ART 345 TEST 2

The Four

"The Studio" and its reproductions of work by Aubrey BEARDSLEY and Jan TOOROPHAD a strong influence on a young group of Scottish artists who became friend sat the Glasgow School of Art. The students began to collaborate and were soon christened _____________. The rising verticality and integration of flowing curves with a rectangular structure are hallmarks of their mature works, as shown here in Margaret MACDONALD's 1896 bookplate design.

George EASTMAN

American dry-plate manufacturer, who introduced his Kodak camera in 1888.

Joseph NIEPCE, photo etching of an engraving of Cardinal Georges D'Amboise, c. 1827.

IDENTIFY

Jules CHÉRET Fig. 11-11

IDENTIFY

Julia Margaret CAMERON, "Sir John Herschel," 1867

IDENTIFY

Kate GREENAWAY

IDENTIFY

Kate GREENAWAY, page from Under the Window, 1879

IDENTIFY

Katsushika HOKUSAI Fig. 11-5

IDENTIFY

Kitagawa UTAMARO Fig. 11-3

IDENTIFY

Koloman Moser

IDENTIFY

Koloman Moser and the Vienna Secession

IDENTIFY

Koloman Moser, Ver Sacrum, 1901

IDENTIFY

Josef HOFFMANN

(1870-1956) Modern design; art nouveau; designed the Prague chair; member of Vienna Secession and founding member of its offshoot, the Wiener Werkstatte (Vienna Workshop)

Letterpress with wood type

IDENTIFY

Edward JOHNSTON

(1872-1944) -developed a typeface that was exclusively for use by the UndergrounD

Louis-Jacques DAGUERRE, daguerreotype of Paris boulevard, 1839

IDENTIFY

Margaret and Frances Macdonald with J. Herbert McNair

IDENTIFY

Modern

IDENTIFY

Ottmar MERGENTHALER, Model 5 Linotype machine, 1886

IDENTIFY

Otto ECKMANN Fig. 11-65

IDENTIFY

Gustav KLIMT

(1862-1918) leader of the Vienna Secession,

Talwin MORRIS

(1865-1911) Became the art director of the Glasgow publishing firm... established contact with the Four and embraced their idea

Joseph Maria OLBRICH

(1867-1908) Secession Gallery

Christophe PLANTIN

(ANTWERP) A serious arm injury in the early 1550s ended the bookbinding career of ____. Thus he changed his career to printing in midlife, and the *NETHERLANDS found its GREATEST PRINTER*. While DE TOURNES's dedication to quality and unsurpassed design standards have led many authorities to proclaim him the sixteenth century's best printer, ____'s *remarkable management sense and publishing acumen could earn him the same accolade for different reasons*. Classics and Bibles, herbals and medicine books, music and maps—a full range of printed matter—poured out of what became the world's largest and strongest publishing house. However, even *___ got into trouble* during this dangerous time for printers. While he was in Paris in 1562 his staff printed a *heretical tract*, and his assets were seized and sold. He recovered much of the money, however, and within two years was reorganized and again solvent. *design style was essentially an adaptation of French typographic design*. GRANJON was called to Antwerp for a period as type designer in residence. _____ loved Granjon's fleurons and used them in profusion, particularly in his ever-popular *emblem books. * He published *50 emblem books containing illustrated verses or mottos for moral instruction or meditation. * ____ secured numerous punches and types at the estate sales of DE COLINES and GARAMOND. Under the patronage of King Phillip II of Spain, he *published the second great Polyglot Bible* between 1569 and 1572. This eight-volume work almost bankrupted him when the promised patronage was slow to materialize. *The use of copperplate engravings INSTEAD of woodcuts to illustrate* his books was ____'s main design contribution. He commissioned masters of this flourishing printmaking medium to design title pages and to illustrate books. Soon engraving was replacing the woodcut as the major technique for graphic images throughout Europe.

Hans HOLBEIN THE YOUNGER

(BASEL) A painter from Augsburg received as a master in the Zum Himmel guild and was engaged by Froben to illustrate books. His border designs were sculptural and complex and often included a scene from the Bible or classical literature. His prolific designs for title pages, headpieces, tailpieces, and sets of illustrated initials ranged from the humorous (peasants chasing a fox), to genre (dancing peasants and playing children), to a morbid series of initials depicting the Dance of Death. Before leaving for England in 1526, Holbein was probably already working on his greatest graphic work, *the 41 woodcuts illustrating Imagines Mortis (The Dance of Death)* Skeletons escort the living to their graves.

Johann FROBEN

(BASEL) became leading printer in Basel and attracted the outstanding humanist scholar of the Northern Renaissance, Desiderius ERASMUS (1466-1536), to the city. ERASMUS worked with ____ as author, editor, and adviser on matters of scholarship. Unlike most of his German contemporaries, ____ *favored hearty, solid roman types *rather than Gothics.

Robert GRANJON

(LYONS) He created delicate italic fonts featuring beautiful italic capitals with swashes to replace regular capitals that were being used with italic lowercase letters. The FLEURONS he designed were modular and could be put together in endless combinations to make headpieces, tailpieces, ornaments, and borders. Delicate italic fonts feature beautiful capitals with swashes. *Civilité* introduced a fourth type style to Gothic, roman, and italic, but civilité was just a passing fancy. ____'s modular fleurons allowed endless combinations to make headpieces, tailpieces, borders, and ornaments. *The serpent device*, elegantly bracketed by the motto in roman capitals, is ____'s *trademark.*

Jean DE TOURNES

(LYONS) printer; *opened a firm in Lyons* and began to use Garamond types with initials and ornaments designed by TORY. ___ was not content to imitate Parisian graphic design; he retained his fellow townsman, Bernard SALOMON, to design headpieces, arabesques, fleurons, and woodblock illustrations.

Camera obscura

(Latin for "dark chamber"), was known in the ancient world as early as the time of Aristotle in the fourth century bce. A __ ___ is a darkened room or box with a small opening or lens in one side. Light rays passing through this aperture are projected onto the opposite side and form a picture of the bright objects outside. Artists have used a __ ___ as an aid to drawing for centuries.

DE ZILVERDISTEL

(The Silver Thistle), a private press at The Hague.

Jugendstil

(Young Style) named after Jugend magazine. German interest in medieval letterforms continued side-byside with Art Nouveau techniques. Germany was the only country that did not replace Gutenberg's textura with roman styles of the Renaissance.

Champ Fleury

(subtitled The art and science of the proper and true proportions of the attic letters, which are otherwise called antique letters, and in common speech roman letters), first published in 1529, was his most important and influential work. It consists of *three* books: The first attempts to establish and order French grammar by fixed rules of pronunciation and speech. The second discusses the history of roman letters and compares their proportions with the ideal proportions of the human figure and face. Errors in Albrecht DURER's letterform designs in the recently published *Under- weisung der Messung (A Course in the Art of Measurement with Compass and Ruler)*, are carefully analyzed, then DURER is forgiven his errors because he is a painter; painters, according to TORY, rarely understand the proportions of well-formed letters. The third and final book offers instructions in the geometric construction of the twenty-three letters of the Latin alphabet on background grids of one hundred squares. It closes with Tory's designs for thirteen other alphabets, including Greek, Hebrew, Chaldean, and his fantasy style made of hand tools. a personal book written in a rambling conversational style with frequent digressions into Roman history and mythology. And yet *its message about the Latin alphabet influenced a generation of French printers and punch cutters*, and TORY became the most influential graphic designer of his century

Otto ECKMANN, cover for Allgemeine Elektrizitats-Gesellschaft catalogue, 1900 Fig. 11-70

IDENTIFY

Frank Lloyd WRIGHT

*American* architect whose work was becoming known to European artists and designers during the final years of the 19th cen. Clearly, he was an inspiration for the designers evolving from curvilinear art nouveau toward a *rectilinear approach to spatial organization*. In 1893 Wright began his independent practice. He *rejected historicism* in favor of a philosophy of *"organic architecture,"* with "the reality of the building" existing not in the design of the façade but in dynamic interior spaces where people lived and worked. Wright *defined organic design* as having *entity*, "something in which the *part is to the whole* as the *whole is to the par*t, and which *is all devoted to a purpose*. . . . It seeks that *completeness in idea* and in execution that is absolutely true to method, true to purpose, true to character." Wright saw *space as the essence of design*, and this emphasis was the wellspring of his profound influence upon all areas of twentieth-century design. He *looked to Japanese architecture and design for a model of harmonious proportion and visual poetry*; in* pre-Columbian architecture and art* he found *lively ornament *restrained by a mathematical repetition of horizo tal and vertical spatial divisions. Wright's *repetition of rectangular zones* and use of *asymmetrical spatial organization* were adopted by other designers. In addition to architecture, his design interests included *furniture, graphics, fabrics, wallpapers, and stained glass windows*. At the turn of the century he was at the forefront of the emerging *modern* movement. (1867-1959)

Paper with WOVE FINISH

*Wire marks are virtually eliminated* from this type of paper.

William LEAVENWORTH

*combined the pantograph* with the router in 1834, new wood-type fonts could be introduced so easily that customers were invited to send a drawing of one letter of a new style; the manufactory offered to design and produce an entire font based on the sketch without an additional charge for design and pattern drafting.

Berthold Foundry

*designed a family of ten sans serifs that were variations on one original font*; This Akzidenz Grotesk (called Standard in the United States) type family had a major influence on twentieth-century typography. They also released three expanded and three condensed versions.

Volney PALMER

1841, opened the first advertising agency in Philadelphia

N. W. AYER AND SON

1875, also in Philadelphia, concept of the advertising agency as a consulting firm with an array of specialized skills

halftone screen

A ___________ changes continuous tones into dots of varying sizes. Squares are formed by horizontal and vertical rules etched on pieces of glass. The amount of light that passes through each square determines the size of each dot.

trademark

A _______________ is a word, phrase, symbol, or design—or a combination of words, phrases, symbols, or designs—that identifies and distinguishes the source of the goods or services of one party from those of others.

Francesco DA BOLOGNA (GRIFFO)

A brilliant typeface designer and punch cutter at Aldine Press whose initial project in Venice was a roman face for De Aetna by Pietro Bembo, in 1495, which survives today as the book text face *BEMBO*. researched pre-Caroline scripts to produce a roman type more authentic than Nicholas Jenson's. cut the first italic types for Aldine edition

Engraving

A drawing made with a *graver on a smooth copperplate* which was an ideal *medium for expressing the florid curves* of the *rococo* sensibility

*FRANÇOIS* DIDOT (1st Gen)

A family dynasty of printers, publishers, papermakers, and typefounders began in 1713 when ____ established a printing and bookselling firm in Paris.

Johannes DE SPIRA

A goldsmith from Mainz, Germany, _______________ was given a five-year monopoly on printing in Venice. He printed the first typographic book with page numbers, the 1470 edition of De civitate dei, and designed an innovative and handsome Roman type that cast off some of the Gothic qualities found in earlier fonts.

Joha*NN*es DE SPIRA

A goldsmith from Mainz, was given a *5-year monopoly* on printing in Venice where in 1470 he printed the *first typographic book with PAGE NUMBERS (De civitate dei)* De Spira's innovative and handsome *Roman type *cast off some of the Gothic qualities found in the fonts of Conrad Sweynheym and Arnold Pannartz.

Allgemeine Elektrizitäts-Gesellschaft (General Electric Company)

considered the first comprehensive visual identification program.

Alfred ROLLER

A graphic designer and illustrator, he *sacrificed legibility* in order to achieve an unprecedented textural density in his *hand-lettered, RECTANGULAR numbers and letters*, such as in his 1902 posters for the fourteenth and sixteenth Secessionist exhibitions. (1864-1935)

Harper's Bazaar

A magazine for *women* by the Harper and Brothers firm in 1867

Harper's Young People

A magazine which addressed the youth audience by the Harper and Brothers firm in 1879

Nic*H*olas JENSON

A master of the Royal Mint of Tours, France, he was a highly skilled *cutter of the dies* used for striking coin. He established *VENICE'S SECOND PRESS shortly after Johannes DE SPIRA's death*, and became one of history's greatest *typeface designers and punch cutters*, whose ability to design the spaces between the letters and within each form created an even tone throughout the page. The characters in his fonts aligned more perfectly than those of any other printer of his time. His types first used in Eusebius's DE PRAEPARATIONE EVANGELICA (EVANGELICAL PREPARATION) present the full flowering of Roman type design. This man was a skilled cutter of dies used for striking coins.

Oronce FINÉ

A mathematics professor and author, his abilities as a graphic artist complemented his scientific publications. __________ illustrated his own mathematics, geography, and astronomy books and worked closely with printers, particularly Simon de Colines, in the design and production of his books. The border on the title page for his 1533 book Arithmetica used carefully measured strapwork, symbolic figures representing areas of knowledge, and a criblé background. This border, combined with de Coline's typography, created a masterpiece of Renaissance graphic design.

a concentrated food supplement

A member of the Flemish Group of Twenty, Henri VAN DE VELDE had enormous influence on design and architecture. His only poster design was for Tropon, ____________, for which he created labeling and advertisements in 1899. Rather than communicating information about the product or depicting people using it, VAN DE VELDE engaged the viewer with symbolic form and color.

Calendaring paper

A method of *hot-pressing paper* to give it a smooth, refined surface

arabesques in headpieces and tailpieces

A native of rural Worcestershire, John BASKERVILLE had "admired the beauty of letters" as a boy; as a young man, he became a master writing teacher and stonecutter. After making a fortune manufacturing japanned ware, he returned to his first love, the art of letters, and began to experiment with printing. His refined printing resulted from three of the four elements listed below. Which does NOT belong? _________ A. elegant type B. ink made of boiled linseed oil with resin C. paper formed by a mold with fine, woven wires D. arabesques in headpieces and tailpieces

Modern (Type Style)

A new category of roman type introduced in Europe during the eighteenth century and was first used by FOURNIER LE JEUNE in his *Manuel Typographique* to describe the design trends that culminated in *Bodoni's* mature work.

Aldus MANUTIUS

A new concern for human potential and value characterized Renaissance humanism, a philosophy of human dignity and worth that defined man as capable of using reason and scientific inquiry to achieve an understanding of the world and self-meaning. This new spirit was accompanied by a renewed study of classical writings. _______________ was an important humanist and scholar of the Italian Renaissance who established Aldine Press and published major works of the great thinkers of the Greek and Roman cultures.

Elbert HUBBARD

American who established his Roycroft Press (printing) and Roycroft Shops (handicrafts) in East Aurora, New York after meeting MORRIS. The Roycroft community became a popular tourist attraction where four hundred employees produced artistic home furnishings, copperware, leather goods, and printed material.

Line (or fever) graph

A passionate man with strong opinions about trade and economics, William PLAYFAIR worked hard to champion and spread his beliefs. In 1786, he published his *Commercial and Political Atlas. * This book was laden with statistical compilations and, in 44 diagrams, introduced the ___ (__ ___) ____ and the bar chart to graphically present complex information. PLAYFAIR calculated the area of descending sizes of circles to show the relative land area of European countries and to compare the populations of cities.

Harper's Weekly

A periodical that functioned as a newsmagazine by the Harper and Brothers firm in 1857; billed itself as "a journal of civilization" and developed an elaborate division of shop labor for the rapid production of woodblocks for printing cartoons and graphic reportage based on drawings from artist/correspondents, including Thomas NAST

Stereotyping

A process that involves* casting a duplicate* of a* relief printing surface *by *pressing a molding material* (damp paper pulp, plaster, or clay) *against it to make a matrix into which molten metal is poured to form the duplicate printing plate*. Invented by *Firmin* DIDOT (1764 1836).

Neoclassicism

A revival of classic Greek and Roman aesthetic forms characterized by order, simplicity, and symmetry

Egyptian faces

A second major innovation of nineteenth-century type design were the antique faces, also known as ___________, which convey a bold, machine-like feeling through slablike serifs, an even weight throughout the letters, and short ascenders and descenders. Vincent FIGGINS displayed a full range of antiques in his 1815 printing specimens.

Folio

A sheet of paper folded once vertically down the center to create four pages

Chaucer typeface

A smaller version of Troy called Chaucer was the last of Morris's three typefaces. Morris had a compulsion to ornament the total space, yet he created a range of contrasting values

The Studio

A strong momentum toward an international style was created by the inaugural issue of __ ___, April 1893, the first of nearly a dozen upstart European art periodicals of the 1890s.

sans-serif

A third major innovation of nineteenth-century type design were the __________ faces, which were introduced in an 1816 specimen book issued by William CASLON IV. The specimen looked a lot like an Egyptian face with its serifs removed, which is probably how CASLON designed it.

Geoffroy TORY

A true renaissance man who introduced the APOSTROPHE, the ACCENT, and the CEDILLA to the French language and developed a uniquely French Renaissance school of book design and illustration, as seen in CHAMP FLEURY (subtitled The art and science of the proper and true proportions of the attic letters, which are otherwise called antique letters, and in common speech roman letters). designed an alphabet of initial caps with a *criblé background.* In CHAMP FLEURY, first published in 1529, he discusses the history of roman letters and compares their proportions with the ideal proportions of the human figure and face, which influenced a generation of French printers and punch cutters. He became the most influential graphic designer of his century.

