Industrial Revolution and 19th Century Graphic Design

1. The Industrial Revolution
and 19th Century Graphic Design
Graphic Design History

2. • The
Industrial
Revolution,
which
is
usually
said
to
have
occurred
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
industrial
one.
Before
James
Watt
perfected
the
steam
engine,
animal
and
human
power
were
the
primary
sources
of
energy.
• Handicrafts
greatly
diminished
and
mass
production
of
goods
increased
the
availability
and
lowered
costs.
• 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.
• Greater
human
equality
sprang
from
the
French
and
American
revolutions
and
led
to
increased
public
education
and
literacy.
As
a
result,
the
audience
for
reading
matter
grew
and
the
need
for
graphic
communications
became
more
important.

3. Steam-­‐powered
cylinder
press,
1814.

4. Steam-­‐powered
cylinder
press,
1814.
• The
progress
of
the
Industrial
Revolution
radically
altered
printing.
Inventors
applied
mechanical
theory
and
metal
parts
to
the
handpress,
increasing
its
efficiency
and
the
size
of
its
impression.
• In
1804,
Friedrich
Koening,
a
German
printer
who
moved
to
London,
presented
his
plans
for
a
steam-­‐powered
printing
press
to
major
London
printers.
• Koening’s press
printed
400
sheets
per
hour,
far
more
than
the
250
sheets
per
hour
that
were
previous
printed
on
the
handpress.
• The
Times
in
London
commissioned
Koening
to
build
two
double-­‐cylinder
steam-­‐
powered
presses
for
them.
As
a
result,
subscribers
could
receive
the
newspaper
several
hours
earlier.

5. Innovations in Typography
• The
industrial
Revolution
generated
a
shift
in
the
social
and
economic
role
of
typographic
communication.
• Before
the
19th Century,
dissemination
of
information
through
books
and
broadsheets
was
its
dominant
function.
The
faster
pace
and
mass-­‐
communication
needs
of
an
increasingly
urban
and
industrialized
society
produced
a
rapid
expansion
of
advertising
and
posters.
• Larger
scale,
greater
impact,
and
new
tactile
and
expressive
characters
were
demanded
as
the
book
typography
that
had
slowly
evolved
from
handwriting
did
not
fulfill
these
needs.
• It
was
not
longer
enough
for
the
26
letters
of
the
alphabet
to
function
only
as
phonetic
symbols.
The
industrial
age
transformed
these
signs
into
visual
forms
projecting
powerful
concrete
shapes
of
strong
contrast
and
large
size.
• The
early
decades
of
the
19th Century
saw
an
outpouring
of
new
type
designs
like
never
before.

6. William
Caslon
and
William
Caslon
II
Title
page
from
A
Specimen
of
Printing
Types
1764

7. William
Caslon
and
William
Caslon
II
Title
page
from
A
Specimen
of
Printing
Types
1764
• Major
design
innovations
were
achieved
by
London
typefounders.
• William
Caslon
(1693
– 1766)
was
an
English
gunsmith
and
designer
of
typefaces
who
is
considered
to
be
“the
grandfather
of
this
revolution
in
typography”
• After
the
death
of
William
Caslon,
he
sons
continued
the
printing
business
• Known
for
his
distinctive
and
legible
type
styles
that
he
created
• This
book
was
published
two
years
after
the
death
of
William
Caslon.

8. Robert
Thorne,
fat-­‐face
types,
1821

9. Robert
Thorne,
fat-­‐face
types,
1821
• Fat
faces,
a
major
category
of
type
design,
was
invented
around
1803
• A
fat-­‐face
typestyle
is
a
roman
face
where
contrast
and
weight
have
been
increased
by
expanding
the
thickness
of
the
heavy
strokes

10. 19th Century
Tuscan
type
styles

11. 19th Century
Tuscan
type
styles
• The
top
two
specimens
are
typical
Tuscan
styles
with
ornamental
serifs.
They
demonstrate
the
diversity
of
expanded
and
condensed
widths
produced
by
19th Century
designers.
• The
bottom
specimen
is
an
Antique
Tuscan
with
curved
and
slightly
pointed
slab-­‐serifs.
• Attention
was
given
to
the
design
of
the
negative
shapes
surrounding
the
letters

12. Vincent
Figgins,
Two
Lines
Pica,
Antique
typeface,
1815

13. Vincent
Figgins,
Two
Lines
Pica,
Antique
typeface,
1815
• Vincent
Figgins (1766
– 1844)
established
his
own
type
foundry
and
quickly
built
a
respectable
reputation
for
type
design
and
mathematical,
astronomical,
and
other
symbolic
material
• Antique
(Egyptian)
typefaces
are
another
major
innovation
of
19th Century
type
design.
The
name
was
inspired
by
the
era’s
fascination
with
ancient
Egypt
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.
• The
antiques
convey
a
bold,
mechanical
feeling
through
slab-­‐like
rectangular
serifs,
even
weight
throughout
the
letters,
and
short
ascenders
and
descenders.

