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IndustrIalIzatIon: Early ModErn 19th cEntury Victorian: the period that is defined (roughly 18201900) by the reign of Queen Victoria. it was the prevailing sensibility that can be described as an embrace of industrial capacity and the phantasmagoria of machine-made goods available to consumers. highly eclectic, experimental, subsuming, and generative. it is the cultural face of industrial capacity. Embellished rather than architectural in sensibility. Exemplar: darius Wells arts and crafts: late 19 century stylistic development marked by a philosophical turning away from the class system, factory production, mechanization of labor, and machine-made goods. it is characterized by the integrated uses of handicraft, a return to design motifs that are gothic, and a radical embrace of socialism. Exemplar: William Morris typography WoodtypE: novelty display types often 24 points and larger in size used for posters, public signage and product signage. the introduction of wood or veneered wood rather than lead for type, the organization of labor into factory production, and the invention of a combined routerpantograph for duplicating and cutting allowed for quick development of types in wood and great design variation in styles. display typE: large type, usually above 18 points, used for signage and display. tuscan: display type style that exhibits serifs that are extended and curved. display types developed in the 19 century offer a tremendous variety of tuscan-style types. san sErif typE: a serif-less even-weight type introduced in the 1830s during a period of vigorous experimentation of display types. Known variously as doric, Gothic, and Grotesque EGyptian: types with pronounced slab-like serifs that give the appearance of simple machinemade objects. it is characterized also by an evenness of weight and short ascenders and descenders. Because of its pronounced visual assertiveness this type was widely used for display. this style was developed in the early 19 century and a full line of types in this style were available in 1815. Known variously as antiqua or slab serif. ionic: Variation of Egyptian style type in displaying subtle roman features such as a slight contrast in stroke and modest bracketing of the serif. a typeface that shows these characteristics is clarendon. fat facE: a display version of roman type that introduces distortion in the stroke weight and stroke contrast.

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prIntIng and photography pantoGraph: an instrument used for making exact duplicate drawings measured to a predetermined scale. stEaM poWErEd cylindEr prEss: a press driven by steam power developed in 1814 by frederick Koenig. the press could mass produce printed material through automating aspects of the printing process and with the use of steam power unmatched by hand operated methods. linotypE MachinE: developed by ottmar Mergenthaler it solved the demand for automated typesetting which had been a laborious job of the compositor (the person who sets type). the linotype worked like a typewriter which would dispense a matrix of the letter typed which would then drop down to its location in the line of type (line o type) then, the matrix would fill with melted lead to caste the slug bearing the raised line of type. caMEra oBscura: a darkened room or box with a small opening or lens in one side. light rays pass through the aperture and are projected onto the opposite side to form a picture of the object outside. this device or optical phenomenon was known as early at 400 Bc. daGuErrEotypE: named for the inventor, louis daguerre (1799-1851). it is a photoprint of a very detailed quality produced on silver-plated copper sheets that is chemically treated to react to light. Each plate is one-of-a-kind, thus can not be duplicated or resized. photoGraMs: a photographic process developed by William talbot (1800-77) that produced photographs without the aid of a camera. chemically treated paper that was then light sensitive became the printable surface. objects placed on the paper and exposed to light would print as mysterious and delicate x-ray like silhouettes. the process was later used with a camera obscura to make the first paper photographs. calotypE: a photographic process developed by William talbot once he could develop greater light sensitivity for paper. th process used both a negative and a positive paper print to produce photographs that are less focused and sharp than the daguerrotype image. the positive aspect of this process is that it allowed for unlimited copies and the prints could be resized. collodian print: a photographic print process that was developed by frederick archer. the process produced extremely detailed prints with the use of a a clear liquid called collodian which was combined with iodine compounds and finally silver nitrate in a process known as wet-plate process. the prepared plate was then exposed and developed in a camera. halftonE scrEEn: a process developed by frederick ives (1856-1937) to allow continuous tone photograph to be printed on a commercial press. it filtered the image through a dense grided opaque screen which would break the image down into a grid of dots, some large and some small. large dots would print as dark and small spaced out dots would print ad light gray.

