representative o7 Dutch Expressionism d. De Stijl a7 liated artists 7avored geometric abstraction as a universal visual language e. both ___ and ___ above 2. De Stijl di77ered 7rom previous artistic/social movements in other countries in that: a. it had no illusions o7 a peace7ul utopian 7uture 7or humanity b. oddly enough, no one associated with it developed a journal to promote it c. adherents o7 De Stijl 7ocused strictly on art, without a philosophical or social agenda d. it was strictly concerned with images; it had no infuence on architecture o7 the period e. ____ and ____ above 7. none o7 the above 3. Representatives o7 the De Stijl and the Dada movements: a. came to blows at the 1925 Paris Exhibition o7 the Decorative Arts b. revered past artistic traditions and attempted to incorporate them c. were little a77ected by the First World War, since most were beyond the age to serve d. collaborated during the 1920s on a series o7 per7ormances and publications 4. Popular Russian art 7rom the years be7ore WWI and the Bolshevik Revolution: a. had a graphic design tradition named lubok b. disappeared in its original 7orms and styles under Communism c. had a strong a7 nity 7or the chaotic art o7 the Dadaists d. was used to infuence religious and political values 5. Most pre-war Russian religious art was in the 7orm o7: a. icons b. cruci xes c. stained glass windows d. cathedrals 6. Visual elements that became important symbols in the new Russian Soviet state include: a. the ve-pointed red star b. a hammer and sickle, crossed on a red background Test Questions to Accompany Graphic Design: A New History 10 c. the color red d. re7erence to industrialization e. all o7 the above 7. Around the time o7 the Russian Revolution, avant-garde artists in Russia: a. was virtually non-existent b. was ercely independent o7 French aesthetic infuences c. was uncluttered, like the lubki traditional woodcuts d. developed a style called Suprematism 8. The Suprematists were: a. artists heavily infuence by Cubism b. an early R and B music group out o7 Detroit c. 7ragments o7 the 7ormer aristocracy who were also called cwhites d d. Russian industrial leaders who sought to overtake the West in manu7acturing 9. The new Communist government which governed the USSR a7ter the revolution: a. gradually began to criticize utopian abstract Suprematist artists 7or their impracticality b. was more congenial to Constructivism, in which industrial materials predominate c. never saw realized the magni cent building designed as the Monument to the Third International d. all o7 the above e. only ___ and ___ above 10. Designs by artists such as Rodchenko to advertise state-owned businesses: a. used a multiplicity o7 bright colors to attract consumers b. sought to create individual desire 7or products, to stimulate industrial productivity c. invoked patriotism and the call to duty to infuence the public d. used subtle appeals to a egalitarian utopian 7uture to motivate potential buyers 11. Photographs as an element o7 Russian graphic design: a. had to wait until the badly damaged agrarian society developed photographic technology b. were used innovatively by Russian designers c. were 7orbidden as bourgeois degeneracy by the Communist leaders d. were 7requently combined into collages designed to evoke new ideas e. ___ and ___ above 12. cAgitprop, d or agitation-propaganda: a. was mainly used be7ore the revolution, to mobilize the public b. was represented in posters with patriotic and revolutionary slogans c. was deemed by some artists to be inadequately presented by the older visual arts d. was the name o7 the secret police service which had supported the Tsar 13. Film posters during the 1920s in the Soviet Union: a. were stark examples o7 agitprop designed to glori7y the state b. sometimes demonstrated a sense o7 aesthetic delight and wit c. paled in comparison to the creativity 7ound in American lm posters o7 the time d. generally 7ollowed traditional presentations o7 stars and settings 14. El Lissitzky: a. was the presumed heir to Lenin 9s control o7 the government, be7ore his untimely death b. an isolated artist in the USSR who exempli ed Russian provincialism c. although popular with the public, 7ostered design which was a throwback to earlier styles d. was noted 7or 7abulously creative book covers and book layouts 15. Frequently 7ound images o7 Russian graphic design o7 