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91 Cards in this Set
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-Cave painting from Lascaux, Southern France, c. 15,000-10,000 BCE.
-Random placement and shifting scale signify prehistoric people's lack of structure and sequence in recording their experiences. -Black was made from charcoal and warm tones were made from red and yellow iron oxides. |
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-Found carved and sometimes painted on rocks in the western United States
-These petroglyphic figures, animals, and signs are similar to those found all over the world. |
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-Early Sumerian pictographic tablet, c. 3100 BCE.
-This archaic pictographic script contained the seeds for the development of writing. -Information is structured into grid zones horizontal and vertical division. |
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-Detail of the Code of Hammurabi, c. 1800 BCE.
-Whether pressed into clay or carved into stone as shown here, Mesopotamian scribes achieved a masterful control and delicacy in their writing and arrangement of the strokes in the partitioned space. -Spelled out crimes and their punishments, thus establishing social order and justice. |
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-Stamp-cylinder seal ("the Tyszkiewicz seal"), Hittite, 1650-1200 BCE.
-Combining decorative ornamentation with figurative images, this most likely portrays a ritual, possibly with a sacrificial offering on the right. -It has both an image on the side, for roling, and an image on the bottom, for stamping. -Because it allows images to be reproduced, the cylinder seal can be seen as a precursor to printing. |
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-The Rosetta Stone, c. 197-196 BCE.
-From top to bottom, the concurrent hieroglypic, demotic, and Greek inscriptions provided the key to the secrets of ancient Egypt. |
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-Detail from the Papyrus of Hunefer, c. 1370 BCE.
-Hunefer and his wife are worshipping the gods of Amenta. -The sun god Ra bears an ankh symbol on his knee, and Thoth holds the "udjat", the magical protective "sound eye" of the god Horus. -Egyptians were the first to produce illustrated manuscripts where both pictures and words were combined. |
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-The Phaistos Disk, undated. -The 241 signs include a man in a plumed headdress, a hatchet, an eagle, a carpenter's square, an animal skin, and a vase. -Paleographers question whether Cretan pictographs were the wellspring for the alphabet. |
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-Ras Shamra script, c. 1500 BCE.
-Used for bureaucratic and commercial documents and for myths and legends -Reduced cuneiform to a mere 32 characters -Was only recently unearthed in the ruins of the ancient city of Ugarit -First alphabet we know of |
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-Votive stele with four figures, 5th century BCE.
-The design excellence of Greek inscriptions is clearly shown in this fragment. -By using a three-sided square with a central dot for the E and a V-shaped horizontal in the A, the designer engaged in a personal inventiveness with form. |
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-Etruscan Bucchero vase, 7th or 6th century BCE. -A prototype of an educational toy, this rooster-shaped toy jug is inscribed with the Etruscan alphabet. |
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-Carved inscription from the base of Trajan's Column, c. 114 CE. -Located in Trajan's Forum in Rome, this masterful example of "capitalis monumentalis" gives silent testimony to the ancient Roman dictum "the written word remains." -The controlled brush drawing of the forms on the stone combines with the precision of the stonemason's craft to create letterforms of majestic proportion and harmonious form. |
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-Li Fangying from "Album of Eight Leaves", ink on paper, Qing dynasty 1744. -The design of the total page, with the bamboo bending out into the open space in contrast to the erect column of writing, ranks among the most outstanding examples of Chinese art -joins calligraphy, painting, poem, and illustration into a unified communication -Nature is its inspiration |
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-Zhao Meng-fu, a goat and sheep -14th Century CE. -Chops were used to imprint the names of owners or viewers of a painting |
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-The Diamond Sutra, 868 CE. -Wang Chieh sough spiritual improvement by commissioning the duplication of the Diamond Sutra by printing. -The wide spread of knowledge was almost incidental |
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-The Vatican Vergil, the death of Laocoon, a priest punished by death for profaning the temple of Apollo -Early 5th century CE. -Two scenes from the life of Laocoon are shown in one illustration |
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-The Book of Durrow, opening page, the Gosep of Saint Mark, 680 CE. -Linked into a ligature, an "I" and "N" become an aesthetic form of interlaced threads and coiling spiral motifs |
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-The Lindisfarne Gospels, carpet page facing the opening of Saint Matthew, c. 698 CE. -A mathematical grid buried under swirling lacertine birds and quadrupeds brings structure to the textured areas -Lacertine - interlaces created by animal forms -A red, contoured cross with white circular "buttons" brigs timeless stability to its churning energy -Diminuendo - a decreasing scale of graphic information |
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-The Book of Kells, the Chi-Rho page, 794-806 CE. -Amid intricate spirals and lacertines, the artist has drawn 13 human heads, 2 cats, 2 mice calmly watching 2 other mice tug at a wafer, and an otter holding a salmon |
