An Era Of Typographic Geniuses

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AN ERA OF TYPOGRAPHICAL GENIUSES VOLUME PRIMO.

ENLIGHTENMENT RENNAISSANCE


Typography

For almost all of our booklet, we used Didot, but on certain pages we introduced some more decorative fonts. Those being Snell Roundhand and Bodoni 72.

Author’s Info November 2015

Designed and written by Courtney Hill and Cole Munsterman

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Table of

CONTENTS About the era 04. THE ENLIGHTENMENT 06. THE RENAISSANCE AND GRAPHIC DESIGN

08. 09. 10. 12. 13. 14. 16. 18. 20. 21. 22. 23. 24. 25. 26.

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Typographic Geniuses PHILIPPE GRANDJEAN LOUIS SIMONNEAU PIERRE SIMON FOURNIER LE JEUNE WILLIAM CASLON JOHN PINE JOHN BASKERVILLE GIAMBATISTA BODONI FIRMIN DIDOT THE STEREOTYPE HERMANN BERTHOLD GEOFFROY TORY GEORGE BICKHAM JEAN JOSEPH BARBOU NEW TECHNOLOGY BIBLIOGRAPHY


The Age of Enlightenment The Age generally placed between 1715 and 1789 is packed full of in advances in typography. The age of the Enlightenment brought many different things in many different areas of the world and with many different subject matters. The era was full of excitment from philosophy to science to politics to religion. The Enlightenment was a political movement, which pretty much dominated all ideas throughout Europe. It is traditionally placed the between the year 1715, in whichLouis XIV died, and the year 1789, the beginning of the French Revolution. Within the

Enlightenment, what is considered to be the most successful advancement was the Encyclopedia. Important philosophers included men such as Rousseau, whome was critical of the Atlantic slave trade. John Locke was one of the most influential Enlightenment thinkers, his governance in philosophy was based on social contract theory. Both Locke and Rousseau developed many theories in Two Treaties of Government. The Enlightenment is often tied to the French Revolution from 1789. During this time, churches suffered a great decline in power, while arts and sciences became increasingly popular. Russia was impacted directly as universities, libraries, theatres, public museums, and presses were established, as Benjamin Franklin impacted the Enlightenment as well with the Jefferson Bible. Eceonomic science was fathered during the Enlightenment era, as well.

“The Enlightenment was a politial movement...�

Rousseau played a huge role in the Atlantic slave trade.

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5Adam Smith was a huge part of fathering economic science.


The Renaissance and Graphic Design The Renaissance cause a giant leap in the graphic design world.

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During this era, chapters began with letters such as this one.


Layouts during the Renaissance consisted of complex designs.

The Renaissance was filled with all sorts of excitement. It had everything from music to culture to graphic design. Graphic design in the this era consisted of crazy, complicated, intense designs all over the page or cover. Letters beginning a page or chapter also consisted of crazy designs of miscellaneous floral or othe designs around an extra large first letter. The covers usually consisted of those crazy designs, but title pages were extremely rare because of the need to save on paper. The paper was most of the the cost to printmaking. The Renaissance lead to way more in depth topics around the world and has ultimately lead to the

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look of graphic design today. It travelled everywhere, from France, to Italy, to the rest of Europe to the the United States and elsewhere.

“The Renaissance was filled with all sorts of excitement.�


Philippe Grandjean

1666–1714

Philippe Grandjean was born in 1666 and worked as an French type engraver. He’s best known for his Italic and Roman fonts. Grandjean died in 1714. His fonts were madefor the intended exclusive use of the royal printer. He persued his life-long career of typeface development with his partner, Louis Simonneau. Grandjean and Simonneau gained approval and supervision several mathematicians and philosophers for such a task. The font the mastered was known as Romain du Roi, as it was French for “King’s roman” andwas the typeface developed in France beginning in 1692. The name refers to Louis XIV who commissioned the design of the new typeface for use by the Royal Print Office in 1692. The type was first used in 1702.

“The font they mastered was known as Romain de Roi.” Romain du Roi captital letters were constructed on an 8x8 inch square.

