La Vie Parisienne by Florence Packer

LV P LA VIE PARISIENNE

LA VIE PARISIENNE

THANKYOU TO MY GRANDFATHER FOR GIVING ME ALL THE CONTENT FOR THIS PUBLICATION.

LA VIE PARISIENNE

CONTENT CONTENT INTRODUCTION À PROPOS

LE VIA PARISIENNE CONTROBURTORS NOTABLES . GEORGE BARBIER CHÉRI HEROUARD GEORGES LÉONNEC MAURICE MILLIÈRE GERDA WEGENER SACHA ZALIOUK

INTRODUCTION ABOUT

LE VIA PARISIENNE NOTABLE CONTROBURTORS. GEORGE BARBIER CHÉRI HEROUARD GEORGES LÉONNEC MAURICE MILLIERE GERDA WEGENER SACHA ZALIOUK

HISTOIRE

HISTORY

CONCEPTION GRAPHIQUE FRANÇAISE CONCEPTION MAGAZINE

FRENCH GRAPHIC DESIGN MAGAZINE DESIGN

SYSTÈME DE GRILLE

GRID SYSTEM

LES BASES SECTION D’OR GRILLE SEULE COLONNE . GRILLE MULTI-COLONNES COLONNE MODULAIRE. LE VIA PARISIENNE LE VIA PARISIENNE MISE EN PAGE

THE BASICS GOLDEN SECTION SINGLE-COLUMN GRID. MULTI-COLUMN GRID MODULAR COLUMN. LE VIA PARISIENNE LE VIA PARISIENNE LAYOUT

CONTENT

ANNONCES ON DIT LE DIT

ADVERTS ON DIT ON DIT

COUVERCLES

LA VIE PARISIENNE

COVERS

INTRODUCTION. La Vie Parisienne (Parisian life) was a French weekly magazine founded in Paris in 1863 and popular at the start of the 20th century. Originally it covered novels, sports, theater, music and the arts. In 1905 the magazine changed hands and the new editor Charles Saglio changed its format to suit the modern reader. It soon evolved into a mildly risqué erotic publication. During World War I, General Pershing personally warned American servicemen against purchasing the magazine, which boosted its popularity in the United States. La Vie Parisienne was hugely successful because it combined a new mix of subjects - short stories, veiled gossip and fashion banter, also comments about subjects from love and the arts to the stock exchange - with beautiful cartoons and fullpage color illustrations by leading artists of the age. Alongside this the magazine also reflected the changing interests and values of the start of the 20th century population such as fashion and frivolity.The artwork of La Vie Parisienne reflected the stylization of Art Nouveau and Art Deco illustration, mirroring the aesthetic of the age as well as the values, and this coupled with the intellectualism, wit and satire of its written contributions was a combination that proved irresistible to the French public.

The largest collection of La Vie Parisienne magazine artwork in the UK is held by The Advertising Archives, a free-to-view resource holding cover and interior artwork of illustrators including George Barbier, Chéri Herouard, Georges Léonnec and Maurice Milliere. The historical La Vie Parisienne ceased to exist in 1970. A new magazine of the same name started in 1984 and is still in existence. This publication explores La Vie Parisienne in all its glory, from illistration to layout. Looking at French Graphic Design also.

LA VIE PARISIENNE

A B O U T.

LA VIE PARISIENNE

A B O U T.

LA VIE PARISEIENNE.

La Vie Parisienne began on January 4, 1863, as a weekly magazine covering most facets of high society from art to politics. The magazines slogan spoke to its many contents “Moeurs Elegantes, Choses du Jour, Fantaisies, Voyages, Theatres, Musique, Modes” (Elegant Customs, Current Affairs, Imaginative Pieces, Travel, Theater, Music, Fashion). By the late 1870s, illustrations began to appear displaying the more frivolous and slightly naughty aspects of the Le Moulin Rouge and the music hall. As the 80s progressed more and more stories and features appeared showing the more intimate details of the mode and manners of the various social classes in their sometimes secret lives, and this trend would continue into the new century along with the addition of advertisements for luxury items and sometimes risque products for the upper class. Class attitudes and mores had so much to do with how different national audiences suppressed or embraced sex, sexiness, extra-marital sex, and the magazines that sold such. Smilby writes: The stage door of the theater was, certainly from the eighteenth century at least, a place where gentlemen of taste, refinement, and money could meet pretty girls who, though not social equals, had the advantage of possessing virtue that was indirectly purchasable without being chalked up in the brutal economic terms of the whore; girls with whom some semblance of a relationship could be enjoyed.

