REVISION AND PRACTICE E 2 U L These are the key words you have met in this Module. D movement poster typeface width O UNIT 2 brush ascender descender ink letterform lower-case letter font midbar M UNIT 1 aesthetics block book facet hue lettering monocline serif stroke serif-type typeset tool UNIT 3 advertisement brand brochure business campaign corporate identity logo VOCABULARY motto manufacturer product profit making package position promotion trademark Now choose some of the above key words from Unit 3 to complete the following list of hypothetical dilemmas that could arise in the career of a contemporary graphic designer. 1. Designing a ........................... to look bigger on the shelf. 2. Designing an ........................... for a slow, boring film to make it seem like a light-hearted comedy. 3. Designing a crest for a new vineyard to suggest that it has been in ........................... for a long time. 4. Designing a jacket for a ........................... whose sexual content you personally find repellent. 5. Designing a medal using steel from the World Trade Center to be sold as a ........................... souvenir of September 11. 6. Designing an advertising ........................... for a company with a history of known discrimination in minority hiring. 7. Designing a ........................... for children whose contents you know are ........................... in nutrition value and high in sugar contents. 8. Designing a line of T-shirts for a ........................... that employs child labor. 9. Designing a ........................... for a diet product that you know doesn t work. 10. Designing an ad for a ........................... whose frequent use could result in the user s death. Read the text and find words or expressions in the passage which correspond to the Italian equivalents listed on p. 75. The idea of corporate identity, that is to say a unified look that encompasses everything from logo, to stationery and to architecture, did not emerge until the 1950s. Among its antecedents was the work in Germany for AEG that Peter Behrens performed during the early 1900s. However, it was only in the post-war period that the majority of multinational corporations felt the need to present a unified design front to the consumer. In Germany a centre for post-war graphic design arose in the city of Ulm. Max Bill was the first director of the school, where the curriculum was based on the Bauhaus principles. At a time when many designers were largely self-taught and gave little thought to the intellectual structures behind their work, the faculty of Ulm brought the most advanced sort of philosophical issues into the classroom, pioneering the semiotic analysis of graphic design. The academic study of signs and symbols that convey meaning focuses on the significance of ideas in society. The word sofa , for example, partly derived its meaning from the fact that the speaker did not choose the word couch . 74