Ch. 11,12,13 Graphic Design Vocab

Hishikawa Moronobu

(1618-94), Widely respected as the first master of the ukiyo-e print, he was a book illustrator who used Chinese woodcut techniques and reached a large audience. In addition to actors and courtesans, his work presented the everyday lives of ordinary people.

Katsushika Hokusai

(1760-1849), page 191, the most renowned and prolific ukiyo-e artist who produced an estimated 35,000 works during seven decades of ceaseless artistic creation. His 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. He began his career illustrating yellowbacks. He was in his seventies when he designed the series Thirty-Six Views of Mount Fuji.

Ando Hiroshige

(1797-1858), the last great master of the Japanese woodcut. A rival of Hokusai, he inspired the European impressionists with his brilliant spatial composition and ability to capture the transient moments of the landscape. In the series Fifty-three Stages of the Tokaido, he illustrated the fifty-three way stations along the Eastern Sea Road from Edo to Kyoto, capturing subtle nuances of light, atmosphere, and season. He not only observed and captured the poetic splendor of nature but related it to the lives of ordinary people as well (Fig. 11 - 6).

Jules Chéret

(1836-1933), page 195, acclaimed as the father of the modern poster, he was convinced that pictorial lithographic posters would replace the typographic letterpress posters that filled the urban environment. At the age of twenty-two he produced a blue and brown poster for Offenbach's operetta Orphée aux Enters (Orpheus in Hades) in Paris, but then returned to London, where he soon mastered the more advanced English color lithography. The first poster from his printing firm, financed by Eugene Rimmel, was a monochromatic design for the theatrical production La Biche au bois (The Doe in the Woods), starring the twenty-two-year-old Sarah Bernhardt. During the 1870s, he evolved away from Victorian complexity, simplifying his designs and increasing the scale of his major figures and lettering. His artistic influences included the idealized beauty and carefree lifestyle painted by Antoine Watteau and Jean-Honoré Fragonard, the luminous color of Turner, and the winding movement of Giovanni Batista Tiepolo , whose figures expressed energy and movement through twisting torsos and extended limbs. During the 1880s, he used a black line with the primary colors (red, yellow, and blue). The beautiful young women he created, dubbed Chérettes 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 as they became the new role models.

Samuel Bing

(1838-1905), in 1895 he opened a gallery in Paris called the Salon de l'Art Nouveau, from which the term art nouveau arose. In addition to Japanese art, "new art" by European and American artists was displayed and sold there. This gallery became an international meeting place at which many young artists were introduced.

Emil Rathenau

(1838-1915),, the director of the AEG who appointed Peter Behrens as its artistic advisor. A visionary industrialist who sought to give a unified visual character to the company's products, environments, and communications.

Eugène Grasset

(1841-1917), Swiss-born illustrator/designer who was first to rival Jules Chéret in public popularity. He had studied medieval art intensely, and this influence, mingled with a love of exotic oriental art, was reflected strongly in his designs for furniture, stained glass, textiles, and books. His 1883 publication of Histoire des quatre fils Aymon (History of Four Young Men of Aymon) was a bellwether achievement, both in graphic design and printing technology. His design is important for its total integration of illustrations, format, and typography. His design ideas were rapidly assimilated after publication, including the decorative borders framing the contents, the integration of illustration and text into a unit, and the design of illustrations so that typography was printed over skies and other areas. Spatial segmentation was used as an expressive component in page layouts. His "coloring-book style" of thick black contour drawing locking forms into flat areas of color was in a manner similar to medieval stained-glass windows.

Sarah Bernhardt

(1844-1923),, the most popular actress of the late 1800s, and subject of many posters by Alphonse Mucha, Jules Chéret, Emmanuel Orazi, and Eugène Grasset.

Jan Toorop

(1858-1928),, Born on the Dutch East Indies island of Java, Javanese culture was a natural source of his inspiration. His use of the silhouette, his linear style, and the forms, expressions, and hair styles of his female figures are derived from Javanese wajan shadow puppets. This Javanese influence is clear in his 1895 poster for Delftsche Slaolie (Delft Salad Oil). His 1898 binding for Psyche shows his skill in combining text with illustration. The design is filled with his "whiplash" lines, and the lettering, especially on the spine, blends in with the illustration.

