ЗНАЕТЕ ЛИ ВЫ?

Point out from the text compound and complex sentences.



3.6. Find in the text the Attribute and Object Clauses.

3.7. Analyze the structure of the following sentences:

1. Steve Jobs had the idea of selling the computer.

2. The Macintosh was the first personal computer to be sold without
a programming language at all.

3. By the end of the 1970s, Apple had a staff of computer designers and a production line.

4. In 2011 Jobs announced that he would take the medical leave for an indefinite period.

5. The same year Jobs founded NeXT Inc. which had no significant success.

3.8. Translate the sentences into the Russian. State the type of the Clauses:

1. Why he did not come is still not known.

2. What’s worrying me now is the state of her health.

3. Whether he’ll agree is another question.

4. The trouble is that we’ve got very little time.

5. That’s what I want to tell you.

6. He uses new programs which he usually downloads on the Internet.

7. Do you remember where he lives?

8. I can’t understand what you are laughing at.

9. They said that they did all the tasks.

10. I don’t know when he will come.

IV. Grammar review

4.1. Point out from the text sentences with the Passive Voice.

4.2. Find in the text a sentence with the Complex Object.

4.3. Find in the text sentences with the Infinitive, Gerund and
Participle. State their functions.

V. Speaking

5.1*. The Apple logo is one of the most famous logos in the world. There are many theories about this logo and many of them are vaguely accurate. Read the interview with Rob Janoff, the designer of the original Apple logo. Say what was the real version of creating the Apple logo? What other questions would you ask Rob Janoff?

Reporter: When did you design the original Apple logo with the
colourful stripes?

Rob Janoff: Early 1977. The agency got the account (Apple) sometime January. The logo was introduced with the new product Apple II in April
of that year.

R.: Were you working for an agency at the time?

R.J.: Yes, I was working for an advertising and public relations agency called Regis McKenna and I was an art director.

R.: Have you met Steve Jobs?

R.J.: Sure. The first time must have been that first year. It was before he was getting his company started. So it was just Steve Jobs, Steve Wozniak and Mike Markkula. His was the elder guy who controlled these young entrepreneurs. And I think it's because Mike Markkula is how the account wound up at our agency. He was friends with my boss Regis McKenna.

R.: Did you get a brief from them?

R.J.: Really there was no brief. But the really funny thing was the only direction we got from Steve Jobs is: «don’t make it cute». There were briefs on subsequent jobs. First there was the logo, then there was in
introductory ad and a sales brochure for the upcoming introduction. But it
was pretty lose at that time. There was a previous logo to my logo. It was
a logo done by Ron Wayne who was a very brief partner of Steve . He later took a buy-out, because he was a little concerned about the financial obligations he might have. He had a young family and the other guys didn’t. Ron did a pen and ink drawing of Sir Isaac Newton sitting under an Apple tree with a poem all around the border. And, I think when Steve Jobs started to get serious about the Apple II and getting a prototype for the design of the shell he realized that logo would not do. So he needed a new logo.

R.: How many versions did you do for the presentation?

R.J.: We presented two versions of the logo. One with and one without the bite. Just in case he thought the bite was too cute. Striped version, solid colour version, metallic version. All those with the same shape.

R.: So even then you knew you needed a solid colour version and
a metallic version?

R.J.: When you’re doing printing of either one or two color you need to have some way to go and I realized that the stripes would not always get it. The stripes really didn’'t work as a greyscale halftone.

R.: Do the colours represent the hippy culture, which was in fashion at the time?

R.J.: Partially it was a really big influence. Both Steve and I came from that place, but the real solid reason for the stripes was that the Apple II was the first home or personal computer that could reproduce images on the monitor in color. So it represents color bars on the screen. Also, it was an attempt to make the logo very accessible to everyone, especially to young people so that Steve could get them into schools.

R.: At the time most logos were single colour or 2 colour logos. Anybody fought against the colour stripes?

