Ideas from the History of Graphic Design Answer Of Coursera Assignment & Quiz. In this post you will get Ideas from the History of Graphic Design Answer Of Coursera

 

Ideas from the History of Graphic Design Answer Of Coursera

Offered By ”California Institute of the Arts”

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Week 1 Quiz

1.
Question 1
What was a curious or unprecedented outcome of mass production during the Victorian era? (Hint: there are 2 correct answers to this question; you must select both to earn full marks.)

1 point

  • Despite the modernization of production techniques, a lot of vernacular design still looked a lot like the handcrafted objects of the past.
  • In the last two decades of the 19th century, the production of wooden household goods surpassed metal and ceramic goods combined.
  • Popular taste was influenced by content broadcast over shortwave radio, an emerging technology of the time.
  • It was poor design, poor salesmanship and consumer demand for low-price goods that flooded the market with “bad” or shoddy goods, not mechanization itself.

2.
Question 2
What does the term “form follows function” mean? (Choose the best answer.)

1 point

  • It is important to understand how an object is used so we can classify it and give it value.
  • It isn’t necessarily important how an object looks; what matters is how it is used.
  • The form of an object is an indication of how it was created (or used).

3.
Question 3
What was the primary reason for the range of “revival” styles in furniture and household goods of the Victorian period?

1 point

  • Applying a historic style created a commercial familiar language to appeal to the tastes and values of various many consumers.
  • The appropriation of Classical styles made things look “classy”.
  • Herter Brothers were popular and this was the style of furniture they sold.

4.
Question 4
What was the primary reason that manufacturers adopted logos for their products?

1 point

  • It was necessary to mark boxes and crates on ships for taxation purposes.
  • Since goods were manufactured and then shipped, companies needed a way to mark their product for merchants distributing their product locally.
  • Every product needs a logo for marketing purposes.

5.
Question 5
How did companies in the 19th century reconnect consumers to their mass-produced goods? Choose the best answer.

1 point

  • They used the likenesses of the company owners or product inventors on the product packaging.
  • They advertised the products using long narratives to describe the product, how to use it, and why you needed it.
  • They used fictional characters as product branding to create an emotional attachment between the consumer and the product.
  • All of the above.

 

 

Peer-graded Assignment: Connecting the Past to the Present

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Week 2 Quiz

1.
Question 1
What answer best describes the intention of the Bauhaus?

1 point

Educating design students for the 20th century.

Positing that the fields of art, architecture and design had equal status.

Opening up a connection between culture and a society framed by mass production and communication.

All of the above.

2.
Question 2
In what crucial way did the Bauhaus differ from a traditional art education?

1 point

The Bauhaus students learned basic draftsmanship skills by drawing a lot, and specialized after their formal education through a working apprenticeship.

The Bauhaus students started their education with a Foundation Year, permitting experimentation with all materials, before specializing with an apprenticeship in school.

Learning took place through lectures about working with materials.

3.
Question 3
What did Walter Gropius determine was the core discipline of the Bauhaus education?

1 point

Architecture

Graphic Design

Textiles

Material Studies

4.
Question 4
What was a key characteristic of some of the crafted objects, such as ceramics, produced by students of the Bauhaus?

1 point

They were objects intended for mass manufacture but had the same level of craft that traditionally went into one-of-a-kind objects applied to them.

They were composed solely of simple or Platonic forms.

They were made from sustainable materials collected locally or from the discarded artwork of their peers.

5.
Question 5
What is a key component of some of the typefaces designed at the Bauhaus?

1 point

Modularity

Simplicity

Machine-made appearance

Geometric

All of the above

 

 

Peer-graded Assignment: A Designer’s Tools, Now and Then

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Week 3 Quiz

1.
Question 1
What description best fits the approach used by American Modern designers during this period?

1 point

Long narratives written by a fictional consumer.

Portraits of the manufacturers.

A complex symbolic language.

A combination of words and text.

2.
Question 2
Of the four designers presented in this module, which designer would be best described as taking a subjective approach to design?

1 point

Lester Beall

Alvin Lustig

Paul Rand

William Golden

3.
Question 3
Of the four designers presented in this module, which designer would be best recognized for creating a comprehensive, recognizable vision for a new media enterprise?

1 point

Paul Rand

Alvin Lustig

Lester Beall

William Golden

4.
Question 4
Of the four designers presented in this module, which designer would be best described as recognized for incorporating old forms and new?

1 point

Lester Beall

Alvin Lustig

Paul Rand

William Golden

5.
Question 5
Of the four designers presented in this module, which designer would be best described as incorporating simple imagery and sometimes playfulness to powerful ends?

1 point

Lester Beall

Alvin Lustig

Paul Rand

William Golden

 

 

Peer-graded Assignment: Symbolic Forms

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Week 4 Quiz

1.
Question 1
What are some of the key aspects of Swiss Design? (Hint: there are 4 correct answers.)

1 point

Rational

Ornate

Sans-serif typography

Expressive

Serif typography

Abstract

Privileged photography over hand-drawn illustrations

Adhered to grid

2.
Question 2
Why was Swiss Design so appealing to American companies in the 1960s?

1 point

Its straightforward appearance wasn’t connected to any national identity, which created a universal brand for companies with an international reach.

Its uncomplicated appearance made it easy and inexpensive to reproduce.

Customers perceived it as more trustworthy

3.
Question 3
What exactly were the designers from San Francisco’s Haight district doing with their super-saturated, day-glo posters of the late 1960s?

1 point

They were using a visual language that appealed to an audience of rock fans who were not unfamiliar with experimental drugs and experiences of the period.

They obfuscated the written content of the poster by using very expressive type layout.

They borrowed from the past frequently, incorporating historic images and type into the layout.

All of the above

4.
Question 4
The Diggers produced broadsides and flyers that were hastily designed (often hand-drawn) and printed using inexpensive techniques. Why? (Hint: there are 2 correct answers.)

1 point

The better print shops refused to print the “hippie” messages.

The anti-establishment aesthetic resonated with the countercultural groups in San Francisco at the time

It permitted the designers to iterate quickly and get their message out to the public.

It was a popular aesthetic of the time.

5.
Question 5
In Sister Corita’s eyes, what is the fundamental connection between a street protest and a printed advertisement? Choose the best answer.

1 point

Both used bright, saturated colors.

Both used text styled as headlines

Both had high potential for visibility within a very large audience.

Both were recognized as powerful cultural agents.

 

 

 

Peer-graded Assignment: Graphic Design Subcultures Today

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