Week 9 Graphic Design and the Industrial Revolution - A History of ...

A HISTORY OFGRAPHIC DESIGNPhototypography, page 153, the printing of type using a photographic process, which would be introduced in the 1960s.Camera obscura, page 153, a darkened room or box with a small opening or lens in one side. Light rays passing throughthis aperture are projected onto the opposite side and form a picture of the bright objects outside (Fig. 9-25).Bitumen of Judea, page 153, a light-sensitive asphalt that hardens when exposed to light.Heliogravure, page 153, “sun engraving” method developed by Joseph Niépce using a pewter sheet covered in bitumenof Judea, a light-sensitive asphalt (Fig. 9-26).Daguerreotype, page 154, photographic process developed through the collaboration of Louis Jacques Daguerre andJoseph Niépce, it used a highly polished silver-plated copper sheet that was sensitized by placing it, silver side down,over a container of iodine crystals. The plate was placed in the camera and exposed to light coming through the lens toproduce a latent image (Fig. 9-28).Photogenic drawings, page 154, images made by William Henry Fox Talbot without a camera by holding a piece of laceor a leaf tight against light-sensitive paper with a pane of glass and exposing it in sunlight (Fig. 9-29).Photograms, page 154, a term used today to describe images made by holding an object over photographic paper andexposing it to light, creating a negative image (Fig. 9-29).Negative, page 155, a term coined by Sir John Herschel to describe a reversed photographic image (Fig. 9-30).Positive, page 155, a term coined by Sir John Herschel to describe a positive image made by contact printing the reverseimage to another sheet of sensitized paper in sunlight (Fig. 9-31).Photography, page 155, from the Greek photos graphos meaning “light drawing,” a term coined by Sir John Herschelto describe the photographic process.Calotype, page 155, from the Greek kalos typos meaning “beautiful impression,” developed by William Henry Fox Talbot,it allowed greater light-sensitive paper.Talbotype, page 155, another name for William Henry Fox Talbot’s calotype process, suggested by his friends.The Pencil of Nature, page 155, a book published by William Henry Fox Talbot that featured twenty-four photographsmounted into each copy by hand (Fig. 9-32; see also Fig. 9-47).Collodion, page 157, a clear viscous liquid sensitized with iodine compounds, poured over a glass plate, immersed in asilver-nitrate bath, and exposed and developed in the camera while still wet; a wet-plate process developed by FredrickArcher.Kodak camera, page 157, an invention of George Eastman using a dry-plate process, finally allowing ordinary citizensthe ability to create images and keep a graphic record of their lives and experiences (Fig. 9-33).Gelatin emulsion, page 157, a dryer light-sensitive material used in a commercially feasible photoengraving method fortranslating line artwork into metal letterpress plates developed by John Calvin Moss.Halftone screen, page 158, a screen breaks a continuous tone image into a series of minute dots whose varying sizessimulate tones that can be reproduced with an even ink application of the relief press (Figs. 9-37 and 9-38).First photographic separation, page 158, illustrations printed in the 1881 Christmas issue of the Paris magazineI’llustration. The process remained experimental until the end of the century, but during the 1880s and 1890s, it beganto rapidly make obsolete the highly skilled craftsmen who transferred artists’ designs to handmade printing plates.First photographic interview, page 159, published in Le Journal Illustré, F. T. Nadar’s son Paul made a series of twentyonephotographs as Nadar interviewed the eminent hundred-year-old scientist Michel Eugène Chevreul (Fig. 9-42).Victorian Era, page 161, a time of strong moral and religious beliefs, proper social conventions, and optimism. “God’sin his heaven, all’s right with the world” was a popular motto during this period. Aesthetic confusion led to a number of