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-Caroline minuscules from the Alcuin Bible, 9th century CE. -An economy of execution and good legibility characterized this new writing style -The forerunner of our contemporary lowercase alphabet |
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-Capitularies of Charlemagne and Louis the Pious, c. 873 CE. -Created in Rheims at a scriptorium assoicated with Charles the Bald -The capitularies is a compilation of law codes assembled by Ansegisus, abbot of Saint Wandrille, in 827 CE. -The text is in Caroline minuscule with headings in rustic and a version of square capitals. |
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-The multitude worshipping God, from the Douce Apocalpyse, 1265 CE. -Saint John, the roving reporter of the final doom, is shown at the left of the scene, peering curiously into the rectangular image -The scribe used a lettering style whose repetition of verticals capped with pointed serifs has been compared to a picket fence, Textura is the favored name for this dominant mode of Gothic lettering. |
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-The Limbourg Brothers, January, from "Les tres riches heures du duc de Berry", 1413-1416. -Both pictorial and written information is presented with clarity, attesting to a high level of observation and visual organization |
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-Pages from an "ars moriendi', 1466 -A montage juxtaposes the deathbed scene with the subject's estate -One demon urges, "Provide for your friends", while the other advises, "Attend to your treasures." -The densely textured text page recommends donating one's earthly goods to the Church -Used to help people prepare for death |
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-Johann Gutenberg, 31 line letters of indulgence, c. 1454 -The written additions in this copy indicate that on the last day of December 1454, one Judocus Ott von Apspach was pardoned of his sins |
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-Johann Gutenberg, pages 146 and 147 from the Gutenberg Bibgle, 1450-1455 -The superb typographic legibility and texture, generous margins, and excellent presswork make this first printed book a canon of quality that has seldom been surpassed - An illuminator added the red headers and text, initials, and floral marginal decoration by hand |
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-Jan Furst and Peter Schoeffer, page from "Rationale Divinorum Officiorum," 1459. -The innovative small type is combined with wonderfully intricate printed red and blue initials that evidence the early printer's efforts to mimic the design of the manuscript book. -Was the first typographic book that employed a small-sized type style to conserve space and increase the amount of text on each page |
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-Pages from the Nuremberg Chronicles by Dr. Hartmann Schedel -Anton Koberger (Germany's most esteemed printer), 1493. -the raised hand of God in the initial illustration is repeated over several pages retelling the biblical story of creation -contains the history of the world up until 1493 |
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-"Rhinoceros," broadside, Albrecht Durer, 1515 -Durer developed his woodcut illustration from a sketch and description sent from Spain, after the first rhinoceros in over a thousand years arrived in Europe -The text was undoubtedly edited to make the five lines of metal type form a perfect rectangle of tone aligning with the woodcut border - |
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-Pages from "Underweisung der Messung," Albrecht Durer, 1525 -Durer presented variations for each character in the alphabet. - |
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-Pages from "Teuerdank," Johann Schoensperger(printer), Hans Schaufelein(designer), 1517. -The full title of the work translates as "The adventures and a portion of the story of the praiseworthy, valiant, and high-renowned hero and knight, Lord Tewrdannckh." -The flamboyant calligraphic gestures are appropriate for this romantic novel about chivalry. -The swashes are carefully placed to animate the pages in the layout of the book. |
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-Pages from "Passional Christi und Antichristi," Johannes Grunenberg(printer) and Lucas Cranach the Elder(illustrator), 1521. -Christ is depicted driving the moneylenders from the temple |
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-Pages from "The Canterbury Tales," William Caxton(printer) and Geoffrey Chaucer(writer), 1477. -Caxton was a pivotal figure in the development of a national English language, for his typographic work stabilized and unified the constantly changing, diverse dialects in use throughout the islands |
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-Page for Calendarium, Regiomontanus, printed by Erhard Ratdolt, Peter Loeslein, and Bernhard Maler, 1476. -A grid of metal rules rings order and legibility to this record of past and future eclipses -three-part mathematical wheel charts for calculating the solar cycles. |
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-Pages from Euclid's "Geometriae elementa," Erhard Ratdolt, Peter Loeslein, and Bernhard Maler, 1482. -The wide outer margin is maintained throughout the book for explanatory diagrams -Two sizes of initial letters denote sections and subsections |
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-Illustrated spread from "Hypnerotomachia Poliphili," 1499. -This romantic and rather tedious fantasy tells of young Poliphilus's wandering quest for his lover, who has taken a vow to preserve her chastity |