this era include: a. gender equality b. meshing o7 machines and humans c. idyllic scenes o7 the gorgeous Russian countryside d. an emphasis on industrial production and modern architecture e. all except ____ above Test Questions to Accompany Graphic Design: A New History 11 chaPter 6: the BauhauS aNd the New tyPoGraPhy M3l2ipl( '*.i'( 1. The Weimar Republic was: a. the name given to a collection o7 German artists who attempted to 7ound their own utopia away 7rom urban areas: b. the democratic German governing body between WWI and the Nazi era c. an ironic name given to the early attempts o7 the Nazis to gain power d. the site o7 political, social, and artistic turmoil e. ____ and ____ above 2. The Constructivist concept o7 art and its relation to society: a. 7ound 7ertile soil in post-WWI Germany b. laid the groundwork 7or a return to Expressionism c. was in part implemented by Russian émigrés d. seemed antithetical to the Dadaists 9 vision o7 art e. all except ____ above 3. German lm-making a7ter the First World War: a. concentrated on bucolic, country li7e b. was intensely Expressionist in tone c. paid little attention to any emotional e77ect a lm might create d. were realistic and had a general calming e77ect on the viewer e. was unpro table, in part because 7ew posters advertising them were created 4. In the town o7 Weimar, Walter Gropius created an educational institution: a. known as the Bauhaus b. initially 7ocused on Constructivist principles c. to counteract the infuence o7 English and French design theory d. to honor the historic artistic past o7 Germany 5. Among the artistic and social values promulgated by Gropius and the Bauhaus were: a. gender equality between women and men b. the primacy o7 architecture in the regeneration o7 Germany c. at its outset, Expressionism d. the need to channel and direct the otherwise chaotic creative impulses o7 students e. ___ and ___ above 6. Over time, the curriculum espoused by the Bauhaus: a. diverged 7rom expressionism b. taught Constructivist principles o7 design c. provided students with precise tool-based drawing and design skills d. promulgated a machine aesthetic e. all o7 the above 7. The post-WWI Weimar constitution mandated gender equality in education, and thus: a. the Bauhaus was at the 7ore7ront o7 the movement educate women b. women students were encouraged to learn all aspects o7 art: architecture, sculpture, etc. c. under the Bauhaus system, textile design became a 7ully accepted artistic eld d. all o7 the above e. none o7 the above 8. The public exhibition required o7 the Bauhaus in 1923: a. cemented the image o7 the school as a stimulus 7or idiosyncratic, esoteric art b. was used by Gropius and others to highlight the new, technologically-rich curriculum c. unveiled the new, elaborated seri7 typography which because a trademark o7 the Bauhaus Press d . was depicted in a catalogue designed by Moholy-Nagy e. ___ and ___ above 9. In the mid-1920 9s, the Bauhaus school: Test Questions to Accompany Graphic Design: A New History 12 a. Moved to the industrial German city o7 Dessau, amid pressure 7rom the Weimar right-wing b. Set up additional branches in Zurich, Switzerland and Brussels, Belgium c. at last achieved an architectural home, in a new, unconventionally asymmetrical building d. essentially was phased out o7 German education, with the advent o7 the Nazis e. all but ___ above 10. Architecture under the principles espoused by the Bauhaus: a. eliminated ornamental 7eatures which had no inherent structural purpose b. 7ollowed the machine aesthetic in revealing the steel and concrete o7 which they were made c. responded to the principle c7orm 7ollows 7unction d d. was complemented within the interior o7 buildings by modern, spare, 7unctional 7urnishings e. all o7 the above 11. Graphic design and typography at the Bauhaus a7ter mid-decade: a. turned its 7ocus 7rom ne arts graphics to advertising and other commercial needs b. was inconsistent with the rest o7 the Bauhaus in clinging to older German traditions c. o7ten 7used geometric gures with photographic images d. used color sparingly e. all except ____ above 12. The term ctypophoto d re7ers to: a. the kind o7 7ormal 7amily photograph pre7erred by bourgeois Germans o7 this time b. an attempt to create the look o7 a photograph out o7 tiny, massed letters c. an idealized 7orm o7 communication requiring both photographic