Théophile-Alexandre Steinlen

(1859-1923), a prolific illustrator during the 1880s and 1890s, his radical political views, socialist affiliations, and anticlerical stance led him toward asocial realism, depicting poverty, exploitation, and the working class. His vast oeuvre included over two thousand magazine covers and interior illustrations, nearly two hundred sheet-music covers, over one hundred book illustration assignments, and three dozen large posters. A friend and sometime rival of Toulouse-Lautrec.

Alphonse Mucha

(1860-1939), page 205, From 1895 until 1900, art nouveau found its most comprehensive statement in Mucha's work. His dominant theme was a central female figure surrounded by stylized forms derived from plants and flowers, Moravian folk art, Byzantine mosaics, and even magic and the occult. So pervasive was his work that by 1900, le style Mucha was often used interchangeably with l'art nouveau. His stylized hair patterns became a hallmark of the era in spite of detractors, who dismissed this aspect of his work as "noodles and spaghetti." In addition to graphics, Mucha designed furniture, carpets, stained-glass windows, and manufactured objects.

Baron Victor Horta

(1861-1947), a Belgian architect who became the seminal genius of the art nouveau movement. His 1892 townhouse for Emile Tassel was unified by tendrilous, curvilinear networks unlike anything yet seen in England or on the Continent.

Gustav Klimt

(1862-1918), the painter who was the guiding spirit of (and led) the Vienna Secession's revolt against the Künstlerhaus. In his first Vienna Secession exhibition poster, he referred to Greek mythology, showing Athena, goddess of the arts, watching Theseus deliver the deathblow to the Minotaur, a metaphor for the struggle between the Secession and the Künstlerhaus

Georges Auriol

(1863-1939), a collaborator with Alphonse Mucha, he designed furniture, carpets, stained-glass windows, and manufactured objects. His pattern books, including Combinaisons ornementales (Ornamental Combinations), helped spread art nouveau.

Henri Clemens van de Velde

(1863-1957), Interiors, book design, bookbinding, jewelry, and metalwork were his major activities. In 1892 he wrote an important essay, "Déblaiement d'art," calling for a new art that would be contemporary in concept and form but possess the vitality and ethical integrity of the great decorative and applied arts of the past. The ornaments and initials designed for a reprint of this essay and for the periodical Van Nu en Straks (Today and Tomorrow) approach pure abstraction; for the basic letter structures are transfigured by dynamic linear rhythms. In book design he broke creative ground, drawing dynamic linear forms that embrace their surrounding space and the intervals between them. His work evolved from forms inspired by symbols and plant motifs to rhythmic linear patterns.

Henri de Toulouse-Lautrec

(1864-1901), Primarily a printmaker, draftsman, and painter, Toulouse-Lautrec produced only thirty-one posters (the commissions for which were negotiated in the cabarets in the evenings) and a modest number of music- and book-jacket designs. Drawing directly on the lithographic stone, he often worked from memory with no sketches and used an old toothbrush that he always carried to achieve tonal effects through a splatter technique. He used simplified symbolic shapes and dynamic spatial relationships to form expressive and communicative images.

Alfred Roller

(1864-1935), made significant innovations in graphic design with a masterly control of complex line, tone, and form. A set designer and scene painter for theater, his principal work as a graphic designer and illustrator was for Ver Sacrum and Secession exhibition posters. Cubism and art deco are anticipated in his 1902 poster for the fourteenth Vienna Secession exhibition, and his poster for the sixteenth exhibition, later that same year, sacrificed legibility in order to achieve an unprecedented textural density

Otto Eckmann

(1865-1902), In addition to five cover illustrations and numerous decorative borders for Jugend, he designed jewelry, objects, furniture, women's fashions, and an important typeface called Eckmannschrift. He became a designer and consultant for the Allgemeine Elektrizitäts-Gesellschaft (General Electric Company), or AEG, and explored the application of Jugendstil ornament to the graphic and product needs of industry

