Graphic Design Test Questions

Multiple Choice
1. Justified text refers to: a. starting (or stopping) each line so that text starts (or ends) evenly at a defined margin b. text which is relevant to the matter at hand c. the appropriate or desirable text for a given message d. text relating to justice or fairness, such as the Guttenberg Bible 2. The development of mechanical printing with movable type: a. ushered in the Dark Ages, as children were increasingly confined in dark, oppressive schools b. surprisingly enough, was initiated by Chinese scholars long before Europeans discovered the art c. was discouraged by the French royal government during the years before the French Revolution, for fear of instigating widespread discontent through literacy d. none of the above 3. Blackletter refers to: a. letters shaped with the flourishes and design similar to medieval calligraphy b. typefaces which cannot be printed in color c. the usual form of official writing used on judgments demanding execution of offenders d. both ___ and ___ above e. none of the above 4. Johann Guttenberg: a. invented the printing press b. created the first cast metal type c. published a two-volume Bible using the new technology d. none of the above e. only __ and __ above 5. Once a clear, reproducible typeface (Garamond, for example) was introduced: a. there was no need for further experimentation in typeface b. printers found that 10 20 typefaces satisfied all their needs c. typefaces continued to increase in number and variety, with more than 300 identified by the early 1800s d. So-called modern typefaces were rejected by tradition-bound Europe 6. One important influence on typefaces and printing in the 19th century was: a. the birth and development of graphic design b. the invention of movable type c. the discovery of indelible ink d. the need for political posters fostering the French Revolution

7. The Industrial Revolution refers to: a. the unrest of factory workers prior to unionization b. the 19th century shift from home and farm production, to factory production c. the introduction of 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 of sans serif typefaces, since printing presses could not reproduce them b. the stimulus to graphic design, given the need for legible, inviting typography to advertise products c. vastly overestimated, as graphic design already was a major art field d. graphic design help wanted ads seeking factory workers speeded up the revolution e. none of the above 9. The typographical form serif, and its counterpart, sans serif: a. are irrelevant to present day typography b. make reference to the written form of the Chinese alphabet c. denote presence or absence of small strokes at the ends of letterforms d. are forms of photographic reproduction popular in the 19th century 10. The Victorian era (the mid and late 19th centuries) yielded a. uniformly professional and aesthetically pleasing typography b. special sites called hoardings where posters and images could be displayed publicly c. great graphic consistency in the magazine and advertising usage of typefaces and images d. a fully developed artistic profession for talented graphic designers 11. According to influential 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 of workers b. led to mass production of works of art heretofore available only to the rich c. created a whole new social class of highly skilled craftsmen d. negatively affected the lives and quality of work of millions 12. Among the influences on the design tradition that came to be called Art Nouveau were: a. the Arts and Crafts movement b. the French Rococo style c. Japanese woodblock prints d. all of the above 13. Designers who were important in producing and furthering 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 of the above e. only ____ and ____ above 14. Recurrent examples of Art Nouveau imagery include: a. sensuous young women, plant tendrils, alcohol, and dance b. geometric figures in monochromatic designs c. the plight of exploited workers in satanic mills d. primitive, often unclothed, South Sea islanders

