Industrial Revolution From 1760-1830
CONTENTS 4
6
8
11
10 12 14
16 19 17
22
26
10
15 21
20 23
25 24
27 28
THE EXPLOSION OF ADVERTISING
B
y the 1880s, advertisement seemed to take on a driving aspect of its own, and focused on the creation of “wants” and “needs” in the growingconsumer population. In order to create a market for certain items, clever
businessmen would advertise products in careful language, designed to influence potential buyers into seeing the necessity of owning particular products. Evidence of this is seen in the growing number of appliances such as cooking stoves, washing machines, and sewing machines produced at this time, and found within “modern” households. Advertisements appealed to women especially, detailing how the possession of a cooking stove, for instance, was guaranteed to reduce the toil and labor of the kitchen, and thus free time for “nurturing” the family according to the values and standards of the day.
the kitchen, and thus free time for “nurturing” the family according to the values and standards of the day. Women were intended, in a sense, to be the principle consumers of the new market economy. In creating wants and needs in a population of consumers, advertisement was instrumental in paving the way for successful capitalism in America. Advertising played an increasingly important role in the financial performance of American newspapers and magazines. In 1880, advertising represented 44 percent of publishers’ revenue; that is, $39 million of the $89 million in total revenue that publishers of all types of periodicals received. In the aggregate, daily newspapers received 49 percent of their revenue from advertising and 51 percent from readers. Less frequent periodicals were much less reliant on advertisers: 39 percent of their revenue came from advertising
Perhaps the most significant trend discernible during the last two decades of the nineteenth century was not the raw growth of advertising, as impressive as it was; rather, it was the utilization of advertising to introduce new products, to homogenize tastes, and to create demand. The last decade also witnessed the growth of national, as opposed to regional, advertising campaigns. Eleven million advertisements appeared in some 2,000 American newspapers in 1847, according to an estimate made the following year. . . . By 1854, with the population only 25 per cent. larger, the estimated number of publications in the United States had grown 100 per cent., or to 4,000. These figures present a quick index to the increasing interest in newspaper advertising which made it possible to maintain so many papers.
THE FIRST PHOTOGRAPHIC PRINTING PLATE
T
he carbon process of photography was invented by Alphonse-Louis Poitevin in 1855 and further developed between 1864 and 1874 by Joseph Swan and John Sawyer, whose research led to the introduction of so-called carbon tissue, which became a key component of both photogravure and rotogravure printing during the nineteenth century and the first half of the twentieth century. The light sensitivity of dichromate-sensitized carbon tissue attracted the attention of Klíč, who was aware of the Talbot process and was trying to improve upon it by depositing a grain-forming, resinous powder directly on the surface of a copper plate. In 1877 Klíč succeeded in depositing a highly uniform layer of resin on a copper plate; he then bonded resin particles to the copper plate by heat. He later experimented with transferring dichromate-sensitized carbon tissue to a resin particle copper plate and exposing it under a positive. This was followed by the removal of the paper substrate from the copper plate–carbon tissue– paper substrate sandwich. The resin grain coated copper plate was then etched, through the exposed but undeveloped carbon tissue, using a series of ferric chloride solutions of decreasing concentrations. The industrialization of the printing process continued with the development of the cylinder press, invented in London by the German designers Koenig and Bauer. This carried the paper over the type on a rolling mechanization. One of the first steam-powered presses was installed at The Times newspaper in London in 1814. Mechanization quickly spread to most major newspapers, but book-publishing houses continued to make use of hand-presses throughout the 19th century.
ROBERT THORNE
T
he first truly fat roman typeface is believed to have been introduced by prominent London type founder Robert Thorne, in 1803. This was a period of invention and discovery , when Europe was experiencing an enormous expansion of trade and comm merce. As innovation in printing technology improved and enterprising new trades began to flourish, so did the demand for print advertising. Job printers who formerly relied on printing books soon discovered new sources of commercial print work. Thorne responded to this new surge in advertising by designing his “improved printing types” expressly for job printers composing short lines of large text. His bold new, call caps fat face, which looked more like a Didone on steroids, proved to be wildly succesful and was largely responsible for altering the appearance of advertising in this era. The Slab Serif or Egyptian is also home to further subsets of typeface styles, like the Fat Faces which are fundamentally Didones (or Moderns) on steroids.