Talwin Morris

(1865-1911), became art director of the Glasgow publishing firm Blackie's, which provided him with a forum for applying the geometric spatial division and lyrical organic forms of the Glasgow group The Four to mass communications. He often developed formats for series that could be used over and over again with subtle variations

Edward Penfield

(1866-1925),, an art director for Harper and Brothers publications from 1891 until 1901, his monthly series of posters for Harper's magazine from 1893 until 1898 were directed toward the affluent members of society, frequently depicting them reading or carrying an issue of the magazine. In 1894, Penfield evolved toward his mature style of contour drawing with flat planes of color. By eliminating the background, he forced the viewer to focus on the figure and lettering. Penfield drew with a vigorous, fluid line, and his flat color planes were often supplemented by a masterly stipple technique.

Joseph Maria Olbrich

(1867-1908), an architect who was a key member of the Vienna Secession.

Frank Lloyd Wright

(1867-1959),, an inspiration for the designers evolving from curvilinear art nouveau toward a rectilinear approach to spatial organization. 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. He defined organic design as having entity, "something in which the part is to the whole as the whole is to the part, and which is all devoted to a purpose.... It seeks that completeness in idea in execution that is absolutely true to method, true to purpose, true to character." He saw space as the essence of design, and this emphasis was the wellspring of his profound influence upon all areas of twentieth-century design

Koloman Moser

(1868-1918), an artist-designer who was a key member of the Vienna Secession. He played a major role in defining its approach to graphic design. His poster for the thirteenth Vienna Secession exhibition is a masterpiece of the mature phase. This evolution toward elemental geometric form was diagrammed by Walter Crane in his book Line and Form. Moser was appointed to the faculty of the Vienna School for Applied Art with Joseph Hoffman, and together they launched the Wiener Werkstätte (Vienna Workshops) in 1903

Charles Rennie Mackintosh

(1868-1928), A founding member of The Four, he made notable contributions to the new century's architecture, and realized major accomplishments in the design of objects, chairs, and interiors as total environments. His main design theme is rising vertical lines, often with subtle curves at the ends to temper their junction with the horizontals. Tall and thin rectangular shapes and the counterpoint of right angles against ovals, circles, and arcs characterize his work. Abstract interpretations of the human figure, such as in his Scottish Musical Review poster, had not been seen in Scotland before, and many observers were outraged

Peter Behrens

(1868-1940), His abstract designs were inspired by ancient Egyptian artifacts and stylized floral designs. He also became widely known for large, multicolored woodblock prints inspired by French art nouveau and the Japanese print. In addition to his work for Jugend, he experimented with ornaments and vignettes of abstract design in two other publications, Der Bunte Vogel and Die Insel. He became artistic advisor to Die Insel and its publisher, Insel-Verlag, for which he designed one of the finest Jugendstil trademarks.

Peter Behrens

(1868-1940), the German artist, architect, and designer who played a major role in charting a course for design in the first decade of the new century. He sought typographic reform, was an early advocate of sans-serif typography, and used a grid system to structure space in his design layouts. He has been called "the first industrial designer" in recognition of his designs for such manufactured products as streetlamps and teapots. His work for the Allgemeine Elektrizitäts-Gesellschaft, or AEG, is considered the first comprehensive visual identification program. He believed that after architecture, typography provided "the most characteristic picture of a period, and the strongest testimonial of the spiritual progress" and "development of a people." His typographic experiments were a deliberate attempt to express the spirit of the new era. His twenty-five-page booklet, Celebration of Life and Art: A Consideration of the Theater as the Highest Symbol of a Culture, may represent the first use of sans-serif type as running book text. He also designed the Behrensschrift typeface. In 1903, he moved to Düsseldorf to become director of the Düsseldorf School of Arts and Crafts, where his purpose was to go back to the fundamental intellectual principles of all form-creating work, allowing such principles to be rooted in the artistically spontaneous and their inner laws of perception rather than directly in the mechanical aspects of the work. His work from the beginning of the 1900s is part of the tentative beginnings of constructivism in graphic design, where realistic or even stylized depictions are replaced by architectural and geometric structure. He formed the Deutsche Werkbund (German Association of Craftsmen) with Hermann Muthesius and Henri van de Velde, and developed the Behrens-Antiqua typeface for the exclusive use of AEG. He also designed industrial products, including electric household products such as teakettles and fans, as well as streetlamps and electric motors .