Issuing the first printer's type specimen sheet

A true renaissance man, Geoffroy Tory's accomplishments include the following. Which does NOT belong? A. Translating, editing, and publishing Latin and Greek texts B. Introducing the apostrophe, accent, and cedilla to the French language C. Issuing the first printer's type specimen sheet D. Writing books on the proportions of roman letters.

Louis-René LUCE

A type designer and punch cutter at the *Imprimerie Royale*, __-____ ___, achieved an imperial graphic design statement. During the three decades from 1740 until 1770, ___ designed a series of types that were narrow and condensed, with serifs as sharp as spurs. He created a large series of letterpress borders, ornaments, trophies, and other devices of impressive variety and excellent printing quality. His ornaments was carefully planned to be visually compatible with his typefaces and often had an identical weight so that they looked as if they belonged together in a de- sign.In 1771, he published his *Essai d'une nouvelle typographie (Essay on a New Typography)*, with ninety-three plates presenting the range of his design accomplishments.

Claude GARAMOND

A typeface designer and punch cutter who was the first to work independently of printing firms, he established his type foundry to sell cast type ready to distribute into compositors' cases. The types he cut during the 1540s achieved a MASTERY OF VISUAL FORM and a TIGHTER FIT that allowed CLOSER WORD SPACING and A HARMONY OF DESIGN between CAPITALS, LOWERCASE LETTERS, and ITALICS. The *influence of writing as a model diminished in his work*, for typography was evolving into a language of form rooted in the processes of making steel punches, casting metal type, and printing instead of imitating forms created by hand gestures. Around 1530 ___ *established his independent type foundry *to sell to printers cast type ready to distribute into the compositor's case

John Calvin MOSS

American who pioneered a commercially feasible photoengraving method for *translating line artwork into metal letterpress plates.*

Jessie Marion KING and Talwin MORRIS

Among those who drew inspiration from the Glasgow School were______________, whose medieval-style fantasy illustrations accompanied by stylized lettering influenced fiction illustration throughout the twentieth century, and _____________, who became the art director of the Glasgow publishing firm Blackie's, which provided a forum for applying the geometric spatial division and lyrical organic forms of the Glasgow group to mass communication.

Kodak camera

An American dry-plate manufacturer, George EASTMAN , put the power of photography into the hands of the lay public when he introduced his __ ___in 1888. It was an invention without precedent, for ordinary citizens now had the ability to create images and keep a graphic record of their lives and experiences.

White line technique

An illustration technique achieved by using* a fine graver to cut across the grain of hard wood*, it was the *major illustration method in letterpress printing until the advent of photomechanical halftones*. Thomas BEWICK was renown for this method

Images for children

Before the Victorian era, Western countries had a tendency to treat children as little adults. The Victorians developed a more tender attitude, and this was expressed through the de- velopment of toy books, colorful picture books for preschool children. Several English artists produced books that were well designed and illustrated, with a restrained use of color, establishing an approach to children's graphics that is still in use today

Chromolithographie

method for making multi-color prints. This type of color printing stemmed from the process of lithography, and it includes all types of lithography that are printed in color.

Pages from "Ishtar's Descent to the Nether World"; Lucien and Esther PISSARO; Eragny Press. This book combines the traditional sensibilities of the private press movement with an interest in the blossoming art nouveau movement and expressionism. Image, color, and ornament combine to generate an intense expressionisticenergy

IDENTIFY

Fleurons

Decorative elements cast like type

Pages from AMERICAN TYPE FOUNDERS' Specimen Book and Catalogue, 1923, display printing demonstrations of its Garamond revival. Played an important role in reviving type designs of the past.

IDENTIFY

Scrap

millions of album cards produced by Louis PRANG

fat faces

During the Industrial Revolution, the range of typographic sizes and letterform styles exploded, and type grew steadily bolder. Around 1803, Robert THORNE of England created a major category of type design called ___________, roman faces whose contrast and weight were increased by expanding the thickness of the heavy strokes. The ratio of the stroke width to the capital height was 1 to 2.5 or even 1 to 2.

Type design (roman and italic) Page layout Ornaments (woodblock and cast metal) Illustration (in relation to type) Total design of the book Totally printed book (without illumination by hand)

During the Reanissance, Italian printers and scholars rethought...?

Pages from Lodovico ARRIGHI's 1522 manual entitled La operina da imparare di scrivere littera cancellaresca (The First Writing Manual of the Chancery Hand)

IDENTIFY

Edo

modern Tokyo

Pages from The Elements of Euclid, by Oliver Byrne 1847; William PICKERING (publisher) In this book a system of color coding brought clarity to the teaching of geometry.

IDENTIFY

Pages from master printer Erhard RATDOLT's 1482 printing of Euclid's Geometriae elementa (Elements of Geometry

IDENTIFY

Frank Lloyd WRIGHT

During the final years of the nineteenth century, American architect____________ was becoming known to European artists and designers not only for his architecture, but for his design interests in furniture, fabrics, wallpapers, and stained-glass windows. He rejected historicism and saw space as the essence of design. His repetition of rectangular zones and use of asymmetrical spatial organization were adopted by other designers.

Peter Behrens and the New Objectivity

IDENTIFY

Peter Behrens, Celebration of Life and Art, 1900

IDENTIFY

Privet LIVEMONT, Rajah Coffee poster, 1899 Fig. 11-58

IDENTIFY

Railway Type by Edward JOHNSTON

IDENTIFY

Randolph CALDECOTT

IDENTIFY

Robert THORNE, fat-face types, 1821

IDENTIFY

false

T/F: Charles Dana GIBSON s images of young women, called GIBSON GIRLS, were featured in Scribner s magazine posters and established a canon of physical beauty in the mass media. GIBSON was as meticulous in his selection of type as he was in his renderings of idealized beauty.

Rudolf KOCH. Halbfette Deutsche Schrift (Halfwide German Script), 1911-13; Eine Deutsche Schrift (A German Script), 1906-10; And Schmale Deutsche Schrift (Condensed German Script), 1910-13. Koch's GOTHIC revivals achieved unusual legibility, striking typographic color and spatial intervals, and many original forms and ligatures.

IDENTIFY

true

T/F: During the Industrial Revolution, inventors applied mechanical theory to the design of printing presses, and new presses with cast-iron parts eventually replaced the wooden hand presses, increasing efficiency and the size of the impression.

The Medicis

Manuscripts were supported by which notable Italian family in Florence?

Packing

On a letterpress, the material placed behind the sheet of paper being printed

JAVAnese culture

One of Dutch designer Jan TOOROP's biggest sources of inspiration was ___________, which can be seen especially in his use of silhouette, his linear style, and the forms, expressions, and hair styles of his female figures.

*FIRMIN* DIDOT (3rd Gen)

One of François-Ambroise DIDOT's two sons, who succeeded his father as *head of the Didot type foundry*. Notable achievements included the invention of stereotyping. Stereotyping made longer press runs possible.

true

T/F: During the Industrial Revolution, the unity that had existed between design and production ended, and the specialization of the factory system fractured graphic communications into separate design and production components.

Stephen DAYE

Printing came to the North American colonies when a British locksmith named ___ ___; helped set up the first printer in the American colonies The first printing was done in early 1639, and the first book to be designed and printed in the English American colonies was The Whole Booke of Psalmes (now called The Bay Psalm Book) of 1640 (

pocket

In 1501, the Aldine Press published Virgil's Opera (Works), which was the prototype of the ________ book. This edition had a 3.75-by-6-inch page size and was set in the first italic type font. Between the smaller type size and the narrower width of italic characters, a 50 percent gain in the number of characters 55 per line of a given measure was achieved over Nicolas Jenson's and Francesco Griffo's types.

Stephen and Matthew DAYE

In 1639, _______________, a Bristish locksmith and his son, designed and printed the first book in the English American colonies, The Whole Booke of Psalms (now called The Bay Psalm Book). The design and production of this book understandably lacked refinement. In spite of strong censorship and a stamp tax on newspapers and advertising, printing grew steadily in the colonies.

Romain du Roi

In 1695, Louis SIMONNEAU created large engraved copperplate prints of the master alphabets for France's Imprimerie Royale, the royal printing office. These copperplate engravings were intended to establish graphic standards for the new typeface, which was called ____________.

Benjamin FRANKLIN

In 1722, William CASLON, an engraver of gunlocks and barrels, designed Caslon Old Style and its italic version. ________________ introduced the typeface Caslon into the American colonies, where it was used extensively, including for the official printing of the Declaration of Independence.

A Poem, On the Universal Penman

Published by celebrated penman *George BICKHAM the Elder;* exemplified in all the useful and ornamental branches of modern Penmanship, the whole embellished with 200 beautiful decorations for the amusement of the curious.

true

T/F: During the Industrial Revolution, type foundries modified letterforms and proportions and applied all manner of decoration to their alphabets because the mechanization of manufacturing processes made the application of decoration more economical and efficient.

true

T/F: During the nineteenth century, product packaging was printed in reverse on thin paper, then transferred to tin under great pressure. The paper backing was soaked off, leaving printed images on the tin plate.

William MARTIN

Punch cutter, a former apprentice to John BASKERVILLE and brother of BASKERVILLE's foreman Robert, was called to London to *design and cut types "in imitation of the sharp and fine letter used by the French and Italian printers."* His types combined the majestic proportions of Baskerville with the sharp contrasts of modern fonts.

Vincent FIGGINS

Each designer and foundry assigned its own name to type without serifs: William CASLON called them Doric, William THOROWGOOD named them grotesque, Stephenson BLAKE named its version sans-surryph, and in the United States, the Boston Type and Stereotype Foundry called them Gothic. But ___________ called them sans serif in his 1832 specimen in recognition of the style s most apparent feature, and the name stuck.

Thomas NAST

Father of American political cartooning. Popularized these graphic symbols: •Santa Claus •Democratic donkey •Republican elephant •Uncle Sam • Columbia (female signifying democracy; the prototype for the Statue of Liberty)

Calendarium

Fear and superstition were swept away as scientists began to understand natural phenomena, leading to a shift in content for graphic design. In Erhard Ratdolt's ____________, sixty diagrams printed in black and yellow were used to scientifically explain solar and lunar eclipses. The understanding of eclipses moved from black magic to predictable fact, and the book contains a three-part mathematical wheel for calculating solar cycles.

Joseph NIEPCE

French lithographic printer who first produced a photographic image, began his research by seeking an automatic means of transferring drawings onto printing plates.

F. T. NADAR

Frenchman whose portraits of writers, actors (, and artists have a direct and dignified simplicity and provide an invaluable historical record.

Camelot typeface

GOUDY designed his first typeface, Camelot, during the period of unemployment that followed from Camelot Press

Assyrian motifs

Although art nouveau artists did not use a historicist approach to their designs, they were influenced by past as well as contemporary art. All but one of the examples below were influences on art nouveau. Which does NOT belong? A. Japanese decorative designs B. the rococo style C. Celtic ornament D. Assyrian motifs

Darius WELLS

American Printer who experimented with *hand-carved wooden types and in 1827 invented a lateral router that enabled the economical mass manufacture of wood types for display printing. * Durable, light, and less than half as expensive as large metal types, wood type rapidly overcame printers' initial objections and had a significant impact on poster and broadsheet design. Beginning in March 1828, when ____ launched the wood-type industry with his first specimen sheets, American wood-type manufacturers imported typeface designs from Europe and exported wood type. Soon, however, wood-type manufactories sprang up in Europe, and by midcentury American firms were creating innovative decorative alphabets of their own.

Philip WEBB

After graduation Morris worked in the architectural office of G.E. Street where he formed a close friendship with architect ___ ___.

Éditions du Louvre

After the Revolution, the French government honored Pierre DIDOT (François-Ambroise's son) by granting him the printing office formerly used by the Imprimerie Royale at the Louvre. There he gave the neoclassical revival of the Napoleonic era its graphic design expression in a book series, the ____ __ ___

The Boston school of chromolithography

American chromolithography began in Boston, where several outstanding practitioners pioneered a school of lithographic naturalism. They achieved technical perfection and imagery of compelling realism. The four decades from 1860 until 1900 were the heyday of chromolithography. American lithography maintained its German connection during this period.

Wood type

An American printer named Darius WELLS (1800-75) began to experiment with hand-carved wooden types and in 1827 invented a lateral router that enabled the economical mass manufacture of wood types for display printing. Durable, light, and less than half as expensive as large metal types, wood type rapidly overcame printers' initial objections and had a significant impact on poster and broadsheet design. Beginning in March 1828, when Wells launched the wood-type industry with his first specimen sheets, American wood-type manufacturers imported typeface designs from Europe and exported wood type.

Darius WELLS

An American printer named __________ experimented with hand-carved wooden types and in 1827 invented a lateral router that enabled the economical mass manufacture of wood types for display printing.

motion picture photography

An adventurous photographer who lived in San Francisco and photographed Yosemite National Park, Alaska, and Central America, Eadweard MUYBRIDGE helped settle a $25,000 bet by documenting a trotting horse and demonstrating that the horse lifted all four feet off the ground simultaneously. The development of ___________ was a logical extension of Muybridge s innovation.

Romanticism

An artistic and intellectual movement originating in Europe in the late eighteenth century with a focus upon the imagination, introspection, and emotions in natural forms.

Trademark

An emblem designed to identify a book produced by a certain printer

Sir John HERSCHEL

An eminent astronomer and chemist, was the first to use sodium thiosulfate to fix the photographic image on paper, thereby halting the action of light. He also named the process of photography (from the Greek photos graphos, meaning light drawing).

Japanese

As a twenty-six-year-old architect, Arthur Mackmurdo met William Morris and was inspired by his ideas and accomplishments in applied design. He led the group that established the Century Guild, which aimed to elevate the design arts. They incorporated Renaissance and __________ design ideas into their work. Their designs provide one of the links between the arts and crafts movement and the floral stylization of art nouveau. Some of their swirling organic forms, in fact, seem to be pure art nouveau in their conception and execution.

Aldus MANUTIUS

An important *humanist and scholar* of the Italian Renaissance, he founded the *Aldine Press*, which published major works of the great thinkers of the Greek and Roman worlds and the *prototype of the pocket book,* which addressed the need for smaller, more economical books. Published major works of great Greek and Roman thinkers: -Plato (philosophy) -Cicero (literature) -Vetruvius (architecture, engineering) -Aristotle (philosophy, deductive reasoning) -Euclid (geometry) -Also published major works from the Arabic world Especially noteworthy is Aldine's 1499 edition of _Fra Francesco Colonna's HYPNEROTOMACHIA POLIPHILI (THE STRIFE OF LOVE IN A DREAM OR THE DREAM OF POLIPHILUS)*, a masterpiece of graphic design that achieved an elegant harmony of typography and illustration that has seldom been equaled

Tailpiece

An ornamental design at the bottom of a page

Headpiece

An ornamental design at the top of a page

Cartesian coordinates

Any point on the plane can be specified by two numbers. One defines its distance from the horizontal axis, and the other number defines its distance from the vertical axis; for example, x = 2, y = 3 denotes a point two units along the horizontal line and three units along the vertical line. These numbers are called ___ ___.

Pied de roi

Around 1785 François-Ambroise DIDOT *revised Fournier's typographic measurement system and created the point system used in France today. * He realized that the Fournier scale was subject to shrinkage after being printed on moistened paper, and even Fournier's metal master had no standard for comparison. Therefore, Didot adopted the official __ __ ___, divided into twelve French inches, as his standard. Then each inch was divided into seventy-two points.

Wren's City Churches

Arthur H. MACKMURDO's book

Walter CRANE

As a teenager, ____________ apprenticed as a wood engraver and was twenty years old when Railroad Alphabet, a children s picture book, was published in 1865. Breaking with the tradition of earlier children s books, this illustrator sought to entertain rather than teach or preach to the young. His inspiration came from the flat color and flowing contours of Japanese woodblock prints.

Victorian typography

As the Victorian era progressed, the taste for ornate elaboration became a major influence on typeface and lettering design. Early nineteenth-century elaborated types were based on letterforms with traditional structure. Shadows, outlines, and embellishments were applied while retaining the classical letter structure. In the second half of the century, advances in industrial technology permitted metal-type foundries to push elaboration, including the fanciful distortion of basic letterforms, to an extreme degree. To produce more intricate types, punch cutters cut their designs in soft metal and then electroplated them to make a harder punch able to stamp the design into a brass matrix. Chromolithography, with its uninhibited lettering, was a major source of inspiration for foundries and letterpress printers seeking to maintain their share of a fiercely competitive graphic-arts industry. The popular graphics of the Victorian era stemmed not from a design philosophy or artistic convictions but from the prevalent attitudes and sensibilities of the period. Many Victorian design conventions could still be found during the early decades of the twentieth century, particularly in commercial promotion

geometric

As the nineteenth century drew to a close and the twentieth century began, designers across the disciplines of architectural, fashion, graphic, and product design searched for new forms of expression. Technological and industrial advances fed these concerns. The artists and designers discussed in Chapter 12 moved away from the floral and curvilinear elements of art nouveau toward a more____________ style of composition.

William PICKERING

As the publisher and designer, Pickering maintained control over format design, type selection, illustrations, and other visual considerations. Developed a working relationship between publisher/designer and printer. His designs moved toward classical simplicity.

Charles R. ASHBEE

Ashbee sought to restore the apprenticeship experience through the School of Handicraft; Guild of Handicraft was a cooperative.