Take a Modern style typeface, give its thicker strokes even more weight, triangulate some of those serifs, and you have a Fat Face. You might be familiar with types like Poster Bodoni. Bodoni is of course a Modern style type but, carrying all that extra weight, it’s a Fat Face. The Fat Face, then, is basically an Obese Didone.
Genius is nothing but a great aptitude for patience. Although Thorne never published another book of specimens after 1803, he came very close to completing one, and he continued turning out bold new fonts at his Fann Street Foundry until his death in 1820. After Robert Thorne’s death, the Fann Street Foundry was put up for auction, and purchased by William Thorowgood in 1820 from winnings he received in a state lottery. Although Thorowgood had no previous experience in type founding, he quickly learned his ‘p’s and ‘q’s. Months later, he published 132 pages of Thorne’s composed specimens which remained after his death, including the first showing of his original fat face with the ill-fitting title of “Five-lines Pica, No. 5”.
VINCENT FIGGINS
T
he British punch-cutter and typefounder Vincent Figgins (1766-1844) ran a notable London typefoundry and is credited with designing the first Egyptian (slab serif) typeface, which he simply named ‘Antique’ and released in 1815. Figgins was originally apprenticed to the typefounder Joseph Jackson, a student of William Caslon I, and established his own typefoundry in Swan Yard, Holborn Bridge, in 1792. Figgins’ designs reflected a trend in the early nineteenth century toward the use of bolder types, rather than the lighter faces popular at the end of the previous century. The new style of types met with a mixed reception, with descriptions of them ranging from “the most brilliant typographical innovation of the nineteenth century” to them being described as a “typographical monstrosity”. Figgins is also believed to have introduced the term ‘sans-serif ’, with the introduction of a typeface of that name in 1836.
WILLIAM CASLON IV W
illiam Caslon IV is best known as the designer of the first sans serif typeface, though sans serif lettering had existed for some time. He was the great grandson of the original William Caslon, son of William Caslon III who had purchased the Joseph Jackson foundry in 1792 creating a second Caslon foundry. William IV took over the business in 1807 and was evidently very creative. He invented two part matrices for casting large letters and a method of casting wedge shaped letters for cylinder printing. In 1816 William IV issued a specimen book that showed a single line of upper case sans serif letters labeled “2 Line English Egyptian� or about 28 points in size. Though Egyptian has come to refer to slab serif types only, it originally referred to all monotone or monoline stroke types. It is not known why he cut the sans, whether it was cut for a client or as an experiment, but there was no interest in it and several years would pass before more sans serif types appeared. In 1819 William IV sold the foundry to Blake, Garnett & Co., which was formed specifically to purchase the company. They moved the company from London to Sheffield, England where it flourished and eventually became the Stephenson Blake foundry. William IV concentrated on developing a coal-gas system for lighting.
MANUAL TIPOGRAPHICO P r o d u c e d
b y
G i a m b a t t i s t a
B o d o n i
i n
1818
C
elebrated printer and type designer Giambattista Bodoni set the standard for printing the alphabet his Manuale tipographico (1818). The two-volume set—published posthumously in a limited edition of 250— features 142 sets of roman and italic typefaces, a wide selection of borders, ornaments, symbols, and flowers,as well as Greek, Hebrew, Russian, Arabic, Phoenician, Armenian, Coptic, and Tibetan alphabets. Official printer for the Duke of Parma, Bodoni (1740-1813) declared that well-designed type derived its beauty from four principles: uniformity of design, sharpness and neatness, good taste, and charm. His typefaces display an unprecedented degree of technical refinement, and epitomize purity and grace. The culmination of more than four decades of work, the Manuale tipografico represents one of history’s great est typographical achievements. The Bodoni typeface is still widely used even today, both in digital media and in
print, and meticulous reprint of Bodoni’s masterwork gives readers a rare opportunity to explore the origins of the Bodoni typeface and learn about its creator. Duke of Parma gives Bodoni permission to open his own printing works.The first books to be published are volumes of Greek, Roman and Italian classics. Bodoni died in 1813; his widow, Paola Margherita, finished the book he was working on at the tiem of his death, the Manuale Tipographico, which was finally published in 1818. He was a rare example of an early type designer who actually made some money out of his work; at the height of his success he was even recieving 300 francs a year from no less than Napoleon Bonaparte. However, what is now percieved as a general decline in printing standards in the nineteenth century took its toll on the fine strokes of Modern face, which explains in part the reaction against them. It was only in the twentieth century that Bodoni experienced a revival.