J. Herbert McNair

(1868-1955), founder member of The Four

William H. Bradley

(1868-1962), trained as a newspaper apprentice, engraver, and type designer, he also taught himself about art and design through magazines and library books. By 1890 his Arts and Crafts-inspired pen-and-ink illustrations were bringing regular commissions. He was influenced by Aubrey Beardsley's flat shapes and stylized contour. Beginning in 1894, Bradley's work for the Inland Printer and the Chap Book ignited art nouveau in America. He made innovative use of photomechanical techniques to produce repeated, overlapping, and reversed images. Bradley was inventive in his approach to typographic design and flouted all the prevailing rules and conventions. Type became a design element to be squeezed into a narrow column or letter spaced so that lines of many and few letters all became the same length and formed a rectangle.

Adolf Loos

(1870-1933), the polemic Austrian architect who wrote the famous article "Potemkin City." He challenged all areas of design, and his writings roundly condemned both historicism and Sezessionstil. He called for a functional simplicity that banished useless decoration in any form. Standing alone at the turn of the century, he blasted the nineteenth-century love of decoration and abhorrence of empty spaces. To him, "organic" meant not curvilinear but the use of human needs as a standard for measuring utilitarian form.

Josef Hoffmann

(1870-1956), an architect who was a key member of the Vienna Secession. He was appointed to the faculty of the Vienna School for Applied Art with Koloman Moser, and together they launched the Wiener Werkstätte (Vienna Workshops) in 1903

Aubrey Beardsley

(1872-1898), the enfant terrible of art nouveau, he made use of a striking pen line, vibrant black-and-white work, and shockingly exotic imagery. A strange cult figure, he was intensely prolific for only five years and died of tuberculosis at age twenty-six. He became famous at age twenty, when his illustrations for a new edition of Malory's Morte d'Arthur began to appear in monthly installments, augmenting a strong Kelmscott influence with strange and imaginative distortions of the human figure and powerful black shapes. "The black spot" was the name given to compositions based on a dominant black form. He was named art editor for The Yellow Book, a magazine whose bright yellow cover on London newsstands became a symbol for the new and outrageous. During the last two years of his life, Beardsley was an invalid. When he could work, the flat patterns and dynamic curves of art nouveau yielded to a more naturalistic tonal quality, and dotted contours softened the decisive line of his earlier work.

Edward Johnston

(1872-1944), the eminent calligrapher commissioned by Frank Pick to design an exclusive, patented typeface for the Underground in 1916. He crafted a sans-serif typeface whose strokes have consistent weight; however, the letters have the basic proportions of classical Roman inscriptions

Berthold Löffler

(1874-1960), anticipated later developments with his reductive symbolic images of thick contours and simple geometric features. Figures in his posters and illustrations became elemental significations rather than depictions

Filippo Marinetti

(1876-1944), an Italian poet and founder of Futurism. In 1913 he called for a typographic revolution against the classical tradition.

Jessie Marion King

(1876-1949), She achieved a distinctive personal statement with medieval-style fantasy illustrations accompanied by stylized lettering. Her grace, fluidity, and romantic overtones widely influenced fiction illustration throughout the twentieth century

Frank Pick

(1878-1941), a statistician and attorney who provided the vision necessary to lead the Underground Group to the forefront of innovative publicity and design. He responded to the jumble of advertisers' posters competing with transportation information and publicity by designating poster boards at station entrances for Underground posters and maps, then limited advertisers' posters to gridded spaces inside stations and on platforms. Underground station signs introduced in 1908 had a solid red disk with a blue bar across the middle bearing the station name in white sans-serif letters. These bright, simple designs stood out against the urban clutter. He commissioned Edward Johnston to create a new typeface specific to the Underground. His design advocacy expanded to include signage, station architecture, and product design, including train and bus design. Station platforms and coach interiors were carefully planned for human use and design aesthetics.