Katsushika HOKUSAI

At age nineteen his first published prints of Kabuki actors appeared. Hokusai's work spanned the gamut of ukiyo-e subjects: album prints; genre scenes; historical events; illustrations for novels; landscape series including views of rivers, mountains, waterfalls, and bridges; nature studies of flowers, birds, shells, and fish; paintings on silk; sketchbooks; and privately commissioned prints for special occasions, called surimono. his model books for amateur artists were very popular, as were his caricatures of occupations, customs, and social behavior. (1760-1849)

transitional

BASKERVILLE's type design represents the zenith of the __________ style. His types are wider, the contrast between the weight of the thick and thin strokes greater, and the serifs flow smoothly out of the major strokes and terminate in fine points.

Behrensschrift

BEHRENS contacted 32 year-old Karl KLINSPOR (1868-1950) of the Klingspor Foundry. He agreed to manufacture and release Behrens's first typeface, _____________, in 1901. Six years later Klingspor released Behrens Kursiv, an italic version of ______________. This was followed by the roman typeface Behrens Antiqua in 1908.

Cloister family

BENTON's revival of Nicolas Jenson's type was issued as the Cloister family. From 1901 to 1935 BENTON designed approximately 225 typefaces, including nine additional members of the Goudy family and over two dozen members of the Cheltenham family.

Cheltenham typeface family

BENTON's revival of Nicolas Jenson's type was issued as the Cloister family. From 1901 to 1935 BENTON designed approximately 225 typefaces, including nine additional members of the Goudy family and over two dozen members of the ___ family

Chromolithography

Based on the simple chemical principle that oil and water do not mix, ____________ is the process of printing color pictures and lettering from a series of stone or zinc printing plates. Each color requires a separate stone or plate and a separate run through the press.

Johann OPORINUS

Became BASEL's leading printer after Johann FROBEN's death. His masterpiece: the enormous 667-page folio *De humani corporis fabrica (Construction of the Human Body)* This book by Andreas VESALIUS, founder of modern anatomy, was one of the most widely imitated books _____ set Vesalius's turgid, wordy text in tight pages of roman type with precise page numbers, running heads, marginal notes in delicate italic type, and no paragraph indications.

Century Schoolbook typeface

Benton carefully studied human perception and reading comprehension to develop __ __, designed for and widely used in textbooks.

Reversed designs

Bernhard MALER (also called PICTOR) is assumed to be the designer of RATDOLT's borders. Both fine-line ornaments and ____ ____ (white forms on a solid background) were used; sometimes these were printed in red ink. A three-sided woodcut border used on the title page for a number of Ratdolt's editions became a kind of trademark. It appears on the title page of Euclid's *Geometriae elementa (Elements of Geometry)*

The Works of Geoffrey Chaucer

Books from the Kelmscott Press, including the __ __ __ __, and from other private presses represented in the rare book department of the A. C. McClurg Bookstore fired GOUDYs imagination.

Shakespeare Press

British national pride led to the establishment of the ______________ in 1786, which printed editions of equal quality to the folio volumes of Paris and Parma.

William BLAKE

Brought back illuminated printing in the era of Didot and Bodoni, this visionary English poet and artist opened a printing shop at age 27, where he was assisted by his younger brother Robert. Upon Robert's death three years later, ___ reported that he saw Robert's soul joyfully rising through the ceiling. ____ informed friends that Robert appeared to him in a dream and told him about a way to print his poems and illustrations as relief etchings without typography. ____ began to *publish books of his poetry; *each page was printed as a monochrome etching combining word and image. He and his wife then either *hand-colored each page with watercolor or printed colors*, hand-bound each copy in paper covers, and sold them at modest prices. The lyrical fantasy, *glowing swirls of color,* and imaginative vision that he achieved in his poetry and accompanying designs represent an effort to transcend the material of graphic design and printing to achieve spiritual expression. The title pages from *The Book of Thel* and *America, a Prophecy *show how he adeptly integrated letterforms into illustrations. His reaction against the neoclassical emphasis on reason and the intellect combined with his focus upon the imagination, introspection, and emotions as wellsprings for his work make him a harbinger of *19-century romanticism. *His bright colors and swirling organic forms are forerunners to expressionism, art nouveau, and abstract art.

false

T/F: Before early experiments with photography, the camera obscura was used by artists to capture images without the use of a drawing utensil.

The rise of American editorial and advertising design

By midcentury, Harper and Brothers had become the largest printing and publishing firm in the world. In the role of senior editor and manager of publishing activities, Fletcher Harper shaped graphic communications in America for half a century The rising tide of literacy, plunging production costs, and the growth of advertising revenues pushed the number of newspapers and magazines published in the United States from eight hundred to five thousand between 1830 and 1860. During the 1870s magazines were used extensively for general advertising.

ASHENDENE PRESS

C. H. St. John Hornby of London, proved an exceptional private press The type designed for this press was inspired by the semi-Gothic types used by Sweynheym and Pannartz in Subiaco. It possessed a ringing elegance and straightforward legibility with modest weight differences between the thick and thin strokes and a slightly compressed letter.

Randolph CALDECOTT

Caldecott possessed a unique sense of the absurd and an ability to exaggerate movement and facial expressions of both people and animals. His *humorous drawing style *became a prototype for children's books and later for animated films

Peter BEHRENS

Called the *first industrial designer*, he designed *electric household products* including teakettles and fans.

William PLAYFAIR

Cartesian coordinates and other aspects of analytic geometry were later used by this Scottish author and scientist ) to convert statistical data into symbolic graphics.published his *Commercial and Political Atlas; created a new category of graphic design, now called* information graphics.* This field of design has gained importance because humanity's expanding base of knowledge requires graphics to present complex information in an understandable form.

Nuremburg (Germany), Venice (Italy), Paris (France), Basel (Switzerland) Lyons (France), and Antwerp (Belgium).

Centers of Design Innovation during Renaissance Graphic Design

Josef Hoffmann, Wiener Werkstätte exhibition poster, 1905

IDENTIFY

Thomas BEWICK

Close friend of William BULMER. Regarded as the *father of wood engraving. *After apprenticing to engraver Ralph BEILBY and learning to engrave sword blades and doorplates, ___ turned his attention to wood-engraved illustrations. His *"white-line" technique *employed a fine graver to achieve delicate tonal effects by *cutting across the grain on blocks of Turkish boxwood. *Woodcuts were made by cutting with the grain on softer wood. Publication of his *General History of Quadrupeds* in 1790 brought renown to Bewick and his technique, which became a major illustration method in letterpress printing until the advent of photomechanical halftones nearly a century later

Matthew C. PERRY

Commodore of the United States Navy and commanded a number of ships; played a leading role in the opening of Japan to the West with the Convention of Kanagawa in 1854. His treaties led to the collapse of Japan's traditional isolationist policies and opened trade with the West. A mid-nineteenth century revolution overthrew the last shogun in 1867 and restored supreme power to the Meiji emperor the following year. Japan's leaders began building a modern nation with economic and military similarities to Western nations. A centralized constitutional government, industrialization, and a strong military were developed. (1794-1858)

Chérettes

Created by Cheret; dubbed the name by an admiring public, were archetypes, not only for the idealized presentation of women in mass media but for a generation of French women who used their dress and apparent lifestyle as inspiration

Caledonia typeface

DWIGGINS designed __,one of the most widely used book faces in America.

Axes

Descartes used algebra to solve geometry problems, formulate equations to represent lines and curves, and represent a point in space by a pair of numbers. On a 2D plane, DESCARTES drew two perpendicular intersecting lines called axes: a horizontal line called the x __ and a vertical line called the y ___. regular intervals to form a grid of horizontal and vertical lines called a Cartesian grid.

Emil RATHENAU

Director of AEG, appointed Behrensits artistic adviser. After Rathenau purchased European manufacturing rights to Thomas A. Edison's patents, the firm became one of the world's largest manufacturing concerns

Type specimen sheet

Displays a range of typographic sizes and styles—Erhard Ratdolt issued the first one upon his return to Augsburg, Germany from Venice

Century

Dissatisfied with the thin modern typefaces used in one of the magazines that his firm printed, Theodore LOW DE VINNE commissioned Linn Boyd Benton to design a blacker, more readable typeface that was slightly extended, with thicker thin strokes and short slab serifs. This typeface is called __________.

The design language of chromolithography

Dramatic illustrations • Bold, simple lettering • Brightly-colored backgrounds and borders Lettering, not type. Letterpress printers and admirers of fine typography and printing were appalled that the design was done on an artist's drawing board instead of a compositor's metal press bed. Without traditions and lacking the constraints of letterpress, designers could invent any letterform that suited their fancy and exploit an unlimited palette of bright, vibrant color never before available for printed communications. The vitality of this graphic revolution stemmed from the talented artists who created the original designs, frequently in watercolor, and the skilled craftsmen who traced the original art onto stones. They translated designs into five, ten, twenty, or even more separate stones. Colored inks applied to these stones came together in perfect registration, re-creating hundreds or even thousands of glowing duplicates of the original. The lithography firm, rather than the individual artists or craftsmen who created the work, was credited on chromolithographs, and the names of many designers are lost to history.

screen paintings

During Japan's Tokugawa period, the country adopted an official policy of national seclusion. This was a time of economic expansion, internal stability, and flourishing cultural arts. The entertainment districts of major cities were called "the floating world," and became the focus of inspiration for many artists. The earliest Japanese ukiyo-e ("pictures of the floating world") were __________ depicting these entertainment districts of urban Japan.

yellow covers

During an 1895 visit to the Boston Public Library, Will Bradley studied the collection of small, crudely printed books from colonial New England called chapbooks. These inspired a new direction in graphic design that became known as the chapbook style. All of the following traits except one apply. Which does NOT apply? A. Caslon types with wide letter spacing B. a mix of roman, italic, and all-capital type C. yellow covers D. sturdy woodcuts and plain rules

Signage was needed to guide residents through the streets of fast-growing cities.

During the Industrial Revolution a radical process of social and economic change that occurred in England between 1760 and 1840 the role of graphic design and graphic communications expanded due to three the following situations. Which does NOT belong?

A. W. N. PUGIN

English architect who designed the ornamental details of the British Houses of Parliament; defined design as a moral act that achieved the status of art through the designer's ideals and attitudes; he believed the integrity and character of a civilization were linked to its design.

Selwyn IMAGE

English clergyman, designer, particularly of stained glass windows, and poet. who co-established Century Guild

Dante Gabriel ROSSETTI

English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848

Frederick ARCHER

English sculptor who created the *wet-plate process* for photography (by candlelight in a darkroom, a clear viscous liquid called *collodion* was sensitized with iodine compounds, poured over a glass plate, immersed in a silver-nitrate bath, and exposed and developed in the camera while still wet.) Photographers throughout the world adopted his process. Because he did not patent his pro- cess, and it enabled much shorter exposure times than either daguerreotypes or calotypes, it almost completely replaced them by the mid-1850s.

printed both the illustrations and text from one copper plate for each page

Englishman John PINE printed independent books such as Opera Horatii (Works of Horace), in which he ____________, resulting in the serifs and thin strokes of letterforms being reduced to delicate lines. The contrast in the text was dazzling and inspired imitation by typographic designers.

Tuscan-style letters

FIGGINS's 1815 specimen book also presented the first nineteenth-century version oF ___-___ letters. *This style, characterized by serifs that are extended and curved, was put through an astounding range of variations during the nineteenth century, often with bulges, cavities, and ornaments.*

Wiener Werkstätte (Vienna Workshops)

Financed by industrialist Fritz WÄNDORFER, the _____________ was an outgrowth of Sezessionstil and sought a close union of the fine and applied arts in the design of lamps, fabrics, books, greeting cards, and other printed matter. The goal was to offer an alternative to poorly designed, mass-produced articles and trite historicism. Decoration was used only when it served these goals.

Type family

Fonts in a variety of weights and widths that are visually compatible and can be mixed

Rudolph KOCH

German; a powerful figure who was deeply mystical and medieval in his viewpoints. A devout Catholic, he taught at the Arts and Crafts School in Offenbach am Main, where he led a creative community of writers, printers, stonemasons, and metal and tapestry workers. He regarded the* alphabet as a supreme spiritual achievement of humanity*. Basing his pre-World War I work on pen-drawn calligraphy He built upon the calligraphic tradition by creating original, simple expression from his gestures and materials. After the war, he became closely associated with the Klingspor Type Foundry. his type designs ranged from original interpretations of medieval letterforms (Gothic revivals) to unexpected designs, such as the rough-hewn chunky letterforms of his Neuland face

Manuale TIPOGRAFICO

Giambattista BODONI had planned a monumental type specimen book presenting three hundred type fonts that he had designed. After his death, his widow and foreman published the two-volume __________ in 1818. This massive work celebrated Bodoni's genius and is a milestone in the history of graphic design.

modern style

Giambattista BODONI was asked to take charge of the Stamperia Reale, the official press of FERDINAND, Duke of Parma. He accepted, became the private printer of the court, and printed official documents and publications as well as projects he conceived and initiated himself. Bodoni redefined roman letterforms, giving them a more mathematical, geometric, and mechanical look. He reinvented the serifs by making them hairlines that formed sharp right angles to the upright strokes; the thin strokes of his letterforms were the same weight as the hairline serifs. His typeface design exemplifies the ________________.

aesthetic confusion

Graphics from the Victorian era can be identified by their ____________.

Charles NYPELS

He apprenticed with De Roos at the Type Foundry Amsterdam, before working for Leiter-Nypels, his family firm. He had a fresh approach, evidenced by his title and text pages, his use of color, and his initial letters (by De Roos).

Koloman MOSER

He played a major role in *defining the graphic approach to The Vienna Secession*. His illustrations in Ver Sacrum incorporated *elemental geometric forms that were repeated*, building complex *kinetic* patterns. His poster for the thirteenth Vienna Secession exhibition is a masterpiece of the mature phase. (1868-1918)

"Dunker Church and the Dead," an 1862 photograph by Matthew BRADY, documents the aftermath of the Battle of Antietam, the bloodiest battle of the Civil War.

IDENTIFY

Aldus MANUTIUS, pages from Hypnerotomachia Poliphili, 1499

IDENTIFY

Alfred Roller, Ver Sacrum calendar, 1903

IDENTIFY

Alfred Roller, poster for the Sixteenth Vienna Secession exhibition, 1902

IDENTIFY

Alphonse MUCHA Fig. 11-32

IDENTIFY

Alphonse MUCHA, poster for Job cigarette papers, 1898 Fig. 11-33

IDENTIFY

Ando HIROSHIGE, Evening Squall at Great Bridge near Atake, c. 1856- 59 Fig. 11-7

IDENTIFY

Arthur H. MACKMURDO, title page for Wren's City Churches, 1833.

IDENTIFY

Aubrey BEARDSLEY Fig. 11-20

IDENTIFY

Bembo capitals designed by Francesco GRIFFO in a page from the 1499 edition of Fra Francesco Colonna's Hypnerotomachia Poliphili printed at Aldine Press

IDENTIFY

Berthold Löffler

IDENTIFY

Bradley: His Book

IDENTIFY

Charles Dana GIBSON poster for Scribner's, 1895.

IDENTIFY

Charles RICKETTS, pages from The Sphinx, 1894 Figs. 11-21 and 11-22

IDENTIFY

Copperplate engraving

IDENTIFY

Double-page spread from the 1529 edition of Geoffroy TORY's Champ Fleury

IDENTIFY

Eadweard MUYBRIDGE, plate published in The Horse in Motion, 1883.

IDENTIFY

Erhard RATDOLT, Peter LOESLEIN, and Bernhard MAIER, pages from Calendarium, 1476

IDENTIFY

Fig. 10-36

IDENTIFY

Fig. 8-1 and 8-2: Louis SIMONNEAU, master alphabets for the Romain du Roi, 1695

IDENTIFY

Fig. 8-12: John BASKERVILLE

IDENTIFY

Fig. 8-14: B Willam PLAYFAIR

IDENTIFY

Fig. 8-7: Pierre Simon FOURNIER LE JEUNE

IDENTIFY

Fig. 8-8: George BICKHAM, "A Poem, On the Universal Penman," c. 1740

IDENTIFY

Figure 8-16: Giambattista BODONI, title page from Saggio tipographico (Typographic Essay), 1771

IDENTIFY

Figure 8-20: Pierre DIDOT, pages from Virgil's Bucolica, Georgica, et Aeneis (Pastorials, Farming, and Aeneis), 1798

IDENTIFY

Figure 8-9: John PINE, Page from Horace's Opera, Volume II, 1737

IDENTIFY

Geoffroy TORY, capital G from a series of criblé initials, c. 1526 243

IDENTIFY

Geoffroy TORY, construction of the letter Q from Champ Fleury, 1529

IDENTIFY

Geoffroy TORY, pages from Champ Fleury, 1529

IDENTIFY

Henri DE TOULOUSE-LAUTREC, "La Goulue au Moulin Rouge" poster, 1891 Fig. 11-24

IDENTIFY

Henri VAN DE VELDE, poster for Tropon food concentrate, 1899 Fig. 11-55

IDENTIFY

Howard PYLE, illustration from The Merry Adventures of Robin Hood, 1883.

IDENTIFY

Jan TOOROP, The Three Brides, 1893 Fig. 11-16

IDENTIFY

Jan van Krimpen, pages from Dierdre & de zonen van Usnach (Dierdre & the Sons of Usnach), by A. Ronald Holst, Paladium Series, 1920.