CHROMOLITHOGRAPHY
T
he chromolithographs is a printing process where different color separations are printed from a group of lithographic stones to create a full color image. In the beginning, a red outline is drawn in red chalk and than the colors are separated and transferred to the stone. Many chromolithographs were sold for under 10$ in the late 19th century and were very popular to the middle class family. Heavy oil-based inks ranging in blues and reds all helped create the effect prevented the colors from fading over periods of time. These chromolithographs often fool the human eye; a lot of times people think they are just looking at an ordinary original oil painting. The quality of these lithographs is incredible and were often sold door to door . Chromolithographs were most often published by Louis Prang who became the most successful American publisher of chromolithograph prints after the Civil War.
Louis Prang (1824-1909). PR 31, Bella C. Landauer Collection Chromolithograph of “Birth of Venus� by Sandro Botticelli
ORNAMENTAL TYPEFACE
D
ecorative is another name used for Ornamental Typeface that’s full of colorful and decorative faces that awaked in the Industrial Revolution. While the type ecorative is another name used for Ornamental Typeface that’s full of colorful and decorative faces that awaked in the Industrial Revolution. While the type face is recongnizable it has a touch of embellishing aspects. There are many aesthetic influences that revolve around the architecture and and exaggerated flowering forms of the Victorian time people. This style of typeface continued all the way through 19th century and even made its way through the 20th centuray as well. Ornamental letterforms have many influences and often reflect from developing in architecture and the graphic arts. Often times, ornamental has many Victorian characteristics catergorizing it into the groups of Medieval, Egyptian, classical, and even gothic. The faces are in capital only and are composed of decrotive forms of foliage, rustic work,
human form, and even abstract forms. Different popular sub catergories in the ornamental type include Gill Floriated, Castellar, Pepperwood, and Bodoni Classic. Eric Gill drew single characteristics for his Perpetua type and Gill Floriated fed off the type face in the early 20th century. It’s often times used with Perpetua and is often used with capital letters. Castellar was created in 1957 by John Peters. It is also all capitals and is often used with Humanist typefaces. Kim Buker Chansler, Carol Twombly, Carl Crossgrove created Pepperwood in the year of 1994 for Adobe. This font is more extravagant and has many decorative points. Bodoni Classic was created by Gert Weisher and has decorative floaral faces as well. It is very similar to Bodoni’s Fournier.
SLAB SERIF I n t r o d u c e d
b y
V i n c e n t
F i g g i n s
T
he slab serif is a form characteristic that contributes to the new industrial age emerging with the promotion and packaging aspect. It was originated in the 18th century with architecture and sign writing. The slab-serif letterform is reletively new in typogrpahic history. It was invented in a quite unique way. It was actually created by an English invention and was first triggered by the need for communication. People thought it would be easier to read posters, bills, and signs with a more bold lettering. With the Industrial Revolution and economy booming with the industries slab serif was very beneficial. Slab-serif typefaces developed from a large-scale display of letters that were often used in woodblock letter press printing and even lettering that was used in architecture. Many different relief forms including Clarendon and Egyptian were casted in metal and often appeared in Victorian architecture, projects, posters, and many other materials that were promotional. But the big question is what exactly makes up a slab-serif typeface? Slab-serif is a general term meaning that typefaces have a square-cut, slab-like serifs. Some different sub catergories include egyptian, antique, clarendon, and ionic. During the early nineteenth century, type faces began to really speak and have their own voice and many slab-serifs including egyptians and antiques did just that. There are many chacteristic features to the slab serif type face that makes it so unique including short descenders, bracketed serifs with square ends, vertical stresses, and different variations in stroke transitions.
i n
1 8 1 5
In the 1970s and 1980s the letterforms of slab serif developed for uses in typewriters. Slab serif differentiated from many other typefaces, in which the type face was a solid form and gave much stability in the width of the letter while using a typewriter. Clarendon unlike other slab serifs actually have brackits and differentiate in size in the actual serif creating contrast. Clarendon is very similar to other designs including Egyptienne with the same bold and stroke weight. Neo-gortesque has no bracketing and is weighted evenly with stems and serifs including Rockwell, Memphis, and Lubalin. The Italienne model have heavier stems and a more dramatic affect while the the slab serif typefaces are different in which they have a format with a fixed-width and every character takes up the same amount of horizontal space. Because of slab-serifs bold characterists, they are more used in headlines and are great for advertisments. Very seldom are slab-serifs are used in body text. One exception to this rule is to UK’s newspaper called, “The Guardian”, which has the slab-serif Guardian Egyptian used throughout the the paper’s headlines and body.