Romain du Roi

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Louis Simonneau Louis Simonneau worked with the French type engraver, Philippe Grandjean. The developed Roman and Italic typefaces together, which became incredibly popular. Together, their fonts ended up extremely successful. Romain du Roi is considered the “landmark” of typography. It was designed after the long line of roman typefaces prior to it. The capital letters of the fonts were drawn on an 8x8 inch grid. Lowe case letters were constructed on rectangular grids.

Louis Simonneau was the partner of Philippe Grandjean.

The lower case letters were constructed on vertical rectangles.

“Romain du Roi is considered the “landmark” of typography.” 9

The Romain du Roi letter B is constructed on an 8x8 grid.


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P i e r r e S i m o n Fo u r n i e r l e Je u n e 1712–1768 Pierre Simon Fournier le Jeune was born in France on Septemenber 15th, 1712. He was punch-cutter, typefounder and typographic theoretician. He loved to both collect and create fonts and typefaces. He contributed well to printing with his creation of initials and ornaments, designs of letters and type, and his standardization of type sizes. He is known most well for his “decorative typographic ornaments.” Simon developed a typeface of his own after the French decided it was time to develope a standard point system for type. He was actually frowned upon by other printers of the time, who originally didn’t recognise the work as real.

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Simon was known for his geometric design ornaments, letters, and type.


William Caslon 1693–1766

William Caslon was not just a gunsmith, but also a designer of typefaces.

William Calson was born in Cradly, Worcestershire and started off as an English gunsmith but later became a designer of typefaces, as well. When Caslon first started as a designer, his typefaces were immediately very popular and wre used for many important works. Caslon founded the Caslon Foundryell’s Foundry back in 1739 and when he died, his son William Caslon 11 took over. William Caslon 1 died on the 23rd of January in 1766, but his typefaces still live on. They are found in many different works, one of

them even being on the Declaration of Independence later in the year 1776. There ended up being four total William Calsons in the family, all of which ended up being type founders.

“...his typefaces were immediately very popular...”

Caslon’s typeface was included on the Declaration of Independence shorly after he died.

Standard Caslon Alphabet

William Caslon founded the Caslon Foundryell’s Foundry.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 12


John Pine

1690–1756

He wasn’t just a typical English designer, engraver, and cartographer, he also had the Newtonian scientific paradigm. John Pine was born in 1690 and lived his life as an English designer, engraver, and cartographer and had many great artistic contributions to the Augustan style and Newtonian scientific paradigm, which had a great impact during the era of the British Enlightenment. Pine was very close to William Hogarth who was another English engraver, though Hogarth shifted more toward painting, while pine stayed with engraving. In 1731, Pine began working with with other talented designers like James Oglethorpe Pine passed away in 1756, but in 1743 his achivements were at last recognized and his impact in typography and in graphic design lives on to be seen yet in today’s day and age. His son, Robert Pine actually followed more in Hogarth’s footsteps and he became a very talented portait painter. in both England and in America. His daughter was not a painter herself, but she did marry one and was even painted by William Hogarth.

“...his achievements in typography were at last recognized...”

William Hogarth was also an English engraver whom was very close to Pine.

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John Baskerville

1706-1775 With the help of his most popular font, he left a mark in graphic design that could never be erased.

The English business man, John Baskerville is best remembered as a type designer and a printer. He had many innovations that still live in the typographic and graphic design world today. He is known well for his font he gave the name of “Baskerville,” after himself. Born in Wolverly in Worcestershire on the 28th of January in 1706, he had the job of a printer in Birmingham, England. Baskerville worked doing printing for the University of Cambridge in 1758 and printed an entire version of the Bible later on, even though he was, in fact an athiest. Important figures such as Benjamin Franklin adored his typefaces and they began increasing popular and were coveted by competing printers. In 1750, Baskerville set up a printing business. After setting the business up, it took him another sever years until he produced his very first book. In the end, it all paid off when he finally held his first book in his hands. His typefaces and works were constantly criticized. His most notable typeface was named “Baskerville,” after himself. It is classified as a transitional typeface with both fine and bold strokes and yet satisfyingly beautiful serifs.

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Obama ‘08 is an advertisement most have seen written in Baskerville typeface.