images and typography d. the New Typography, which used no capital letters e. ___ and ___ above 13. The Bauhaus survived as long as it did in Germany in part because: a. it espoused radical politics consistent with the prevailing German political ethos b. wealthy industrialists supported it through grants and bequests c. students completing its curriculum became major political leaders in Germany d. it cfew below d the political radar by public emphasis on technology as society 9s savior 14. Typographical experiments at the Bauhaus included: a. type7aces created entirely using a compass, ruler, and t-square b. nearly unreadable geometric but highly stylized sans seri7 type c. letters based on the much-revered German Blackletter tradition d. a Universal type7ace using only lower-case letters e. all except ____ above 15. Tschichold 9s infuential book both discussing modern book design and typography makes the point that: a. symmetry tends to deaden the e77ect o7 written and illustrated pages b. clear communication should be the ultimate goal o7 any graphic designer/typographer c. dynamic, modern images are enhanced by the integration o7 photographic e77ects d. the New Typography helps implement social change in the direction o7 greater equality e. all o7 the above chaPter 7: aMerIcaN art deco aNd the SecoNd worLd war M3l2ipl( '*.i'( 1. In the United States, the 1920s and 830s saw: a. a rise in the status and visibility o7 the pro7ession o7 graphic designer b. a many-7old increase in dollars spent on advertising c. a new pro7essional job title, cart director d 7or some designers d. the separation o7 art versus text design in advertising into uncoordinated work spheres e. all except D above. Test Questions to Accompany Graphic Design: A New History 13 2. During these decades a. American graphics and typography tended to be more conservative than that o7 Europe and Great Britain b. American graphic design drew most inspiration 7rom the commercial modern (Art Deco) style c. the aesthetic starkness o7 Bauhaus design also played a signi cant role in the U.S. advertising world d. all o7 the above e. all but C above 3. The 1930 inaugural issue o7 Fortune magazine illustrates: a. the daring, eye-catching work o7 the new American designers b. only very 7ew nascent elements o7 modern graphic design c. by and large, the staid, conservative outlook o7 American business d. beauti7ully integrated text and images e. B and C above 4. The term c7ull bleed d re7ers to: a. a photographic image completely covering a page 7rom margin to margin b. the way in which publications working on deadlines exploited their workers c. the use o7 blood read as the dominant color in advertisements d. a style opposed by Vanity Fair art director Mehemed Agha e. the care7ul integration o7 text and image on a single page 5. The rst woman art director o7 a mainstream magazine was: a. Condi Nast b. Agatha Metta c. Cipe Pineles d. Margaret Bourke-White e. none o7 the above 6. PM magazine was: a. a periodical aimed at a7fuent American society b. a graphic design trade journal which showcased many avant-garde styles c. a section o7 the New York Herald Tribune devoted to night li7e d. both ___ and ___ above e. none o7 the above 7. The U.S. government responded to the economic plight o7 artists during the Great Depression by: a. saving money by 7urther cuts in government 7unding o7 art projects b. providing work 7or some artists to paint murals in public buildings c. encouraging artists and other unemployed citizens to join the military service d. sponsoring widely viewed posters under the Federal Art Project e. B and D above 8. The two posters 7eatured in this chapter which publicize the value o7 rural electri cation a. are examples o7 the Constructivist infuence on American art b. refect the government 9s restrictions on artists 9 personal creativity c. catch the eye through the vivid use o7 varied colors d. are examples o7 the Cubist infuence on American graphic art. e. none o7 the above 9. 