October 1853 Oxford Auction 02
WOODS & SHARWOODS
W
ood has been used for many letter forms starting pack in 868 CE and was known as Chinese wood block prints. In today’s world, many wood types are jsut rubber-stamps, but when they were first created they carved them out of wood. Many types that were carved out of metal often time created uneven surfaces and would actually break during the cooling process. Carving the letters out of wood allowed the letter to be bigger as well giving it more availability to create promotional items, advertisements, etc. Wood was light, efficiant, less expensive than metal, and had great printing qualities. The first published woodtype was made in the year of 1827 by Darius Wells of New York. The usual steps to creating the wood type was to first draw the letter on the wood and then cut around the letter. To make this process easier, Wells came up with the invention that helped the designer gain more control while cutting while decreasing the time it took. This invention was called the lateral router and often referred to as the Wells router. There were many other different designers that designed and helped manufacture wood type as well. Edwin Allen helped the woodtype production by inveint a pantograph-router that allowed independent cut-typing. He had
his own shop in South Windham, North Carolina. John Cooley later took over Edwin’s shop and was eventually renamed Tubbs Manufacturing Company that was moved to Ludington, Michigan. The business was sold to Hamilton Mfg Co in 1899. The manufacturing of wood type took a major leap in 1880 when the holly wood type was introduced. Hamilton had major economic advantages due to this introduction and led him to gain different machinery to create type and using different methods. Wood-cut has came a long ways sing the 1800’s and has been evident in the type history. It was invention that created so many advantages for the design world and has made a big impact on art.
Photograph by Olivia Konert
Portrait of Rob Roy Kelly (from the back flap of “American Wood Type: 1828–1900”, 1969 Van Nostrand Reinhold hardcover edition)
ROB ROY KELLY T he Rob Roy Kelly Wood Type Collection was manufactured and used for printing during the 19th century. Rob Roy Kelly was a design educator, collector and historian collected wood type from many of his students at the Min neapolis College of Art & Design. He first pubished his research that he had gathered on the different woodtypes in the year of 1963. It was published in the issue of Design Quarterly and then proceeded to be published in American Wood Types, Volume One. His work was all accumulated and published in the final book titled, “American Wood Type: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. Later in his life Rob Roy Kelly sold the collection to Dr. Bernard Karpel, the head librarian of “The Museum of Modern Art” due to Rob Roy Kelly being unable to maintain the large collection. Kelly has published
wover 100 faces with many decorative type as well. His collection remains available to many students and scholars and even is available on current website that was launched to dedicate the collection. The collection is made up of over 160 faces including the most popular of the 1800’s, they range in size and styles.
FAT FACE Fold-out of fat face from the 1825 Fann Street Foundry type specimen book at the Butler Library. (Source: Daily Type Specimen)
English Battledore published by William Davison in 1830.
T
he “Fat Face” types were inspired by modern fonts and typically were used to grab the viewer’s att-
ention with its large size. It was also very common to use “fat faces”for advertising. It first appeared in 1810 and have characterists of slab verticals and a wedge shape. There are many different typfaces that are categorized under “Fat Face” including Bodoni Ultra, Normande, and Elephant. It is believed that Robert Thorne created the first type face for the purpose of posters and broadsheets. This brought a change in the way books and advertisments were sold. In the 1800’s posters were often times used to promote lotteries and using the big, bold, heavy, loud characteristics that “Fat Faces” had helped encourage the production. Not only were they used for advertisements and posters, they were also used as title pages for brochures, news pamphlets, and ballads. During the time that Thorne created the
first “Fat Face”, a lot of disoveries and inventions was being discovered in Europe a long with an enormous amount of trade. Given what was all going on during this time period, Thorne’s improved type face was incredibly successful.