IDENTIFY

Jessie Marion King, William Morris's The Defence of Guenevere, 1904

IDENTIFY

Joannes FRELLONIUS and Hans HOLBEIN the Younger, pages from Imagines Mortis, 1547

IDENTIFY

Johann OPORINUS, page from De Humani Corporis Fabrica (Construction of the Human Body), 1543

IDENTIFY

John H. Bufford's SONS, "Swedish Song Quartett" poster, 1867

IDENTIFY

Selwin Image, title page to The Century Guild Hobby Horse, 1886. The periodical "The Century Guild Hobby Horse" sought to proclaim the philosophy and goals of the Century Guild. The "page within a page" design by Selwyn Image for this "The Century Guild Hobby Horse" title page reflects the MEDIEVAL preoccupation of the Arts and Crafts movement. The British Arts and Crafts viewpoint was introduced to a European audience through this periodical "The Century Guild Hobby Horse."

IDENTIFY

Simon DE COLINES, title page for De Natura Stirpium Libri Tres, 1536.

IDENTIFY

Stephen H. HORGAN, experimental photoengraving of halftone image, 1880

IDENTIFY

Stephen and Matthew DAYE, title page for The Whole Booke of Psalmes, 1640.

IDENTIFY

Talwin Morris, Red Letter Shakespeare series, c. 1908

IDENTIFY

Théophile-Alexandre STEINLEN, "Tournée du Chat Noir" poster, 1896 Fig. 11-28

IDENTIFY

Will BRADLEY Fig. 11-43

IDENTIFY

Will BRADLEY, pages from The American Chap-Book, 1905 Fig. 11-45

IDENTIFY

William Blake

IDENTIFY

William Henry Fox TALBOT

IDENTIFY

William Henry Fox TALBOT, pages from The Pencil of Nature, 1844

IDENTIFY

William Morris (designer) and Walter Crane (illustrator), title page spread for The Story of the Glittering Plain, 1894. Kelmscott Press.

IDENTIFY

the Glasgow School

IDENTIFY

They are all examples of CHROMOLITHOGRAPHIES.

IDENTIFY Look at the 4 images. What do these 4 have in common?

Sans-serif type made its modest debut in an 1816 specimen book issued by William CASLON IV.

IDENTIFY What was significant about this image? (click image to see it entirely if studying on desktop)

Alfred Roller and the Vienna Secession

IDENTIFY 12 H.jpg

Humanisitic Writing

IDENTIFY THE WRITING STYLE (15th cen Italian; based on the carolingian miniscule)

Printed Italic Type

IDENTIFY THE WRITING STYLE (Printed line of FIRST ___ type; also based on humanistic writing )

Nicolas JENSON's Type

IDENTIFY THE WRITING STYLE (Printed line of type. Venice 1475; derived from humanistic writing)

Transitional

IDENTIFY: What type classification does Romain Du Roi fall under?

Plantin-Moretus Museum in Antwerp

IDENTIFY: Where is this?

Pocket book

In 1501 Manutius addressed the need for smaller, more economical books by publishing the prototype of the ___ __. This edition of *Vergil's Opera (Works)* had a 7.7 by 15.4 centimeter (3.75 by 6 inch) page size and was set in the first italic type font. Between the smaller size type and the narrower width of italic characters, a 50 percent gain in the number of characters in a line of a given measure was achieved over Jenson's fonts and Griffo's type for De Aetna.

true

T/F: Beginning in 1894, Will BRADLEY's work for the Inland Printer and the Chap Book ignited art nouveau in America.

*FRANÇOISE-AMBROISE* DIDOT (2nd Gen)

In 1780, this son of François DIDOT , introduced a highly finished, smooth paper of wove design modeled after the paper commissioned by BASKERVILLE in England.Fonts issued by him t possessed a lighter, more geometric quality, similar in feeling to Bodoni's designs evolving under BASKERVILLE's influence He revised Fournier's typographic measurement system and created the point system used in France today. He realized that the Fournier scale was subject to shrinkage after being printed on moistened paper, and even Fournier's metal master had no standard for comparison. Therefore, ____ adopted the official *pied de roi*, divided into twelve French inches, as his standard.

John GAMBLE

In 1801 English patent number 2487 was granted to __ __ for "an invention for making paper in single sheets without seam or joining from one to twelve feet and upwards wide, and from one to forty-five feet and upwards in length."

William LEAVENWORTH

In 1834, ___________ combined the pantograph with the router, making it so easy to introduce new wood-type fonts that customers were invited to send a drawing of one letter, based on which the manufacturer would design and produce the entire font without any additional charge.

The Pencil of Nature

In 1844 TALBOT began publishing his book, ___ ___ ___ ___, in installments for subscribers; each copy featured twenty-four photographs mounted by hand. In the foreword TALBOT expressed a desire to present "some of the beginnings of the new art." As the first volume illustrated completely with photographs, ___ ___ ___ ___ was a milestone in the history of books

Rotary lithographic press

In 1846 the American inventor and mechanical genius Richard M. HOE (1812-86) perfected the rotary lithographic press, which was nicknamed *"the lightning press"* because it could print six times as fast as the lithographic flatbed presses then in use. This innovation proved an important boost in lithography's competition with letterpress Economical color printing, ranging from art reproductions for middle- class parlors to advertising graphics of every description, poured from the presses in millions of impressions each year

Great Exhibition or Crystal Palace Exhibition

In 1849 Prince Albert, husband of Queen Victoria, conceived the idea of a gathering with hundreds of exhibitors from all industrial nations. This became the G__ ___ of 1851, an important summation of the progress of the Industrial Revolution and a catalyst for future developments. Six million visitors reviewed the products of thirteen thousand exhibitors. This event is commonly called the C___ ___ ___, after the 75,000-square-meter (800,000-square-foot) steel and glass prefabricated exhibition hall that remains a landmark in architectural design.

First photographic interview

In 1886 the first photographic interview was published in Le journal illustré. Frenchman F. T. NADAR's son Paul made a series of twenty-one photographs as Nadar interviewed the eminent hundred-year-old scientist Michel Eugène Chevreul. The elderly man's expressive gestures accompanied his answers to Nadar's questions.

Aubrey BEARDSLEY

In 1894, Oscar Wilde's Salomé received widespread notoriety for the obvious erotic sensuality of __________'s illustrations. Late-Victorian English society was shocked by the celebration of evil, which reached its peak in an edition of Aristophanes's Lysistrata. Banned by English censors, it was widely circulated on the Continent.

Hollandsche Mediaeval

In 1912, Type Foundry Amsterdam issued ___________, the first typeface designed and produced in the Netherlands for over a century. Designed by Sjoerd H. de Roos, the text face was based on fifteenth-century Venetian types. This was followed by eight more type designs from de Roos.

Centaur typeface

In 1915 Rogers designed this typeface one of the finest of the numerous fonts inspired by Jenson. first used in *The Centaur by Maurice de Guerin*.

Edward JOHNSTON

In 1916, dissatisfaction with typography on Underground materials prompted Frank PICK to commission the eminent calligrapher __________ to design an exclusive, patented typeface for the world's first underground electric railway system, which had opened in London in 1890. Railway Type is a sans-serif typeface whose strokes have consistent weight; however, the letters have the basic proportions of classical Roman inscriptions. The designer achieved absolute functional clarity by reducing the characters to the simplest possible forms: the M is a perfect square whose forty-five degree diagonal strokes meet in the exact center of the letter. The O is a perfect circle. All of the letters have similar elemental design. The lowercase I has a tail to avoid confusion with the uppercase I.

Venetian and French Renaissance

In America, the arts and crafts movement had an influence on the revitalization of typography and book design. Frederic W. Goudy had a passionate love of letterforms and, inspired by the Kelmscott Press, he established the Camelot Press and then designed Camelot, his first typeface. Goudy went on to design a total of 122 typefaces, many of which were based on ____________ type designs.

Sezessionstil (The Vienna Secession)

In Austria, the Vienna Secession, with its _____ (__ ___ ___), came into being on 3 April 1897, when the younger members of the Künstlerhaus, the Viennese Creative Artists' Association, resigned in stormy protest. an art movement formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects. The first president of the Secession was Gustav KLIMT, and Rudolf VON ALT was made honorary president. Its official magazine was called *Ver Sacrum*.

Harper's Illuminated and New Pictorial Bible

James and John HARPER launched a New York printing firm in 1817 and by mid-century, HARPER AND BROTHERS had become the largest printing and publishing firm in the world. With the rapid expansion of the reading public and the economies resulting from new technologies, publishers focused on large press runs and modest prices. In 1859, the firm opened the era of the pictorial magazine. Which of the following does NOT fall into this category?

true

T/F: Cartesian coordinates on an x- and y-axis represent use a pair of numbers to represent a point in space and are named after the French philosopher, mathematician, and scientist René DESCARTES.

appropriate materials, functional forms, and a unity of visual organization

In his teaching and writings, Belgian designer Henri VAN DE VELDE became a vital source for the development of twentieth-century architecture and design theory. He taught that all branches of art share a common language of form and are of equal importance to the human community. He demanded __________. He saw ornament not as decoration but as a means of expression that could achieve the status of art.

William Addison DWIGGINS

In the 1920s, ____________ was the first to use the term "graphic designer" to describe his professional activities. He was a book designer who established a house style for the Alfred A. Knopf publishing company, where he designed hundreds of books. He also designed Caledonia, one of the most widely used book faces.

Jan VAN KRIMPEN

In the Netherlands, the traditional vanguard, led by Sjoerd H. De Roos and __________, the preeminent book designer of his generation, sought to revive the printing arts through a return to traditional standards. Their guidelines included symmetrical layouts, tranquil harmony and balance, careful margin proportions, proper letter and word spacing, single traditional typefaces in as few sizes as possible, and skillful letterpress printing. They believed the typographer should first serve the text and otherwise remain in the background.

The Glasgow School of Art; "The Four"

In the _____ ____ __ ____, there was a group of young collaborators known as "___ _____," who developed a unique style of lyrical originality and symbolic complexity. They innovated a geometric style of composition by tempering floral and curvilinear elements with strong rectilinear structure. Designs by *them* are distinguished by symbolic imagery (Fig. 12-2) and stylized form. Bold, simple lines define flat planes of color.

limited number of characters in each font

In the late nineteenth century, poster houses specialized in letterpress display materials, and wood and metal types were used together freely in the design of handbills, posters, and broadsheets. Designers had access to a broad range of type sizes, styles, weights, and novel ornaments, and the design philosophy was to use it all. However, there was a practical reason for the extensive mixing of styles: the ___________.

The battle on the signboards

In the middle of the nineteenth century, the letterpress poster and broadsheet had been challenged by a more visual and pictorial poster. Lithography allowed a more illustrative approach to public communication. The letterpress printers responded to competition from the fluid and colorful lithographs with heroic and ingenious efforts to extend their medium.

Albert Bruce ROGERS

Inspired by Kelmscott Press books, the interest of ___________ shifted toward the total design of books. He joined the Riverside Press of the Houghton Mifflin Company in 1896 and designed books with a strong arts and crafts influence. In 1900, Riverside established a special department for high-quality limited editions, and he was the designer for sixty limited editions over the next twelve years. Centaur, his 1915 typeface design, is one of the finest of the numerous fonts inspired by Nicolas Jenson. He applied the ideal of the beautifully designed book to commercial book production and set the standard for twentieth-century book design.

ERAGNY PRESS

Inspired by both the past and the present and combined the traditional sensibilities of the private press movement with an interest in the blossoming Art Nouveau movement and expressionism.

Ottmar MERGENTHALER

Invented the Linotype machine

Tolbert LANSTON

Invented the Monotype machine

Stephen H. HORGAN

Invented the halftone screen.

Ludovico ARRIGHI

Italian master calligrapher, printer, and type designer who created the first of many *16th-century* writing manuals His small volume from 1522, entitled *La operina da imparare di scrivere littera cancellaresca (The First Writing Manual of the Chancery Hand)* , was a brief course using excellent examples to teach the cancelleresca script. directions were so clear and simple that the reader could learn this hand in a few days. The Italian Renaissance began to fade with the sack of Rome in 1527 by the combined forces of the Holy Roman emperor Charles V and his Spanish allies. One of the victims of this outrage appears to have been _____. He was working in Rome at the time, after which his name vanishes from the historical record

Edward BURNE-JONES

MORRIS's lifelong friend; became an artist/painter instead of a clergyman

art

John Ruskin, an English social critic, writer, and artist inspired the philosophy of the arts and crafts movement. He rejected the mercantile economy and pointed toward the union of __________ and labor in service to society as exemplified in the design and construction of the medieval Gothic cathedral.

Chérettes

Jules Chéret, the father of the modern poster, featured beautiful young women in his posters. At a time when options for women were limited, these self-assured, happy women were depicted enjoying life to the fullest, wearing low-cut dresses, dancing, drinking wine, and even smoking in public. Dubbed ___________, these female archetypes became the new role model for women in the late Victorian period.

Thirty-six Views of Mount Fuji

Katsushika HOKUSAI apprenticed as a woodblock engraver before turning to drawing and painting. During seven decades of artistic creation, he produced an estimated thirty-five thousand works that spanned the gamut of ukiyo-e subjects, including album prints, genre scenes, historical events, illustrations for novels, landscape series, nature studies, and privately commissioned prints for special occasions called surimono. He is perhaps best known for _______________, his series of prints that depicts the external appearances of nature and symbolically interpret the vital energy forces found in the sea, winds, and clouds surrounding Japan's famous twelve-thousand-foot volcano.

The use of seven different colors of ink

Kelmscott Press's The Works of Geoffrey Chaucer included all of the following EXCEPT: A. Eighty-seven woodcut illustrations from drawings by Edward Burne-Jones B. Fourteen large borders and eighteen small frames designed by WilliamMorris C. The use of seven different colors of ink D. The Chaucer typeface, developed specifically for the book by William Morris

Calotype/Talbotype

Late in 1840 Talbot managed to increase the light sensitivity of his paper, expose a latent image, then develop it after it was removed from the camera. THIS PROCESS IS KNOWN AS _____ (from the Greek kalos typos, meaning "beautiful impression") and also used the name _____ at the suggestion of friends.

neoclassical

Late works printed by Giambattista BODONI, such as Virgil's Opera (Works) reflect the contemporary late eighteenth-century ____________ style, which demonstrated a return to "antique virtue."

Brook typeface

Lucien PISSARRO designed THIS typeface for their press, drawing inspiration from Nicolas Jenson.

brass matrix

Many people, including the writer Mark Twain, invested millions of dollars in the search for automatic typesetting. Ottmar MERGENTHALER, a German immigrant working in a Baltimore machine shop, demonstrated his Linotype machine on July 3, 1886, in the office of the New York Tribune. The Linotype allowed the operator to compose an entire line of type by operating a keyboard that released a __________ for a particular character.

swirling organic lines

Many trademarks of art nouveau origin have been in continuous use since the 1890s, such as those of General Electric and Insel-Verlag, both of which are characterized by __________.

Humanism

Medieval Christianity fostered a belief that the value of a human life was primarily its effect on God's judgment after death. A turning away from medieval beliefs toward a new concern for human potential and value characterized Renaissance _____, a philosophy of human dignity and worth that defined man as capable of using reason and scientific inquiry to achieve both an understanding of the world and self-meaning. This new spirit was accompanied by a renewed study of classical writings from Greek and Roman cultures.

Kelmscott PRESS

Morris's enterprise; first production was The Story of the Glittering Plain, by William Morris, with illustrations by Walter Crane; disbanded in 1898, two years after Morris's death, over eighteen thousand volumes of fifty-three different titles were produced

Nieuwe Kunst

Netherlands, provided seeds for other movements like De Stijl, art deco and the Wendingen style. Book design prominent expressive media. Unpredictability, eccentricity, openness, and innovation. Reflects a love for order and geometry. More playful and diverse than art nouveau. Influences from Dutch East Indies

Eugène GRASSET

On Christmas Eve 1894, the young Czech artist Alphonse MUCHA was at the Lemercier's printing company correcting proofs for a friend when the printing firm's manager burst into the room, upset because the famous actress Sarah Bernhardt was demanding a new poster for the play Gismonda by New Year's Day. MUCHA was the only artist available, so he received the commission. He used the basic pose from an earlier poster of Bernhardt in Joan of Arc that had been done by __________.

with a long exposure time, so moving subjects, such as carriages and pedestrians, were not recorded

On January 7, 1839, Louis-Jacques DAGUERRE presented his process to the French Academy of Sciences. The members marveled at the clarity and minute detail of DAGUERRE s early daguerreotype prints, one-of-a-kind images of predetermined size with polished surfaces that had a tendency to produce glare. In the daguerrotype Paris Boulevard, the Paris street appears almost empty because Daguerre made the image __________.

Paper with LAID FINISH

Paper that* has a textural pattern of horizontal lines *created during manufacturing* by wires that form the screen* in the papermaker's mold

false

T/F: The MACDONALD sisters of the Glasgow School sought purely objective designs *devoid* of romantic notions, religious overtones and spiritual mysticism.

classics by VIRGIL

Pierre DIDOT L'AÎNÉ printed the Éditions du Louvre from the printing office once occupied by the Imprimerie Royale, The Éditions du Louvre series included ____________.