Guillaume Apollinaire

(1880-1918), the inventor of calligramme poems through which he explored the potential fusion of poetry and painting, introducing the concept of simultaneity to the time- and sequence-bound typography of the printed page. Fortunato Depero (1892-1960), applied futurist philosophy to graphic and advertising design to produce a dynamic body of work in poster, typographic, and advertising design. In 1927, Depero published his Dinamo Azari and a compilation of his typographical experiments, advertisements, tapestry designs, and other works. Dinamo Azari is a precursor of the artist's book, published by an artist as a creative expression independent of the publishing establishment.

Francis Bruguière

(1880-1945), began to explore multiple photographic exposures in 1912, pioneering the potential of light recorded on film as a medium for poetic expression. In his photographic abstractions, the play of light and shadow becomes the subject

Georges Braque

(1881-1963), an artist best known for developing analytical cubism along with Pablo Picasso.

Pablo Picasso

(1881-1973),one of the most influential artists of the twentieth century. He co-developed analytical cubism with Georges Braque

Alvin Langdon Coburn

(1882-1966), a photographer who extended his vision into the realm of pure form. By 1913 his photographs of rooftops and views from tall buildings focused on the pattern and structure found in the world instead of depicting objects and things. Coburn's kaleidoscope patterns, which he called vortographs when the series began in 1917, are early nonobjective photographic images. Coburn praised the beautiful design seen through a microscope, explored multiple exposure, and used prisms to split images into fragments.

Juan Gris

(1887-1927), a painter key to the development of synthetic cubism. He combined composition from nature with an independent structural design of the picture space. First he planned a rigorous architectural structure using golden section proportions and a modular composition grid; then he "laid the subject matter" on this design scheme. His paintings are a kind of halfway house between an art based on perception and an art realized by the relationships between geometric planes.

Kurt Schwitters

(1887-1948), the creator of the offshoot of Dada called Merz. His complex designs combined Dada's elements of nonsense, surprise, and chance with strong design properties. Between 1923 and 1932, Schwitters published twenty-four issues of the periodical Merz , whose eleventh issue was devoted to advertising typography.

Hannah Hoch

(1889-1978), a Dada artist who contributed greatly to photomontage.

Man Ray

(1890-1976), Born Emanuel Rabinovitch in Philadelphia, Man Ray worked as a professional photographer while applying Dada and surrealism to photography, using both darkroom manipulation and bizarre studio setups. He was the first photographer to explore the creative potential of solarization and was interested in the role played by the unconscious and chance in artistic creation.

Max Ernst

(1891-1965), a restless German Dadaist, he used a number of techniques that have been adopted in graphic communications. Fascinated by the wood engravings in nineteenth-century novels and catalogues, Ernst reinvented them by using collage techniques to create strange juxtapositions. He invented the printing techniques of frottage and decalcomania.

Tristan Tzara

(1896-1963), a Paris-based Romanian poet who edited the periodical DADA beginning in July 1917. Tzara joined Hugo Ball, Jean Arp, and Richard Huelsenbeck in exploring sound poetry, nonsense poetry, and chance poetry. He wrote a steady stream of Dada manifestos and contributed to all major Dada publications and events.

Wieland Herzfelde

(1896-1988 ), a poet, critic, and publisher who edited the journal Neue Jugend (New Youth), which was designed by his brother, John Heartfield . After being jailed in 1914 for distributing communist literature, Wieland started the Malik Verlag publishing house, an important avant-garde publisher of Dada, left-wing political propaganda, and experimental literature.

René Magritte

(1898-1967), a Belgian surrealist who used jolting and ambiguous scale changes, defied the laws of gravity and light, created unexpected juxtapositions, and maintained a poetic dialogue between reality and illusion, and truth and fiction. His prolific body of images inspired many visual communications.

Salvador Dali

(1904-1989), This theatrical Spanish painter influenced graphic design in two ways. His deep perspectives inspired designers to bring vast depth to the flat, printed page; his naturalistic approach to simultaneity has been frequently imitated in posters and editorial images.

Kitagawa Utamaro

(c. 1753-1806), an unrivaled artist in portraying beautiful women; he has been called the supreme poet of the Japanese print. His loving observations 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, he 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.