1930s exhibits at the Museum o7 Modern Art (MoMa) in New York included a. a display o7 the International Style in architecture b. a series o7 modernistic Art Deco painting and Sculpture c. a Machine Art exhibition, highlighting the design o7 everyday mass-produced objects d. a Cubism and Abstract Art exhibit e. all except B 10. The Chrysler Building in New York City: a. is a classic example o7 the International Style o7 architecture b. embodies geometrically designed Art Deco elements Test Questions to Accompany Graphic Design: A New History 14 c. pays homage to the aesthetics espoused by the Bauhaus d. was 7aulted by critics 7or lack o7 symmetry e. was stunning in overall e77ect, but lacked ornamentation 11. As the Nazis rose to power in the 1930s: a. pulp ction with its lurid covers was outlawed in Germany as decadent b. cDepartment V d was established in Germany to monitor visual arts c. The Bauhaus, with its simple, 7unctional designs, became the ideal supported by the German elite d. Modern graphic styles were suppressed in 7avor o7 conservative realism e. only B and D 12. Nazi-approved visual images in the 1930s 7requently invoked: a. modern urban li7e and work b. the use o7 7rakur lettering c. actual swastikas and/or swastika-like shapes d. Expressionist appeals to emotion e. B and C above 13. Nazi regulations regarding type7ace usage in the 1930s: a. reasoned that German identity was best refected in the pre7erred 7rakur script b. declared all publications in German had to be printed in 7rakur c. banned blackletter type7aces under threat o7 jailing o7 designers and publishers d. were overturned in 1941 when Roman type7aces became the o7 cial standard e. A and D above 14. Designer John Heart eld: a. used Cubist decoupage to glori7y the German government 9s accomplishments b. used photomontages to ridicule and oppose Hitler and his associates c. was and American artist stranded in Berlin during the Nazi era d. used images o7 idealized laborers to exalt the new Germany e. was instrumental in the German dismantling o7 the Bauhaus 15. Themes displayed 7requently on war posters during the Second World War included: a. appeals to guilt similar to the e77ective British cDaddy, what did you do in the war? d World War One poster b. idealized visions o7 power7ul, competent women and men c. realistic representations o7 patriotic citizens supporting their country d. clear Art Deco and Sachplakat design elements e. all but A above chaPter 8: the trIuMPh of the INterNatIoNaL StyLe M3l2ipl( '*.i'( 1. The post-WWII practitioners o7 the Swiss International Style: a. made extensive use o7 a 1896 type7ace called Akzidenz Grotesk b. renewed uses o7 the concepts o7 Constructivist 7unctionalism c. linked use o7 clear, readable type7ace to their dream o7 utopian harmony d. strove 7or the grace and elegance o7 complete symmetry e. A and B above 2. The pro7essional role o7 graphic designer evolved in the 1950s to include: a. creating corporate logos b. computer graphics c. translation o7 classical Chinese manuscripts d. political advocacy 7or world peace e. All except C above Test Questions to Accompany Graphic Design: A New History 15 3. Poster designers working in the International Style sometimes used: a. typophoto techniques b. hand drawn lettering and images c. image placement similar to that used in iconic Constructivist works d. all o7 the above e. all except ___ above 4. Type7aces developed in this period which are still 7requently employed today include: a. Helvetica b. Univers c. Optima d. all o7 the above e. all except ____ above 5. The new type7aces o7 the 1950s: a. o7ten used ornamental geometric seri7s b. sometimes were used with the new phototypesetting technology c. were much easier than earlier scripts to reproduce on linotype and monotype machines d. had problems o7 legibility when viewed at a distance e. all o7 the above 6. The red and yellow VOLG grape juice advertisement discussed in this chapter, which depicts a man driving wearing sunglasses, is an example o7 a c7ull bleed d image in that: a. the red fat spaces symbolize blood b. it points to the dangers o7 automobile accidents c. the photograph o7 the man extends 7rom margin to margin d. it idealizes cred-blooded d Swiss manhood e. ___ and ___ above 7. The journal Neue Gra k (New Graphic Design): a. solidi ed Switzerland 9s position as the center o7 the International Style b. was in part written collaboratively with only indirect attribution c. exempli ed the International Style dictum not to mix type7aces d. 7urther illustrated the International Style crule d that the weight o7 the lettering should be proportionate to the importance o7 what is written e. all o7 the above 8. In England: a. Times New Roman was developed 7or the London newspaper, The Times b. The New