CONDENSED & EXTRA CONDENSED
W
hat exactly is Condensed font? The difference between condensed and regualr is that condensed font has two set-widths that are more narrow and are the majority of the time taller than wide. There are millions of fonts that have condensed and extra condensed varitions but some popular fonts include Bernard Condensed, Franklin Gothic Condensed, Gill Sans Condensed, and Liberation Sans Narrow. The main goal of why Condensed and Extra Condensed were invented was to do one simple thing, save space. In a lot of different publicantions, headlines, title pages, posters, etc. Condensed and Extra Condensed are used in order to save the designer more space. There are many advantages to condensing the font and many disadvantages as well. Yes, it saves room on the page but it can also create misleading information. Sometimes when designers up the font size while using a condensed font it often creates the legibility of the writing to decrease. They create a really unique style and are great in small quanity but when used to much they might create distortions in the text and are not as effective. Condensend fonts are hard to pair with other type faces when not thought out thoroughly. They can also cause problems when a designer
is working with color. With the thin strokes its often hard to read when the color on the backgroud is not contrasted well enough. They were created for a reason though and they do have some great advantages as well. They can add a huge amount of effectiveness when used in headers that have very few letters and they can add to make a great element to a design piece especially when the piece is looked at more for the element rather than to comprehend and read information. It’s a great variation of font when it is used standing alone rather in a body of text. Like all things, condensed and extra condensed letters have their pros and cons but over all the variation has made a positive impact in the design world.
Clarendon Extra Condensed Demi Bold. A font from the Page Company, bracketed serifs, circa 1870
OTTMAR MERGENTHALER and the Linotype Machine
O
ttmar Mergenthaler (1854-1899) invented the Linotype machine, the first widely used typesetting machine. This machine removed the necessity of hand-setting type and greatly increased the efficiency of publication.
Above: Ottmar Mergenthaller Below: The linotype machine
Originally from Hachtel, Germany, Mergenthaler emigrated to the United States when he was 18. He found employment at his cousin’s machine shop and it was there, in 1876, a customer asked him to make improvements to a prototype typesetting machine. Mergenthaler moved far beyond the original scope of the project and premiered the Linotype machine at the New York Tribune in 1886. The machine itself was reportedly named by Tribune editor Whitelaw Reid’s exclamation “Ottmar, you’ve done it! A line o’ type.” The linotype machine was based on the use of small brass matrixes with concave impressions of letterforms. These matrices were precisely deployed from vertical tubes based on operation from a 90 key typewriter. Once a line of type was completed, lead was poured into the arranged letters to create a single slug of raised type. After completion, the matrices were automatically returned to their appropriate magazines for reuse. The typesetter could arrange the next line of type while the first was being cast. Text was automatically justified and the linotype could cast lines up to thirty picas in length The Linotype could do the work of seven to ten hand typesetters and its introduction initially lead to strikes and labor disputes as highly skilled hand-typesetters became obsolete. Despite this, the linotype ultimately caused a boom in the publishing industry with employment rising to meet demand. The price of newspapers declined and their page count increased dramatically. Book publication greatly expanded allowing publishers to explore niche genres. Linotypes stayed in wide use until the 1960s and 1970s when they were replaced by phototypesetting and computers.
TOLBERT LANSTON
T
and the Monotype Machine
olbert Lanston (1844-1913) invented the Monotype typesetting system which cast single characters from hot metal. The monotype debuted in 1887. The monotype was composed of a keyboard and a typecaster. The operator used the keyboard to generate a perforated paper strip. The strip was loaded into the typecaster were compressed air was driven through the punched holes to determine the type to be cast. Hot metal was forced into matrices and then assembled in galleys after cooling. The monotype could generate a maximum line length of 60 picas and cast 150 characters per minute. Monotype machines had certain advantages over the linotype. It allowed corrections by changing individual letters instead of entire lines of text. Monotypes had a larger variety of characters available for use. As the components of the machine were separate, text could be generated away from the noise of the casting machine.
Top Right: Tolbert Lanston Bottom Right: The monotype matrix case Above: Monotype keyboard and matrix case arrangement plate
THE KELMSCOTT PRESS of William Morris
T
The imprint for William Morris’ Kelmscott Press
The Kelmscott Press edition of Works of Geoffrey Chaucer. Published in 1896, it included 87 illustrations by Edward Burne-Jones
he Kelmscott Press was a private publishing house and type foundry founded by designer William Morris (1843-1896) in 1890. Morris had a long and productive career as an artist, designer, and writer before founding Kelmscott.
