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.

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.

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.

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

1.    The design of the typeface Akzidenz Grotesk marked a major step in the evolution of the unified and systematized type family.

At the close of the 19th century, manufacturers and retailers were interested in achieving superior design and printing for their advertising.

Newspaper ads promoting cabarets, theater, circuses, music halls, and other cultural events were immensely important decoration to the urban environment.

Poster design began to flower in the Early Modernism era and revitalize the art of the business-advertising.

British artists William Nicholson and James Pryde were otherwise known as...

The Beggarstaffs were inspired by design from...

The Beggarstaffs used _________ to compose their designs

In an effort to interest manufacturers in their approach, they made _________ posters which they offered for sale at trade expositions.

The Beggarstaffs had considerable influence on what would become known as the __________ poster in Europe and America.

The Wiener Werkstätte (“Vienna Workshop”), built its ethic upon the idea of 

Gesamtkunstwerk can be translated to mean...

The Deutscher Werkbund's purpose was “to overcome the alienation that had arisen between those who invent and those who carry out.”

Peter Behrens was considered to be...

This logo, designed by Peter Behrens, was designed for...

In the first years of contact between design and industry, the _________ was the testing ground that demonstrated that collaboration was both possible and profitable. 

In 1896, _________ became the home of the exciting movement known as Plakatstil.

The famous poster shown here is the design of...

The famous ad shown here is the design of...

Plakatstil is German for...

Sachplakat is German for...

This design by __________ is an example of innovative use of typography in posters.

The designer is an allegorical torchbearer in keeping with the Werkbund view that design is.....

The poster shown here is the work of...

The art shown here demonstrates...

Expressionism is a mindset whereby the artist seeks...

Expressionism was an amalgam of many isms at the turn of the century all attempting to free society from its past and cure its ills through rational effort.

The techniques and subject matter influenced graphic illustration and poster art in that the emphasis on social and political activism provided a vital model for graphic designers addressing problems of the human condition and environment at the turn of the century but is no longer relevant.

The typeface shown here designed by Edward Johnston is one of the first __________ typefaces of the century.

The typeface shown here designed by Edward Johnston is the exclusive patented typeface used in the...

The typeface shown here was designed by the Berthold Foundry and was called Standard in the United States. What was it called in Germany?