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Graphic dEsiGn: coined in the 1920s by William addison dwiggins but in fact, operational as a profession since the 1870s. the term distinguishes the responsibility of the profession of graphic design as organizer of type and illustration elements in a layout and for the over-all responsibility of pre-press decisions related to aesthetic considerations, appropriate design and production for printing. it is distinguished as separate from publishing, printing, and type design. lithoGraphy: developed by alois senfelder (1771-1834) in 1796 it is a printing process for creating multiple impressions from an oil based image applied to a flat stone surface that is moistened before the image is inked. lithography works on the principle that water and oil do not mix. lithography is neither a relief nor an intaglio process. rather, it is planographic; that is, the image areas and the non-image areas existed on the same plane. planoGraphic printinG: a printing process for images that are neither raised as in relief printing nor incised as in intaglio printing. the image is formed on a flat surface using a chemical process of water-based and oil-based mediums. chroMolithoGraphy: a lithographic printing process that produces color prints by applying different colors to individual lithographic stones and then printing them in perfect registration. Exemplar: owen Jones. offsEt lithoGraphy: a lithographic process that integrates the use of printing plates to create impressions. the plate is made of a flexible material which is wrapped around a cylinder. like the lithographic stone, it uses the principle of water and oil to adhere ink to the image/text area. With offset, the plate prints to a secondary surface, today it is a rubber blanket, which then prints the image to paper, like a rubber stamp and thus the name, offset. four-color procEss printinG-refers to the four colors used to create a simulation of thousands of colors across continuous tones of a photographic image in the offset lithography color. the four colors are (c)yan, (M)agenta, (y)ellow, and (K)black. the colors are used as dots that optically mix into an array of colors other than pure c,M, y, and K. collaGE: an abstract compositional technique using torn or cut paper usually carrying some kind of printed informationurban detritusto compose a formal (re)arranged composition. nEGatiVE refers to a photographic process. a positive image is a normal image. a negative image is a total inversion of a positive image, in which light areas appear dark and vice versa. photoEnGraVinG the most common type of photoengraving involves using a material that is photosensitive and resistant to acids or other etching compounds. this material, called a photoresist, is applied to a metal to be engraved. it is then exposed to light (usually strong ultraviolet) through a photographic negative causing it to harden where the negative allows light to pass. the photoresist is then developed by washing in a solvent that removes the unhardened parts. finally, the metal to be engraved is exposed to an acid or other etching compound which dissolves the exposed parts of the metal.

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Egyptian heavy 18pt:

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clarendon 18pt:

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tuscan:

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historicisM was the artistic and cultural tradition of incorporating previous art styles into present day decorative and fine art styles. Both the arts & crafts and German Werkbund pointed to the resuscitation of past cultural forms used as decorative motif as a sign of cultural dissipation. stylizEd:the simplification of decorative form. art nouveau is an example of a stylized design style with its vine-like stylized natural plant forms stylized into undulating graphic form. constructionisM: Werkbund term applied to engineered design forms. unlike art nouveau which was interpretive, Werkbund industrial arts, architecture, and design aspired to a rational and engineered style of geometric relationships applied to construction (not to be confused with russian constructivism). standardization: a design and manufacturing concept applied to the design of consumer goods by peter Behrens that reduced form into inter-related parts that could be disassembled or reassembled or recombined. function and forM: a design and manufacturing concept applied to the design of consumer goods, architecture and futurisM: an artistic manifesto acclaiming the virtues of war, machine, modern life and speed. highly experimental if not anarchic, it frequently combined typographic elements with unconventional layout to create new dynamic poetry that was meant to be experienced as a visual art. this new philosophy of art effected the artistic sensibility of dadaists, constructivists and de stijl. Exemplar: filippo Martinetti. dada: shock, protest, nonsense mark the artistic expression of this primarily literary movement. though stylistically influenced by futurism, the dada art sensibility found expression in theater events, performance, poetry, design, and art. it was marked by a political sensibility that militated against war and the insanity of modern contemporary capitalist society. highly subversive. Exemplar: tristan tzara. constructiVisM: russian formulation that is abstract and highly experimental. its proponents dispensed with traditional formulations of the art object as a vehicle for transcendent value and advanced a revolutionary objective in its place. accordingly, the uses of art, painting, sculpture and the applied and industrial arts were unified in a new objective to serve the new man, the soviet citizen. formally, constructivist art makes use of simplified forms, primary colors and the workings of a construction (the work) is primary to the compositional objective. Exemplar: El lissitzky. dE stiJl: (the style) a philosophical as well as aesthetic movement that was prevalent in architecture, design and art. it embraced style as the expression of simple logical relationships. reductivist in appearance, it looked to eliminate emotive trappings of decoration and expression as extraneous embellishment. pared down to its most simple, the creative object would impart a pure spirit of being. Exemplar: theo van doesburg.

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type desIgn: 19th cEntury and Early 20th cEntury arts and Crafts calEdonia (1938) designed by addison dwiggen who coined the term graphic designer. caledonia was one of the most widely used book faces in america.

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franKlin Gothic (1905) Morris f. Benton for the conglomerate located in Jersey city, american type founders (atf). Morris f. Benton

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cEntury schoolBooK (1920) Morris f. Benton

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cEntaur (1915) designed by Bruce rogers inspired by Jenson type design

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Goudy (1910) designed by frederick Goudy based on Venetian and french renaissance

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Werkbund aKzidEnz GrotEsK/standard (1898-1906) peter Behrens design included many weights which allowed contrast within one font family. note: Blackletter type was still standard in Germany.