Moveable type

Pierre Simon FOURNIER LE JEUNE was influenced by the Romain du Roi and by the ornate French rococo style. FOURNIER LE JEUNE and his contemporary, LouisRené LUCE, contributed to the French monarchy's graphic expression of authority and opulence through their type designs and series of letterpress borders, ornaments, trophies, and other devices. FOURNIER LE JEUNE'S other typographic innovations include three of the following. Which one does NOT belong? __________ A. The idea of a type family of various weights and widths, and roman and italic faces B. Moveable type C. Single-, double-, and triple-ruled lines up to 35.5 cm (about 14 inches)

William Henry Fox TALBOT

Pioneered a process of making images without the use of a camera by holding objects over paper treated with silver compounds and exposing it to light. He called these images photogenic drawings, and they formed the basis for both photography and photographic printing plates.

Kate GREENAWAY

Poet, illustrator, book designer, who broke with the Victorian tendency for clutter and used white space and asymmetrical balance. The clothes she designed for her models had a major influence on children's fashion design. Her books portraying the Victorian love of sentiment and idealization are still in print

Venice

Printed books during the Renaissance were centered in...?

Harper's Illuminated and New Pictorial Bible

Printed by Harper & Brothers in New York City about 15 years before the Civil War began, this Bible is widely regarded as the publishing event of the 1800's, and the most heavily illustrated Bible ever printed.

William BULMER

Printed* The Dramatic Works of Shakespeare in nine volumes *between 1792 and 1802 for publishers John and Josiah BOYDELL and George and W. NICOL. These were followed by a three-volume edition of *Milton.* As a boy in Newcastle, Bulmer had a close friend in Thomas BEWICK.

Calendarium

RATDOLT printed the _____ (Record Book) by Regiomontanus, a second version of an earlier and inferior edition printed while Ratdolt was still in Augsburg. This was the first book with a complete title page used to identify a book and most likely the first book printed in more than one color in one press run In addition to the innovative title page, _____ contained sixty diagrams of solar and lunar eclipses printed in yellow and black In the rear of the book are three-part mathematical wheel charts for calculating the solar cycles. . Printers disseminated this knowledge, and _______ was largely a result of RATDOLT's interest in mathematics and astronomy.

Julia Margaret CAMERON

Received a camera and the equipment for processing collodion wet plates as a forty-ninth birthday present and extended the artistic potential of photography through portraiture that recorded faithfully the greatness of the inner man as well as the features of the outer man.

asymmetrical

Roberto Valturio's manual on warfare, De re militari (About Warfare), which is identified as having been printed by Johannes Nicolai de Verona, includes examples of the fine-line style of woodblock illustration that became popular in Italian graphic design later in the fifteenth century. This extraordinary book is a compendium of contemporary techniques and devices for scaling walls, catapulting missiles, ramming fortifications, and torturing enemies. The text is set in a tight column with wide margins, and the freely shaped images are spread across the pages in dynamic, __________ layouts.

Sjoerd H. DE ROOS

Roos, along with Jan van Krimpen, led the traditional vanguard for book design and typography in the Netherlands. His typeface, *Hollandsche Mediaeval *, was the first designed in the Netherlands for over a century, and became one of the most popular faces available.

David Octavius HILL

Scottish painter who decided to immortalize the 474 ministers who withdrew their congregations from the Presbyterian Church and formed the Free Church of Scotland. teamed up with Edinburgh photographer Robert ADAMSON

Mathew BRADY

Sent a score of his photographic assistants to document the American Civil War, which had a profound impact upon the public s romantic ideas about war. His 1862 photograph Dunker Church and the Dead was shot in the aftermath of the Battle of Antietam, the bloodiest battle of the Civil War.

Linotype machine

Setting type by hand and then redistributing it into the job case remained a slow and costly process. By the middle of the nineteenth century, presses could produce twenty-five thousand copies per hour, but each letter in every word in every book, newspaper, and magazine had to be set by hand. Dozens of experimenters worked to perfect a machine to compose type, and the first patent for a composing machine was registered in 1825. *Mergenthaler*'s __ ___ involved the use of small brass matrixes with female impressions of the letterforms, numbers, and symbols. Ninety typewriter keys controlled vertical tubes that were filled with these matrixes. Each time the operator pressed a key, a matrix for that character was released. It slid down a chute and was automatically lined up with the other characters in that line. Melted lead was poured into the line of matrixes to cast a slug bearing the raised line of type *Mergenthaler*'s __ ___ could do the work of seven or eight hand compositors.

Henri VAN DE VELDE

Soon after the Deutsche Werkbund (German Association of Craftsmen) was formed in 1907 two factions emerged. One, headed by Hermann MATHESIUS, argued for the maximum use of mechanical manufacturing and standardization of design for industrial efficiency. The other faction, led by ______________, argued for the primacy of individual artistic expression.

Robert THORNE

Successor of Thomas COTTERELL; invented fat faces. The full range of ___'s accomplishment as a type designer was documented after his death, when William THOROWGOOD published the 132-page book of specimens that had been typeset and was ready to go onto the press when ____ died.

false

T/F: *Eckmannschrift*, designed by Otto ECKMANN, attempted to revitalize typography by combining *fraktura with modern type*.

true

T/F: *Jugend*, an art nouveau-style magazine popular in Germany, *allowed* each week's cover designer to design a different logotype to match his or her own illustration.

true

T/F: According to John Ruskin, art and society separated after the Renaissance. Industrialization and technology brought the separation to a critical stage.

false

T/F: Aldus Manutius designed new capitals for his book Hypnerotomachia Poliphili (The Strife of Love in a Dream or The Dream of Poliphilus), which used a one-toten stroke weight to height proportion advanced by leading mathematicians of the era and made the height of the lowercase ascenders taller than the capitals to correct an optical color problem that had plagued earlier Roman fonts.

true

T/F: Although Charles RICKETTS's page designs were *influenced somewhat by William MORRIS*, his work tended to be much* lighter, more open, and geometric*.

false

T/F: Art nouveau was* first* seen in America on Harper's magazine covers illustrated by Will BRADLEY, one of the *two major American practitioners of art nouveau*-inspired graphic design and illustration.

true

T/F: Dutch architect J. L. Mathieu LAUWERIKS, who was fascinated with geometric form, developed grids that began with a square circumscribed around a circle and made numerous permutations by subdividing and duplicating this basic structure.

true

T/F: Elbert Hubbard's Roycrofters arts and crafts center in upstate New York brought relatively high-quality products to ordinary people who could not likely have afforded them otherwise.

false

T/F: Ethel REED became the *first woman* in England to achieve *national prominence* for her work as *a graphic designer and illustrator*.

false

T/F: Eugène GRASSET, like his rival Jules CHÉRET, incorporated *exuberant women* in his poster illustrations.

true

T/F: FOURNIER LE JEUNE' s type specimen book, Modèles des Caractères de l'Imprimerie (Models of Printing Characters), presented transitional roman forms based on the Romain du Roi letters from 1702.

true

T/F: Hans Holbein the Younger created a series of forty-one woodcuts illustrating Imagines Mortis (The Dance of Death), in which skeletons are depicted leading the living to their graves.

true

T/F: Henri DE TOULOUSE-LAUTREC developed a* journalistic, illustrative style that captured the nightlife of La Belle Époque ("The Beautiful Era")*—a term used to describe late-nineteenth-century Paris.

false

T/F: Henri VAN DE VELDE's works are early examples of the *modernist integration of form and function*; their forms communicated their uses objectively and clearly.

true

T/F: In 1844, William Henry Fox TALBOT began publishing The Pencil of Nature, which included twenty-four photographs in each issue.

false

T/F: In 1888, George EASTMAN, an American dry-plate manufacturer, introduced the Minolta camera, which allowed ordinary citizens to create images and preserve a graphic record of their lives and experiences.

true

T/F: In Japan, ukiyo-e practitioners were considered mere artisans, but they *captivated European artists*, who drew inspiration from their *calligraphic line drawing, abstraction and simplification, flat color and silhouettes, unconventional use of black shapes, and decorative patterns*.

false

T/F: In a Hobby Horse article, Selwyn Image defined art as painting and crafts as applied arts such as printing.

true

T/F: In the four decades from 1860 to 1900, lithography was the dominant printing medium for advertising posters.

true

T/F: In the philosophy of Sachlichkeit, purpose is more important than artistic conceits.

true

T/F: Ironically, while William Morris was returning to printing methods of the incunabula, he used modular, interchangeable, and repeatable elements; he applied industrial production methods to the printed page.

true

T/F: Italian turn-of-the-century posters were characterized by *sensuous exuberance and elegance* like that of France's La Belle Époque.

true

T/F: John Ruskin, along with other artists, believed that beautiful things were valuable simply because they were beautiful.

true

T/F: Jugendstil artist Otto ECKMANN *abandoned painting* in order to turn his full attention to the applied arts.

false

T/F: Louis-René LUCE, who had designed letterpress borders and ornaments for the Imprimerie Royale, found that his designs were being used in political tracts after the French Revolution.

false

T/F: Lucien and Esther Pisarro of Eragny Press were best known for purely typographic books, which contained no illustrations or decorations.

true

T/F: Not much innovation occurred in typography during the seventeenth century in Europe. Since there was an abundance of stock ornaments, punches, matrices, and woodblocks, there was little incentive for printers to commission new graphic material.

true

T/F: Old style typefaces retain calligraphic qualities and have bracketed serifs.

true

T/F: Peter BEHRENS's rational approach pointed toward a new design sensibility that announced the need for form to emerge from function rather than being an added embellishment.

false

T/F: Scrap refers to printer s proofs that lithographers discard after the plates of colors have been approved for the final printing.

true

T/F: THE BERTHOLD FOUNDRY designed a family of ten sans-serif typefaces that were variations on one original font, Akzidenz GROTESK (called Standard in the United States). This marked a major step in the evolution of the unified and systematized type family and had a major influence on twentieth-century typography.

true

T/F: The 1476 book entitled Calendarium (Record Book) by Regiomontanus contained the first complete title page used to identify a book.

false

T/F: The Aldine Press trademark, designed around 1500, consisted of a lion and a shield that signified the epigram, "Make haste slowly."

true

T/F: The Deutsche Werkbund (German Association of Craftsmen) advanced a philosophy of Gesamkultur, a new universal culture in a totally reformed, man-made environment.

false

T/F: The Doves Press Bible is best known for its exquisite line illustrations and decorative elements.

true

T/F: The Fourdrinier machine, from which an unending sheet of paper can be manufactured, is still in use today. It is a mechanized papermaking process that pours a suspension of fiber and water in a thin stream upon a vibrating wire-mesh conveyer belt.

true

T/F: The Linotype led to a surge in the production of periodicals and illustrated weeklies, including the Saturday Evening Post and Collier s.

true

T/F: The Medicis, a wealthy family in Florence, embraced humanism but rejected the technology of printing.

true

T/F: The Netherlands' relationship with the Dutch East Indies (Indonesia) allowed Dutch designers to *access the traditional craft of batik*. Its introduction as a contemporary design medium was one of Holland's important contributions to the international art nouveau movement.

true

T/F: The art of calligraphy was greatly influenced by the research and teachings of Edward Johnston, who gave up his medical studies for the life of a scribe.

true

T/F: The basic organizing principle of the wood-type poster was horizontal and vertical emphasis, which resulted from the need to lock all elements tightly on the press.

false

T/F: The coloring book style of Aubrey BEARDSLEY used a *thick black contour drawing to lock forms into flat areas of color* in a manner similar to *medieval stained-glass windows*.

false

T/F: The first book to be printed in Morris' Kelmscott Press was the 556-page The Works of Geoffrey Chaucer.

false

T/F: The late-nineteenth-century *Western mania for all things Japanese* is called *japanned ware*.

true

T/F: The pot cassé trademark Geoffroy Tory used on the sign of his bookseller's shop in Paris was symbolic of the death of his daughter.

false

T/F: The rococo style of art, closely associated with the reign of King Louis XV, is best represented in the graphic designs of the DIDOT family of printers.

true

T/F: The type on this 1871 French poster was printed by letterpress using wood type and the image was printed by chromolithography and pasted onto the poster.

true

T/F: The typographic poster houses that produced letterpress posters began to decline after 1870, in part because of the increased use of colorful lithographic posters and the decline of traveling entertainment shows.

false

T/F: The wove finish paper used by John BASKERVILLE had a textural pattern of horizontal lines created by heavier wire woven into a screen of thinner wire.

true

T/F: Thomas BEWICK in England developed a "white line" technique of engraving, which came to be used as an illustration method in letterpress printing until it was replaced by the halftone printing method.

false

T/F: Those involved in the Dutch book design movement at the turn of the twentieth century viewed the Industrial Revolution as a blessing and soon adopted the fully automated methods of printing.

true

T/F: To maintain the design consistency of Ver Sacrum, Vienna Secession publishers required advertisers to commission advertisements from member artists.

true

T/F: Tory's Champ Fleury was the author's attempt to analyze, describe, and prescribe rules of the French language, both spoken and written.

false

T/F: Types designed for the Imprimerie Royale brought about an upgrade of printing throughout Paris when they appeared in booksellers' shops.

false

T/F: Ukiyo-e refers to an art movement beginning in the seventeenth century and ending in the nineteenth century, a time period when Japan *actively sought* trade with Western European countries.

true

T/F: Unlike contemporary literary artists, visual artists working in the art nouveau style *rejected realism* in favor of the *metaphysical and the sensuous*.

false

T/F: Victorian type and hand-drawn lettering were characterized by simplicity with few embellishments.

false

T/F: William CASLON modified Nicolas Jenson's type designs for his own types.

false

T/F: William Henry Fox TALBOT s calotypes were sharp and clear, in contrast to daguerreotypes.

false

T/F: William Morris strongly supported the Guild of Handicraft, Charles Ashbee's program to unify the teaching of design with workshop experience.

false

T/F: William Morris, whose own family was poor, sought quality goods for all.

false

T/F:. Giambattista BODONI was an important innovator in typographic design and processes, more so than the DIDOT family in Paris. They were rivals, and therefore were never influenced by each other.

Troy typeface

Textura lettering from illuminated Gothic manuscripts inspired William MORRIS • wider characters than most Gothics •more differences between similar characters •curved characters are round

pied de roi

The DIDOT family type foundry revised Pierre Simon FOURNIER LE JEUNE's system of type measurement and created the ___________ system, which divided a French inch into seventy-two points. Type size was identified by the measure of the metal type body in points. In 1886, the DIDOT system was revised to suit the English inch and adopted as a standard point measure by American type foundries.

Gras

The Didot type foundry's constant experimentation led to ____ (fat) type styles similar to the condensed and expanded fonts of our time.

Maigre

The Didot type foundry's constant experimentation led to ____ (thin) type styles similar to the condensed and expanded fonts of our time.

illustrative

The Dutch book design style of Nieuwe KUNST spanned roughly the fourteen years between 1892 through 1906. After 1895, mathematics was seen as a creative source in itself, with symmetry and rationalism each playing a part. Some of the special qualities of the movement's book design are described below. Which one doe NOT apply? A. unpredictable B. eccentric C. geometric D. illustrative

Owen JONES

The English designer, author, and authority on color _____________ became a major design influence in the mid-nineteenth century. During his mid-twenties, he traveled to Spain and the Near East and made systematic studies of Islamic design. He introduced Moorish ornament to Western design in his 1842 1845 book Plans, Elevations, Sections, and Details of the Alhambra, but his main influence was through his widely studied 1856 book of large color plates, The Grammar of Ornament. This catalog of design possibilities from Eastern and Western cultures, savage tribes, and natural forms became the nineteenth-century designer s bible of ornament.

Japonisme

The French fascination with all things japonese. Second half of 19th century. Impressionist and Post-impressionist were especially impressed with bold contour lines, flat areas of color, and cropped edges in Japanese woodblock prints.

Peter BEHRENST

The German artist, architect, and designer ____________ played a major role in charting a course for design in the first decade of the twentieth century. He sought typographic reform and was an early advocate of sans-serif typography. In 1900, he set the twenty-five-page booklet Celebration of Life and Art: A Consideration of the Theater as the Highest Symbol of Culture in sans-serif type. The German typographic historian Hans LOUBIER believed this booklet may represent the first use of sans-serif type as running book text. His work pushed twentieth-century design toward rational geometry as an underlying system for visual organization. He introduced the concept of Gesamkultur (total design) to industry with the first comprehensive visual identification system that included graphic design, architecture, and product design.

Harper's New Monthly Magazine

The Harper and Brothers firm opened the era of the pictorial magazine in 1850 when the 144-page Harper's New Monthly Magazine began publication with serialized English fiction and numerous woodcut illustrations created for each issue by the art staff.

transitional

The Romain du Roi types began a new category of types called ____________ roman. The new typeface had increased contrast between thick and thin strokes, sharp horizontal serifs, and an even balance to each letterform.

Victorian Era

The Victorian era was a time of strong moral and religious beliefs, proper social conventions, and optimism. "God's in his heaven, all's right with the world" was a popular motto. The Victorians searched for a design spirit to express their epoch. Aesthetic confusion led to a number of often contradictory design approaches and philosophies mixed together in a scattered fashion A fondness for the Gothic, which suited pious Victorians, was fostered by the English architect A. W. N. PUGIN

toy books

The Victorians developed a more tender attitude toward children, and this was expressed through the development of *colorful picture books for preschool children* called ____________.

broke from the Künstlerhaus, Viennese Creative Artists Association

The Vienna Secession formed in 1897 when a group of young Viennese artists led by painter Gustav KLIMT, architects Joseph Maria OLBRICH and Josef HOFFMANN, and artist-designer Koloman MOSER _____________.

