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48 Cards in this Set
- Front
- Back
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5 categories of historical typefaces |
0. Blackletter (Gothic) 1300s-1400s 1. Old Style (Garamond) 1617 2. Transitional (Baskerville) 1757 3. Modern (Bodoni) 1788 4. Slab Serif/Egyptian (Rockwell) 1800 5. Sans-serif (Helvetica) 1957 (6.) Digital Hybrid 1988 |
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Stress |
The relationship / connection of the two thinnest points History: began with feather and ink, used only their right hand, created thin and thickness due to tool, oblique stress, tilted axis with pen, overtime axis became vertical |
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Axis |
Line of stress |
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Measuring Type |
The entire block of type /body is 72, (interchangeable) points 12 points = 1 pica 6 Picas = 1 inch 72 pts = 1 inch History: Gutenberg used dried leather, bring monks to write, woodcutter makes flat piece of wood, put on wood, carved out on wood where text was |
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Late 1300s |
Block printed books Used dry leather, bring monks to write, woodcutter makes flat piece of wood, put dried leather on wood, carve out where text was on wood |
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Laurens Coster |
Harlem, Holland, center for block printed books, bad idea to reuse wood block, cut apart letters, created movable wood type, apprentice goes to Mainz, Germany, and meets Gutenberg, who is known for metal work |
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Johannes Guttenberg |
Mines, Germany, creates movable metal type, uses it for black letter printing, large margins, illuminations by monks, Gutenberg Bible, eventually goes bankrupt because low literacy equals no sales, fust and shoeffer, investor and apprentice start printing his stuff |
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Fust and Schoeffer |
Took over gutenberg business after he went bankrupt, started printing illuminations, colors, decorations, using both wood and metal, had to plan to leave openings |
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How the Renaissance started |
1400s Spain had in high Islamic population, when the Crusades happened( Pope declares cultural war on Muslims / Moors) drives Moors to africa. Discover great libraries. Venetians bring back to Italy ancient texts from Greece, libraries, Arabic scientific books, 1 to reproduce books. EVERYONE WANTS THE BOOKS IN ITALY |
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Incunabula |
1454 to 1500, the infancy of printing, rate of printing presses opening really fast, northern European calligraphy / black letter |
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Renaissance |
Venice, Italy New purpose for printing / interest and knowledge, no special specialization at this time, non-religious content for the first time, emphasis on math, Martin Luther and Protestanism, need for Bible feels printing industry, renaissance man / Albrecht Durer of Germany publishes book in 1525 :letter forms in terms of math, Roman style letters/ shift from black letter, Aldus Manutius , southern European calligraphy, Erhard Radholt: high quality ornament/type, new innovations |
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Albrecht Durer |
(GERMANY) Renaissance man / well rounded person, in 1525 publishes book: letter forms in terms of math. It standardized letterform design / proportion |
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Southern European Calligraphy |
1520s Italic font, had flow/slight angle (Giovanni Arrhighi) |
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Geoffrey Tory |
Paris, 1500s (spread of renaissance) Book: Champs Fleury - emphasized importance of Roman letters with grid: divine proportions |
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Simons de Colines |
Paris, 1536 (spread of renaissance) - strong use of perspective/obsession with math - detailed sponsored books |
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Claude Garamond |
Paris, 1546ish (emergence of specialization) - first specialist in type design(letterfounder) - old style - sold italic capitals - |
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Spread of Renaissance |
From Venice to France, back to Netherlands/Belgium |
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Christoffle Van Dijck |
Netherlands (Spread of Renaissance in Europe) Letter founder: merged calligraphy with Roman type, created condensed letterforms |
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Dutch |
Introduced smallpocket books for portability -amplified book trade |
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England in the late 1500s |
King Henry the 8th - protestant/Anglican church - put censorship on printing 1600s: expansion into India/africa |
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United States in the 1600s |
1620: mayflower 1640: book of psalmes prints - super low quality : no one was heavily practiced due to the ban in England on printing |
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France (Late 1600s-1700s) |
Louis 14th (Versailles Home) Wanted type for himself: Romain du Roi (set up on architectural grid - early version of brand identity - impossible to print that small - printed porn for himself |
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Beginning of Transitional Type |
Mid 1700s William Caslon (England) - creates type based on studies (van Dijck influence) - used for declaration of independence John Baskerville (transitional typeface) - improved paper: pressed with copper plates |
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Age of Reason |
1730s-30s Rise of science / math / engineering - Renee Descartes - steam power (England) - pier Fournier |
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Pier S. FOURNIER |
France (Age of reason 1730-40) Made better version of Romain du Roi - sold full package : decorated font and integrated decorations: system that fit together - invented point system: standardized typographic measurement |
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John Baskerville |
1757 - originally did enamel etchings in grave stones (japaning) - transitional typeface (strongly bracketed serifs) - made own darker ink - hot pressed paper with copper plates |
