1. In the fourth century BCE, Alexander the Great expanded Greek culture throughout the known world. Writing became more important than ever because_______

2. The chapbook style championed by Will Bradley included all of the following traits EXCEPT:

3. The German artist, architect, and designer ______ sought typographic reform and was an early advocate of sans-serif typography.

4. 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.

5. The earliest dated examples of typographic printing were ________.

6. Henri de Toulouse-Lautrec developed a journalistic, illustrative style that depicted the nightlife of Paris.

7. A _______, invented by Stephen H. Horgan, changes continuous tones into dots of varying sizes. Squares are formed by horizontal and vertical rules etched on pieces of glass. The amount of light that passes through each square determines how big each dot should be.

8. Belgian designer Henri van de Velde felt that all branches of art share a common language of form and also that:

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

10. Phoenicia of the second millennium BCE developed a ______ society that contributed to the alphabetic system

11. 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.

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

13. The Ars moriendi were a type of block book that offered advice on how to ________.

14. King Eumenes II of Pergamum developed the process of making _________ to overcome an embargo placed by Ptolemy V during a fierce rivalry

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

16. Alphonse Mucha's artistic career became an instant success after he was asked to design a poster for ________.

17. The _________ of a manuscript or book is an inscription, usually at the end, containing facts about its production.

18. 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.

19. During the Romanesque period (c. 1000-1150 ce), manuscript design elements of different regions began to blend. One reason is that styles were cross-fertilized when ________.

20. 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 ________

21. The periodical Ver Sacrum was innovative primarily because

22. The English designer, author, and authority on color ________ became a major design influence in the mid-nineteenth century. His main influence was through his widely studied 1856 book of large color plates.

23. _______ is the process of printing color pictures and lettering from a series of stone or zinc printing plates. Each color requires a separate stone or plate and a separate run through the press.

24. Manuscripts in the _________ style were often lettered in rustic capitals in one wide column on each page, with illustrations the same width as the text column framed in bright bands of color.

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