“criticized. “

His typefaces and works were constantly


Baskerville was also given credit for many more innovations in type. He created a smoother and whiter paper which showed his fonts extremely well. John Baskerville died in January of 1775 in his own home, but the impacts of his type, printing, ink, and graphic design genius lives on and is still recognized in typography and design today. Although John Backerville was overlooked through out his lifetime in comparison to William Caslon, whom he generally designed his own typefaces after, since the 1920s he has been appreciated as ahe deserves as the other half who derastically changed

Obama ‘08 is an advertisement most have seen written in Baskerville typeface.

Standard Baskerville Alphabet

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 15


Giambatista Bodoni

1740—1813

Giambatista Bodoni was widely known and respected Italian printer and publisher. He is most known not only for his typeface “bodoni” but also for “Manuele Tipografico”, a collection of his life’s work. “Manuele Tipografico” included almost 300 Roman and Italic typefaces. It also included samples in Greek, Russian and certain other languages. After his death in 1813, his widow finished a second edition which was published in 1818. In his younger years, he used a variety of decorative type faces, but later grew to a style more like Baskerville’s with little to no decoration and used geometric proportions to refine his on typeface now known and widely used as “Bodoni”. Bodoni’s publishing’s were sought after by many collectors in the late 1700’s. In the later years of his life, he gained much more recognition and fame from important people such as the pope and Napoleon Bonaparte.

“Honored by royalty and esteemed by the publishing world”

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Giambatista Bodoni’s Manuele Tipografico, A collection of his life’s work.


Firmin Didot

1764—1836

Firmin Didot was a french punch cutter, type founder, printer, publisher and author. He is known for creating the first modern typeface named “didot”. Didot was inspired by John Baskerville’s high contrast letterforms in which Bodoni took the contrast to even higher extremes when creating the “Didot” typeface. Firmin took over his fathers type foundry when he retired and later created the Stereotype, a plate cast from a printing surface to be used more than once. The stereotype was able to create much cheaper books allowing more sales to be allowed. Didot changed the way page design was done, instead of the decorative patterns of the rococo style, he used symmetry and cleanliness to achive a beautiful page layout. He used nothing other than the typographical elements to design pages for his books. Firmin Didot was appointed director of the Imperial Type Foundry by Napoleon, where he worked until he passed away in 1836.

ABCDEFGHIJKLMN


Journal Des Peintres. A trade book of type specimens and hand colored plates.


The Stereotype 1795

Attatched to a different meaning today, in the late 1700’s and early 1800’s, a stereotype was a style of printing. The stereotype was a printing plate with the layouts of books and other publications engraved on one plate, that way printers would not have to realign the type on their letterpress every time they wanted to print another copy of the publication. This was done by locking type collums in place for the layout of a page and creating a mold of non-moveable text. It was cast in hot metal to create the lead plate that was used to press the design on to the page.

This image shows how the mold was made from a thin piece of the molded mat and then a plate of metal was heated and remolded from the mat.

A good example of a calender stereotype plate. This could be used over and over again rather than having to layout the letters on a press every time another one was to be printed.

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Hermann Berthold 1831—1904

Hermann Berthold was a typographer and entrepenure from berlin. Founded the Institute for Galvano Technology where he discovered a way to produce circular lines with brass, which made them highly durable and elastic. These lines were very precise delicate, yet still highly durable. In 1858 he opened the H. Berthed Typefoundry and ran the foundry up until 1888. By the time of his death, it was one of the largest and most well renowned type foundries in Europe. the H. Berthhold type foundry still exists today, now located in chicago. The H. Berthold foundry ended up creating the first phototypesetting machine, which is what kept them so popular and able to stay in business to this day. In 1878, Berthold was commisioned create a typographic measuring system. The typographic system he created is still in use today.

“As precise as Berthold Brass�

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Geoffroy Tory 1764—1836

Geoffroy Tory was a French printer, author orthographic reformer and prolific engraver. He was responsible for developing the style of French Renaissance book design. He was also known for aiding the transition from the gothic style of letter most commonly being used in france, to the roman letter form. Tory came up with the ideas for new punctuation marks such as the apostrophe, accents and the cedilla. He used human anatomy to design the shapes for his letterforms to create the new style of Roman letterforms.

Geoffroy Tory’s idea of proportion for the roman alphabet. Written in his series of books called “Champ Fleury” he explained in depth the science behind the proportion of letters and reasons forhis new idea’s of punctuation.