Morris’ art-decorating firm produced high-quality and stylish furniture which showed artistic innovation in textiles, glass, paper, and ceramics. The economic and social disruption of industrialization, concerned Morris and he sought to show the beauty of applied design and quality craftsmanship. He was a leader of the English Arts and Crafts movement and he was heavily involved in the protection of architectural treasures, condemning false advertising, and opposing the economic exploitation of the poor. Kelmscott was a result of decades of Morris’ exploration and analysis of typeface design and printing. Morris had studied Medieval illuminated manuscripts in 1850s during Oxford undergrad and in 1860s produced studies for deluxe books in Medieval style with Pre-Raphaelite artist Edward Burne-Jones. Morris established a private printing house out of a cottage near the Kelmscott Manor in Hammersmith, England, and named the new business Kelmscott Press. Kelmscott produced the highest quality books with handmade paper similar to 15th century styles, handcut woodblocks, meticulous initials and borders, and sourcing excellent vellum and leather for binding. Kelmscott Press alone created a renaissance of blackletter typeface, with incunabula Gothic types being adapted into the remarkably legible Troy typeface. Before being disbanded in 1898, Kelmscott produced 18,000 volumes of 53 different titles. Morris’ Kelmscott Press stimulated a revival of fine book design and printing. Ironically, this was taken up by the industrial commercial publishing industry which he had sought to defy.
AUGUSTE & LOUIS
LUMIÉRE
L
ouis (1864-1948) and Auguste (1862-1954) Lumiére became pioneers in art and cinema by developing the Cinématographe which allowed for motion pictures to be shown to a large audience. The Lumiére brothers were the sons of Antoine Lumière, a portrait painter who later became a supplier of photographic materials. After attending technical school, the brothers worked for their father manufacturing photographic plates. Inspired by Edison’s Kinetoscope, which could only be viewed by one person, the Lumiére brothers set about developing cameras and projectors specifically for motion pictures. They patented the Cinématographe in 1895; the single machine was a combination camera, projector, and printer. Using a mechanism similar to a sewing machine, perforated film was moved along by a claw pulldown. The machine was hand-cranked and showed film at 16 frames per second. The first screening was on March 22, 1895 showing 25 seconds of employees leaving the family factory.
Auguste and Louis Lumiére
A frame of the first motion picture exhibited by the Lumiére brothers in 1895
ART NOUVEAU
A William H. Bradley cover for the magazine The Chap Book (1896)
Henri de Toulouse Lautrec’s poster Moulin Rouge: La Goulue (1891)
rt Nouveau was an international artistic movement that held sway at the turn of the 20th century. Art Nouveau was a holistic movement encompassing a wide variety of media: architecture, fashion, product design, ceramics, graphics, and others. The Art Nouveau style began to emerge in artistic expositions of the 1880s with inspirations drawn from the Arts and Crafts movement, Japanese wood block prints, Rococo architectural revivalism, Symbolism, and Pre-Raphaelite art styles. The term Art Nouveau itself originated in 1895 in Paris at Salon de l’Art Nouveau, a cutting edge gallery that served as an international meeting place for young artists. The style was visually typified by graceful, organic lines, abstract forms, and arabesques. Unlike the Arts and Crafts movement, Art Nouveau was more abstract and was willing to embrace mass production instead of react against it. A large number of artists across many disciplines were part of the art nouveau movement. Jules Chéret (18361932) was a French painter and lithographer whose Belle Époque posters were an early example of Art Nouveau. Emile Gallé (1846-1904) was a French glass artist whose mass-produced designs were at the forefront of Art Nouveau. Alphonse Mucha (1860-1939) was a Czech painter whose depictions of the female form in posters exemplified the movement and became a standard for advertisements. Henry Van de Velde (1863-1957) was a Belgian art theorist and interior designer whose curvilinear style was archetypal to Art Nouveau. René Lalique (1860-1945) was a French artist who created naturalistic glass art and jewelry. Louis Comfort Tiffany (1848-1933) was an American artist most known for his glass work including jewelry and lamps. William H Bradley (1868-1962) was an American illustrator and artist who created the typefaces Bradley Type, Wayside Roman, Missal Initials, Bewick Roman, and Vanity Initials. Henri de Toulouse-Lautrec (1864-1901) was a French painter and printer who was influenced by Post-Impressionist art. Theophile Steinlen (1859-1923) was a Swiss painter and printmaker renowned for his poster art. In Germany the Art Nouveau style was key to the Jugendstil movement, the Secession movement in Austria, and Modernsime in Spain. Art Nouveau had a major influence on art, graphic design, architecture, and advertising. Elements were further explored in Art Deco, De Stijl, and Bauhaus.