During the late Victorian times, a prosperous leisured class had time and money on its hands. The entertainment industry, the theater and music hall, thrived, and so did the stage-door johnny. Wives appeared quite happy to be left in sexual peace, and to endure, or indeed accept, their husbands’ extramarital affairs. Provided, that is, that they were of an approved social level. A love affair with an equal might rate as infidelity, whereas a mere affaire with an inferior - an actress or show girl - did not endanger the social status of the wife. It was the large, libertine class of France that could afford and appreciate La Vie Parisienne. The advertisements, stories, and illustrations all point to a level of sexual liberation amongst both French women and men out of place in other countries. The large English middle class has always had a tendency towards censorship and suppressing the appetites and vulgarities of the upper and lower classes, and the naughty magazines in America did not bloom until the 1920s after various genres of magazines were able to push the boundaries of mainstream or at least side-street acceptability for risque content.

LA VIE PARISIENNE

A B O U T.

NOTABLE CONTROBUTORS.

George Barbier Chéri Herouard Georges Léonnec Maurice Milliere Gerda Wegener Sacha Zaliouk Umberto Brunelleschi Raphael Kirchner Joseph Kuhn-Régnier Fabien Fabiano René Vincent Joseph Hémard Fernand Fau Henry Gerbault Zyg Brunner Pierre Brissaud Vald’Es (Valvérane & D’Espagnat) Léo Fontan Armand Vallée Louis Vallet Georges Pavis René Préjelan Julien Jacques Leclerc Pierre Lissac Henri Avelot Henry Fournier G. Hautot (Georges Hautot) Henri Guydo Jaques Fabius Lorenzi (Alberto Fabio) Guy Arnoux Jacques (Lehmann) Nam Edouard Touraine Suzanne Meunier Suzanne Sesbouë Colette

LA VIE PARISIENNE

A B O U T.

GEORGE BARBIER.

CHÉRI HÉROUARD.

George Barbierv (1882–1932) was one of the great French illustrators of the early 20th century. Born in Nantes, France on October 10, 1882, Barbier was 29 years old when he mounted his first exhibition in 1911 and was subsequently swept to the forefront of his profession with commissions to design theatre and ballet costumes, to illustrate books, and to produce haute couture fashion illustrations. For the next 20 years Barbier led a group from the Ecole des Beaux Arts who were nicknamed by Vogue “The Knights of the Bracelet”—a tribute to their fashionable and flamboyant mannerisms and style of dress. Included in this élite circle were Bernard Boutet de Monvel and Pierre Brissaud (both of whom were Barbier’s first cousins), Paul Iribe, Georges Lepape, and Charles Martin. During his career Barbier also turned his hand to jewellery, glass and wallpaper design, wrote essays and many articles for the prestigious Gazette du bon ton. In the mid-1920s he worked with Erté to design sets and costumes for the Folies Bergère and in 1929 he wrote the introduction for Erté’s acclaimed exhibition and achieved mainstream popularity through his regular appearances in L’Illustration magazine. Barbier died in 1932 at the very pinnacle of his success.v

Chéri Hérouard (1881 - 1961) was a French illustrator who was most famously known for his forty-five-year work for French society magazine, La Vie Parisienne. Born as Chéri-Louis-Marie-Aime Haumé in Rocroi on January 6, 1881, Hérouard’s father died in a hunting accident just before his birth. His mother remarried to a Hérouard, who was a descendant of the doctor of Louis XIII, and Cheri took the new name. Hérouard married Henriette Tabillon on August 17, 1903. Chéri Herouard’s first printed artwork appeared in Le Journal de la Jeunesse in 1902. Upon stepping into the Publishing House of Calmann-Lévy, he met Anatole France, who encouraged him to continue his work. Hérouard stood out for his fairytale characters, and was also a pioneer in the comics format. He submitted work to La Semaine de Suzette before being approached by Charles Saglio, who had just purchased La Vie Parisienne, to become an illustrator for the magazine. At first he resisted, saying he didn’t think he was skilled enough. Two years later, Hérouard’s first illustration for La Vie Parisienne was published on November 9, 1907. The cover illustrations for the magazine were divided among several illustrators, with Hérouard contributing most frequently between 1916 through 1930. He continued his work with the magazine until 1952. He often created illustrations for books such as Dangerous Liaisons in 1945. For Pierrot, he drew ‘Gil Blas de Santillane’ (1949), ‘Tambour Battant’ (1950) and ‘Le Capitaine Eclair’ (1951). Under the pseudonym of Herric, he also created erotic and sadomasochistic illustrations for various books including the Kama Sutra. He died on June 2, 1961.

