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History of Graphic Design
Midterm Review
Historical Background of DesignVitruvius names a guiding principle that has found its place in design history: “all buildings must satisfy three criteria: strength (firmitas), functionality (utilitas), and beauty (venustas)” (Bürdek 1997) Leonardo – designer as inventor – science and engineering basedDisegno - the artistic idea/the creative spark inspiration
Interno – plan the draftEsterno - the work of art
Disegno as the father of the ‘arts’ - painting sculpture architecture ( hierarchy) In 1588 Oxford Dictionary
a plan or scheme devised by a person for something that is to be realized, a first graphic draft of a work of art,
-an object of the applied arts, which is to be binding for the execution of a work
Social Process of Design• Event or Discovery: natural /man-made /technology
• Change : philosophy/approach
• Response: Aesthetic & Practice ( the link to Art & Design)
• Reaction: good/bad? Does it work?
• Dissemination: travel and migration – ideas and people
• Transformation: - of practice/technology/philosophy/aesthetics
Looking at Images• Which includes the breakdown of the parts of an image• Understanding difference between an ‘image’ and its parts and • how that affects the ‘whole’• The message that the image sends/ and the role and relationship
between creator/image/ viewer• This relationship is key to our understanding of art & design• We need to ask why = why do I like it• Why is it important• What would happen if it was changed?• • These images – are part of our visual and cultural literacy
• Literacy means that a group shares the assigned meaning of a common body of information - visually is without as much rigidity (Dondis, 1973)
• Meaning lies as much in the eye of the
beholder as in the talents of the creator. Form is affected by content; content is affected by form the message is cast by the creator and modified by the observer. (Dondis,1973)
Reproduction and Authenticity • Printing – quantity and mass distribution• Lithography – speed and variety of
reproduction increased• Photography • “the eye perceives faster than the hand can
draw” ( Benjamin, 1936)• Kept pace with speech• Opened up possibilities for art/interpretation• Changed our relationship with the image/object in
regard to its authenticity
• The whole province of genuineness is beyond technological ( and of course not only technological) reproducibility.
• An object’s authority is its genuineness
• Reproductive technology removes the thing reproduced from the realm of tradition - it substitutes for its unique incidence a multiplicity of incidences.
• What does this mean when creating work that is reproduced?
• How does it affect the message?
• How do you create authority and authenticity with multiple reproductions?
Phaistos Disk,, 2nd half 16th century BC - 1st half of the 11th centuryCrete, GreeceClay
Papyrus of Hunefer Book of the Dead, Anubis introducing Hunefer to weighing of his heart. 1300 BC, Egyptian
Caves of Lascaux, Hall of Bulls, painting, prehistoric, France
Incarnation Initial, Chi RhoBook of KellsIlluminated Manuscript,Celtic1st decade 9th Century
Gospel of St. MarkIlluminated manuscriptBook of Durrowc.680
Lindisfarne GospelsCarpet PageCeltic698-700
Ormesby PsalterIlluminated ManuscriptEnglish, late Gothic13th CenturyEnglish
Coronation GospelsSt. Mark’s GospelAachen800 ADCarolignian
Psalter in LatinFust and Schoeffer1457German, GothicEarliest example of color printing in Europe
Four Horsemen of the ApocalypseBeatus of Fernando and Sancha, 1047
Moorish Spain
Les Tres Riches heures du duc de BerryIlluminated ManuscriptJanuary pageLimbourg Bros1413-1416FranceGothic
Jack of Diamonds woodblock playing card1400
Ex Libris, for Johannes Knabensberg, c 1450, woodblock
‘Hans Igler that the hedgehog may kiss you’
Gutenberg Bible, 1450-55, Johan Gutenberg, Mainz, Germany
Nuremberg Chronicle, 1493 Anton Koberger, Printer,
George Alt , Calligrapher
Travels in Mt. Syon, 1486, Bernardus de Breidenbach ( Erhard Reuwich, illustrator)
The Four Horsemen of the Apocalypse, Albrecht Durer, 1498
Jenson-Eusebius Typeface, 1470, Nicolas Jenson, Evangelica Praeparatio
Schwabacher typeface, 1522New TestamentMartin LutherWoodcuts of the Apocalypse, Hans Cranach
broken curvesoblique strokes – retaining the
Calligrapher’s curve
A course in the art of measurement with compass and ruler
1525 , Albrecht Durer
OctavoAldus ManutiusEarly 16th ceVenice
Renaissance 1400 – early 1600s ( 15th – early 17th century)
• Romain due Roi typeface, 1702• Phillipe Grandjean deFouchy, French•
Modern
1750 onwardgreater contrast between thin and
thick strokes, - often hairlineserifs vertical stress
more abstract in appearancehorizontal/vertical/circularcompass and ruler
GermanyUnger -Fraktur
1793 Johann Friedrich Unger
1725 Wm Caslon – London type foundry
over 200 types based upon Caslon which had Dutch roots
solid functionality easy to read Transitional Roman
18th century
Robert Clee
Trade Card for
liquor dealer
Copperplate engraved
MMA
Steam Engine, James Watt, 1744
Slab Serif , Egyptian Typeface ( six line pica), 1821, William Thorowgood
The Siege of TroyAstley’s Circus,Anonymous1833Letterpress and Woodcut
• MIDDLE AGES 373 - 1453 ADCeltic, Saxon, & Hiberno 200 - 732 ADByzantine Art 400 - 1453 ADJustinian 527 - 565 ADIslamic Art 622 - 900 ADCarolingian Art 732 - 900 ADRomanesque Style 1000 - 1140 ADGothic Style 1140 - 1500 AD
• Renaissance 1400-1600 – Italy 1400-1600– No. Europe 1500-1600 (includes Mannerism)
• Baroque 1600- 1725• Rococo 1720-1760• Neo Classical 1750-1830 Age of Enlightenment
Industrial Revolution 1750- 1850
Technology to Know
Printing PressTypographyPhotography
DaguerrotypePhotograph
Lithography
• Font TimelineOld Style - RenaissanceTransitional - 16th – early 17th , BaroqueModern - second half 18th Century, Neoclassical