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-Page from Juvenal and Persius, "Opera," Aldus Manutius, 1501. -This was one of the first books using Griffo's new italic type. Note the unfilled space for a rubricated initial, the letterspaced, all-capital heading, and the capital roman letter at the beginning of each line. |
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-Pages from "La operina da imparare di scrivere littera cancellaresca, Lodovico degli Arrighi, 1522. -The ample spaces between lines leave room for the plume-shaped ascenders waving to the right in elegant counterpoint to the descenders sweeping gracefully to the left |
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-Captial from a series of "crible initials," Geoffroy Tory, 1526. -Engraved for Robert Estienne, this alphabet of roman capitals brought elegance and "color" to the pages of books printed at Estienne's press |
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-Pages from "Champ Fleury," Geoffroy Tory, 1529. -This double page spread discusses how Roman philosophers, poets, and orators live on in spirit through the power of Roman letters. -The final paragraph of this "second book" introduces the "third book," the construction of roman letters, with an illustration showing the construction of an A from three I's. |
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-Title page from "Poliphili," Jacques Kerver, 1546. -A satyr and a nymph eyeing each other amidst an abundant harvest give the reader a glimpse of the pagan adventures within the book. |
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-Pages from "Imagines Mortis (The Dance of Death)," Joannes Frellonius(printer) and Hans Holbein the Younger(illustrator), 1547. -The terror is in striking contrast to the modest illustration size (6.7 cm or 2 in) and the understated elegance of Frellonius's typography |
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-Pages from "De Humani Corporis Fabrica, Johann Oporinus(printer), 1543. -Anatomical illustrations of skeletons and muscles in natural poses appear throughout |
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-Pages from the Polyglot Bible, Christophe Plantin, 1571 -A double-page format, with two vertical columns over a wide horizontal column, contained Hebrew, Latin, Aramaic, Greek, and Syriac translations of the Bible |
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-Title page for "The Whole Booke of Psalmes," Stephen and Matthew Daye, 1640. -In the title typography, a rich variety is achieved by combining three type sizes and using all capitals, all lowercase, and italics to express the importance and meaning of the words. |
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-Title pages from "Manuel typographique," volume 1, Pierre Simon Fournier le Jeune, 1764. -In addition to showing the design accomplishments of a lifetime, Fournier's type manual is a masterwork of rococo design |
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-Broadside type specimen, William Caslon, 1734 -This was the first broadside type specimen issued by Caslon -The straightforward practicality of Caslon's designs made them the dominant roman style throughout the British Empire far into the nineteenth century |
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-Title page for Vergil's "Bucolica, Georgica, et Aeneis," John Baskerville, 1757 -Baskerville reduced the design to letterforms symmetrically arranged and letterspaced; he reduced content to author, title, publisher, date, and city of publication -Economy, simplicity, and elegance resulted |
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-Page from "Manuale tipografico," Giambattista Bodoni, 1818. |
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-Title page for "Petit Careme de Massilon," Pierre Didot, 1812. -By this time the Didot type has attained its mature form, with the contrast between thick and thin strokes having been pushed to the limit |
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-Title page from the Book of Thel, William Blake, 1789 |
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-Twelve lines pica, letterforms, Thomas Cotterell, 1765. -These display letters seemed gigantic to 18 century compositors, who were used to setting handbills and broadsides using types that were rarely even half this size |
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-Two-line English Egyptian, William Caslon IV, 1816. -This specimen quietly introduce sans-serif type, which would become a major element in graphic design |
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-Handbill for an excursion train, 1876. -To be bolder than bold, the compositor used heavier letterforms for the initial letter of important words. -Oversized terminal letterforms combine with condensed and extended styles in the phrase "Maryland Day!" |
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-Stephen H. Horgan, experimental photoengraving, 1880 -The first halftone printing plate to reproduce a photograph in a newspaper -This heralded the potential of photography in visual communications |
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-"Dunker Church and the Dead," Mathew Brady, 1862 -Made in the aftermath of the Battle of Antietam, the bloodiest battle of the Civil war -This photograph shows how visual documentation took on a new level of supposed authenticity with photography -Due to technical limitations of the medium, photographers such as Brady could only photograph the results of battles, not the actual fighting -This has led to speculation by scholars that scenes captured by photographs were "staged" or otherwise altered. -For example, scholars have suggested that the bodies of the dead may have been moved to enhance the effectiveness of the image. |
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-"The Horse in Motion," Eadweard Muybridge, 1883 - Sequence photography proved the ability of graphic images to record time-and-space relationships -Moving images became a possibility |