LA VIE PARISIENNE

A B O U T.

GEORGES LÉONNEC.

MAURICE MILLIERE.

Georges Léonnec (1881 – 1940), the brother of the novelist Félix Léonnec, began his career as a cartoonist selling drawings to newspapers in 1899. After participating in World War I he worked as an illustrator for the magazine La Vie Parisienne. He worked for several other publications including Fantasio and Le Sourire. He was also well known for his advertising illustrations for Byrrh apéritif wine, Dufayel department stores, and the Casino of Paris.

Maurice Milliere (1871–1946) was a French painter, printmaker and illustrator, born in Le Havre to upper working class parents; his father was a merchant’s clerk. His early artistic interests are not known, but he completed his secondary education at the Ecole De Beaux Arts in Le Havre before travelling to Paris in 1889 to continue his studies at the l’Ecole des Arts Decoratifs and l’Ecole des Beaux-Arts. He was a contemporary of Louis Icart, although some his early etchings (from c1907) predate those of Icart. Milliere served as an early inspiration to Vargas and was undeniably a commercial success. In addition to his original works of art such as the oil paintings and etchings, he was a prolific commercial illustrator, being commissioned to create images that were used in magazines such as La Vie Parisienne and Fantasio, on postcards, posters, menus and product packaging. He also gained much critical success, exhibiting at “Salon des Artistes Francais”, “Salon du Humoristes” being made a Chevalier de la Légion d’honneur and at the 1931 L’Exposition Coloniale where he was awarded a gold medal. He helped to establish the genre of boudoir art. Millière died in 1946 at the age of 74.

LA VIE PARISIENNE

A B O U T.

GERDA WEGENER.

SACHA ZALIOUK.

She grew up originally from the provinces as the daughter of a clergyman. She moved to Copenhagen to pursue her education at the Royal Danish Academy of Fine Arts, and married fellow artist Einar Wegener (later Lili Elbe) (1882â&#x20AC;&#x201C;1931) in 1904. After moving to Paris in 1912, she found much success both as a painter and as illustrator for Vogue, La Vie Parisienne, Fantasio, and many other magazines. As she found fame in Paris, Gerda also developed a following in her home country. She held exhibitions at Ole Haslunds gallery in Copenhagen at regular intervals. Her career relied on both her talent but perhaps even more so on her diligence, and the advantages that her unusual marriage brought her.

His artistic career began in Odessa, where he had moved with his mother and 3 siblings. His father was a notary and scribe in the Russian army and worked as a non-academic lawyer, but died prematurely of a brain tumor in his late thirties. Although his mother had little education herself, she supported the family by renting rooms in their home, first in Radomysl, then in Odessa. Sacha was able to get a public education in drawing and completed the university level College of Fine Arts in Odessa, while participating in local exhibitions and contributing to Russian language publications. Although he never mentioned this to me, some have said that he spent a month studying at the St Petersberg Academy of Fine Arts until he was let go for exceeding the Jewish quota in that institution.

LA VIE PARISIENNE

A B O U T.

UMBERTO BRUNELLESCHI.

RAPHAEL KIRCHNER.

Umberto Brunelleschi (June 21, 1879 - February 16, 1949) was an Italian artist. He was born in Montemurlo, Italy, studied at the Accademia delle Belle Arti in Florence and moved to Paris in 1900 with Ardengo Soffici where he soon established himself as a printer, book illustrator, set and costume designer. He worked for Le Rire as a caricaturist (often under the pseudonym’s Aroun-al-Raxid or Aron-al-Rascid) and was a contributor to many of the deluxe French fashion publications including Journal des Dames et Des Modes, La Vie Parisienne, Gazette du Bon Ton and Les Feuillets d’Art. Brunelleschi was also the artistic director of the short lived but significant La Guirlande d’art et de la litterature 1919-1920. His illustrated books include Voltaire (Candide, 1933), Charles Perrault (Contes du temps jadis,1912), Musset (La Nuit Vénitienne), Goethe, Diderot (Les Bijoux indiscrets, etc.), Les Masques et les personnages de la Comedie Italienne, 1914; Phili ou Par dela le Bien et le Mal,” 1921; Le Radjah de Mazulipatam,” 1925; Le Malheureux Petit Voyage, 1926; and Les Aventures de Roi Pausole, 1930. Umberto Brunelleschi died 1949 in Paris, France.

