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

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A HISTORY OFGRAPHIC DESIGNoften contradictory design approaches and philosophies mixed together in a scattered fashion (Fig. 9-47).Great Exhibition or Crystal Palace Exhibition of 1851, page 162, , a grand exhibition with hundreds of exhibitors from allthe industrialized nations, was conceived in 1849 by Prince Albert, husband of Queen Victoria. Set in an 800,000-squarefootsteel and glass prefabricated exhibition hall that remains a London landmark in architectural design, the exhibitionwas an important summation of the progress of the Industrial Revolution and a catalyst for future developments.Lithography, page 162, “stone printing,” invented by Bavarian author Aloys Senefelder in 1796. Based on the simplechemical principle that oil and water do not mix, an image is drawn on a flat stone surface with an oil-based medium.Water is then spread over the stone to moisten all areas except the oil-based image, which repels the water and acceptsoil-based ink, which is then transferred to paper.Planographic printing, page 163, printing from a flat surface.Chromolithographie, page 163, patented by French printer Godefroy Engelmann, the printer separated the colors froman image into a series of printing plates and printed these component colors one by one. One printing plate (often black)established the image after separate plates printed other colors.Rotary lithographic press, page 163, perfected by Richard M. Hoe, nicknamed “the lightning press” because it couldprint six times as fast as the lithographic flatbed presses then in use.L. Prang and Company, page 164, Louis Prang’s company name after he bought partner Julius Mayer’s share.Scrap, page 164, printed album cards produced by Louis Prang. Collecting these “beautiful art bits” was a major Victorianpastime, and Prang’s wildflowers, butterflies, children, animals, and birds became the ultimate expression of theperiod’s love for sentimentalism, nostalgia, and traditional values.Toy books, page 168, colorful picture books for preschool children made during the Victorian Era (Fig. 9-65).Harper and Brothers, page 170, the New York company started by James and John Harper that became the largestprinting and publishing firm in the world by the middle of the nineteenth century. They launched a monumental projectthat became the young nation’s finest achievement of graphic design and book production (up until that time) calledHarper’s Illuminated and New Pictorial Bible. Printed on presses specially designed and built for its production, it contained1,600 wood engravings from illustrations by Joseph A. Adams. The firm opened the era of the pictorial magazinein 1850 when the 144-page Harper’s New Monthly Magazine began publication. The monthly magazine was joined by aweekly periodical that functioned as a newsmagazine, Harper’s Weekly, along with Harper’s Bazaar for women in 1867,and Harper’s Young People in 1879 (Fig. 9- 69).Harper’s New Monthly Magazine, page 171, a 144-page pictorial magazine started in 1850 with serialized English fictionand numerous woodcut illustrations created for each issue by the art staff (Fig. 9-69).Harper’s Weekly, page 171, a weekly periodical that functioned as a newsmagazine; it billed itself as “a journal of civilization”and developed an elaborate division of shop labor for the rapid production of woodblocks for printing cartoonsand graphic reportage based on drawings from artist-correspondents (Fig. 9-70).Harper’s Bazaar, page 171, a magazine focused on women founded in 1867.Harper’s Young People, page171, a magazine focused on the youth audience founded in 1879.MacKellar, Smiths & Jordan Foundry, page 175, became a major component of the American Type Founders Companywhen the monopoly was formed in 1892. It played a significant role in the design and production of Victorian displaytypefaces; Herman Ihlenburg was a leading member of their design staff (Fig. 9-75).
A HISTORY OFGRAPHIC DESIGNKEY PEOPLE AND THEIR MAJOR CONTRIBUTIONS (IN ORDER OF APPEARANCE; THE FIRST PAGE NUMBER OF THEIRAPPEARANCE IS LISTED)Joseph Jackson (1733–1792), page 145, former apprentice to William Caslon.Thomas Cotterell (d. 1785), page 145, former apprentice to William Caslon. He 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!”(Fig. 9-2).Robert Thorne (d. 1820), page 145, Thomas Cotterell’s pupil and successor responsible for the innovation of fat faces. HisFann Street Foundry began an active competition with William Caslon IV and Vincent Figgins (Fig. 9-3).William Thorowgood, page 147, published Robert Thorne’s 132-page book of specimens that had been typeset and wasready to go to press when Thorne died. He was not a type designer, punch cutter, or printer, but used lottery winningsto offer the top bid when Robert Thorne’s foundry was auctioned after his death.Vincent Figgins (1766–1844), page 147, one of Joseph Jackson’s apprentices, he stayed with him and took full charge ofhis operation during the three years preceding Jackson’s death in 1792. He later established his own type foundry andquickly built a respectable reputation for type design and the design of mathematical, astronomical, and hundreds ofother kinds of symbolic materials. His 1815 printing specimens showed a full range of modern styles, antiques (Egyptians)—thesecond major innovation of nineteenth-century type design—and numerous jobbing faces, including “threedimensional”fonts. He dubbed his 1832 specimens sans serifs in recognition of the font’s most apparent feature, andthe name is still in use today (Figs. 9-4 and 9-5).William Caslon IV (1781–1869), page 147, issued a specimen book in 1816 that gave sans-serif type a modest debut.Buried among the decorative display fonts of capitals in the back of the book, one line of medium-weight monolineserifless capitals proclaimed “W CASLON JUNR LETTER FOUNDER.” The name he adopted for this style—Two LinesEnglish Egyptian—tends to support the theory that it had its origins in an Egyptian style (Fig. 9-17).Darius Wells (1800–1875), page 150, an American printer who experimented with hand-carved wooden types and, in1827, invented a lateral router that enabled the economical mass manufacture of wood types for display printing.William Leavenworth (1799–1860), page 150, combined the pantograph with the router in 1834, allowing new woodtypefonts to be introduced so easily that customers were invited to send a drawing of one letter of a desired new style;the manufactory offered to design and produce the entire font based on the sketch without an additional charge fordesign and pattern drafting.Lord Stanhope, (1753–1816) page 151, developed a printing press constructed completely of cast-iron parts in 1800. Themetal screw mechanism required approximately one-tenth the manual force needed to print on a wooden press, andStanhope’s press enabled a doubling of the printed sheet’s size (Fig. 9-21).Friedrich Koenig, page 150, a German printer who arrived in London around 1804 and presented his plans for a steampoweredprinting press to major London printers. Finally receiving financial support in 1807, he obtained a patent inMarch 1810 for his press, which printed 400 sheets per hour in comparison to the hourly output of 250 sheets on theStanhope hand press. In his new 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 theform moved from under the cylinder to be inked by rollers. While the cylinder was still, the pressman fed a fresh sheetof paper onto the cylinder (Fig. 9-22).William Cowper, page 151, obtained a patent for a printing press that used curved stereotyped plates wrapped arounda cylinder. This press achieved 2,400 impressions per hour, and could print 1,200 sheets on both sides.Nicolas-Louis Robert, page 152, a young clerk at the Didot paper mill in France who developed a prototype for a papermakingmachine in 1798; political turmoil in France prevented him from perfecting it.
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