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George Bickham

1684­—1769

George Bickham was a UK engraver and penman known for his many copybooks about drawing and writing. His most famous book “The Universal Penman”, written with his son George Bickham the younger and John Bickham, who is said to either be his son or brother. “The Universal Penman” is still being reprinted today. This book promoted the use and practice of proper penmanship. Many of the copybooks written by George Bickham are unclear about whether they were written by him or his son, who was also a well known engraver and drawing teacher.

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Jean Joseph Barbou 1683–1752

Jean Joseph Barbou was a printer from Paris, France. Him and his family were popular printers among many famous typographers. Because it was illegal in France at the time for type founders to also be printers, Barbou was commisionned by Fournier le Jeune to print many of his publications. After Jean Barbou’s death in 1752 his son and nephew, Jean Gerard Barbou continued to print all of Fournier’s books. Jean Gerard Barbou was also known for creating beautiful rococo style books filled with many decorative types and elegant engravings. Gerard continued to create these elegant layouts and continued the family printing business started by Jean Joseph. Jean Joseph Barbou was also creditted with printing the publications of Louis Rene Luce.

This image was printed by Jean Joseph Barbou, designed by Louis Rene Luce to showcase his ornamental designs.

This image is of a book showing the decorative rococo style layed out and printed by Jean Gerard Barbou

Fournier Le Jeune’s cover for “Modeles Des Caracteres” printed by Jean Joseph Barbou.

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New Technologies Outside of new typographical technologies, there were countless advances in science and philosophy. These new discoveries helped impact the revolution of politics in which people discovered that they could restructure their society for the benefit of all people. People began to get a better understanding of the world around them and the way that society functions as a whole. In 1776 the Declaration of Independence was signed and written in William Caslon’s typeface that was vastly used in government publications around the world. During this era there were many new technologies that made printing more affordable and easier. This means that books, newspapers and other publications were more readily available to people other than the rich and high class. Engraved letters were not a new technology by themselves, but new technologies within engraved letters changed the world of typesetting and book design. For example, Firmin Didot’s Stereotype made production of books easier, cheaper and much faster. New styles of typography that started the transitional period into modern typography. John Baskerville’s beatiful example of transitional typefaces began the transition to modern typefaces and is still a commonly used typeface to this day.

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Bibliography Books Used

Rob Carter, Philip B. Meggs, Ben Day, Sandra Maxa, Mark Sanders; “typographic design: Form and Communication” I used this book for a lot of different parts in this booklet. I used it a lot for the timeline and the information about the typography of the transitional and modern fonts used by the people in this booklet.

Johanna Drucker, Emily McVarish “Graphic Design History, A Critical Guide”

I used this book to find information about the way that the people of this generation designed and created their letterforms. It had a lot more information about how it all came to be and was very useful for people like Bodoni and Didot.

Giambatista Bodoni “Manuale Tipografico” This book was not only very interesting to look at but was very helpful in understanding how books looked around this time period. I wasn’t able to use much of the text from this book due to the fact that I could not find a copy that was translated in english. But the layout of the book was very interesting with how Bodoni layed out his books and how clean and beautifully it was done.

John Kane “A Type Primer” This book had a lot of valuable information that I used when trying to learn more about the typefaces and how they were made and why they were made. It talks about the new technologies and ideas that some typographers from this generation used when developing their types and printing their books. It also gave in depth type specimens of most of the new fonts of this era which was nice to have for printed comparison of what the typefaces looked like when finished and printed out.

Philip B. Meggs, Alston W. Pervis “Megg’s History Of Graphic Design”

Really the only thing I used this book for was all of my information about Jean Joseph Barbou, due to the fact that it was very difficult to find any more than basic information about him anywhere else. It was very helpful in having detailed information on him and his family’s relationship with Fournier Le Jeune.