Raphael Kirchner (1876 - 2 August 1917) was an Austrian artist, principally a portrait painter and illustrator best known for Art Nouveau and early pin-up work, especially in picture postcard format. His work served as an early inspiration to Peruvian painter Alberto Vargas, who had a career in the United States for the film and men’s magazine industry. Kirchner was born in 1876 in Vienna, Austria, and attended the Academy of Fine Arts Vienna. He moved to Paris in the year 1900, making illustrations for such magazines as La Vie Parisienne. In 1914, at the outbreak of World War I, Kirchner moved to the United States. He lived in New York City until his death in 1917. Raphael Kirchner produced over a thousand published paintings and drawings in his lifetime, mostly in the form of picture postcards. His orientalist “Geisha” series was among his most popular, with over 40,000 cards sold. The series is a notable example of the cross-influence between Art Nouveau in the West and Japanese art of the Meiji and Taishō periods. Kirchner’s often mildly erotic paintings of feminine beauty, in convenient postcard and magazine page form, were among the early pin-ups favored by European and American soldiers in World War I. Peruvian painter Alberto Vargas cited Kirchner as an influence, and was noted for his own paintings of beautiful women in a related style. He painted for movie posters and later illustrations in men’s magazines.

LA VIE PARISIENNE

H I S T O R Y.

LA VIE PARISIENNE

H I S T O R Y.

FRENCH GRAPHIC DESIGN.

French design has been at the cutting edge of creativity since the appearance of the stunning posters of Henri de Toulouse-Lautrec (18641901), and his contemporary Jules Chéret (1836 -1932). With their captivating typographies and visual compositions, it was them who showed the world how much of the artistic beauty and inspiring harmony could enter into the poster. As early as 1898, André Mellerio in his influential text of La Lithographie en Couleurs noted that: It seems to us that colour lithography has existed before in the conditions in which we have seen it bloom, and consequently it is the distinctive artistic form of our time . The modern print was no longer a facsimile reproduction of just any original work in colour, but a personal conception, something realized for its own sake. This principle, applied victoriously by Chéret to the poster, whose nature and function made it special, was to be applied by others to the print, whose characteristics differed in many ways. But the right of the colour print to exist comes directly from the principle we consider an axiom: any method or process which an artist develops to express himself, is for that very reason legitimate. Mellerio, thus empathetically grounded the legitimacy of the poster on the artist’s attempt at self-expression, an inherent feature that distinguishes the French School of graphic design. He also recognized the vitally important role of the printer in assisting the artist to arrive at that self-expression and to create an authentic poster as a manifestation of the artist’s liberated inspiration. He wrote: “This close and much

needed collaboration between the artist and the printer would be reached by suggestion and agreement. They would thus overcome the difficulties of the craft at the same time that the liberated inspiration would assert itself more directly and more intensely. The 1880s were the Golden Years of French Poster, which started with the “défense d’afficher”, or “posting forbidden”, legislation of July 29, 1881, by the French government that allowed the posting of advertisement on the miles and miles of Paris’ broad, bare, masonry walls. In fact, since the 17th century there was a ban in France against posting bills without permission. In 1761, signboards in France were fixed flat against walls for safety by order of Louis XV , which is considered as the main reason for the invention of billboards. In 1869, with Cheret’s posters, the main features of modern advertisements were defined. It is interesting to note that in an interview with the English critic Charles Hiatt, Cheret revealed his taste for artistic qualities when he stated that for him posters were not necessarily a good form for advertising but that they made excellent murals. This concern for aesthetic criteria can be detected in almost all the body of work of French founding fathers of graphic design. However, posters were not supposed to be political. In the July, 1881 law the French government implicitly recognized the link between posters and revolution. The law, that was enacted ten years after the Paris Commune of 1871, reflected the same anti-revolutionary urban political spirit as Baron Haussmann’s architectural re-structuring of Paris. Haussmann created for Paris the grands