Photography as reportage

The ability of photography to provide a historical record and define human history for forthcoming generations was dramatically proven by the prosperous New York studio photographer Mathew BRADY After the Civil War, photography became an important documentary and communications tool in the exploration of new territory and the opening of the American West. In addition to providing images of exotic, far-off scenes, technical innovations in photography helped popularize the medium. Stereoscopic images, viewed through a stereoscope, were created by using a special camera with two lenses that attempted to recreate human vision. The development of motion-picture photography, the kinetic medium of changing light passing through a series of still photographs joined together by the human eye through the persistence of vision, was the logical extension of Muybridge's innovation. 19th-century inventors like Talbot, documentalists like BRADY, and visual poets like CAMERON had a significant collective impact upon graphic design. By the arrival of the 20th century, photography was becoming an increasingly important reproduction tool. Photography gradually monopolized factual documentation and pushed the illustrator toward fantasy and fiction. The textural and tonal properties of the halftone image changed the visual appearance of the printed page.

Transitional Roman (Type Style)

The category of typefaces that *broke with the traditional calligraphic qualities, bracketed serifs, and relatively even stroke weights of earlier styles*. The work of Englishman John BASKERVILLE represents the *zenith* of this style.

Bracketing

The connecting curves that unify a serif with the main stroke of a letter

market research

The development of advertising agencies such as N. W. Ayer and Son not only placed advertisements in periodicals but also provided additional services. Which services below did advertising agencies during the Victorian period NOT offer?

Rococo

The fanciful French art and architecture that flourished from about 1720 until around 1770 and was characterized by florid and intricate scrollwork, tracery, and plant forms derived from nature, classical and oriental art, and even medieval sources.

Berthold LÖFFLER

The figures in his posters and illustrations were *reduced to symbolic images of thick contours and simple geometric features*. They became elemental significations rather than depictions. (1874-1960)

Daguerreotype

The first commercially successful photographic process (1839-1860) in the history of photography. Named after the inventor, Louis Jacques Mandé DAGUERRE, each daguerreotype is a unique image on a silvered copper plate.

First photographic separation

The first photomechanical color illustrations were printed in the 1881 Christmas issue of the Paris magazine L'Illustration. Complicated and time-consuming, photomechanical color separation remained experimental until the end of the century.

Analytic geometry

The foundation for information graphics is analytic geometry, a branch of geometry developed and first used in 1637 by the French philosopher, mathematician, and scientist René DECARTES

René DESCARTES

The foundation for information graphics is analytic geometry, a branch of geometry developed and first used in 1637 by the French philosopher, mathematician, and scientist; used algebra to solve geometry problems, formulate equations to represent lines and curves, and represent a point in space by a pair of numbers.-RESPONSIBLE FOR CARTESIAN GRID AND POINTS

Century GUILD

The goal:"to render all branches of art the sphere, no longer of the trades- man, but of the artist." The design arts were to be elevated to "their rightful place beside painting and sculpture." The group evolved a new design aesthetic as Mackmurdo and his friends, who were about two decades younger than Morris and his associates, incorporated Renaissance and Japanese design ideas into their work. Their designs provide one of the links between the Arts and Crafts movement and the floral stylization of art nouveau

Individual artistic expression

The graphic identity program that Peter Behrens developed for the Allgemeine Elektrizitäts Gesellschaft, or AEG, is considered the first comprehensive visual identification program. It included three primary elements. Which one does not belong?

Century

The head of typeface development at the American Type Founders Company, Morris F. Benton designed important revivals of many typefaces, including one of Nicolas Jenson's, under the name Cloister. He carefully studied human perception and reading comprehension to develop ___________ Schoolbook, a type designed for and widely used in textbooks.

Japonisme

The late-nineteenth-century Western mania for all things Japanese. Japanese artifacts streamed into Europe, and several books on Japanese art and ornament were published during the 1880s. Although ukiyo-e practitioners were considered mere artisans in Japan, they captivated European artists, who drew inspiration from the calligraphic line drawing, abstraction and simplification of natural appear- ances, flat color and silhouettes, unconventional use of bold black shapes, and decorative patterns. Subjects often became emblematic symbols, reduced to graphic interpretations conveying their essence. Landscape and interior environments were frequently presented as suggestive impressions rather than detailed depictions. Too often, ukiyo-e has been venerated for its catalytic impact on Western art rather than for its independent major achievements in graphic illustration and design.

Pierre Simon FOURNIER LE JEUNE

The lavish expression of the Rococo era found its strongest graphic design impetus in the work of __ __ __ __ ___ (1712-68), the youngest son of a prominent family of printers and typefounders. At age twenty-four, Fournier le Jeune established an* independent type-design and foundry operation *after studying art and apprenticing at the Le Bé foundry operated by his older brother, where he had cut decorative woodblocks and learned punch cutting. Eighteenth-century type measurement

a significant upgrade of book design

The long-range effect of William Morris's body of work was ______ throughout the world.

Arts and Crafts Movement

which flourished in England during the last decades of the nineteenth century as a reaction against the *social, moral, and artistic confusion of the Industrial Revolution.*

Giambattista BODONI

The modern style The son of an indigent printer, __ ___was born in Saluzzo in northern Italy.He printed official documents and publications desired by the duke as well as projects he conceived and initiated himself. His initial design influence was Pierre Simon FOURNIER LE JEUNE, whose foundry supplied type and orna- ments to the Stamperia Reale after ____ took charge. The quality of ____'s design and printing, even though scholarship and proofreading were sometimes lacking, contributed to his growing international reputation.

Ver Sacrum (Sacred Spring)

The most beautiful of the turn-of-the-century magazines was the Vienna Secession's elegant _____________, published from 1898 until 1903. A continuously changing editorial staff, design responsibility handled by a rotating committee of artists, and unpaid contributions of art and design were all focused on experimentation and graphic excellence. The publication was more of a design laboratory than a magazine and enabled designers to experiment with innovative graphics as they explored the merger of text, illustration, and ornament into a lively unity.

alphabet

The most important of the German type designers during the early twentieth century was Rudolf Koch, who designed the Neuland typeface. He was deeply mystical, medieval in his viewpoints, and a devout Catholic who felt that the _________ was a supreme spiritual achievement of humanity.

Old style (Type Style)

The name given to the *Venetian *tradition of roman type design, which retained* calligraphic qualities* (look at how the capital O stress is slanted to the left; G is more circular)

Romain du Roi

The new *typeface* France's *King Louis XIV* ordered to be developed for the royal printing office, which was characterized by an *increased contrast between thick and thin strokes, sharp horizontal serifs, and an even balance to each letterform.* • No calligraphic properties • Mathematical harmony • Precise measurement with drafting instruments • square • 64-unit grid • 36 smaller units • 2,304 total units • italics constructed on parallelogram • The uppercase and lowercase letters of the __ __ ___were engThe raved as large copperplate prints. Louis SIMMONEAU, engraved copper plates for the__ __ ___, as a model for the type cut by Phillippe GRANDJEAN.

Surimono

The new art had different names in different countries. Which of the following was NOT one of them? A. Nieuwe Kunst B. Jugendstil C. Sezessionstil D. Surimono

Jan VAN KRIMPEN

The preeminent book designer of his generation in the Netherlands. All his typefaces were designed for use in books.

regaining high standards of design, materials, and workmanship

The private press movement, which included Kelmscott, Doves, and Essex House Presses, was most concerned with _______________.

Stereotyping

The process of ___________ involves casting a duplicate of a relief printing surface by pressing a molding material (such as damp paper pulp, plaster, or clay) against it to make a matrix, then pouring molten metal into the matrix to form a duplicate printing plate. This achievement of Firmin DIDOT's made longer press runs possible.

writing

The publication of Ludovico Arrighi's small volume of 1522 entitled La Operina da Imparare di scrivere littera cancellerescha was the first of many sixteenth century _____________ manuals and marked the beginning of a new era that ended the exclusive domain of the scriptorium.

George BICKHAM

The renowned English writing master and engraver ___________ was the most celebrated penman of his time. In 1743, he published The Universal Penman.

typefaces

The revolt against the French monarchy led to rejection of the lush designs that were popular during the reigns of LOUIS XV and XVI. All areas of design required a new approach to replace the outmoded rococo style. Giambattista BODONI led the way in evolving new ___________ and page layouts.

AMERICAN TYPE FOUNDERS COMPANY (ATF)

This company established an extensive typographic research library and produced revivals of past typeface designs, such as Bodoni and Garamond. _________

Sans-serif type

The third major typographic innovation of the early 1800s, ____-___ type, made its modest debut in an 1816 specimen book issued by William Caslon IV The cumbersome early versions were used primarily for subtitles and descriptive material under excessively bold fat faces and Egyptians. They were little noticed until the early 1830s, when several typefounders introduced new ____-___styles. Each designer and foundry attached a name: CASLON used *Doric*, THOROWGOOD called his *grotesques*, BLAKE and STEPHENSON named their version *sans-surryphs*, and in the United States, the BOSTON TYPE and STEREOTYPE FOUNDRY named its first American sans-serif faces *Gothics*. Perhaps the rich black color of these display types seemed similar to the density of Gothic types. Vincent FIGGINS dubbed his 1832 specimen *sans serif* in recognition of the font's most apparent feature, and the name stuck. German printers had a strong interest in sans serifs, and by 1830 the Schelter and Giesecke foundry issued the first ____-_____ fonts with a lowercase alphabet. By midcentury, ____-_____ alphabets were seeing increased use.

geometric complexity

The work of Charles Rennie MACKINTOSH such as his 1896 poster design for The Scottish Musical Review is characterized by three of the following. Which does NOT belong?

Deutsche Werkbund (German Association of Craftsmen)

The year 1907 also marked the founding of this in Munich; advocated a union of art and technology. BEHRENS played a major role in this first organization created to inspire high-quality design in manufactured goods and architecture. The group's leaders, including Hermann MUTHESIUS, Henry VAN DE VELDE, and BEHRENS, were *influenced* by William MORRIS and the Arts and Crafts movement, but with major differences: while MORRIS was repulsed by the products of the machine age and advocated a return to medieval craftsmanship in romantic protest against the Industrial Revolution, this group *recognized the value of machines* and *advocated design* as a way to give *form and meaning* to *all machine-made things*, including buildings.

Century typeface

Theodore DE VINNE was dissatisfied with the thin modern typefaces first used in this magazine, so he commissioned type designer Linn Boyd BENTON to cut a blacker, more readable face, slightly extended with thicker thin strokes and short slab serifs for *Century Magazine*, a Rival to Harper's Weekly. this unusually legible style is still widely used today. Its large x-height and slightly expanded characters have made it very popular for children's reading matter.

Le Chat Noir

There is an affinity between the posters and prints of Théophile-Alexandre Steinlen and his friend and sometime rival, Henri de Toulouse-Lautrec. Steinlen's first commissions were drawings for _____________. He had a mania for cats and during the 1880s and 1890s became a prolific illustrator. His radical political views, socialist affiliations, and anticlerical stance led him toward asocial realism, and he chose to depict poverty, exploitation, and the working class.

John PINE

This Englishman was one of the best *engravers* of his time. His books, including the 1737 *Opera Horatii (Works of Horace)* were sold by subscription before publication, and a list naming each subscriber was engraved in script in the front of the volume.Also was *chief engraver of seals for the king of England, *and he created portfolios of large etchings. One extraordinary set published in 1753 depicts the 1588 defeat of the Spanish Armada in 52 by 36 centimeter (20 by 14 inch) prints.

Tokugawa period

This epoch was the final phase of traditional Japanese history; it was a time of economic expansion, internal stability, and flourishing cultural arts. Fearful of the potential impact of European colonial expansion and Christian missionaries on Japanese culture, the shogun (a military governor whose power exceeded the emperor's) issued three decrees in the 1630s excluding foreigners and adopted an official policy of national seclusion. Japanese citizens were barred from traveling overseas or returning from abroad; foreign trade was restricted to approved Dutch and Chinese traders sailing to the Nagasaki seaport. During this period of national isolation, Japanese art acquired a singular national character with few external influences.

Akzidenz Grotesk

This font by *Berthold Foundry* permitted compositors to achieve contrast and emphasis within one family of typefaces. It was a major step in the evolution of the unified and systematized type family at the turn of the century.

Erhard RATDOLT

This person took significant steps toward the totally printed book. A master printer from Augsburg, Germany, he worked in Venice from 1476 until 1486. Working closely with his partners, Bernhard MALER and Peter LOESLEIN, in 1476 Ratdolt printed the *Calendarium (Record Book) by Regiomontanus*, a *second version* of an earlier and inferior edition printed while Ratdolt was still in Augsburg. Woodcut borders and initials were used as design elements with ____; These decorative features included naturalistic forms inspired by Western antiquity and patterned forms derived from the Eastern Islamic cultures. A *three-sided woodcut border used on the title page* for a number of ____'s editions became a kind of trademark. It appears on the title page of *Euclid's Geometriae elementa (Elements of Geometry).* The innovations of ____and his partners during his decade in Venice were not immediately adopted by other Venetian printers, however. The full flowering of graphic decoration in the printed book did not begin until the turn of the century. (1442-1528)

George BICKHAM

This renowned *English writing master and engraver* was the most celebrated *penman* of his time. In 1743 he published* The Universal Penman *exemplified in all the useful and ornamental branches of modern Penmanship, the whole embellished with 200 beautiful decorations for the amusement of the curious. _____ and other accomplished engravers prominently *signed broadsheets, title pages, and large images for domestic walls *that were frequently based on oil paintings.

John RUSKIN

This writer and artist inspired the philosophy of the Arts and Crafts movement He rejected the mercantile economy and pointed toward the union of art and labor in service to society. According to him, a process of separating art and society had begun after the Renaissance. Industrialization and technology caused this gradual severance to reach a critical stage, isolating the artist.

The Bauhaus in Germany

Three schools that were influential in the evolution of graphic design and design education were introduced in Chapter 12. Which one does NOT belong? A. Glasgow School of Art in Scotland B. The Bauhaus in Germany C. Vienna School for the Applied Arts in Austria D. Düsseldorf school of Arts and Crafts in Germany

William CASLON I

Type and design ideas were imported across the English Channel from Holland until a native genius emerged in the person of __ ___. The printer William BOWYER encouraged him to take up type design and founding, which he did in 1720 with almost immediate success. His first commission was an Arabic font for the Society for Promoting Christian Knowledge. This was followed closely by the first size of *____ Old Style *with italic in 1722, and his reputation was made. For the next sixty years, virtually all English printing used his fonts, and these types followed English *c*olonialism around the globe. Printer Benjamin FRANKLIN (1706-90) introduced his font into the American colonies, where it was used extensively, including for the official printing of the Declaration of Independence by a Baltimore printer. Caslon's type designs were NOT particularly fashionable or innovative. They owed their tremendous popularity and appeal to an *outstanding legibility and sturdy texture *that made them "*comfortable" and "friendly to the eye.*" ___'s fonts have variety in their design, giving them an uneven, rhythmic texture that adds to their visual interest and appeal. The ____ foundry continued under his heirs and was in operation until the 1960s. ____ worked in a tradition of Old Style roman typographic design that had begun over two hundred years earlier during the Italian Renaissance.

William MORRIS

Upon viewing Aubrey Beardsley's illustrations in a new edition of Thomas Malory's Morte d'Arthur, ____________ was so angry that he considered legal action because he believed Beardsley had vulgarized the design ideas of the Kelmscott style by replacing the formal, naturalistic borders with more stylized, flat patterns.

The first use of sans-serif typography as a running book text

Victoria became Queen of the United Kingdom of Great Britain and Ireland in 1837, and her reign spanned two-thirds of the nineteenth century. Three of the following advances in graphic design occurred during the Victorian era. Which does NOT belong?

copperplate engravings

When a serious arm injury ended Christophe Plantin's bookbinding career in the early 1550s, he changed his occupation to printing, and the Netherlands found its greatest printer. His company became the world's largest and strongest publishing house and printed a full range of material, including classics and Bibles, herbals and medicine books, music and maps. Plantin's main design contribution was the use of __________ to illustrate his books.

Tuscan-style

Vincent FIGGINS's 1815 printing specimens also showed the first nineteenth-century version of __________ letters whose serifs are extended and curved, sometimes with bulges, cavities, and ornaments.

Clarendon typeface

William THOROWGOOD and Company copyrighted a modified Egyptian. Similar to the Ionics, these letterforms were condensed Egyptians with stronger contrasts between thick and thin strokes and somewhat lighter serifs. A larger and even more condensed version was issued by the Sheffield-based Stephenson Blake foundry in 1835.

Simon DE COLINES

When Henri ESTIENNE dies, his wife marries foreman ___ who continues the business . Noted for his elegance and clarity of book design. Well known for illustrated title pages; Also known for ornaments and *dense borders*.