Typography soon became infuential in advertising circles c. Jan Tschichold, originator and then repudiator o7 the New Typography, took over production o7 Penguin Books d. The rules 7or acceptable typography became more and more rigid. e. A and C above 9. In the U.S. practice o7 typography and graphic design a7ter World War II: a. most designers rejected the rigid orthodoxy o7 New Typology rules b. the variety and whimsy o7 the work o7 Alvin Lustig was a prime example c. numerous riveting and innovative lm posters were produced d. all o7 the above e. only ___ and ___ above 10. Commercial and corporate use o7 graphic design in the U.S. in the post-WWII era: a. 7avored abstract geometric elements b. led to the creation o7 corporate logos, many o7 which we still see today c. is exempli ed by the Container Corporation o7 America 9 adoption o7 a logo and other graphic emblems o7 corporate identity d. all except ____ above e. all o7 the above Test Questions to Accompany Graphic Design: A New History 16 11. Post-war German typography: a. was stimulated by the 7ounding o7 the University o7 Design in 1951 b. 7ocused on the actual practice o7 design rather than its intellectual underpinnings c. was o7ten whimsical in character d. used 7rakur typography to evoke a distinctly German ethos e. sought to be trendy and cutting edge to help erase the image o7 German stodginess 12. E77orts to make abstract design more acceptable to American consumers included: a. a MoMa exhibit which interlaced abstract ne art with examples o7 more commercial abstract design b. a series o7 curricular changes in public school art classes c. the replacement o7 several scheduled Norman Rockwell covers with abstract renditions o7 the same moti7s d. all o7 the above e. none o7 the above. 13. Three examples o7 corporate logos illustrated in this chapter are: a. COKE, Toyota, Hershey b. Lu7thansa, IBM, ENRON c. AT&T, Paci c Li7e, Budweiser d. McDonalds, Shell oil, Camel cigarettes e. all o7 the above 14. Graphic designers 9 contributions to corporate identity can include: a. architecture 7or corporate buildings b. packaging c. telephone menus d. stationary e. All except C above 15. The German architect Ludwig Mies van der Rohe: a. made major contributions to restoring the classic look o7 bombed out European cities b. was a leader in Chicago higher education 7or architecture and design c. le7t an indelible mark on urban centers o7 the world through the skyscraper d. was the last Director o7 the Bauhaus be7ore it was closed by the Nazis e. all except A above chaPter 9: PoStModerNISM; the returN of exPreSSIoNISM M3l2ipl( '*.i'( 1. Postmodernism, as it pertains to graphic design: a. re7ers to modernism, a7ter (post-) World War Two b. means design which does not 7ollow the conventions o7 the International Style c. includes among other elements, clutter, blurs, cmistakes, d mixes o7 type7aces, etc. d. has completely supplanted modernism at the present time e. only B and C above 2. In the 1960s the counter culture in the United States a77ected graphic design by: a. psychedelic and pop art posters 7or music groups and per7ormances b. posters clearly inviting purchase o7 luxury and com7ort items c. stark and sophisticated use o7 black and white images d. suppressing both expressiveness and abstraction in 7avor o7 realism e. all o7 the above 3. Rock music o7 the 60s and 70s was heavily publicized through: a. Rolling Stone and Oz magazines b. kiosks located strategically near counter cultural communes c. skill7ully produced advertisements in mainstream magazines d. an underground o7 people who shared bootleg copies o7 concert records e. only ____ and ____above Test Questions to Accompany Graphic Design: A New History 17 4. The Push Pin Monthly Graphic: a. was a monthly magazine devoted to rock music b. was a serious journal o7 design scholarship c. utilized an amazing array o7 graphic styles 7rom diverse eras d. was the venue in which a New York graphic design rm tried out inventive design techniques e. only C and D above. 