Expressionism

, In early twentieth-century art, the tendency to depict not objective reality but subjective emotions and personal responses to subjects and events. Emerging as an organized movement in Germany before World War I, color, drawing, and proportion were often exaggerated or distorted, and symbolic content became very important. Line and color were often pronounced; color and value contrasts were intensified. Tactile properties were achieved through thick paint, loose brushwork, and bold contour drawing. Woodcuts, lithographs, and posters were important media for many expressionists.

French symbolist movement

, a movement in literature of the 1880s and 1890s that led a rejection of realism in favor of the metaphysical and sensuous. It was an important influence in the Art Nouveau movement and led artists to symbolic and philosophic attitudes.

La Belle Époque (The Beautiful Era)

, a term used to describe glittering late-nineteenth-century Paris.

Chérettes

, beautiful women that adorned many of the posters of Jules Chéret, who introduced a new role model for women in the late Victorian era. Neither prudes nor prostitutes, these self-assured, happy women enjoyed life to the fullest, wearing low-cut dresses, dancing, drinking wine, and even smoking in public.

Sezessionstil (The Vienna Secession)

, formed by Gustav Klimt, Joseph Maria Olbrich, Joseph Hoffman, and Koloman Moser. It came into being on April 3, 1897, when the younger members of the Künstlerhaus, the Viennese Creative Artists' Association, resigned in a stormy protest. Technically, the refusal to allow foreign artists to participate in Künstlerhaus exhibitions was their main issue, but the clash between tradition and new ideas emanating from France, England, and Germany lay at the heart of the conflict. Theirs became a countermovement to the floral art nouveau that flourished in other parts of Europe. The group's rapid evolution ran from the illustrative allegorical style of symbolist painting to a French-inspired floral style to the mature style, which drew inspiration from the Glasgow School. A major difference between this group and art nouveau is the artists' love of clean, simple, sans-serif lettering, ranging from flat, blocky slabs to fluidly calligraphic forms. Their elegant Ver Sacrum (Sacred Spring) was more a design laboratory than a magazine.

Chapbooks

, small, crudely printed book from colonial New England named after the traveling peddlers known as chapmen who sold them. The vigor of these works, with their Caslon types, wide letter spacing, mix of roman, italic, and all-capital type, sturdy woodcuts, and plain rules, inspired the beginnings of a new direction in graphic arts that became known as the chapbook style. .

Paul Cezanne

1839-1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endevour to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne "is the father of us all."

Stéphane Mallarmé

1842-98), the French symbolist poet who published the poem "Un Coup de Dés" ("A Throw of the Dice"), composed of seven hundred words on twenty pages in a typographic range: capital, lowercase, roman, and italic. Rather than surrounding a poem with white, empty margins, Mallarmé dispersed this "silence" through the work as part of its meaning. Instead of stringing words in linear sequence like beads, he placed them in unexpected positions on the page to express sensations and evoke ideas. He was successful in relating typography to a musical score—the placement and weight of words in type paralleling intonation, stress, and rhythm in oral reading.

Fernand Léger

1881-1955), a French painter whose version of cubism incorporated his perceptions of the colors, shapes, posters, and architecture of the urban environment—glimpses and fragments of information—into compositions of brightly colored planes. Léger's flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern design sensibility after World War 1.

Hugo Ball

1886-1927), a poet who opened the Cabaret Voltaire in Zurich, Switzerland, as a gathering place for independent young poets, painters, and musicians. This led to the spontaneous development of the Dada literary movement, which would later branch into the visual arts.

Marcel Duchamp

1887-1968), the Dada movement's most prominent visual artist. Earlier, cubism had influenced his analysis of subjects as geometric planes, while futurism inspired him to convey time and motion. To Duchamp, Dada's most articulate spokesman, art and life were processes of random chance and willful choice.

John Heartfield

1891-1968), the English name adopted by Helmut Herzfelde as a protest against German militarism and the army in which he served from 1914 to 1916. A founding member of the Berlin Dada group in 1919, Heartfield used the harsh disjunctions of photomontage as a potent propaganda weapon and introduced innovations in the preparation of mechanical art for offset printing.