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england Industrial railWay typE (1916) designed by Edward Johnston is here reinterpreted by Eric Gill as Gill sans. it is described as reductivist design Johnsons design is open and the proportions of the letters are balanced, as if created to fit the proportions of a square.

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desIgn: 19th and 20th cEntury MontaGE (from the french for "putting together") most often refers to collage including photomontage and sound collage chapBooK stylE: a graphic design style of the late 1890s that minimized ornament, used ruled boxed to divide the space, and adopted the caslon types, wide letterspacing, and crude woodcuts of colonial printing. Exemplar: Will Bradley.thE prE-raphaElitE BrothErhood: an association of artists which included dante Gabriel rossetti (1828-82) primarily as the leader, William Morris, Edward Burne-Jones and five others. the group subscribed to a visual model for composition based on an idealized return to a romanticized ideals of the medieval period. their compositions were figurative and romantic with highly detailed rendering of materials such as flowing hair, ornate carpet and fabric as well as period furnishing. the preraphaelites are associated with the arts and crafts Movement and the aesthetic philosophy of John ruskin. uKiyo-E means pictures of the floating world. a graphic woodblock style of Japan that blended the realistic narrative of traditional picture scrolls with influences of the decorative arts. it is identified by unusualby our Western traditioncompositional arrangements including large areas of flat color with decorative detail. prevalent subjects include the poetic aspect of everyday life activity and depictions of women, nature, and landscape. 1682 JaponisME-a late 19th century mania for all things Japanese. laBEllE EpoQuE: french term for the the beautiful era, 1880-1900. art nouVEau: an international decorative style of the 1890s lasting to about 1910. it is a style found in all of the design arts and prevalent in all aspects of the man-made environment of urban culture. its identifying visual quality is primarily, the (self-conscious) stylistic uses of organic and restless plant-like fluid line. art nouveau marks a decisive turning point away from historicism and toward innovation and experimentation. Exemplar: alphonse Mucha. Glasgow school: another aspect of art nouveau articulating a later phase of the style. it is a dynamic rectilinear phase, found in the work of the Glasgow school. Exemplar: charles rennie Mackintosh. Vienna secession: related stylistically to the Glasgow school are the Vienna secessionists. as the name suggests, this style was practices in Vienna by a group of fin de sicle artists. stylistically, the primary aesthetic aspect of this decadent art group was a geometric, modular patterning of design. however, the application of geometric relations is non-mechanical and highly decorative and active. Exemplar: Koloman Moser. Jugendstil:the German expression of art nouveau. it evolved into a considered design approach for industry with a measured integration of geometric relationships and more disciplined use of linear and decorative elements. this approach allowed graphic design to be applied to industrial design. Exemplar: peter Behrens

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BiBlioGraphy: ModErnisM Graphic Design Style: From Victorian to Digital by steven heller and seymour chwast Typology: Type Design from the Victorian Era to the Digital Age by steven heller ad louise fili Letter Perfect: the Art of Modernist Typography 1996-1953 by david ryan Avant-Garde Page Design: 1900-1950 by Jaroslav andel Victorian Book Design and Colour Printing by ruari Mclean Arts and Crafts Movement by robin langley sommer American Wood Type: 1828-1900 by rob roy Kelly The Origins of Graphic Design in America: 1870-1920 by Ellen Mazur thomson For the Voice by Vladimir Mayakovsky and El lissitzky (Mit facsimile edition, 2000) Giambattista Bodoni: Manuale Tipographico (octavo facsimile, cd edition) BioGraphy/MonoGraph William Morris by linda parry John Baskerville of Birmingham: Letter-Founder and Printer by f. E. pardoe Fournier: the Compleat Typographer by allan hutt Rudolf Koch: Letter, Type Designer, Teacher by Gerald cinamon Paul Renner: The Art of Typography by christopher Burke John Heartfield editors: peter pachnicke and Klaus honnef thEory The Shape of Time: Remarks on the History of Things by George Kubler Black Rider: The Visible Language of Modernism by Jerome McGann The Visible Word: Experimental Typography and Modern Art, 1909-1923 by Johanna drucker The Gutenberg Galaxy by Marshall Mcluhan Graphic Design and Reading: Explorations of an Uneasy Relationship by Gunner swanson Graphic Design in the Mechanical Age by deborah rothchild, Ellen lupton and darra Goldstein The Werkbund: Design Theory and Mass Culture before the First World War by frederic J. schwartz Batteries of Life: On the History of Things and Their Perception in Modernity by christoph asendorf Mechanization Takes Command: A Contribution to Anonymous History by siegried Giedion