5. The most 7amous creation o7 Milton Glazer, one o7 the Push Pin 7ounders, was: a. the logo 7or IBM b. the cwe can do it d Rosie the Riveter poster c. the I clove d N Y image d. the Enron logo e. the album cover 7or Sergeant Pepper 9s Lonely Hearts Club Band 6. A rebus is: a. a communicative device using pictures that the viewer will interpret as a sound or word b. a type o7 rock music o7 the 860s c. the name o7 a rock band whose rst album 7eatured guitars escaping the exploding earth d. exempli ed by using an image o7 an eye to stand 7or the rst person pronoun, I e. both A and D above 7. cVernacular Art d was: a. another name 7or Conceptual Art b. made more widely acceptable by Andy Warhol c. 7requently made up solely o7 wildly spaced words and letters d. everyday graphics such as restroom and tra7 c signs that people use o7ten but rarely think about e. both B and D above 8. Among the important 7eatures o7 post modern graphic style one might nd: a. appropriation o7 images 7rom unexpected and disparate sources b. cplaying d with di77erent type7aces and text design, within the same work c. idiosyncratic and even eccentric works embodying the designer 9s personal vision d. humor, satire, and/or irony in place o7 serious, straight7orward messages. e. all o7 the above 9. Parallels that can be discerned between post modern architecture and early post modern graphic design include: a. use o7 mixed elements 7rom di77erent time periods b. clear signs o7 inspiration deriving 7rom the International Style c. experimentation with vernacular elements in conjunction with more pro7essionally ccreated d aspects d. the doctrinaire use o7 volume, regularity, and lack o7 ornamentation e. only A and C above 10. Wol7gang Weingart in the 1970s and 1980s: a. was an inspirational design teacher based in Switzerland b. articulately advocated loosening the bonds o7 International Style norms c. Signaled a total break 7rom the International Style in that NO aspects o7 International Style were permitted in his own or his students 9 work d. was most noted 7or posters o7 7uturistic Dada-esque chaos e. only A and B above 11. Among the many graphic designers infuenced by Weingart was the owner o7 a Los Angeles design rm who pioneered digital design: a. April Grieman b. Dan Friedman c. Allen Hori d. Katherine McCoy e. Robert Venturi Test Questions to Accompany Graphic Design: A New History 18 12. Elements o7 mature post modern design that can be 7ound in works 7rom Holland and Great Britain, and include: a. variation in spacing and orientation o7 letters and words b. e77ects which suggest spaces 7ar vaster than the simple dimensions o7 a poster c. creative use o7 illegibility d. kinetic elements, expressing shi7ting motion e. all o7 the above 13. Tibor Kalman was: a. a Dutch designer who introduced digital technology to European designers b. a 7ormer student and disciple o7 Wol7gang Weingart c. a designer who used vernacular art in posters both 7or commercial and 7or political activism purposes d. all o7 the above e. none o7 the above 14. Postmodern infuences can be detected in: a. the 1953 high-rise design o7 the Pruitt-Igoe public housing project in St. Louis b. The dresser-shaped AT&T building in the New York City c. the revolutionary developments in typography starting in the 1980s d. bit-mapped type7aces such as Emperor 8 e. all except A above 15. Pro7essional designers in the 1960s and later used their medium 7or social activism: a. which (using art to promote particular social/political views) was unprecedented b. in part because o7 the radical infuence o7 the International Style c. in searing posters reminiscent o7 the catrocity image d posters used in World War One d. all o7 the above e. only ___ and ___ above chaPter 10: coNteMPorary GraPhIc deSIGN 1. Among the directions graphic design has ventured into since 1990 is/are: a. abstract, expressive, disturbingly 7ractured and interrupted images collectively termed cgrunge. d b. co-option by corporations o7 hip, cool, anti-establishment themes and images, retooled to sell products. c. historicist melding o7 design traditions such as Japonisme, Art Nouveau, Sachplakat, Constructivism, and the like d. type7aces with astonishing, almost carnivorous seri7s e. all o7 the above 2. An interesting twist in the pro7essional and public roles o7 designers has been: a. the rise o7 collaborative design studios simultaneously with the appearance o7 individual ccelebrity d designers b. the apparent disjuncture between the personal anti-establishment stance o7 some designers in the 7ace o7 the use o7 graphic design to sell products, services, per7ormances, and even patriotism c. the meteoric success o7 some individuals with no design training at all, in a pro7ession which has o7ten proposed