George Grosz

1893-1959), a painter and graphic artist who attacked a corrupt society with satire and caricature and advocated a classless social system. His drawings project the angry intensity of deep political convictions against what he perceived to be a decadent, degenerate milieu.

André Breton

896-1966), the founder of surrealism, he imbued the word with all the magic of dreams, the spirit of rebellion, and the mysteries of the subconscious in his 1924 "Manifesto du Surrealisme" ("Surrealist Manifesto").

Harper's magazines,

American magazines that commissioned covers from Eugène Grasset and spread the art nouveau style throughout America.

Wiener Werkstätte (Vienna Workshops),

An outgrowth of Sezessionstil, this spiritual continuum of William Morris's workshops sought a close union of the fine and applied arts in the design of lamps, fabrics, and similar objects for everyday use, including books, greeting cards, and other printed matter. The goal was to offer an alternative to poorly designed, mass-produced articles and trite historicism. Function, honesty to materials, and harmonious proportions were important concerns; decoration was used only when it served these goals and did not violate them

Ver Sacrum (Sacred Spring),

Designed by the Vienna Secession and published from 1898 until 1903, this was more a design laboratory than a magazine. It focused on experimentation and graphic excellence and enabled designers to develop innovative graphics as they explored the merging of text, illustration, and ornament into a lively unity. The magazine had an unusual square format, and its covers often combined hand lettering with bold line drawing printed in color on a colored

Synthetic cubism

Drawing on past observations, the cubists invented forms that were signs, rather than representations, of their subject matter. The essence of an object and its basic characteristics, rather than its outward appearance, were depicted

Decalcomania

Ernst's process of transferring images from printed matter to a drawing or painting. This enabled him to incorporate a variety of images into his work in unexpected ways. This technique has been used extensively in illustration, painting, and printmaking.

"Coloring-book style,"

Eugène Grasset's style of thick black contour drawing locking forms into flat areas of color in a manner similar to medieval stained-glass windows.

Calligrammes

Guillame Apollinaire's name for poems in which the letterforms are arranged to form a visual design, figure, or pictograph . In 1918, a book of his calligrammes was published in which he explored the potential fusion of poetry and painting, introducing the concept of simultaneity to the time- and sequence-bound typography of the printed page.

Visual automatism

Intuitive, stream-of-consciousness drawing and calligraphy.

Rayographs

Man Ray's cameraless prints, on which he frequently made his exposures with moving beams of light and combined experimental techniques such as solarization with the basic technique of placing objects on the photographic paper. He also used distortion, printing through textures, and multiple exposure as he searched for dreamlike images and new interpretations of time and space, applying surrealism to graphic design and photography assignments.

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

This booklet by Peter Behrens may represent the first use of sans-serif type as running book text. All-capital, sans-serif type is also used in an unprecedented way on the title and dedication pages

The Glasgow School (The Four)

a collaboration of four students from the Glasgow School of Art: Charles Rennie Mackintosh, J. Herbert McNair, and Margaret and Frances Macdonald. These young collaborators 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. Their designs are distinguished by symbolic imagery and stylized form. Bold, simple lines define flat planes of color. Their influence on the Continent became important transitions to the aesthetic of the twentieth century

Collage

a composition of elements glued onto a surface.

Rodolphe Salis's Le Chat Noir,

a gathering place for artists and writers that opened in 1881. There, Eugène Grasset met and shared his enthusiasm for color printing with younger artists: Georges Auriol, Henri de Toulouse-Lautrec, and fellow Swiss artist Théophile-Alexandre Steinlen.

Merz

a nonpolitical offshoot of Dada and a one-man art movement created by Kurt Schwitters. He coined from the word Kommerz (commerce), which appeared in one of his collages. Beginning in 1919, his Merz pictures were collage compositions using printed ephemera, rubbish, and found materials to compose color against color, form against form, and texture against texture.

Manifesto

a public declaration of principles, policies, or intentions, such as that made by the Futurists.

Futurism

a revolutionary movement in which all the arts were to test their ideas and forms against the new realities of scientific and industrial society. Its manifesto voiced enthusiasm for war, the machine age, speed, and modern life.