Packaging designs by Henry van de Velde for Tropon (1898)
Théophile Steinlen’s poster Tournée du Chat Noir de Rodolphe Salis (1896)
Right: Alphonse Mucha’s poster Gismonda (1894)
FREDERIC GOUDY
F
rederic Goudy (1865-1947) was one of the most prolific American type designers. His typefaces included Camelot (his first, developed in 1896), Copperplate Gothic, Kennerley, and Goudy Old Style. Inspired by the Kelmscott Press, Goudy pursued a career in typography aspiring to work for purposes beyond merely commercialism and publicity. Goudy’s designs harkened back to the early years of printing and had the refined edge typical of fine press. A total of 122 typefaces are attributed to him and this number does not include typefaces lost when several of his foundries burned down over the course of his career.
A
lbert Bruce Rogers (1870-1956) was an influential American book designer. Disaffected by a career in journalism, Rogers shifted careers to typographic desgin after seeing the output of the Kelmscott press. Rogers took this Arts and Crafts influence with him as a book designer at Riverside Press, a division of the Houghton Mifflin Company. While at Riverside, e was responsible for designing 60 high-quality limited editions and the artistry of his output was compared to Kelmscott itself. In 1912, Rogers began freelance book design which resulted in some of his most creative output. It was during this period he designed The Centaur by Maurice de Guerin which employed Roger’s typeface design Centaur.
Above: Bruce Rogers Left: First page of The Centaur, Rogers’ most renowned work.
Top Left: Frederic Goudy Bottom Left: Goudy Oldstyle Right: Imprint of the Inland Printers, one of Goudy’s publishing houses.
BIBLIOGRAPHY Ottmar Mergenthaler Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print. Dennies, Nathan. “Ottmar Mergenthaler at 159 West Lanvale Street.” Explore Baltimore Heritage. Web. 31 Mar. 2015. http://explore.baltimoreheritage.org/items/show/183 Meggs, Philip, and Alston Purvis. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print. “Ottmar Mergenthaler.” Zion Baltimore. Web. 31 Mar. 2015. <http://www.zionbaltimore.org/history_people_mergenthaler.htm> Tolbert Lanston Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print. Meggs, Philip, and Alston Purvis. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print.
IMAGES “Bodoni. Manual of Typography – Manuale Tipografico (1818). TASCHEN Books.” Bodoni. Manual of Typography – Manuale Tipografico (1818). TASCHEN Books. N.p., n.d. Web. 14 Apr. 2015. “Elements of Photogravure, Photo Printing from Copper Plates: Screen Photogravure Simply Explained, with Full Working Instructions and an Explanatory Chapter on Modern Rotary Gravure Printing.” Nature 118.2971 (1926): 513. Web. “The Rise of Advertisement and American Consumer Culture.” The Rise of Advertisement and American Consumer Culture. N.p., n.d. Web. 14 Apr. 2015
The Kelmscott Press Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print. Drucker, Johanna, and Emily McVarnish. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. Print. Meggs, Philip, and Alston Purvis. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print.
“Type Specimens from the Vincent Figgins Type Foundry – 1815.” Type for You. N.p., n.d. Web. 14 Apr. 2015.
The Lumiére Brothers Davies, Penelope, et al. Janson’s History of Art: The Modern World. 8th Edition. London: Prentice Hall. 2012. Print. Herbert, Stephen. “Louis Jean Lumiére.” Who’s Who of Victorian Cinema. Web. 31 Mar. 2015. <http://victorian-cinema.net/louislumiere> Herbert, Stephen. “Auguste Marie Nicolas Lumière.” Who’s Who of Victorian Cinema. Web. 31 Mar. 2015. <http://www.victorian-cinema. net/augustelumiere.php> “Lumiére brothers.” Earlycinema.com. Web. 31 Mar. 2015.