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-"Swedish Song Quartett" poster, John H. Bufford's Sons, 1867. -Arched words move gracefully above seven carefully composed musicians -Large capital letters point to the three soloists, establishing a visual relationship between word and image |
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-Page from "Absurd ABC," Walter Crane, 1874 -Animated figures are placed against a black background; large letterforms are integrated with the imagery -Crane designed several alphabet books, each one unlike the others |
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-Illustration from "Hey Diddle Diddle," Randolph Caldecott, 1880 -Oblivious to the outlandish elopement, Caldecott's dancing dinnerware moves to a driving musical rhythm |
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-Page from "A Apple Pie," Kate Greenaway, 1886 -By leaving out the background, Greenaway simplified her page designs and focused on the figures |
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-Political cartoon from "Harper's Weekly," Thomas Nast, 1871 -This double-page image was posted throughout New York City on election day |
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-Political cartoon from "Harper's Weekly," Thomas Nast, 1871 -In this cartoon depicting citizens both creating and hanging posters against Tammany Hall, the caption begins by saying, "Here's the smell of corruption still!" |
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-Pages from "The Elements of Euclid," William Pickering, 1847 -Although the ornate initial letters connected this book to the past, its revolutionary layout was far ahead of its time |
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-Page spread for "The Story of the Glittering Plain," William Morris (designer) and Walter Crane (illustrator), 1894 -Operating on his compulsion to ornament the total space, Morris created a luminous range of contrasting value |
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-Pages from the Doves Press Bible, T.J. Cobden-Sanderson and Emery Walker, 1903. -This book's purity of design and flawless perfection of craft have seldom been equaled |
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-Pages from "Het zatte hart (The Drunken Heart)," by Karel van de Woestijne, Jan van Krimpen, 1926 |
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-Specimen of Neuland, Rudolf Koch, 1922-23 -A dense texture is achieved in this intuitively designed typeface with unprecedented capital C and S forms -the woodcut-inspired ornaments are used to justify this setting into a crisp rectangle |
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-Page from "The Centaur" by Maurice de Guerin, Bruce Rogers, 1915 -The headpiece, initial, and page layout echo the graphic designs of the French Renaissance |
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-"L'aureole du midi, Petrole de Surete", Jules Cheret, 1893 |
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-Exhibition poster, Eugene Grasset, 1894 -Quietly demure instead of exuberant, Grasset's figures project a resonance very different from that of the Cherette |
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-Chapter opening, "Morte d'Arthur" Aubrey Beardsley, 1893 -William Morris's lyrical bouqets were replaced by rollicking mythological nymphs in a briar border design |
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-"The Eyes of Herod", Aubrey Beardsley, 1894 -The dynamic interplay between positive and negative shapes has seldom been equaled. |
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-Pages from "The Sphinx", Charles Ricketts, 1894 -the white space and typography printed in rust and olive-green ink are without precedent |
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-"La Goulue au Moulin Rogue" poster, Henri de Toulouse-Lautrec, 1891 -shapes become symbols; in combination, these signify a place and an event |
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-Poster for Guillot Brothers sterilized milk, Theophile-Alexandre Steinlen, 1897 -the red dress functions graphically in a manner similar to beardsley's black spot |
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-Gismonda poster, Alphonse Mucha, 1894 -the life-size figure mosaic pattern and elongated shape created an overnight sensation |
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-Poster for Job cigarette papers, Alphonse Mucha, 1898 |
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-Cover for the "Inland Printer", Will Bradley, 1895 |
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-Poster for "Arabella and Araminta Stories", Ethel Reed, 1895 |
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-Poster for "Harper's", Edward Penfield, 1897 |
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-Poster for Tropon food concentrate, Henri van de Velde, 1899 |
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-Poster for Rajah coffee, Privet Livemont, 1899 |
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-Poster for Delftsche Slaolie (Delft Salad Oil), Jan Toorop, 1894 |
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-Jugend cover, Otto Eckmann, 1896 |
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-Poster for the "Scottish Music Review", Charles Rennie Mackintosh, 1896 |
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-poster for the first Vienna Secession exhibition, Gustav Klimt, 1898 |
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-"Ver Sacrum" calendar for November, Alfred Roller, 1903 |
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-Poster for the thirteenth Vienna Secession exhibition, Koloman Moser, 1902 |
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-Poster for a theater and cabaret production of "Fledermaus", Berthold Loffler, 1907 |
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-AEG trademark, Peter Behrens, 1906 |