14. Rand
and
Avery
foundry
(Boston,
USA)
ornamental
fonts
1867

15. Rand
and
Avery
foundry
(Boston,
USA)
ornamental
fonts
1867
• The
mechanization
of
manufacturing
processes
during
the
Industrial
Revolution
made
the
application
of
decoration
more
economical
and
efficient.
• Designers
of
furniture,
household
objects,
as
well
as
typefaces,
delighted
in
design
intricacy.
• Decorative
designs
and
motifs
were
applied
to
display
letterforms
throughout
Europe
and
the
United
States.
• In
the
19th Century,
typefounders also
added
shading
and
perspective
for
more
variety

16. Handbill
for
an
excursion
train
1876

17. Handbill
for
an
excursion
train
1876
• Increasing
demand
for
public
poster
design
by
clients
ranging
from
traveling
circuses
and
vaudeville
troupes
to
clothing
stores
and
the
new
railroads.
• Wooden
type,
rather
than
metal
type,
became
popular
in
the
19th Century.
It
was
less
expensive,
lighter,
and
durable
and
allowed
for
mass-­‐
production
of
type
for
display
printing.
• Design
decisions
were
pragmatic.
Long
words
or
copy
dictated
condensed
type,
important
words
were
given
emphasis
through
the
use
of
the
largest
available
type
sizes.
There
was
a
practical
side
to
the
extensive
mixing
of
styles
in
jobs
printing,
because
many
fonts,
each
having
a
limited
number
of
characters,
were
available
at
the
print
shop.

18. The Invention of Photography

19. 19th Century
box
camera
obscura

20. 19th Century
box
camera
obscura
• Making
pictorial
images,
and
preparing
printing
plates
to
reproduce
them,
remained
handwork
processes
until
the
arrival
of
photography.
• The
concept
behind
the
device
for
used
for
making
images
by
photochemical
processes,
the
camera
obscura (Latin
for
“dark
chamber”),
was
known
in
the
ancient
world
as
early
as
the
time
of
Aristotle
in
the
fourth
century
BC.
• Artists
have
used
the
camera
obscura as
an
aid
to
drawing
for
centuries.
• A
camera
obscura 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.

21. Joseph
Niepce,
first
photograph
from
nature,
1826

22. Joseph
Niepce,
first
photograph,
1826
• Joseph
Niepce (1765
– 1833),
the
French
printmaker
who
produced
the
first
photographic
image,
began
his
research
by
seeking
an
automatic
means
of
transferring
drawings
onto
printing
plates.
• In
1822
he
first
invented
heliogravure (sun
engraving)
by
using
a
pewter
sheet
with
light-­‐
sensitive
asphalt
that
hardens
when
exposed
to
light.
• In
1826
Niepce expanded
his
discovery
by
putting
one
of
his
pewter
plates
in
the
back
of
his
camera
obscura and
pointing
it
out
the
window.

23. Louis
Jacque
Daguerre,
Paris
Boulevard,
Daguerreotype,
1839.

24. Louis
Jacque
Daguerre,
Paris
Boulevard,
Daguerreotype,
1839.
• Louis
Jacque
Daguerre
(1799
– 1851),
French
painter
and
theatrical
performer,
conducted
similar
research
to
Niepce,
and
created
an
even
clearer
image
using
his
process
known
as
a
Daguerreotype.
• In
his
perfected
process,
a
highly
polished
silver-­‐plated
copper
sheet
was
sensitized
by
placing
it,
silver-­‐side
down
over
a
container
of
iodine
crystals.
After
the
rising
iodine
vapor
combined
with
the
silver
to
produce
light-­‐sensitive
silver
iodine,
the
plate
was
placed
in
the
camera
and
exposed
to
light
coming
through
the
lens,
to
produce
an
image.
• Daguerreotypes
had
limitations,
for
each
plate
was
a
one-­‐of-­‐a-­‐kind
image
of
predetermined
size,
and
the
process
required
meticulous
polishing,
sensitizing,
and
development.

