1. The Vatican Virgil, an example of the ________ manuscript style, includes Virgil's Aeneid and the Georgics.

2. The typestyle that conveys a bold, machine-like feeling through sellback rectangular serifs, an even weight throughout the letters, and short ascenders and descenders is called____.

3. Keys to the success of moveable type included money for research and development, the invention of the type mold, and all but one of the following. Which does NOT belong?

4. Celtic design, as seen in the Book of Kells, is best described by all but one of the following terms. Which does NOT belong?

5. A member of the Flemish Group of Twenty, Henri van de Velde had enormous influence on design and architecture. His only poster design was for ________.

6. Production of illuminated manuscripts in the monasteries included the work of the________ , who were well-educated scholars functioning as editors and art directors with overall responsibility for manuscripts' design and production.

7. The _________ is a steel bar with a character engraved into the top. This is then pressed into a softer metal to make a negative impression of the character.

8. Around 1500 BCE, Semitic workers in the Sinai desert developed an acrophonic adaptation of Egyptian hieroglyphics. In an acrophonic text, pictographs are used to represent ________

9. Louis Dagurre's early daguerreotype print, 'Paris Boulevard,' shows an almost empty Paris street. The reason the street is empty is that Daguerre made the image _____.

10. An alphabet is a series of simple visual symbols that represent ______

11. Which term best describes the following movement? By innovating a new approach to visual composition, this movement changed the course of painting and graphic design. Its visual inventions became a catalyst for experiments that pushed art and design toward geometric abstraction and new approaches to pictorial space.

12. Which term best describes the following movement? Reacting against a world gone mad, the participants in this movement claimed to be anti-art and had a strong negative and destructive element. They bitterly rebelled against the horrors of the world war, the decadence of European society, the shallowness of blind faith in technological progress, and the inadequacy of religion and conventional moral codes. Through a synthesis of spontaneous chance actions with planned decisions, they further rid typographic design of its traditional precepts and continued the concept of letterforms as concrete visual shapes, not just phonetic symbols.

13. In the early scriptoriums, the ________ was responsible for the execution of ornament and image in visual support of the text.

14. In the early fifteenth century, the Limbourg brothers created their masterpiece, ____________ , which included an illustrated calendar depicting seasonal activities of each month crowned with graphic astronomical charts.

15. The Celtic manuscript was revolutionary in terms of design innovation because writers ________.

16. ________ published Dinamo Azari in 1927. Bound by two bolts, this precursor to the artist's book was actually a catalogue of the designer's graphic work.

17. ____________ moved cubism away from the initial impulses of its founders and took Paul Cezanne's famous dictum, 'treat nature in terms of the cylinder and the sphere and the cone' far more seriously than any other cubist. The letterforms in his graphic work pointed the way toward geometric letterforms. His flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern sensibility after World War I.

18. The style of manuscript lettering Johann Gutenberg adopted for type was ________.

19. ________ was a bold, inscriptional Arabic lettering with extended, thick characters used widely on coins, manuscripts, and inscriptions on metal and stone

20. Type letterforms without serifs were given the name sans-serifs by _____ in 1832.

21. The textura lettering style seen in Gothic manuscripts—composed of vertical strokes capped with pointed serifs—was called ________ in its time.

22. In their manifesto of 1909, futurists proclaimed their enthusiasm for three of the following. Which does NOT belong?

23. 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.

24. Which term best describes the following movement? An explosive and emotionally charged poetry that defied correct syntax and grammar set this movement in motion. The movement's leaders initiated the publication of manifestos, typographic experimentation, and publicity stunts, forcing poets and graphic designers to rethink the very nature of the typographic word and its meaning.

25. Around the first century BCE, the Roman alphabet—the forerunner of the one we use today—contained twenty-three letters. The letters J, V, and W were added ________