clear and supposedly inviolable rules d. all o7 the above e. ____ and ____ above 3. The 8horror vacuii 9 e77ect illustrated in this chapter in Art Chantry 9s work and re7erenced in earlier chapters re7ers to: a. mutant monsters appropriated 7rom pulp ction and comics b. the large fat empty planes or vacuums in some compositions c. design in which every square inch o7 a page is covered with word or image or both. d. ___ and ___ above e. none o7 the above Test Questions to Accompany Graphic Design: A New History 19 4. A classic example o7 the way in which corporate entities have turned the counter-cultural energies o7 the young into a viable commercial resource is/are: a. MTV 9s practice o7 hiring iconoclastic young designers straight out o7 school to imagine and create a fow o7 designs b. Ste7an Sagmeister 9s incised body art poster 7or the Cranbrook Academy o7 Art c. Elliot Earl 9s Blue EyeShadow type7ace d. The use in the 7ormer Soviet Union o7 cheroic worker d images e. all o7 the above 5. The single most infuential contemporary book cover designer(s) in the U.S. was/were: a. Ste7an Sagmeister b. Art Chantry c. Marshall McLuhan d. Chip Kidd e. the stable o7 designers at MTV 6. Contemporary trends in the pro7ession o7 graphic design include: a. comparatively MORE control over their work being retained by the designers themselves b. a reduction in the use o7 artist-drawn illustration c. the adaptation o7 comic book style drawing to corporate ends d. coutsider art d such as gra7 ti used 7or commercial purposes e. all except A above 7. The new technology aesthetic in graphic design: a. echoes to some degree the look o7 video games b. once more linked designers to dreams o7 an equalitarian utopia c. rejected the dense clayered look d used in the past by grunge designers d. included new stylish type7aces which seem 7uturistic e. all except C above 8. What is/are the parallels or di77erence/s between Web Design 1.0 and Web Design 2.0?: a. 1.0 is 7or sophomores; 2.0 is 7or juniors or seniors b. inexpensive so7tware programs have permitted millions o7 people to dabble in both c. interactivity d. Web Design 1.0 7ollows strict norms 7or layout and content, while 2.0 does not e. ____ and ____. 9. Ambiguities or unclear areas concerning the 7uture o7 web design include: a. the extent to which web design and print media can and will be integrated b. the e77ect o7 the marketplace on design o7 websites c. the relative mix o7 pleasing aesthetics versus navigability d. the tension between the necessity o7 bottom-line brand recognition with the public 9s appreciation o7 the visually astonishing e77ects possible with interactivity, which sometimes obscure what is being promoted e. all o7 the above 10. Among the techniques used to engage viewers with interactive web-based sites are: a. viral advertising b. use o7 Flash, which makes images portable to a variety o7 di77erent desktops c. cash payments 7or viewers who make the best contributions to an interactive design d. o77ering viewers the chance to add their own image or words to the on-going design e. all except C above. 11. Motion graphics: a. is an entirely new eld, without roots in the world o7 graphic design b. is perhaps the most challenging medium in graphic design today c. derives in part 7rom traditional animation lms d. has made signi cant contributions to lm titles at least since the Man with the Golden Arm e. all except A above Test Questions to Accompany Graphic Design: A New History 20 12. The latest developments in digital graphic design have led to: a. the need to combine audio elements, especially music, with visual ri77s b. making use o7 a variety o7 so7tware programs, many o7 which are also used in modern lm-making c. a need 7or teams with varied so7tware skills 7or a design 9s execution, even though individual designers still may be the creative engine and conceptual creator d. the need 7or a ccompositor d to align and coordinate the many threads o7 any one design e. all o7 the above 13. The digital revolution in graphic and typographic design has not been without negative consequences, such as: a. the abundance o7 many poorly-conceived sel7-designed websites b. the loss o7 typographical precision which was more possible using metal type c. the proli7eration o7 aesthetically in7erior type7aces such as Arial, which was originally used as a de7ault 7ont 7or Microso7t d. the inexpensive