25. Pages
from
Henry
Fox
Talbot’s
The
Pencil
of
Nature,
1844

26. • Photography
was
invented
in
France
in
1826.
• In
1830s
England,
William
Henry
Fox
Talbot
(1800
– 77)
pioneered
a
process
that
formed
the
basis
for
photographic
printing
plates
and
photography.
This
first
process
only
created
a
negative
image.
• In
1840,
Talbot
created
a
new
process
of
a
positive
image
called
a
calotype (from
the
Greek
kalos types,
meaning
“beautiful
impression”.
The
textural
quality
of
calotypes
is
similar
to
charcoal
drawing.
• In
1844,
Talbot
began
publishing
his
book
“The
Pencil
of
Nature”,
with
24
photos
mounted
by
hand.
As
the
first
volume
illustrated
completely
with
photographs,
“The
Pencil
of
Nature”
was
a
milestone
in
the
history
of
books.
Pages
from
Henry
Fox
Talbot’s
The
Pencil
of
Nature,
1844

27. Advertisement
for
the
Kodak
Camera,
1889

28. Advertisement
for
the
Kodak
camera,
1889
• In
1888
George
Eastman
(1854
– 1932),
an
American
manufacturer
of
dry
plates
for
photography,
introduced
the
Kodak
camera
to
the
lay
public.
• For
the
first
time,
ordinary
citizens
had
the
ability
to
create
images
and
keep
a
graphic
record
of
their
lives
and
experiences.
• Eastman
claimed
that
his
camera
was
simple
enough
for
anyone
“who
can
wind
a
watch”
to
use.

29. The Arts and Crafts Movement

30. • The
Arts
and
Crafts
movement
flourished
in
England
during
the
last
decades
of
the
19th Century
as
a
reaction
against
the
social,
moral,
and
artistic
confusion
of
the
Industrial
Revolution.
• Design
and
a
return
to
handicraft
were
advocated,
the
the
“cheap
and
nasty”
mass-­‐produced
goods
were
despised.
• The
leader
of
the
Arts
and
Crafts
movement,
William
Morris
(1834
– 96),
called
for
a
fitness
of
purpose,
truth
to
the
nature
of
materials
and
methods
of
productions,
and
individual
expression
by
both
designer
and
worker.
• The
writer
and
artist
John
Ruskin
(1819
– 1900)
inspired
the
philosophy
of
this
movement.
Asking
how
society
could
“consciously
order
the
lives
of
its
members
so
as
to
maintain
the
largest
number
of
noble
and
happy
human
beings,”
Ruskin
rejected
the
mercantile
economy
and
pointed
toward
the
union
of
art
and
labor
in
service
to
society,
as
exemplified
in
the
design
and
construction
of
the
medieval
Gothic
cathedral.

31. William
Morris
Rose
fabric
design
1883

32. William
Morris
Rose
fabric
design
1883
• In
1861,
Morris
established
the
art-­‐decorating
firm.
Growing
rapidly, the
firm
established
London
showrooms
and
began
to
assemble
teams
of
craftsmen,
including
furniture
makers,
weavers
and
dyers,
stained
glass
fabricators,
and
tile
makers.
• Morris
proved
to
be
a
brilliant
2-­‐D
pattern
designer.
He
created
over
500
pattern
designs
for
wallpapers,
textile,
carpets,
and
tapestries.
• Medieval
arts
and
botanical
forms
were
his
main
inspirations.

33. William
Morris,
trademark
for
the
Kelmscott Press,
1892

34. William
Morris,
trademark
for
the
Kelmscott Press,
1892
• In
1890,
Morris
set
up
the
Kelmscott
Press
using
an
old
handpress in
a
rented
cottage
near
Kelmscott Manor
in
Hammersmith,
which
Morris
had
purchased
as
a
country
home.
From
1891
– 1989,
Kelmscott Press,
printed
over
eighteen
thousand
volumes
of
books.
• Morris
had
long
been
interested
in
books.
His
library
included
medieval
manuscripts
and
incunabula
volumes.
• Earlier,
Morris
had
made
a
number
of
his
own
manuscript
books,
writing
the
text
in
beautifully
controlled
scripts
and
embellishing
them
with
delicate
borders
and
initials
with
flowing
forms
and
soft,
clear
colors.