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1740s-60s |
Development of technology (Age of reason) allowed industrial revolution to happen - steam lower, elecricity |
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Industrial Revolution |
Late 1700s to 1800s - rate if change is fast: type, socially, politically - around French revolution, Napolepn, Louis and Clark - modern typefaces - display typefaces/slab serif for advertisements - rise of Victorian era/arts and craft movement |
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Giambatissta Bodoni |
1788-1831 Italy - first: used Fourniers decorations - bodoni: modern typeface -modular interchangeable parts |
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Why Modern typefaces? |
- events like the French Revolution - aristocracy is dead/rejection of royal lavish style - want neoclassical (from greek) |
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First Sans-serif font? |
William Caslon IV 1816 Type catalog: just part of type experimentation of Victorian era |
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Slab Serif Typefaces |
(Industrial Revolution) 1800 ish - meant to be seen from distances - used wood (metal too heavy/expensive ) - used tracing parallel to freehand type/change proportions Vincent Figgins |
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Vincent Figgins |
1800ish (Industrial revolution) Slab serif typefaces - fat faces - heavy contrast: great for advertising - unique fonts for each business |
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Victorian Era |
1837-1901 (reign of Queen Victoria of england) - started in England - experimentation of fonts/novelty - arts and crafts movement - embraced middle age history |
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Arts and Craft Movement |
1850ish England (spreads to France, Belgium, Germany, Austria)
- 1st use of retro: embraced middle ages/ revitalized Gothic era - hated industrial revolution/type experimentation - liked handmade high quality things - heavy ornamentation - socialism ideals: arose from infrastructure problems of I.S. - William pickering - William Morris - Spread to England in the late 1800s: Aubrey Beardsley, Beggarstaff brothers - inspired secessionists - inspired by Japanese art |
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William Pickering |
England 1844 (Arts and Craft Movement ) Publisher : revitalized blackletter tyepfaces, spread everywhere in europe |
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William Morris |
1880-90 (huge proponent of Arts and Craft Movement) - advocated applied art (ornament) to every facet of life - inspired by quality of Japanese prints - founder of Kelmscott Press: created incredibly authentic high quality lavish books using updated black letter type, would be seen everywhere in the next hundred years in Europe |
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Aubrey Beardsley |
England, 1880s-90s (Spread of AC movement /japonisme)
- illustrator for Oscar wilde (popular) - strong Japanese influence (1894): simplified graphics - made illustrations for the studio magazine (AC magazine) |
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Beggarstaff Brothers |
England, late 1800s (contrast to AC movement /Japanese influence)
- poster prints : heavily Japanese influenced: simple forms, organic lines, outlines - shockingly simple graphics (strong figure ground relationships) - use of accent colors - Harpers magazine cover |
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Charles Rennie Macintosh |
Late 1800s (Scottish Arts and Crafts Movement)
- architect and designer - strong symmetrical designs - very 1st examples of integrated design thinking: design fitting the user, not user fits design |
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Secessionists |
1890s (Arts and Craft Movement inspired )
Vienna Secessionists: wanted to separate from industrial revolution - inspired by Macintosh symmetry - mother nature design - flat color designs (very geometric)
German Expressionism (Berlin successionists) - Picasso like shapes, African art influence - not refined, very raw |
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Lucien Bernhard |
1900s Germany (contrast to AC movement)
Sach Plakat: object posters: showed off object simply with brand - new minimalistic advertising style - simple illustrations (icon like) Plakat Stihl: the poster style |
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Japonisme |
1800s Europe (inspired Arts and crafts) Rise: Britain (expanding empire) exported tea from japan, tea was wrapped in japanese wood block advertisements, Europeans associated it with the luxury of the tea, AC people loved it European style inspired by Japanese style art: simple flat color art, line quality, handcraft, ultramarine blue, Integrated type into pictures - symbolic/hinted illustrations, organic lines, banners, integration with type Henri Toulouse Lautrec |
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Henri Toulouse Lautrec |
Paris (Late 1800s, Japonisme) Made nightclub posters / commercial ads - emulated economical desigm of japanese: silhouettes, flat colors, simplification of forms, outlines, few colors - used lithographic stones (every color is a new stone) - |
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Jules Cheret |
Paris, late 1800s (Japonisme) - poster designer - used lots of colors in the production to emulate painting, took a lot of time and money |
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Alphonse Mucha |
(1890s, Paris ) ( japonisme/ art nouveau) - example of French arts and crafts movement - economical poster design: flat colors, few colors - clever: combined Japanese style with European style - borrowed organic forms from William Morris |
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Karl Marx |
1840s-50s - German intellectual - radical socialism / communism / marxist Lenin: due to social conditions - class warfare: united working class for upper class |
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Sans-serif typefaces |
- first in 1816 Why: they wanted nothing to do with ornament or embellishment because it implicated a political undertone, it was a sign of the times to rebel against current governmental standards - Adolf Loos: ornament is crime |