R.J.: Steve liked the idea, because he liked things that were outside the box. And, it’s not so revolutionary now, but it was a little different then. However I got a lot of opposition from one of the higher account
executives at agency. He was sort of working against me on the meeting where I presented the work to Steve. He made a comment that if this new company went ahead and produced stationary in all these colors they will go bankrupt before they start the business. That was kind of the attitude that I was facing from the agency. But Steve liked it right off. He’s a perceptive guy as we later learned and he liked the uniqueness of it as well.

R.: What does the bite in the apple represents? Is it a reference to a computing term byte? Is it a reference to the biblical event when Eve bit into the forbidden fruit? Is the fruit itself referencing the discovery of gra-vity by Newton when an apple fell on his head while sitting under the tree?

R.J.: They are really interesting, but I’m afraid it didn’t have a thing to do with it. From a designer’s point of view and you probably experienced this, one of the big phenomena is having the experience of designing
a logo for whatever reasons you design it, and years later you find out supposedly why you did certain things.

R.: Is it possible you were influenced subconsciously by these stories?

R.J.: Well, I’m probably the least religious person, so Adam and Eve didn’t have anything to do with it. The bite of knowledge sounds fabulous, but that’s not it. And, there is a whole lot of other lure about it. Anyway,
I explain the real reason why I did the bite. I designed it with a bite for scale, so people get that it was an apple not a cherry. Also it was kind of iconic about taking a bite out of an apple. It goes across cultures. If anybody ever had an apple he probably bitten into it .It was after I designed it, that my creative director told me: «Well ,you know, there is a computer term called byte». And I was like: «You’re kidding!» So, it was like perfect, but it was coincidental that it was also a computer term. At the time I had to be told everything about basic computer terms.

R.: You obviously didn’t design the logo on computer?

R.J.: Actually, and it’s a revelation to a lot of young designers. I get e mails about the logo all the time asking me questions about the logo from all over the world and it’s really kind because it's not something every designer gets a chance to talk to everybody because of some work you did. And, people ask me: did you design it on a computer? And of course at the time computers couldn't really do that for me. It was only years later till the Mac was designed, developed and refined that I even start working on a computer. At the time it was all pencil and paper, glue and cut paper, pens and all that stuff.

R.: How does it feel to see your logo everywhere?

R.J.: It’s a real unique experience. It’s kind of a personal thing. It’s kind a like having a kid. I am very proud of it.

R.: Do you like the changes Apple made to your original design over the years?

R.J.: Yes, I do. The stripes served their purpose and they are definitely dated. I think it’s very important that a product like Apple keeps very up-to-date and the company has fabulous designers working for him in industrial design and graphic design. I feel great that it’s still the same basic silhouette even though it went through lots and lots of changes. The apple shape changed slightly from my original design in the early 80’s. The design firm Landor & Associates made the changes. They brightened the colours, they made the shapes much more symmetrical, much more
geometric. When I designed it I pretty much did it freehand. I often think to myself why didn’t I do that. It's because it wasn’t where I was coming from at the time. I think they did a great job and it will be fascinating to see the next iteration and how it works out.

R.: What other projects are you proud of?

R.J.: People assume that I continued in a pure design mode and did lot more logos. I did some logos, but my career path is more about adverti-sing, which meant print and TV advertising. As far as image or logo type of thing there is really nothing that tops or comes close to the Apple logo. It’s kind of a problem when you do something that so well known, so early on in your career. It’s all downhill from then. I was proud of all the things
I was involved in.

R.: Do you use Macs today? Do you still work?

R.J.: I’d really like to retire, but in this economy I really can’t. I do work on a Mac, it's all I ever worked on. I would not know what to do with a left click and a right click. Been brand loyal all the way, even though the products cost a little bit more. I wouldn’t think of using anything else. Plus, for graphics and design Apple has it all over Microsoft.

R.: Can you tell me a favourite logo of yours that is not designed by you?

R.J.: There is a lot. I really do like other classic designs. Volkswagen because it's very clear what it is and it’s been around for so long. I’m trying to think of other logos that incorporated the multicolor and I thought of NBC logo. I like logos with a relationship with positive and negative spaces, where something is revealed.

R.: Thank you so much for the interview!





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