COMM 3560 Visual Communication
Assessment One
1. All communication exists within context. Visual communication that depicts an immanent danger creating fear or anxiety is a communication affect in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
2. Richard Seymour shows his audience a simple drawing made by a little girl. He then explains that the drawing is her last act during her life. With this new information, his audience experiences a significant shift in the _________ context.
A. physical
B. social
C. psychological
D. temporal
E. cultural
3. HBO's Voyeur website turns the user into a voyeur, playing with their __________ context.
A. creepy
B. social
C. psychological
D. temporal
E. cultural
4. In the vocabulary of design, line
A. is an identifiable path created by a point moving in space.
B. refers to a feeling of depth or three dimensions.
C. gives a visual sense of how an object depicted would feel in real life if touched.
D. can be seen from more than one side.
5. Lines define
A. shape.
B. texture.
C. form.
D. space.
6. Lines lead your eye around the composition and can communicate information through their character and direction.
A. True
B. False
7. Shape and form
A. refer to a feeling of depth or three dimensions.
B. give a visual sense of how an object depicted would feel in real life if touched.
C. are an identifiable path created by a point moving in space.
D. define objects in space.
8. Shapes have ________ dimensions where forms exist in _________.
A. two, three
B. three, two
C. one, two
D. two, one
E. None of the above.
9. Forms are defined by height, width,
A. and shading.
B. and depth.
C. texture, and shading.
D. and texture.
10. The area around the primary objects in a work of art is known as ________ space, while the space occupied by the primary objects is known as _________ space.
A. positive, negative
B. shape, form
C. negative, positive
D. light, shadow
11. The perfect illusion of three-dimensional space in a two-dimensional image is achieved through diagonal lines diminishing to a point.
A. True
B. False
12. Color is defined by
A. pigmentation.
B. complimentary and polarized chroma.
C. light reflected off objects.
D. primary hues.
13. Value describes the ________ of color.
A. brightness
B. chrominance
C. saturation
D. dullness
E. Both A and B.
14. Intensity describes the _______ of color.
A. purity
B. mood
C. shade
D. strength
E. Both A and D.
15. The surface quality of an object.
A. Line
B. Space
C. Shadow
D. Texture
E. Form
16. “Contrast is important because the meaningful essence of any thing is defined by its value, properties, or quality relative to something else.” Rutledge's statement could be summarized as:
A. Everything has meaning by itself.
B. Nothing has meaning by itself.
17. Light and shadow are elements of contrast in photography. Which of the following primary forms of contrast are elements in layout or web page design?
A. Order
B. Orientation
C. Line
D. Shape
E. Both B and D.
18. According to Rutledge, "The rules of artistry (and therefore design)
A. are open to the interpretation of the designer."
B. are inviolate and unchanging."
C. are meant to be broken."
D. result in poor art and poor design."
19. The function of contrast in defining meaning can be explained by comparing fundamental __________.
A. differences
B. similarities
C. opposites
D. philosophies
20. The micro-expression of contempt is an indication
A. of a baseline.
B. of sympathy.
C. of an evacuation of conscience.
D. of empathy.
21. Non-verbal visual elements include kinesics, a subset of which are Emblems,
A. cultural symbols that can be directly translated into words.
B. which are used to illustrate a point.
C. signifiers indicative of emotional escalation.
D. used to control the flow of verbal communication.
22. ________ is the only micro-expression that is characteristically asymmetrical.