Walter CRANE

When Vienna Secession artists rejected the French floral style of art nouveau, they turned toward flat shapes and greater simplicity. The evolution toward elemental geometric form was diagrammed by _____________ in his book Line and Form.

medieval letters

While German Jugendstil shared common characteristics with French and English art nouveau, one distinction was that it reflected the German interest in ____________, as can be seen in the blending of contradictory influences in Eckmannschrift by Otto ECKMANN.

acknowledged the value of machines

While the leaders of the Deutsche Werkbund (German Association of Craftsmen) were influenced by William Morris and the English Arts and Crafts movement, one major difference was that the Werkbund _____________.

MACKINTOSH, MCNAIR, Margaret MACDONALD, & Frances MACDONALD

Who were known as "the Four" in the Glasgow School of Art?

romanticism

William BLAKE's illustrations for his poetry are in the style known as _____________, which contrasted with the styles of layout and typography of BODONI and DIDOT.

Golden typeface

William MORRIS's typeface inspired renewed interest in Venetian and Old Style typography.

Golden

William Morris, a pivotal figure in the history of design, was concerned about the problems of industrialization and the factory system and tried to implement John Ruskin's ideas. Committed to recapturing the beauty of incunabula books, Morris established the Kelmscott Press and designed three typefaces for use in books printed at the press. Two were based on incunabula types, but _____________ was based on Nicolas Jensen's Venetian roman faces, which were designed between 1470 and 1476.

The Elements of Euclid

William PICKERING's edition of Oliver Byrne's __ __ __ __ is a landmark in book design. Diagrams and symbols are printed in brilliant primary colors with woodblocks; color replaced traditional alphabet labeling to identify the lines, shapes, and forms in the geometry lessons. The book's author claimed that with his approach, geometry could be learned in one-third the time needed with traditional textbooks, and that the learning was more permanent. The dynamic color and crisp structures anticipate geometric abstract art of the twentieth century.

color was used to identify the lines and shapes in the diagrams

William Pickering played an important role in the separation of graphic design from printing production. Pickering's 1847 edition of Oliver Byrne's The Elements of Euclid, a geometry text, marked a break from tradition because ______________.

Wiener Werkstätte (Vienna Workshops)

With financing from the industrialist Fritz Wärndorfer, HOFFMAN and MOSER launched this in 1903; A spiritual continuation of Morris's workshops, the ___ ___ (____ ___) sought a *close union* of the *fine and applied arts in the design of lamps, fabrics, and similar objects for every- day use, including books, greeting cards, and other printed matter.* Originally formed to produce designs by Moser and Hoffmann, these *flourished*, and *many* other *collaborators participated*. The *goal* was to offer an *alternative to poorly designed, mass-produced articles and trite historicism*. *Function, honesty to materials, and harmonious proportion* were important concerns; decoration was used only when it served these goals and did not violate them. *Master carpenters, bookbinders, metalsmiths, and leatherworkers* were *employed* to work with the *designers* in the effort to *elevate crafts* to the standards of fine arts. Moser left the Vienna Workshops in 1907, and his death at age fifty in 1918 cut short the career of a major design innovator.

France

With the sack of Rome, the Italian Renaissance began to fade and eventually innovation in book design and printing passed to ___________, where two brilliant graphic artists, Geoffroy Tory and Claude Garamond, created visual forms that were embraced for two hundred years.

Gesamkultur

With visionary zeal these designers advanced a *philosophy* of _________, that is, a new universal culture existing in a totally reformed man-made environment. Design was seen as the engine that could propel society forward to achieve this.

The Studio

__ ____ and its reproductions of work by Beardsley and Toorop had a strong influence on a group of young Scottish artists who became friends at the Glasgow School of Art in the early 1890s

Toy books

colorful picture books for preschool children.

Lucien and Esther PISSARO

__________ established Eragny Press, where both the past and the present inspired them. They collaborated on designing, wood engraving, and printing. Their books combined the traditional sensibilities of the private press movement with an interest in the blossoming art nouveau movement and expressionism.

Monotype machine

cast single characters from hot metal. It was a decade before the ___ ___ was efficient enough to be put into production. invented by American, Tolbert LANSTON

Yellow-backs

cheap novelettes so named for the color of their covers (Hokusai began his career illustrating for these)

Venice

___________, the center of commerce and Europe's gateway to trade with the eastern Mediterranean nations, India, and the Orient, led the way in Italian typographic book design.

Joseph NIEPCE

___________, the first person credited with producing a photographic image, was a lithographic printer of popular religious images who was searching for a new way to make printing plates other than by drawing.

Claude GARAMOND

___________, the first punch cutter who worked independently of printing firms, established his type foundry to sell cast type that was ready to distribute into compositors' cases. The fonts he cut during the 1540s achieved a tighter fit that allowed closer word spacing and a harmony of design between capitals, lowercase letters, and italics.

Akzidenz Grotesque

____________ is a sans-serif typeface designed by the Berthold Foundry. Ten variations were designed: four weights plus three expanded and three condensed versions, which allowed compositors to achieve contrast and emphasis within one family of typefaces. This was a major step in the evolution of the unified and systemized type family.

Railway Type

_____________ is the name of the sans-serif typeface designed in 1916 for the London underground electric railway system. Its strokes have consistent weight; however, the letters have the basic proportions of classical Roman inscriptions. The designer achieved absolute functional clarity by reducing the characters to the simplest possible forms: the M is a perfect square whose forty-five degree diagonal strokes meet in the exact center of the letter. The O is a perfect circle. All of the letters have a similar elemental design. The lowercase I has a tail to avoid confusion with the uppercase I.

Charles R. ASHBEE

_____________, architect, graphic designer, jeweler, silversmith, and follower of John Ruskin, established a workshop in 1888 called the Guild of Handicraft, which was inspired by socialism and the ideals of the arts and crafts movement. In 1890, the guild leased Essex House and formed the Essex House Press, where its design masterpiece, the Essex House Psalter of 1902, was produced. The Psalter was based on a unique graphic program for each psalm that consisted of a roman numeral, the Latin title in red capitals, an English descriptive title in black capitals, an illustrated woodcut initial, and the body of the psalm.

William PLAYFAIR

_____________, the Scottish author and scientist who converted statistical data into symbolic graphics, introduced the first "divided circle" diagram (called a pie chart today) in his 1805 English translation of The Statistical Account of the United States of America. He created a new category of graphic design, now called information graphics.

Francesco DA BOLOGNA (GRIFFO)

_______________ was a brilliant typeface designer and punch cutter who cut Roman, Greek, Hebrew, and the first italic types for Aldine Press editions. His initial project in Venice was a Roman face for De Aetna by Pietro Bembo in 1495, which survives as the book text face Bembo. He researched pre-Caroline scripts to produce a Roman type that was more authentic than Nicolas Jenson's designs.

Nicolas JENSON

_______________, who had been master of the Royal Mint of Tours, France, was a highly skilled cutter of the dies used for striking coins. He established Venice's second press. One of history's greatest typeface designers and punch cutters, his fonts were characterized by extreme legibility and established a new standard of excellence, with wider letterforms, lighter tone, and a more even texture of black strokes on the white background.

Randolph CALDECOTT

____________developed a passion for drawing, possessed a unique sense of the absurd, and had an ability to exaggerate movement and facial expressions of both people and animals: dishes and plates are personified, cats make music, children are at the center of society, and adults become servants. This illustrator's humorous drawing style became a prototype for children s books and later, animated films.

Oronce FINÉ

a *mathematics professor* and author whose abilities as a graphic artist complemented his scientific publications. In addition to illustrating his own mathematics, geography, and astronomy books, ___ became interested in book ornament and design. His contemporaries had equal admiration for his contributions to science and graphic arts. He worked closely with printers, notably Simon DE COLINES, in the design and production of his books. Also, he made an excellent contribution as an editor and designer involved in numerous other titles. While Tory's inspiration is evident, ____'s mathematical construction of ornaments and the robust clarity of his graphic illustration are the work of an innovative graphic designer.

Louis PRANG

a German immigrant to America whose work and influence were international. formed a chromolithography firm with Julius Mayer in 1856. known as the father of the American Christmas card; also contributed to art education and manufactured art materials. produced collectible album cards called scrap.

Eckmannschrift

conscious attempt to revitalize typog- raphy by combining medieval and roman. As the new century opened, Eckmann seemed poised to play a major role in the further evolution of design, but in 1902 the thirty-seven-year- old designer succumbed to the tuberculosis that had plagued him for years

Friedrich KOENIG

a German printer who arrived in London around 1804, presented his plans for a steam-powered printing press to major London printers. his press printed 400 sheets per hour, far more than the 250 sheets per hour that could be printed on the Stanhope handpress ___'s first powered press was designed much like a hand-press connected to a steam engine. Its innovations included a method of inking the type by rollers rather than by hand-inking balls. The horizontal movement of the type forms in the bed of the machine, and the movement of the tympan and frisket were automated. This press was a prelude to ____'s development of the stop-cylinder steam-powered press, which could operate much faster. In this design the type form was on a flat bed, which moved back and forth beneath a cylinder. During the printing phase the cylinder rotated over the type, carrying the sheet to be printed. It stopped while the form moved from under the cylinder to be inked by rollers. While the cylinder was still, the pressman fed a fresh sheet of paper onto the cylinder.

Rodolphe Salis's Le Chat Noir

a gathering place in France for artists and writers that opened in 1881.

The Yellow Book

a magazine whose bright yellow cover on London newsstands became a symbol for the new and outrageous.

Fat faces

a major category of type design innovated by Cotterell's pupil and successor, Robert Thorne (d. 1820), possibly around 1803. A __-___ typestyle is a roman face; whose contrast and weight have been increased by expanding the thickness of the heavy strokes. The stroke width has a ratio of 1:2.5 or even 1:2 to the capital height. These excessively bold fonts w

Edward JOHNSTON

a master calligrapher of the Arts and Crafts movement who had been inspired by William Morris and abandoned his medical studies for the life of a scribe. His study of pen techniques and early manuscripts, as well as his teaching activities, made him a major influence on the art of letter

Pouce

a now-obsolete French unit of measure slightly longer than an inch was divided into twelve lines, each of which was divided into six points for FOURNIER LE JEUNE's table of proportions

Cancelleresca

a slanted handwriting style that found favor among scholars, who liked its writing speed and informality. Italic was closely modeled on the ___ script, in MANUTIUS' pocket book prototype.

The development of lithography

a stone could be etched away around grease- pencil writing and made into a relief printing plate. (from the Greek lithos, "stone," and graphein, "to write"). based on the simple chemical principle that oil and water do not mix. An image is drawn on a flat stone surface with oil-based crayon, pen, or pencil. Water is spread over the stone to moisten all areas except the oil-based image, which repels the water. Then an oil-based ink is rolled over the stone, adhering to the image but not to the wet areas of the stone. A sheet of paper is placed over the image and a printing press is used to transfer the inked image onto the paper. In the early 1800s Senefelder began experimenting with multicolor lithography, and in his 1819 book he predicted that one day this process would be perfected to allow reproduction of paintings.

Nicolas-Louis ROBERT

a young clerk in the Didot paper mill in France, developed a prototype for a papermaking machine in 1798, but political turmoil in France prevented him from perfecting it.

Eadweard MUYBRIDGE

adventurous photographer who is known for the development of motion-picture photography

Stile Floreale or Stile Liberty

after the Vienna Secession art movement in Austria

Humanism

an approach in study, philosophy, or practice that focuses on human values and concerns

Electrotyping

chemical method for forming metal parts that exactly reproduce a model. The method was invented by Moritz von Jacobi in Russia in 1838, and was immediately adopted for applications in printing and several other fields. In printing, electrotyping had become a standard method for producing plates for letterpress printing by the late 1800s. It complemented the older technology of stereotyping, which involved metal casting.

Sir Emery WALKER

considered book design to be similar to architecture: careful planning of every aspect— paper, ink, type, spacing, margins, illustration, and ornament—could result in design unity inspired Morris to take up type design.

John BASKERVILLE

an innovator who broke the prevailing rules of design and printing in the books he produced at his press in Birmingham, England. _____ was involved in all facets of the bookmaking process. He designed, cast, and set type; improved the printing press; conceived and commissioned new papers; and designed and published the books he printed. A native of rural Worcestershire who had "admired the beauty of letters" as a boy, he moved to Birmingham as a young man and became established as a *master writing teacher and stonecutter*. While still in his thirties, became a manufacturer of *japanned ware. *Manufacturing earned a fortune, and he built an estate*, Easy Hill*, near Birmingham. Around 1751, at the age of forty-four, he returned to his first love, the art of letters, and began to experiment with printing. As an artist who wanted to control all aspects of book design and production, he sought graphic perfection and was able to invest the time and resources necessary to achieve his goals. He was assisted by John Handy, a punch cutter, and Robert Martin, an apprentice who later became his foreman. _____'s type designs, which bear his name to this day, represent the ZENITH of the transitional style bridging the gap between Old Style and modern type design. His letters possessed a new elegance and lightness. *In comparison with earlier designs, his types are wider, the weight contrast between thick and thin strokes is increased, and the placement of the thickest part of the letter is different.* The treatment of serifs is new: they flow smoothly out of the major strokes and terminate as refined points. His italic fonts most clearly show the influence of* master handwriting. *Made improvements for his four presses, built in his own workshops, focused on perfect alignment between the inch-thick brass platen and the smooth stone press bed. The packing behind the sheet of paper being printed was unusually hard and smooth. The smooth, glossy surface of the paper in ___'s books had not been seen before.He published fifty-six books, the most ambitious publication being a folio Bible in 1763. While he was met with indifference and even hostility in the British Isles, the design of his type and books *became important influences* on the Continent as the Italian

Fourdrinier machine

an invention for making paper in single sheets without seam or joining from one to twelve feet and upwards wide, and from one to forty-five feet and upwards in length BUT *poured a suspension of fiber and water in a thin stream upon a vibrating wire-mesh conveyor belt on which an unending sheet of paper could be manufactured* INSTEAD. Invested and promoted by the Fourdrinier brothers.

Joseph JACKSON

apprentice of William CASLON who had been dismissed for leading a workers' revolt, became successful type designers and founders in their own right.

Thomas COTTERELL

apprentice of William CASLON who had been dismissed for leading a workers' revolt, became successful type designers and founders in their own right. Apparently began the trend of sand-casting large, bold display letters as early as 1765, when his specimen book included, in the words of one of his amazed contemporaries, a *"proscription, or posting letter of great bulk and dimension, as high as the measure of twelve lines of pica!"* (about 5 centimeters, or 2 inches)

Samuel BING

art dealer who coined the term "art nouveau" in a Paris gallery, specifially in 1895, opening it as the "Salon de l'Art Nouveau".

T. J. COBDEN-SANDERSON

bookbinder who joined Emery Walker in establishing the Doves Press at Hammersmith.

Wood engraving

cut across the grain while woodcuts cut with the grain

General Electric (GE)

designed by A. L . Rich

Red House

designed by Philip Webb, is a landmark in domestic architecture. Instead of featuring rooms in a rectangular box behind a symmetrical facade, the house had an L-shaped plan that grew out of functional interior space planning. When it came time to furnish the interior, Morris suddenly discovered the appalling state of Victorian product and furniture design. Over the next several years he designed and supervised the execution of furniture, stained glass, and tapestries for __ __.

Herbert HORNE

designer/writer who co-established Century Guild

Frederick E. IVES

developed an early halftone process and worked on the first commercial production of halftone printing plates in 1881. The sum of all the minute dots produced the illusion of continuous tones. Later __ joined brothers Max and Louis Levy to produce consistent commercial halftones using etched glass screens.

C. H. St. John HORNBY

directed Ashedene Press

American Type Founders Company (ATF)

established an extensive typographic research library and played an important role in reviving past designs. Its head of typeface development, Morris F. BENTON, designed important revivals of Bodoni and Garamond.

Charles Dana GIBSON

establishes the canon of beauty through his "Gibson Girls."

Lucien PISSARRO

founds Eragny Press

Essex House Psalter of 1902

graphic program BY Essex House; each psalm consists of a roman numeral, the Latin title in red capitals, an English descriptive title in black capitals, an illustrated woodcut initial, and the body of the psalm. Verses were separated by woodcut leaf ornaments printed in red.

Christoffel VAN DYCK

great Dutch designer and punch cutter; Designed to resist the wear and tear of printing, his types had stubby serifs with heavy bracketing (the connecting curves that unify the serif with the main stroke of the letter) and fairly stout hairline elements; _____ __ _____'s 111 matrixes and types were used continuously until 1810, when modern-style types with extreme thicks and thins became the fashion, leading the Haarlem foundry that owned ___ ___ ____'s types to melt them down to reuse the metal.

Kitagawa UTAMARO

heralded as an unrivaled artist in portraying beautiful women; he has been called the *supreme poet of the Japanese print.* His loving observation of nature and human expression resulted in prints of insects, birds, flowers, and *women* possessing great beauty and tenderness. His images of Edo's most renowned beauties were identified by name. Rather than repeating stereotypes of conventional beauty, ___ conveyed his subjects' feelings, based on careful observation of their physical expressions, gestures, and emotional states. His warm yellow and tan backgrounds emphasized delicate, lighter-toned skin. (1753-1806)

Howard PYLE

his Four-volume The Story of King Arthur and His Knights • Meticulous research • Elaborate staging • Historical accuracy He launched the Golden Age of American Illustration (1890s-1940s) His work spans the range of reproduction technologies; sought authenticity in every detail of setting, props, costume, and characterization.