LA VIE PARISIENNE

boulevards, streets too wide for barricades. Similarly, the third chapter of Loi du 29 Juillet 1881 concerns with the displaying of posters on walls, and it still remains one of the most visible laws in France. The text is the following; “Dans chaque commune, le maire, désignera, par arrêté, les lieux exclusivement destinés à recevoir les affiches des lois et autres actes de l’autorité publique” (In each town, the Mayor will decide, by decree, the places which will be used exclusively to display papers describing laws and other acts of public authority), as well the law tries to ban the gluing of political posters to the Paris walls. This is because, in more revolutionary times, the public authorities needed to ensure that laws were clearly visible and understood by the people, and also to ensure that unofficial messages were kept off the city walls. It also became an offense to damage any such officially displayed texts, and tearing one today could still get one a stiff fine Consequently, the law pushed the poster art towards decorative styles that would have less difficulty in getting permission to display. Graphic artists used the newly redesigned streets of Napoleon Ill’s Paris, as an exhibition gallery for their decorative art, and writers and art critics like Joris-Karl Huysmans, Edmond de Goncourt and others wrote about the artistic qualities of these works. It is of note that the first documented evidences of the modern French advertisement appeared in 1715, for folding umbrellas, and in 1800 for Bonne Bierre de Mars, an illustration of young couples drinking at an inn. L’Art Nouveau, Bing and La Maison Moderne During the nineteenth century Paris, that had became the centre of a powerful national school of painting and sculpture, culminating in the dazzling innovations of Impressionism and PostImpressionism, also began to develop a powerful and versatile French School of Graphic Design that was informed by the experiments in other fields of visual art, creating an stunning positive feedback loop. As a result, in the early years of the twentieth century, Paris became a magnet for artists from all over the world and the focus of

the principal innovations of modern art, notably Fauvism, Cubism, Abstract Art and Surrealism, that provided a solid base for experiments in visual communication design. By bringing together major international and national artists from the various fields of visual art Paris, had created a conducive ambiance for creativity and artistic synergy. Paris had already gave birth to the Art Nouveau style (1895-1910) which was the first expression of French School of graphic design, characterized by naturalistic sensuous lines derived from vegetative curves with willowy leaves, subtle light, feminine figures with curly hair, fluent dresses and attitudes, twisting waves and evanescent smoke. Of course, Art Nouveau ‘s controlled lines, geometric details, colorful new shapes were informed in essence by the French Rococo style. Rococo also was a French movement in the arts in the early 18th century, which had been stemmed from the Baroque era. With the onset of the age of Enlightenment, a time of celebrating new rational ideas about human existence, Rococo art was the visual representation of the enlightenment’s optimism and the triumph of reason. The aristocratic Rococo reflected on the futile lives of the privileged elite with a sense of humor, respecting neither church nor state. Rococo art was an anti-style, rejecting the grandeur of the Baroque and aiming to simply please the taste. After decades of religious strife and endless preaching, the sheer aesthetics of the Rococo was a great relief to weary viewers. In fact, it can be argued safely that the Art Nouveau was a turn-of-the-centnry retooling of the Rococo for the new age of advertisement. Siegfried Bing (1838-1905), a German born French, who was the founder of La Maison de l’Art Nouveau in Paris in 1895, was instrumental in the birth of Art Nouveau. In fact it was his gallery that gave its name to the new style. Bing, later known as Samuel Bing, was a collector of Japanese Art, whose gallery La Maison Bing was specialized in decorative arts. He started exhibiting the avant-garde work of contemporary artists, such as Henry Clemens Van De Velde

LA VIE PARISIENNE

(1863 -1957), a Belgian architect and teacher who together with his compatriot Victor Horta is considered as the originator of the Art Nouveau. Henri van de Velde designed furniture and interiors for the galleries of Samuel Bing in 1896. Later as a teacher in Germany, Van de Velde created his most significant contributions to modern design after his exhibition of furnished interiors at Dresden in 1897. In 1902 he became artistic adviser to the grand duke of Saxe-Weimar in Weimar, where became interested in the work of William Morris and the Arts and Crafts Movement, and reorganized the Kunstgewerbeschule, Artsand-Crafts School, and the academy of fine art, which later in 1919 were joined under Walter Gropius into the Bauhaus.

LA VIE PARISIENNE

H I S T O R Y. MAGAZINE DESIGN.

“THIS CLOSE AND MUCH NEEDED COLLABORATION BETWEEN THE ARTIST AND THE PRINTER WOULD BE REACHED BY SUGGESTION AND AGREEMENT. THEY WOULD THUS OVERCOME THE DIFFICULTIES OF THE CRAFT AT THE SAME TIME THAT THE LIBERATED INSPIRATION WOULD ASSERT ITSELF MORE DIRECTLY AND MORE INTENSELY”

Mellerio, thus empathetically grounded the legitimacy of the poster on the artist’s attempt at self-expression, an inherent feature that distinguishes the French School of graphic design. He also recognized the vitally important role of the printer in assisting the artist to arrive at that self-expression and to create an authentic poster as a manifestation of the artist’s liberated inspiration. He wrote:

LA VIE PARISIENNE

The 1880s were the Golden Years of French Poster, which started with the “défense d’afficher”, or “posting forbidden”, legislation of July 29, 1881, by the French government that allowed the posting of advertisement on the miles and miles of Paris’ broad, bare, masonry walls. In fact, since the 17th century there was a ban in France against posting bills without permission. In 1761, sign-boards in France were fixed flat against walls for safety by order of Louis XV , which is considered as the main reason for the invention of billboards. In 1869, with Cheret’s posters, the main features of modern advertisements were defined. It is interesting to note that in an interview with the English critic Charles Hiatt, Cheret revealed his taste for artistic qualities when he stated that for him posters were not necessarily a good form for advertising but that they made excellent murals. This concern for aesthetic criteria can be detected in almost all the body of work of French founding fathers of graphic design. However, posters were not supposed to be political. In the July, 1881 law the French government implicitly recognized the link between posters and revolution. The law, that was enacted ten years after the Paris Commune of 1871, reflected the same anti-revolutionary urban political spirit as Baron Haussmann’s architectural re-structuring of Paris. Haussmann created for Paris the grands boulevards, streets too wide for barricades. Similarly, the third chapter of Loi du 29 Juillet 1881 concerns with the displaying of posters on walls, and it still remains one of the most visible laws in France. The text is the following; “Dans chaque commune, le maire, désignera, par arrêté, les lieux exclusivement destinés à recevoir les affiches des lois et autres actes de l’autorité publique” (In each town, the Mayor will decide, by decree, the places which will be used exclusively to display papers describing laws and other acts of public authority), as well the law tries to ban the gluing of political posters to the Paris walls. This is because, in more revolutionary times, the public authorities needed to ensure that laws were clearly visible and understood by the people,

and also to ensure that unofficial messages were kept off the city walls. It also became an offense to damage any such officially displayed texts, and tearing one today could still get one a stiff fine Consequently, the law pushed the poster art towards decorative styles that would have less difficulty in getting permission to display. Graphic artists used the newly re-designed streets of Napoleon Ill’s Paris, as an exhibition gallery for their decorative art, and writers and art critics like Joris-Karl Huysmans, Edmond de Goncourt and others wrote about the artistic qualities of these works. It is of note that the first documented evidences of the modern French advertisement appeared in 1715, for folding umbrellas, and in 1800 for Bonne Bierre de Mars, an illustration of young couples drinking at an inn. L’Art Nouveau, Bing and La Maison Moderne. During the nineteenth century Paris, that had became the centre of a powerful national school of painting and sculpture, culminating in the dazzling innovations of Impressionism and PostImpressionism, also began to develop a powerful and versatile French School of Graphic Design that was informed by the experiments in other fields of visual art, creating an stunning positive feedback loop. As a result, in the early years of the twentieth century, Paris became a magnet for artists from all over the world and the focus of the principal innovations of modern art, notably Fauvism, Cubism, Abstract Art and Surrealism, that provided a solid base for experiments in visual communication design. By bringing together major international and national artists from the various fields of visual art Paris, had created a conducive ambiance for creativity and artistic synergy. Paris had already gave birth to the Art Nouveau style (1895-1910) which was the first expression of French School of graphic design, characterized by naturalistic sensuous lines derived from vegetative curves with willowy leaves, subtle light, feminine figures with curly hair, fluent dresses and attitudes, twisting waves and evanescent smoke. Of course, Art Nouveau’s controlled lines, geometric details, colorful new shapes were informed in essence by the French Rococo style.

LA VIE PARISIENNE

GRID SYSTEMS.

LA VIE PARISIENNE

GRID SYSTEMS. THE BASICS.

A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multipage documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a grid’s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics. Type sizes are generally determined by hierarchy—captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. Designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. The Industrial Revolution marked the beginning of a capital-based economy, with mass production at its heart. Graphic design was born, although still not named as such. Its job was to communicate diverse messages to an increasingly literate people. The rise in print output was phenomenal—posters, leaflets, and advertising of all kinds, newspapers, timetables, and all manner of information-based design. Suddenly designs competed for attention. Images, initially in the form of engravings and then as photographs, had to be incorporated

along with an ever-expanding array of display typefaces. Highly skilled and educated printers stayed firmly in the land of the book, while jobbing printers and compositors struggled to lay out this diverse material for which the classical book was not a useful precedent. Toward the end of the nineteenth century, artists and thinkers identified this as a problem that had to be solved. Although the work produced by William Morris and the Arts and Crafts movement may appear very different from that of modernism, Arts and Crafts was its forerunner in one important respect. Morris believed that form and function were inextricably entwined. Running almost concurrently with these ideas were the revolutionary cubist experiments of Picasso and Braque, who were exploring how to represent 3-D forms on 2-D planes, producing increasingly abstract results. Artists, and then designers, were influenced by this work, and re-evaluated composition as a result. The early twentieth-century art movements— futurism, dadaism, surrealism, constructivism, suprematism, and expressionism—also had an influence on the development of the grid. Artists were united in trying to represent a new, industrialised age exemplified by speed of travel and faster communication. They recognized the power of the word and broke with all previous print tradition by using type at conflicting angles or on curves; introducing extreme variation in type sizes; using drawn, abstracted letterforms; and generally ignoring the vertical and horizontal nature of type. For the first time, space was used