Le style Mucha,

a term that was often used interchangeably with l'art nouveau, showing that by 1900, Alphonse Mucha's work had become pervasive in the development of art nouveau's graphic motifs.

L'art nouveau,

a term used for the French art nouveau movement.

Art nouveau,

an 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; and factories, subway entrances, and houses. Art nouveau's identifying visual quality is an organic, plantlike line. 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.

Surrealism

arising in Paris in 1924, searching for the "more real than real world behind the real"—the world of intuition, dreams, and the unconscious realm explored by Sigmund Freud. The poet André Breton, founder of surrealism, imbued the word with all the magic of dreams, the spirit of rebellion, and the mysteries of the subconscious in his 1924 "Manifesto du Surrealisme": "Surrealism, noun, masc., pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, all aesthetic or moral preoccupations."

Analytical cubism

developed by Pablo Picasso and Georges Braque, it involves an analysis of the planes of its subject matter, often from several points of view, and using these perceptions to construct a painting composed of rhythmic geometric planes. Analytical cubism's compelling fascination grows from the unresolved tension of the sensual and intellectual appeal of the pictorial structure in conflict with the challenge of interpreting the subject matter.

Margaret (1868-1933) and Frances (1874-1921) Macdonald,

founding members of The Four. These sisters held strong religious beliefs and embraced symbolist and mystical ideas. The confluence of architectural structure with their world of fantasy and dreams produced an unprecedented transcendental style that has been variously described as feminine, a fairyland fantasy, and a melancholy disquietude

Pattern poetry

he futurist concept that writing and/or typography could become a concrete and expressive visual. In the nineteenth century, the German poet Arno Holz reinforced intended auditory effects through such devices as omitting capitalization and punctuation, varying word spacing to signify pauses, and using multiple punctuation marks for emphasis

Solarization,

invented by Man Ray, this photographic process involves the reversal of the tonal sequence in the denser areas of a photographic negative or print, which adds strong black contours to the edges of major shapes. Solarization is achieved by giving a latent or developing photographic image a second exposure to light.

Parole in libertá (words in freedom)

new and painterly typographic design in which three or four ink colors and twenty typefaces (italics for quick impressions, boldface for violent noises and sounds) could redouble words' expressive power on the page. Free, dynamic, and piercing words could be given the velocity of stars, clouds, airplanes, trains, waves, explosives, molecules, and atoms

Ukiyo-e,

pictures of the floating world." Defines an art movement of Japan's Tokugawa period that blended the realistic narratives of emaki (traditional picture scrolls) with influences from decorative arts. The earliest works were screen paintings depicting the entertainment districts called "the floating world." Artists quickly embraced the woodblock print and collaborated with publishers, block cutters, and printers.

Artist's book

published by an artist as a creative expression independent of the publishing establishment. Dada, Reacting against the carnage of World War I, the Dada movement claimed to be anti-art and had a strong negative and destructive element. Dada writers and artists were concerned with shock, protest, and nonsense. Chance placement and absurd titles characterized their graphic work

J. L. Mathieu Lauwerik

s (1864-1932), a Dutch architect who was fascinated by geometric form and developed an approach to teaching design based on geometric composition. His grids began with a square circumscribed around a circle; numerous permutations could be made by subdividing and duplicating this basic structure

Ready-made

sculpture such as a bicycle wheel mounted on a wooden stool, and the exhibition of found objects, such as a urinal, as art, by Marcel Duchamp

American Chap-BooK

series of twelve little books in the chapbook style designed and written by Will Bradley for the American Type Founders

Le style moderne,

the early name for the new art style emerging in France during the late 1800s. The movement didn't get its more recognizable name—art nouveau—until December 1895. That was when Samuel Bing, a longtime dealer in Far Eastern art and artifacts, while fostering the growing awareness of Japanese work, opened his new gallery, Salon de l'Art Nouveau, to exhibit arts and crafts by young artists working in new directions.

Japonisme,

the late-nineteenth-century Western mania for all things Japanese.

Photomontage

the technique of manipulating found photographic images to create jarring juxtapositions and chance associations.

Jugendstil,

the term used for the new art movement in Germany, named after the magazine Jugend (Youth).