so7tware allowing anyone to create and modi7y type has made the number o7 type7aces available so nearly in nite that evaluating them is almost a lost art e. all o7 the above 14. What are the arguments which suggest that contemporary graphic design is NOT truly global?: a. there are 7ew printed sources and 7ewer websites in non-Western countries, and thus little cglobal d design b. Western designers have a long history o7 borrowing non-Western design (think Japanisme) and this is what has happened today, not a global inter-7ertilization c. many corporate entities emanating 7rom the U.S. have disseminated their graphic images world wide, which have been then copied by indigenous cultures. d. since much o7 the desktop technology with which graphics are created originated in the U.S., it is no surprise that there is much resemblance to Western art work. e. all except A above 15. The main sources o7 truly global graphic design are: a. examples 7rom countries which have a multi-cultural ethos, such as Singapore b. design products 7rom rms which specialize in crossing national and ethnic boundaries in publicizing products c. those associated with widespread American products, such as McDonalds, KFC, etc. d. all o7 the above e. all except C above 16. The acronym DIY re7ers to: a. the graphic design dictum: cDon 9t Imitate, You! d b. the 7amous logo 7or to the most success7ul global graphic design rm to date c. Design In7ormation Yearbook . . .the most up-to-date set o7 design rules d. Design it Yoursel7 (or do it yoursel7) e. none o7 the above 17. One o7 the modes in which people wishing to express themselves have recently been able to do so through 7orms o7 graphic design has been: a. making independent posters 7or little or no payment to advertise local events b. social networking sites such as Facebook and MySpace c. interactive sites such as Nike iD which permits consumer input into the color o7 their shoes d. only ___ and ___ above e. all o7 the above Test Questions to Accompany Graphic Design: A New History 21 18. Many pro7essional designers in recent years have written and spoken about a responsibility they 7eel to transcend the commercial aspects o7 design, and in addition to bene t society at large through their abilities to encapsulate and convey ideas: a. this shows a markedly 21st century mindset, since early designers thought only o7 their art and its utility b. this resonates with the impulses o7 William Morris some 150 years ago, as he dreamed that high quality design could ameliorate the evils o7 the modern industrial age c. it 7urther is reminiscent o7 hopes 7or social change espoused by some (7ar 7rom all) designers in virtually every epoch since d. cCitizen designers d who seek positive social change in the current world see themselves as public intellectuals e. all except A above 19. Bruce Mau 9s exhibit cMassive Change d: a. called 7or the dismantling o7 the capitalist system, by 7orce i7 necessary b. o77ered a dim view o7 the 7uture 7or humanity, unless Massive Change takes place c. optimistically predicted that people 7rom all walks o7 li7e, could nd a middle ground between capitalism and socialism d. proposed that graphic designers were well suited to be cphilosopher-kings d in the new harmonious order. e. celebrated globalization as one means by which international understanding could be reached 20. Why might questions o7 the meanings and purposes o7 one 9s work li7e be likely to occur to people in the eld o7 graphic design?: a. attuned as they are to aesthetic principles, they may become conscious o7 and question disharmonious elements in their lives and the world around them b. since it must be clear to most designers that their work actually infuences the behavior o7 at least some o7 those who view it, a sense o7 responsibility 7or a77ecting others may ensue c. artists o7 all varieties have o7ten 7ound themselves on the outside o7 mainstream society, looking in and recording it, and, it seems, evaluating what is good and what might be made better d. the present culture in Western societies has a strong undercurrent o7 doubt about the virtues o7 unrestricted capitalism; since designers o7ten work to enhance the success o7 corporations, their inevitable awareness o7 these currents may stimulate ambivalence and a desire 7or social change e. all o7 the above.

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