The Age of Enlightenment

https://en.wikipedia.org/wiki/Age_of_Enlightenment http://www.history.com/topics/enlightenment Image 1: https://en.wikipedia.org/wiki/Age_of_Enlightenment Image 2: https://en.wikipedia.org/wiki/Age_of_Enlightenment

The Renaissance and Graphic Design

http://www.history.com/topics/renaissance-art Image 1: http://babysmentet.blogspot.com/2012/12/historical-of-milestone-and-typography.html Image 2: http://havingalookathistoryofgraphicdesign.blogspot.com/2012/06/kelmscott-press.html

Philippe Grandjean

https://en.wikipedia.org/wiki/Philippe_Grandjean Image 1: http://blogs.baruch.cuny.edu/art3050s2013/2013/02/14/homework-2-romain-du-roi/

Louis Simonneau

https://en.wikipedia.org/wiki/Romain_du_Roi Image 1: http://blogs.baruch.cuny.edu/art3050s2013/2013/02/14/homework-2-romain-du-roi/ Image 2: http://www.snipview.com/q/Charles_Louis_Simonneau Image 3: http://luc.devroye.org/fonts-43481.html

Pierre Simon Fournier le Jeune

https://en.wikipedia.org/wiki/Pierre_Simon_Fournier Image 1: https://mandygibby.wordpress.com/ Image 2: http://higheredbcs.wiley.com/legacy/college/meggs/0471699020/html/Chapter08/slides/08-05.html

William Caslon

https://en.wikipedia.org/wiki/William_Caslon http://www.linotype.com/348/william-caslon.html http://www.nndb.com/people/271/000095983/ Image 1: http://blog.thepapermillstore.com/history-of-typopgraphy-baroque/ Image 2: http://www.nndb.com/people/271/000095983/


John Pine

https://en.wikipedia.org/wiki/John_Pine Image 1: https://en.wikipedia.org/wiki/John_Pine

John Baskerville

https://en.wikipedia.org/wiki/John_Baskerville Image 1: https://en.wikipedia.org/wiki/John_Baskerville Image 2: http://fontsinuse.com/uses/1846/obama-08-campaign-branding

Giambatista Bodoni

“typographic design: Form and Communication” http://www.britannica.com/biography/Giambattista-Bodoni Image 1: http://media-2.web.britannica.com/eb-media/89/30589-004-EC84AC85.jpg Image 2: https://s-media-cache-ak0.pinimg.com/736x/7d/63/b1/7d63b18a0d1ea5c09d05d64a87487c7f.jpg Image 3:http://cdn.ilovetypography.com/img/2012/09/Manuale-Tipografico1.jpg

Firmin Didot

“typographic design: Form and communication” http://www.linotype.com/370/firmin-didot.html Image 1: http://luc.devroye.org/FirminDidot-Small.jpg Image 2: https://s-media-cache-ak0.pinimg.com/736x/58/b0/83/58b0835082d266539a7008a059cc8c42.jpg Image 3: http://www.lib.udel.edu/ud/spec/images/trade/peintre2.jpg

The Stereotype

http://www.britannica.com/technology/stereotype-printing Image 1: http://mmop.org.au/-pix/ast0206b.jpg Image 2: https://upload.wikimedia.org/wikipedia/commons/f/f8/Fotothek_df_roe-neg_0006484_033_Herstellen_einer_Mater_(Stereotypie).jpg

Hermann Berthold

http://luc.devroye.org/fonts-43437.html Image 1: https://upload.wikimedia.org/wikipedia/de/9/9a/Hermann_Berthold.jpg Image 2: https://c2.staticflickr.com/4/3712/11622963795_1df6def77b_b.jpg Quote: http://www.bertholdtypes.com/category/h-berthold/

Geoffroy Tory

http://arh346.blogspot.com/2007/09/geoffroy-tory-was-publisher-printer.html Image 1: http://www.typogabor.com/Media/GTory/ChampFleury-17.gif Image 2: http://luc.devroye.org/GeoffroyTory1529-I.png

Jean Joseph Barbou

https://books.google.com/books?id=-SlHAAAAQBAJ&pg=PT378&lpg=PT378&dq=jean+barbou+printer&source=bl&ots=u1Hp51pXSa&sig=oVZK983O1mwaboZsLuganQ50In8&hl=en&sa=X&ved=0CDgQ6AEwB2oVChMInvaTiqKWyQIVSKQeCh3oDQ6j#v=onepage&q=jean%20barbou%20printer&f=false Image 1: gallica.bnf.fr/ark:/12148/bpt6k1040469n Image 2: higheredbcs.wiley.com/legacy/college/meggs/0471699020/html/Chapter08/slides/08-15.jpg Image 3: higheredbcs.wiley.com/legacy/college/meggs/0471699020/html/Chapter08/slides/08-06.jpg



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