Photograms

images made by manipulating with objects the light striking photographic paper

Hypnerotomachia Poliphili

in Italy Aldus MANUTIUS ended the epoch with his 1499 edition of Fra Francesco COLONNA's ______ (The Strife of Love in a Dream or The Dream of Poliphilus) 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; the journey takes him through classical landscapes and architectural environments. This *celebration of paganism*—with *erotic overtones* and a few explicit illustrations—probably *escaped scandal only because of its high cost* and *limited Venetian audience*. A masterpiece of graphic design, Manutius's __ ____ achieved an *elegant harmony of typography and illustration* that has seldom been equaled. The communicative coordination of the illustrations with the text and theexceptional integration of images and typography indicate that the printer, type designer, author, and artist worked in close collaboration. The name of the artist who designed the 168 delicate linear illustrations is unknown. .

The further development of French art nouveau

international decorative style that thrived roughly during the two decades (c. 1890-1910) that girded the turn of the century. It encompassed all the design arts—architecture, furniture and product design, fashion, and graphics— and consequently embraced posters, packages, and advertisements; teapots, dishes, and spoons; chairs, door frames, and staircases; factories, subway entrances, and houses. It's identifying visual quality is an *organic, plantlike line*. Freed from roots and gravity, it can either *undulate with whiplash energy* or *flow with elegant grace* as it defines, modulates, and decorates a given space. *Vine tendrils, flowers (such as the rose and lily), birds (particularly peacocks),* and the *human female form* were frequent motifs from which this fluid line was adapted.

Suzuki HARUNOBU

introduced *full-color japanese prints from numerous blocks, each printed in a different color*, in 1765. (1725-70)

Halftone screen

invented by Stephen H. Horgan. The screen broke the image into a series of minute dots whose varying sizes created tones. Values from pure white paper to solid black ink were simulated by the amount of ink printed in each area of the image.

Photography

invention of materials, equipment, and processes; purposes: expression, documentation, tool for printing; t he science, art, application and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film Joseph NIEPIECE *heliogravure* 1822, first photographic image Louis Jacques DAGUERRE *daguerreotype* 1839, one-of-a-kind; peculiar reversing to appear as a negative William Henry Fox TALBOT *photogenic images and photograms* 1835, experimented with 1:1 contact prints

Hishikawa MORONOBU

is widely respected as the first master of the ukiyo-e print; son of a provincial embroiderer; began his career by making designs for embroidery. After moving to Edo in the middle of the seventeenth century, ____ became a book illustrator who used *Chinese woodcut techniques* and reached a large audience. In addition to actors and courtesans, his work presented *the everyday life of ordinary people, including crowds on the street and peddlers*. Prints surpassed screen paintings in importance as artists exploited a growing interest in images depicting urban life. (1618-94)

Max IVES and Louis LEVY

joined by Frederick E. IVES to produce consistent commercial halftones using etched glass screens.

Wesley and Fletcher HARPER

joined their elder brothers, James and John HARPER's firm in 1823 and 1825, respectively. Fletcher Harper became the firm's editor when he became a partner, and the company's own publishing ventures grew dramatically over the decades.

William MORRIS

leader of the English Arts and Crafts movement; Morris was also influenced by the Pre-Raphaelites, a group of young artists who fought against the poor standards and bad taste of the era by reviving the artistic ideals of the Middle Ages, in particular *Dante Gabriel ROSSETTI.* believed that the tastelessness of mass-produced goods and the lack of honest craftsmanship could be addressed by the reunion of art with craft. Morris was a pivotal figure in the history of design. He called for: •fitness of purpose (evaluates whether the quality-related intentions of an organization are adequate) •truth to the nature of materials and methods of production •individual expression of both designer and worker. Morris photographically enlarged incunabula typefaces to five times their original size and carefully studied the forms and counter form

Sachlichkeit

loosely translated, "commonsense objectivity"; a pragmatic emphasis on technology, manufacturing processes, and function, in which artistic conceits and questions of style were subordinate to purpose this concept and neoclassicism guided BEHRENS in his quest for forms to achieve Gesamtkultur, commonly referred to as the New Objectivity movement.

Victorian popular graphics

love of exorbitant complexity was expressed by gingerbread woodwork applied to domestic architecture; ornate, extravagant embellishments on manufactured products from silverware to large furniture; and elaborate borders and lettering in graphic design. graphic design captured and conveyed the values of the era. Sentimentality, nostalgia, and a canon of idealized beauty were expressed through printed images of children, maidens, puppies, and flowers. Traditional values of home, religion, and patriotism were symbolized with sentimentality and piety. The production medium for this outpouring of ____ ___ ____ was *chromolithography*, an innovation of the Industrial Revolution that unleashed a flood of colorful printed images.

MACKELLAR, SMITHS & JORDAN FOUNDRY

major component of the American Type Founders Company when the monopoly was formed in 1892. ____, ___ & ____ ___ played a significant role in the design and production of Victorian display typefaces, and Ihlenburg was a leading member of their design staff.

Owen JONES

major design influence who introduced Moorish ornament to Western design in his book, *Plans, Elevations, Sections, and Details of the Alhambra*

John H. BUFFORD

major innovator of chromolithography; a masterly draftsman whose crayon-style images achieved a remarkable realism.

Ukiyo-e

means "pictures of the floating world" and defines an art movement of Japan's Tokugawa period (1603-1867). _____ blended the realistic narratives of emaki (traditional picture scrolls) with influences from decorative arts. The earliest works were screen paintings depicting he entertainment districts—called "the floating world"—of Edo (modern Tokyo) and other cities. Artists of this style quickly embraced the woodblock print.

Private press movement

movement in book production which flourished around the turn of the 20th century under the influence of the scholar-artisans Arthur H. MACKMURDO, William MORRIS, Sir Emery WALKER and their followers.

Jean François VAN ROYEN

n made his principal contribution to graphic design in the Netherlands through his position as general secretary of the Dutch PTT; joined De Zilverdistel; changed the name of De Zilverdistel to De Kunera Pers (The Kunera Press), and it continued until his death in 1942.

William COWPER

obtained a patent for a printing press using curved stereotyped plates wrapped around a cylinder. This press achieved *2,400 impressions per hour*, and it could be used to print 1*,200 sheets on both sides. * In 1827 the Times commissioned ____ and his partner, Ambrose APPLEGATH, to develop a four-cylinder steam-powered press using curved stereotyped plates made rapidly from papier-mâché molds.

Mount Fuji

occupies a special place in Japanese culture; the ancient Japanese were sun worshippers, and this 3,776-meter (12,388-foot) volcano is the first place in Japan to catch the rising sun's rays.

Renaissance man

often used to identify a unique individual of genius whose wide-ranging activities in various philosophic, literary, artistic, or scientific disciplines result in important contributions to more than one field. Such a person was Geoffroy TORY.

HENRI ESTIENNE

one of the first French scholar printers who became enthusiastic about Aldus MANUTIUS's Poliphilus By setting the type in *geometric shapes*, this person achieved a distinctive graphic design with minimal means

Arabesque

patterned forms derived from the Eastern Islamic cultures; form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements.

Richard M. HOE

perfected the rotary lithographic press

Manuel Typographique (Manual of Typography)

planned a four-volume of this but was only able to produce two volumes (*Type, Its Cutting and Founding*, in 1764, and *Type Specimens* in 1768); He did not live to complete the other two volumes, one on printing and one on the great typographers' lives and work. Supposed to be FOURNIER LE JEUNE's crowning achievement.

Point

point is the smallest unit of measure. It is used for measuring font size, leading, and other items on a printed page. An improved measurement system based on the point (instead of the line and point) was introduced in FOURNIER LE JEUNE's 1764 volume.

Planographic printing

printing from a flat surface, as opposed to a raised surface (as with relief printing) or incised surface (as with intaglio printing). Lithography and offset lithography are planographic processes that rely on the property that water will not mix with oil.

Surimono

privately commissioned prints for special occasions

The Century Guild Hobby Horse

proclaimed philosophy and goals of Century Guild and featured the work of members of the guild. First finely printed magazine *devoted exclusively to the visual arts and the first to treat printing as a serious design form.

Lord Charles STANHOPE

produced a printing press constructed completely of cast-iron. The metal screw mechanism required approximately one-tenth the manual force needed to print on a wooden press, and his press could print a sheet double the size. William BULMER's printing office installed and experimented with __ __ ___s first successful prototype. These innovations served to improve a partially mechanized handicraft.

Arthur H. MACKMURDO

progressive English architect and designer, who influenced the Arts and Crafts Movement, notably through the Century Guild of Artists, which he set up in partnership with Selwyn Image in 1882.

Ver Sacrum (Sacred Spring)

published from 1898 until 1903; was more a design laboratory than a magazine, with a continuously changing editorial staff, design respons bility handled by a rotating committee of artists, and unpaid contributions of art and design. All involved were focused on *experimentation and graphic excellence*. In 1900 the journal had only three hundred subscribers and a press run of six hundred copies, but it enabled designers to develop innovative graphics as they explored the merger of text, illustration, and ornament into a lively unity. The magazine had an unusual square format: the 1898-99 issues were 28 by 28.5 centimeters (11 by 111⁄4 inches) and the 1900-03 issues were reduced to 23 by 24.5 centimeters (9 by 93⁄4 inches). Secession artists preferred vigorous linear art, and Ver Sacrum covers often combined hand-lettering with bold line drawing printed in color on a colored background. Decorative ornaments, borders, head-pieces, and tailpieces were used generously, but the overall page layouts were refined and concise, thanks to ample margins and careful horizontal and vertical alignment of elements into a unified whole. the magazine's use of *white space* in page layouts, *sleek-coated stock*, and *unusual production methods *achieved an original visual elegance. Color plates were tipped in, and 55 original etchings and lithographs as well as 216 original woodcuts were bound into the issues during the magazine's six years of publication. Sometimes signatures were printed in color combinations, including muted brown and blue-gray, blue and green, brown with red-orange, and chocolate with gold. When signatures were bound together, *four colors*, instead of two, *appeared on the double spreads.*

Doves Press Bible

pure typography; rejected illustration and ornament; relied on fine paper, perfect presswork, exquisite type and spacing to produce inspired graphic design; Edward JOHNSTON initials This book's purity of design and flawless perfection of craft have seldom been equaled.

Queen VICTORIA

queen regnant of the United Kingdom of Great Britain and Ireland in 1837, spanned two-thirds of the 19th century.

Renaissance

revival or rebirth; denoted the period that began in the 14th and 15th centuries in Italy when classical literature of ancient Greece and Rome was revived and read anew; now generally used to mark the transition from the medieval to the modern world;

A. A. M. (Sander) STOLS

s doctrine was simplicity and maximum legibility, and his work was noted for its constrained classical typography and craftsmanship. He preferred typefaces such as Garamond and Bembo, but on a number of occasions he used De Roos's typefaces Hollandsche Mediaeval and Erasmus Mediaeval. Like Van Krimpen, ___described the designer's role in terms that were clear and to the point:

James and John HARPER

sed modest savings—and their father's offer to mortgage the family farm if necessary—to launch a New York printing firm in 1817.

Celebration of Life and Art: A Consideration of the Theater as the Highest Symbol of a Culture

set by BEHRENS in 1900s, this 25 pg. booklet may represent the *first use of sans-serif type* as *running book text*. Furthermore, all-capital sans-serif type is used in an unprecedented way on the title and dedication pages

DOVES PRESS

set out to "attack the problem of pure Typography" with the view that "the whole duty of Typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the Author."

Societies and guilds

sought to establish democratic artistic communities united for the common good. Ranged from exhibition cooperatives to communes based on socialist and religious ideals

ROBERT ESTIENNE

stepson of HENRI Estienne, takes over business in 1526 and becomes a brilliant printer of scholarly works. Estienne achieved a wide reputation as a great printer during the 1530s and 1540s Renowned for his scholarship and intellectual acumen that he brought to the editorial process

Robert ADAMSON

teamed up with David Octavius HILL Using forty-second exposures, HILL posed the subjects in sunlight using all the knowledge gained in two decades of portraiture Hill and ____ also created landscape photographs that echoed the visual order found in landscape paintings of the period.

Modernismo

term for Art Nouveau in Spain; Antonio Gaudí was its major practitioner

Historicism

the almost servile use of past forms and styles instead of the invention of new forms to express the present.

La Belle Époque

the beautiful era

Lutetia typeface

the first typeface VAN KRIMPEN designed during his thirty-five- year association with the Haarlem printer Enschedé; Appears in Het zatte hart (The Drunken Heart) (1926), by Karel van de Woestijne,

HARPER AND BROTHERS

the largest printing and publishing firm in the world by midcentury 1800s

Ando HIROSHIGE

the last great master of the Japanese woodcut. A rival of Hokusai, he inspired the European impressionists with his brilliant spatial composition 11-5 and ability to capture the transient moments of the landscape. Works: "Fifty-Three Stages of the Tokaido" "Famous Places in Edo: A Hundred Views" (1797-1858)

Le style moderne

the modern style

Lithography

the process of printing from a flat surface treated so as to repel the ink except where it is required for printing.

Netherlands arts and crafts

the traditional vanguard was led by book and type designers Sjoeerd H. DE ROOS (1877-1962) and Jan VAN KRIMPEN (1892-1958), and master printer-publisher Charles NYPELS (1895-1973)

Louis-Jacques DAGUERRE

theatrical performer and painter who had participated in the invention of the diorama, and recognized for his invention of the daguerreotype process of photography. He became known as one of the fathers of photography.

Photogenic drawings

these images, made without a camera; first photographic process capable of producing negative images on paper. The inventor did not publicize his experiments until the Daguerreotype was introduced in January 1839.

Egyptian type

this term is still used for this style was given to slab-serif fonts. Perhaps the name was inspired by the era's fascination with all aspects of ancient Egyptian culture, an interest that was intensified by Napoleon's invasion and occupation of Egypt in 1798-99. Design similarities were seen between chunky geometric alphabets and the visual qualities of some Egyptian artifacts. As early as the 1830s, a variation of _____, having slightly bracketed serifs and increased contrast between thicks and thins, was called Ionic

Emaki

traditional japanese picture scrolls

French symbolist movement

type designs ranged from original interpretations of medieval letterforms (Gothic revivals) to unexpected designs, such as the rough-hewn chunky letterforms of his Neuland face

William THOROWGOOD

used lottery winnings to offer the top bid when Thorne's foundry was auctioned after his death—published the 132-page book of specimens that had been typeset and was ready to go onto the press when Thorne died. NOT a type designer, punch cutter, or printer at all

Industrial Revolution

usually said to have oc- curred first in England between 1760 and 1840, was a radical process of social and economic change. Energy was a major impetus for the conversion from an agricultural society to an ____one. Over the course of the 19th century, the amount of energy generated by steam power increased a hundredfold. During the last three decades of the century, electricity and gasoline-fueled engines further expanded productivity. A factory system with machine manufacturing and divisions of labor was developed. New materials, particularly iron and steel, became available. Cities grew rapidly, as masses of people left a subsistence existence on the land and sought employment in the factories. Political power shifted away from the aristocracy and toward capitalist manufacturers, merchants, and even the working class. The growing body of scientific knowledge was applied to manufacturing processes and materials. People's sense of dominion over nature and faith in the ability to exploit the earth's resources for material needs created a heady confidence.

Okumura MASANOBU

was among the first japanese artists to *move from hand-coloring single-color woodcuts to two-color printing* (1686-1764)

Vincent FIGGINS

was in competition with THORNE's Fann Street Foundry One of Joseph JACKSON's apprentices failed in his efforts to purchase his master's foundry because William CASLON *III* offered the highest bid. Undeterred, he established his own type foundry and quickly built a respectable reputation for type design and mathematical, astronomical, and other symbolic material, numbering in the hundreds of sorts. By the turn of the century ___ had designed and cast a complete range of romans and had begun to produce scholarly and foreign faces. The rapid tilt in typographic design taste toward modern-style romans and new jobbing styles after the turn of the century seriously affected him, but he responded rapidly, and his 1815 printing specimens showed a full range of modern styles and antiques (Egyptians), the second major innovation of nineteenth-century type design. By 1840 his antique fonts had become far more refined. His 1815 specimen book also presented the first nineteenth-century version of *Tuscan-style letters*

WILLIAM CASLON *IV*

was in competition with THORNE's Fann Street Foundry; sans-serif type, made its modest debut in his an 1816 specimen book

Walter CRANE

was one of the earliest and most influential designers of children's picture books; toy books; sought to entertain children through his illustrated books.

Walter CRANE

was one of the earliest and the most influential designers of children's picture books; illustrator who spoke on design

Henry and Sealy FOURDRINIER

who invested their fortune financing and promoting the Fourdrinier machine gave the world economical and abundant paper, but they ruined themselves financially in the process.

*PIERRE* DIDOT (3rd Gen)

who took charge of his father's printing office, and Firmin Didot (1764-1836), who succeeded his father as head of the Didot type foundry. Firmin's notable achievements included the invention of stereotyping. This process involves casting a dupli- cate of a relief printing surface by pressing a molding material (damp paper pulp, plaster, or clay) against it to make a matrix. Molten metal is poured into the matrix to form the duplicate printing plate. Stereotyping made longer press runs possible. After the Revolution, the French government honored Pierre Didot by granting him the printing office formerly used by th