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Harper's Bazaar GD 135 HISTORY OF GRAPHIC DESIGN Chapter17 ............................................................................................................... The Modern Movement inAmerica TERMS: • Rural Electrification Administration (pgs. 372-373 • Works Progress Administration (pgs. 376, 378-379) • Container Corporation of America, CCA (pgs. 379-381) • Informational and scientific graphics (pgs. 387-389) PEOPLE AND PLACES • 1913 Armory Show (pg. 371) • The New Bauhaus in Chicago (pg. 379) • William Addison Dwiggins (pgs. 370-371) • Lester Beall (pgs. 371-372) • Erté, Mehemed Fehmy Agha, Alexey Brodovitch & Alexander Liberman (pgs. 373-377) • Joseph Binder (pgs. 376, 378 ) • Jean Carlu (pgs. 380-381) • Walter P. Paepcke (pgs. 379-381) • Herbert Bayer (pgs. 388-389) • Ladislav Sutnar (pgs. 387-389) ................................................................................................................................. Chapter 17 Study Questions American graphic design during the 1920s and 30s After two decades in advertising design, Addison was dominated by ____________. Dwiggins began designing books that implemented 1. the3. elements of modern design. Which one of the following A. traditional illustration C. modern art was NOT part of this style? B. constructivism D. socialists A. sans-serif type C. cubist collages Modern Art was introduced at the 1913 Armory Show B. neoclassical design and D. subtle color in New York where it was _______________. By the pictorial illustrations combinations 1930s,2. modernism slowly influenced book design, editorial design, and promotional and corporate graphics in America. Born in Kansas City, Lester Beall broke with traditional advertising layout by implementing A. met by a storm of protest and publicly rejected elements4. of the new typography and Dada’s random organization. His visual posters for the _______________ B. welcomed enthusiastically by the American public helped introduce electricity to rural America. C. deemed as degenerate art and banned in America A. Obama Admin. C. The World’s Fair D. already in use by American designers B. Rural Electrification Admin. D. 1913 Armory Show Name the four immigrants credited for bringing The WPA, Works Progress Administration, poster European modernism to American graphic design that project was part of which administration of were5. all coincidently Russian-born, educated in France, and American10. government? worked in editorial design for fashion magazines: A. President Obama and Affordable Health Care A. Rockwell, Leyendecker, Flagg, & Beall B. President Roosevelt and the New Deal B. Picasso, Leger, Dali, & Kandinsky C. Walter Paepcke and the CCA C. Erté, Agha, Brodovitch, & Liberman D. None of the above D. Raphael, Leonardo, Donatello & Michaelangelo On the eve of World War II, world events forced the United States to cast aside its neutrality, Renowned for his fashion designs, set designs, traditionalism,11. and provincialism. The 1939 poster for the 6.illustrations, and graphics, Erté became a major New York World’s Fair by Joseph Binder signifies America’s proponent of the art deco sensibility. What American embrace of ____________________. magazine did Erté join as designer and fashion illustrator? A. sentimental Americana A. Harper’s Bazaar C. Newsweek B. modernism, technology, and global power B. Vogue D. Vanity Fair C. modern pictorialism Mehemed Fehmy Agha was invited by Conde Nast D. minimalist reductivism to become art director for the American edition of7. Vogue magazine. He eventually took over the design Walter Paepcke was a manufacturer of paperboard responsibilities for Vanity Fair and Home and Garden, as and corrugated-fiber containers and a “patron of well. The first art director trained in modern design, Agha design.”12. He recognized that design could serve a business transformed the American periodical by introducing purpose and become a major cultural thrust on the part of __________________. the corporation. The company was called: A. bleed photography A. Works Progress Admin. B. machine-set sans-serif type B. The New Bauhaus C. white space and asymmetrical layouts C. Container Corp. of America D. all of A, B, and C D. Harper’s Bazaar Alexey Brodovitch joined Harper’s Bazaar as art In two landmark books, Catalog Design and 8.director in 1934 where his passion for white space Catalog Design Progress, Ladislav Sutnar and open pages sought “a musical feeling” in the flow of developed13. a system for structuring information in a logical text and pictures, which was energized by the art and and consistent manner. Information design was defined as photography that he commissioned from major European a synthesis of which three characteristics? artists. Brodovitch’s unceasing request of his designers was: A. function, flow, and form C. shape, line, and color A. “Humor me” C. “Start over” B. left, right, and center D. red, blue, and yellow B. “Astonish me” D. “Show me the money” An important milestone in the visual presentation Alexander Liberman suceeded Agha as the art director of data was the publication of the World Geo- for Vogue magazine in 1943. Liberman’s early work for Graphic14. Atlas by CCA in 1953. Which European immigrant the9. French weekly Vu magazine featured layouts that gave designed this? ____________ a leading role and was the inspiration for American magazines Life and Look. A. László Moholy-Nagy C. El Lissitzky A. illustration C. motion pictures B. Theo Van Doesburg D. Herbert Bayer B. cartoons D. photography.
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