LA VIE PARISIENNE

GRID SYSTEMS. GOLDEN SECTION.

No book about typography would be complete without a discussion of the golden section, a ratio (relationship between two numbers) that has been used in Western art and architecture for more than two thousand years. The formula for the golden section is a : b = b : (a+b). This means that the smaller of two elements (such as the shorter side of a rectangle) relates to the larger element in the same way that the larger element relates to the two parts combined. In other words, side a is to side b as side b is to the sum of both sides. Expressed numerically, the ratio for the golden section is 1 : 1.618.

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Some graphic designers are fascinated with the golden section and use it to create various grids and page formats-indeed, entire books have been written on the subject. Other designers believe that the golden section is no more valid as a basis for deriving sizes and proportions than other methods, such as beginning from standard industrial paper sizes, or dividing surfaces into halves or squares, or simply picking whole-number page formats and making logical divisions within them.

LA VIE PARISIENNE

GRID SYSTEMS. SINGLE-COLUMN GRID.

Every time you open a new document in a page layout program, you are prompted to create a grid. The simplest grid consists of a single column of text surounded by margins. By asking for page dimensions and margin widths from the outset, layout programs encourage you to design your page from the outside in. (The text column is the space left over when the margins have been subtracted.) Alternatively, you can design your page from the inside out, by setting your margins to zero and then positioning guidelines and text boxes on a blank page. This allows you to experiment with the margins and columns rather than making a commitment as soon as you open a new document. You can add guidelines to a master page after they meet your satisfaction.

DESIGNING FOR SPREADS.

Books and magazines should be designed as spreads (facing pages). The two-page spread, rather than the individual page, is the main unit of design. Left and right margins become inside and outside margins. Page layout programs assume that the inside margins are the same on both the left- and right-hand pages, yielding a symmetrical, mirror-image spread. You are free, however, to set your own margins and create an asymmetrical spread.

LA VIE PARISIENNE

GRID SYSTEMS. MULTI-COLUMN GRID.

While single-column grids work well for simple documents, multicolumn grids provide flexible formats for publications that have a complex hierarchy or that integrate text and illustrations. The more columns you create, the more flexible your grid becomes. You can use the grid to articulate the hierarchy of the publication by creating zones for different kinds of content. A text or image can occupy a single column or it can span several. Not all the space has to be filled.

Os porem. Borpos sandae sit rehenimin pliam, ullabor erchicati oditis sint

DESIGNING WITH A HANG-LINE.

In addition to creating vertical zones with the columns of the grid, you can also divide the page horizontally. For example, an area across the top can be reserved for images and captions, and body text can â&#x20AC;&#x153;hangâ&#x20AC;? from a common line. Graphic designers call this a hang line. In architecture, a horizontal reference point like this is known as a datum.

Os porem. Borpos sandae sit rehenimin pliam, ullabor erchicati oditis sint

Elements of varying width are staggered within the structure of the grid.

LA VIE PARISIENNE

GRID SYSTEMS. MODULAR GRID.

A modular grid has consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right. These modules govern the placement and cropping of pictures as well as text. In the 1950s and 1960s, Swiss graphic designers including Gerstner, Ruder, and MüllerBrockmann devised modular grid systems like the one shown here.

BASELINE GRID.

Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences. Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the numer of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top and/or bottom page margins to absorb the leftover lines. To style headlines, captions, and other elements, choose line spacing that works with the baseline grid, such as 18/24 for headlines,

14/18 for subheads, and 8/12 for captions. Web designers can choose similar increments (line height in CSS) to create style sheets with neatly coordinated baselines. Where possible, position all page elements in relation to the baseline grid. Don’t force it, though. Sometimes a layout works better when you override the grid. View the baseline grid when you want to check the position of elements; turn it off when it’s distracting.

MODULA GRID

Use a modular grid to arrange a text in as many ways as you can. By employing just one size of type and flush left alignment only, you will construct a typographic hierarchy exclusively by means of spatial arrangement. To make the project more complex, begin adding variables such as weight, size, and alignment.