A. Surprise
B. Anger
C. Contempt
D. Disgust
E. Joy
23. The Gestalt principle of figure/ground relationships means that elements in design are perceived as
A. highlight or shadow.
B. form or shape.
C. foreground or background
D. chromo or luminance
24. In describing Gestalt theory, we discussed the idea of non-summativity, meaning
A. that the sum of the parts is greater than the whole.
B. that the sum of the parts is equal to the whole.
C. that the sum of the parts is less than the whole.
D. that the parts got lost in the hole.
25. To understand this end, we considered
A. the Bellagio fountains.
B. Frank Lloyd Wright's home design.
C. the Ferrari California Spyder
D. the Golden Gate Bridge.
E. All the above.
26. Of the Gestalt principles, the law of Pragnanz refers to
A. similarity.
B. sophistication.
C. verisimilitude
D. simplicity
27. Items that are similar tend to be grouped together. This is the
A. law of proximity.
B. law of Pragnanz.
C. law of similarity.
D. law of simplicity.
28. When the eye follows a concept of design leading it through its composition, it is an effect of the law of
A. closure.
B. proximity.
C. continuity.
D. Pragnanz.
29. When a design groups objects together to create a whole, this is known as
A. summativity.
B. non-summativity.
C. closure.
D. disclosure.
E. non-disclosure.
30. When the eye follows a path of least resistance in design it's also a function of the psychological influence of the
A. schemata.
B. law of continuity.
C. law of simplicity
D. law of least resistance.
E. law of apathy.
31. __________ proxemics are visually communicative signals and signifiers
A. artifactual
B. spatial
C. territorial
32. Collateral was defined as
A. peripheral materials designed to support a campaign.
B. assets you put up to secure a loan.
C. brochures, direct mail pieces, and cards.
D. primary campaign artifacts.
E. both A and C.
33. We examined a motion artifact, a commercial that showed an inevitable collision between two athletes. The driving force behind the idea of fate was
A. the music.
B. the direction of movement of the subjects in their stories.
C. the Nike slash.
D. the NFL.
E. the design principle of juxtaposition.
34. The Rape Crisis Scotland campaign, This is Not an Invitation to Rape Me, was designed to dispel which social attitudes towards women?
A. Women dressed in revealing clothing are partly responsible for being raped.
B. A woman is in some way responsible for being raped if she is drunk.
C. A woman contributes to her rape if she flirts.
D. A woman is responsible for being raped if she’s had multiple sexual partners.
E. All the above.
35. Toyota's logo spells out the company name in three ellipses.
A. True.
B. False
36. On the website, I Love Typography, a designer used fonts to create an image of the
A. Golden Gate Bridge.
B. World Trade Center.
C. Salt Lake Temple.
D. Lincoln Memorial.
37. TDA Advertising & Design developed collateral "for your consideration" for USA Network's Burn Notice. To promote the context of the show the design used ___________.
A. high production value photography.
B. wood block printing.
C. invisible ink.
D. signal orange.
38. 479o is the name of a very expensive
A. popcorn.
B. line of sunglasses.
C. motorcycle.
D. cologne for men.
39. Andy Rutledge defines the vocabulary of artistic design with elements as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
40. Andy defines artistic grammar as
A. contrast, balance, harmony, and distribution.
B. simplicity, similarity, proximity, and continuity.
C. line, form, color, and texture.
D. red, yellow, green, and blue.
41. Eric used color de-saturation to establish mood in the film, “There We'll Be.”
A. True.
B. False.
42. _________ fonts are reminiscent of the calligraphy from which their forms were derived.
A. Contemporary
B. Humanist
C. Transitional
D. Modern
43. A typeface without serifs is called sans serif, from the French sans, meaning
A. “adjacent.”
B. “flaming.”
C. “without.”
D. “with.”
44. “Arial,” (the type font you're reading now) is considered ___________, whereas “Times,” (the type you are reading now) is considered to be _________.
A. serif, sans serif
B. Humanist, Old Style
C. Modern, Didone
D. sans serif, serif
45. Font and typeface once meant two different things. Now they are interchangeable terms.
A. True.
B. False
46. Using too many fonts together in page design is considered
A. horsey.
B. bovine.
C. canine.
D. equine.
E. divine.
47. “The Alembic” is
A. a pentameter for poetry.
B. a type of hippie.
C. a restaurant in San Francisco.
D. something you should have removed by a doctor.
48. In developing the identity for The Alembic, designers
A. researched old mercantile crates and register receipts.
B. found gorgeous accidental patterns among the many stamps, stickers and various ID ephemera.
C. used a bunch of horsey fonts.
D. I have no idea what “ephemera” means.
E. both A and B.
49. For the design evaluation assignment, the point was to find and analyze two designs within the same domain, one good, one bad, sharing parallel communication _____________ reaching the same _____________.
A. trajectories, outcomes
B. content, goal
C. objectives, audience
D. meaning, conclusion
E. I still don't know what that assignment was about.
50. The logo below is an example of
A. the House of the Rising Sun.
B. an unfortunate merger.
C. effective continuity.
D. Pragnanz, though no one wants to admit it.
E. both B and D.
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