Ottmar Mergenthaler
Art Nouveau “Art Nouveaum.” Huntfor.com. 2007. Web. 31 Mar. 2015. Davies, Penelope, et al. Janson’s History of Art: The Modern World. 8th Edition. London: Prentice Hall. 2012. Print. Drucker, Johanna, and Emily McVarnish. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. Print. “In Search of a European Style.” Art Nouveau European Route. Web. 31 Mar. 2015. <http://www.artnouveau.eu/pdf/en/intro.pdf> Meggs, Philip, and Alston Purvis. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. Print. Frederick Goudy Drucker, Johanna, and Emily McVarnish. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. Print. “Frederic W. Goudy.” The Typograpthic Archives. 2006. Web. 31 Mar. 2015. <http://www.typographia.org/1999/graphion/goudy.html> Meggs, Philip, and Alston Purvis. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. Print. Bruce Rogers Drucker, Johanna, and Emily McVarnish. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. Print. Meggs, Philip, and Alston Purvis. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. Print. Hill, Will, and Christopher Perfect. The Complete Typographer: A Manual for Designing with Type. 2nd ed. Upper Saddle River, N.J.: Person Prentice Hall, 2005. Print. “Diversity.” Home. Web. 13 Apr. 2015. <http.utexas.edu> “Hamilton Wood Type & Printing Museum.” Hamilton Wood Type Printing Museum RSS. Web. 13 Apr. 2015. <www.woodtype.org> “Graphics Atlas: Welcome.” Graphics Atlas: Welcome. Web. 13 Apr. 2015. “Condensed Fonts: The Good, the Bad, the Ugly.” Codrops Condensed Fonts The Good the Bad the Ugly Comments. 20 Mar. 2012. Web. 13 Apr. 2015.
“The Story of Our Friend, the Fat Face.” - Fonts In Use. N.p., n.d. Web. 14 Apr.w 2015.
Machine_Logo_HiRes. Linotype the Film. N.d. Web. 31 Mar. 2015 129411. Baden-Wuerttemberg. N.d. Web. 31 Mar. 2015 Linotype Machine. Mergenthaler Linotype Company. Typographic Design: Form and Communication. 5th Edition. Hoboken: John Wiley & Sons, Inc, 2012. 127. Printw
Tolbert Lanston
Monotype Matrix Case. Typographic Design: Form and Communication. 5th Edition. Hoboken: John Wiley & Sons, Inc, 2012. 128. Print Inland-printer-v073-n2-1924-05-bullen-monotype-1200rgb-0238-tolbert-lanston-photograph. Galleyrack. N.d. Web. 31 Mar. 2015. Lanston-the-monotype-system-1912-plate-V-composite-10024x4672-scale-3072x1432. Galleyrack. N.d. Web. 31 Mar. 2015. Mono_clavier_mr1937. Le vent se lève... N.d. Web. 31 Mar. 2015.
The Kelmscott Press
Morris, William. Title page spread from The Works of Geoffrey Chaucer, 1896. Howard Gotlieb Archival Research Center at Boston University. Meggs’ History of Graphic Design. 5th Edition. Hoboken: John Wiley & Sons, Inc. 2012. 182. Print. Page1. 2009. Connecticut College. Collections.conncoll.edu. N.d. Web. 31 Mar. 2015.
The Lumiére Brothers
Les-freres-Lumiere_visuel_fond. Le Mag 3D. Lemag3d.orange.fr. N.d. 31 Mar. 2015. Sortie_des_usines_Lumiere. Cineteca Bologna. Cinetecadibologna.it. N.d. 31 Mar. 2015.
Art Nouveau
Bradley, William. Chapbook. 1896. Picture Posters. By Charles Hiatt. London: George Bell and Sons. 1896. 321. Print. De Toulouse-Lautrec, Henri. Moulin Rouge: La Goulue. 1891. Theguardian.co.uk. Web. 31 Mar. 2015. Steinlen, Theophile. Tournée du Chat Noir de Rodolphe Salis. 1896. Pictorem.com. Web. 31 Mar. 2015. Van de Velde, Henry. Gebrauchspraphik Tropon Eiweißnahrung. Karl Ernst Museum der Stadt Hagen. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. 169. Print. Mucha, Alphonse. Gismonda. 1894. Alphonse Mucha : the complete posters and panels. By Jack Rennert and Alain Weill. Boston: G K Well. 1984. 49. Print.
Frederick Goudy
Monotype-Recorder014. Printmag.com. N.d. Web. 31 Mar. 2015. Goudyo. Ct.mob0.com. N.d. Web. 31 Mar. 2015. Goudy, Frederic. The Inland Printer. 1898. Library of Congress. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. 144. Print.
Bruce Rogers
Bruce-Rogers. Hilobrow.com. N.d. Web. 31 Mar. 2015. Rogers, Bruce. The Centaur. 1915. Division of Rare and Manuscript Collections, Cornell University Library. Graphic Design History. 2nd Edition. Boston: Pearson Education, Inc. 2013. 168. Print.