15. Art Nouveau style posters in the 1890s: a. mostly originated in the lush American art scene b. utilized the art of color lithography c. often advertised products, performances, and the like d. all of the above e. only ____ and ____ above 16. The contribution of Japanese aesthetics to American poster design: a. included large color blocks and heavy black lines delineating images b. fanciful, transparently dressed female figures c. utilization of every square inch for detail d. sinuous, intertwining lines curving throughout the composition: 17. The depictions of women in poster art during the Art Nouveau period: a. included images of women in realistic, non-sensual activities and poses b. failed to reflect the trend of broader participation of women in ordinary life c. were modest almost to the point of prudery in many American posters d. were erotic and disturbing in this otherwise conservative Victorian era e. all except ___ above 18. Typefaces and lettering as elements of design during this time: a. changed little, as the emphasis was on images, not words b. frequently failed to complement the Art Nouveau images c. underwent massive change with the invention of typesetting machinery d. evolved to include typefaces still used widely today e. only ___ and ___ above 19. Sans serif typefaces: a. are an example of the influence of Japanese design b. literally lack serifs c. are most often used in dense, small-size text d. vanished forever under the influence of Art Nouveau style 20. An important aspect relating to graphic design derived from the industrial revolution was: a. the development of advertising agencies to promote products b. ever-increasing markets for consumer goods stimulated in part by posters c. the invention of the monotype and the linotype machines d. all of the above e. only ___ and ___ above 21. Magazines that made important use of art nouveau graphic design included: a. National Geographic and Life b. Ladies Home Journal and Sports Illustrated c. Moulin Rouge and Le Chat Noir d. Harpers and Lippincotts 22. One issue in the development of graphic design as a recognized art form was: a. the tendency for all graphic design to look alike b. the inability of existing technologies to reproduce color accurately c. failure by graphic designers to publicize their best works d. a public perception that true art consisted of painting and sculpture, not images

often used to sell products 23. French Symbolisms influence on graphic design during this period: a. is reflected in mystical, often sensual, images b. is illustrated in American circus posters c. was inconsequential d. all of the above 24. The Aesthetic movement in late 19th century England: a. was critiqued as overly erotic and decadent b. in part was inspired by the elements of Japanese design c. spawned Aubrey Beardsleys illustrated literary journal, The Yellow Book d. was a counter-influence to the Art Nouveau trend e. all except ___ above 25. The Beggarstaff brothers: a. part of a family of divinely gifted graphic and fine artists b. the pseudonym for two artists whose strong, simplified designs exemplified the Japanese style c. ran an important advertising agency out of the burgeoning borough of Manhattan d. designed the most famous poster never published e. only ___ and ___ above 26. The Four, from Scotland, consisted of: a. four professional graphic designers who started the first Scottish advertising agency b. a group of artists sentenced to four years in prison for outrageous eroticism in their work c. the four central forms of Scottish art: painting, sculpture, architecture, and poetry d. four related Scottish artists who imbued Art Nouveau imagery with a Celtic flavor 27. A notable element in posters designed by the MacDonald sisters and their husbands was: a. their use of diagonal stripes to delineate sections of each work b. the sexual suggestiveness of their female images c. Vertically elongated lines and figures, with some use of symmetry d. the use of animal shapes to form letters 28. Near the turn of the 20th century, artists in Vienna formed a progressive alliance called: a. the Vienna Secession b. the Arts and Crafts movement c. Art Nouveau d. the Symbolist movement 29. Foremost among members of this new artists group was: a. Henri de Toulouse-Lautrec b. Gustav Klimt c. The Beggarstaff brothers d. Aubrey Beardsley 30. Various members of this avant-garde artists group: a. sought to exemplify Gesamtkunstwerk (total work of art) in their creations b. designed and facilitated construction of what became one of Viennas most notable buildings c. promoted innovative aspects of Art Nouveau style in typography, as well as in graphics

d. all of the above e. only ___ and ___ above 31. The graphic work of these Viennese artists: a. evolved over time to incorporate more geometric forms b. utilized style elements from European traditions other than those of Austria c. showed little of the Japanese influence d. all of the above e. only ___ and ___ above 32. The term crafts, as used for example to denote the Arts and Crafts movement, refers to: a. home industries such as quilting and lace-making b. furniture design and decorative metalwork c. book design and binding d. all except ___ above. 33. At the theoretical level, many of the artists in this general time period: a. hoped to beautify a world they saw as increasingly dull and mass-produced b. longed for the riches and fame of artistic generations which had preceded them c. sought to establish design styles reflecting their own national or regional identity d. believed that the industrial age had created a utopia for workers and artists alike e. only ____ and ____above. 34. A new organization, the Wiener Werkstatte, developed after the turn of the century, emphasizing: a. a more geometric style b. collaborative credit for artistic productions c. sleek and elongated furniture and household objects d. a further rejection of Japanese motifs favored by earlier designers e. all except ____ above 35. A subset of graphic designers of 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 of everyday objects c. their aim was to emphasize feelings and emotions d. both ___ and ____