LA VIE PARISIENNE

GRID SYSTEM. LE VIA PARISIENNE.

Le Via Parisienne is much like many publications of the time. This grid system has been used throughout this publication. The idea of having a black line spliting a page and then having it divied in half of that. Within Le Via Parisienne this grid is not changed from the first to the last issue. Although it doesnt change it is a simple grid that compliments the content going in to it. There are few breaks in the grid, but are done in a way that suits the flow of text. It is a multi-column grid, this means it is flexable.

LA VIE PARISIENNE

GRID SYSTEMS LE VIA PARISEINNE LAYOUT

La Vie Parisienne has a distinctive grid as it is clear in all of the issues. It uses the basic idea of having two columns. Text is justified in all of these columns. In the columns words are also hyphanated. This was done because of the classic way in which they where printed. When typesetting it is much harder to do on letterpress and would have been really time consuming considering La Vie Parisienne was a weekly publication. There are only two times that the grid is broken, this is in the case of the center fold where on large illistration was displayed. Although this image was full page it stayed with in the border that is throughout the magazine. It is also broken for the front cover, but this is the same for most publications.

LA VIE PARISIENNE

GRID SYSTEM. LE VIA PARISEINNE LAYOUT

La Vie Parisienne began on January 4, 1863, as a weekly magazine covering most facets of high society from art to politics. The magazines slogan spoke to its many contents â&#x20AC;&#x153;Moeurs Elegantes, Choses du Jour, Fantaisies, Voyages, Theatres, Musique, Modesâ&#x20AC;? (Elegant Customs, Current Affairs, Imaginative Pieces, Travel, Theater, Music, Fashion). By the late 1870s, illustrations began to appear displaying the more frivolous and slightly naughty aspects of the Le Moulin Rouge and the music hall. As the 80s progressed more and more stories and features appeared showing the more intimate details of the mode and manners of the various social classes in their sometimes secret lives, and this trend would continue into the new century along with the addition of advertisements for luxury items and sometimes risque products for the upper class. And class attitudes and mores had so much to do with how different national audiences suppressed or embraced sex, sexiness, extra-marital sex, and the magazines that sold such. Smilby writes:

The stage door of the theater was, certainly from the eighteenth century at least, a place where gentlemen of taste, refinement, and money could meet pretty girls who, though not social equals, had the advantage of possessing virtue that was indirectly purchasable without being chalked up in the brutal economic terms of the whore; girls with whom some semblance of a relationship could be enjoyed.

LA VIE PARISIENNE

CO N T E N T.

LA VIE PARISIENNE

CO N T E N T. ADVERTS.

La Vie Pariseinne not only included beautiful illistrations of women, but also adverts. All magazines include adverts that editors feel applies to their audience. In La Vie Parisienne adverts ranged from food and drink, cigarettes to clothing for men and women. The adverts where all printed in black and white with few full page spreads which would have been more expensive. Many of the brands where worldwide, not simply just french. Most products you could send off for, and where for the upper-classes. Much like the rest of the publication this fits into the classic grid. Unlike many publications now, there was a lot of hand lettering and drawing in these adverts as it was cheaper and easier to reproduce.

LA VIE PARISIENNE

CONTENT

ON DIT...ON DIT [THEY SAY THEY SAY].

Le Via Parisienne always began the same in each issue. They had a page of â&#x20AC;&#x2DC;they say they sayâ&#x20AC;&#x2122; this would be news and letters. Every so often they would change the way the title looked. Although the basic princible of having the words across the top with two illistrations each side. All of these titles where hand drawn, text and image. This is one of the many inside features that emthusisats and collectors can over look. Although there was a set space for the title to go, the illistrations could run into the body copy as needed, this feature did mean changing text settings when a new image was brought in. These are only a few of the different illistrations but a whole new book could be produced on the vast look of these titles. They follow the fashions in their style of illistration.

LA VIE PARISIENNE

COVERS.

LA VIE PARISIENNE

LA VIE PARISIENNE. FLORENCE PACKER. APRIL 15TH 2015. 82 PAGES.

LA VIE PARISIENNE

MOEURS. ELEGANTES. CHOSES DU JOUR. FANTAISIES. VOYAG ES . THEATRES. MUSIQUE. MODES.

ELEGANT CUSTOMS, CURRENT AFFAIRS, IMAGINATIVE PIECES, TRAVEL, THEATER, MUSIC, FASHION. LA VIE PARISIENNE