35. William
Morris,
title
page
spread
from
The
Works
of
Geoffrey
Chaucer,
one
of
the
titles
produced
at
Kelmscott Press,
1896

36. Charles
R.
Ashbee,
the
Essex
House
Press
emblem,
1902

37. Charles
R.
Ashbee,
the
Essex
House
Press
emblem,
1902
• Essex
House
Press
was
founded
in
1890
by
Charles
R.
Ashbee (1863
– 1942),
an
architect,
graphic
designer,
jeweler,
and
silversmith.
• Essex
House
Press
was
named
after
its
original
location
in
an
old
Georgian
mansion
in
a
shabby
and
desolate
section
of
industrial
London.
Later,
the
guild
moved
to
a
rural
village
and
began
the
ambitious
task
of
turning
the
village
into
a
communal
society
for
guild
workers
and
their
families.
• In
1888,
Charles
R.
Ashbee,
had
founded
the
Guild
of
Handicraft
inspired
by
socialism
and
the
Arts
and
Crafts
movement.
• The
emblem
for
the
Essex
House
Press
was
a
woodcut,
and
metaphorically
related
the
Guild
of
Handicraft
with
a
bee
seeking
a
flower.

38. Charles
R.
Ashbee
Page
from
the
Essex
House
Psalter
1902

39. Charles
R.
Ashbee
Page
from
the
Essex
House
Psalter
1902
• The
Essex
House
Press
produced
its
renowned
masterpiece,
The
Psalter,
in
1902.
• It
was
written
in
16th Century
English
vernacular
text
from
a
translation
made
in
about
1540
by
Archbishop
Thomas
Cranmer
of
Canterbury.
• Ashbee developed
a
graphic
program
for
each
Psalm
consisting
of
roman
numerals,
Latin
titles
in
red
capitals,
English
descriptive
titles
in
black
capitals,
woodcut
initials
and
body
text
and
the
verses
were
separated
with
ornamental
red
leafs.

40. Cover
of
The
Craftsman
1911

41. Cover
of
The
Craftsman
Published
by
Gustave
Stickley
1911
• The
Arts
and
Crafts
movement
of
England
inspired
a
renaissance
of
arts
and
crafts
activities
in
Germany
and
the
Netherlands,
as
well
as
in
the
US
where
it
became
known
as
Mission
style.
• A
commercial
application
of
the
Arts
and
Crafts
aesthetic
in
the
US
can
be
seen
in
the
Craftsman
magazine.
• The
magazine
was
published
by
Gustave
Stickley (1858
– 1942),
an
entrepreneuer
who
offered
a
different
and
more
accessible
version
of
Morris’s
emphasis
on
craftsmanship.
In
his
furniture
designs,
Stickley advocated
the
use
of
plain
and
unadorned
surfaces
that
emphasize
the
construction
process.

42. Art Nouveau

43. • Art
nouveau
was
an
international
decorative
style
that
thrived
roughly
between
1890
and
1910.
• The
style
encompassed
all
the
design
arts
– architecture,
furniture
and
product
design,
fashion
and
graphics
– and
consequently
embraced
posters,
packages,
and
advertisements;
teapots,
dishes,
and
spoons;
door
frames
and
staircases;
factories,
subway
entrances,
and
houses.
• Art
nouveau’s identifying
visual
quality
is
an
organic,
plantlike
line.
Freed
from
roots
and
gravity,
it
can
either
undulate
with
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.
• The
term
art
nouveau
arose
in
a
Paris
gallery
which
opened
in
1895
as
the
Salon
de
l’Art Nouveau.
In
addition
to
Japanese
art,
“new
art”
by
European
and
American
artists
was
displayed
and
sold
there.

44. Jules
Chéret
Poster
Palais de
Glace
(Ice
Palace)
1893

45. Jules
Chéret
Poster,
Lithography
Palais de
Glace
(Ice
Palace)
1893
• Chéret is
known
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
• He
achieved
graphic
vitality
with
bright
colors,
and
subtle
overprinting
allowed
an astonishing
range
of
colors
and
effects.
• As
with
many
of
Chéret’s larger
posters,
it
was
necessary
to
print
it
in
two
sections
• His
typical
composition
is
a
central
figure
in
animated
gesture,
surrounded
by
swirls
of
color,
and
bold
lettering
• The
beautiful
young
women
he
created
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.

46. Aubrey
Beardsley
“The
Eyes
of
Herod”
Illustration
for
Oscar
Wilde’s
Solomé
1894

47. Aubrey
Beardsley
“The
Eyes
of
Herod”
Illustration
for
Oscar
Wilde’s
Solomé
1894
• Aubrey
Beardsley
(1872
– 98)
was
a
British
cult
figure
who
was
intensely
prolific
as
an
illustrator
for
five
years
before
dying
of
tuberculosis
at
age
twenty-­‐six.
• Beardsley
was
inspired
by
both
William
Morris’s
work
and
Japanese
block
prints,
but
Morris
believed
that
Beardsley
had
vulgarized
his
design
ideas
and
considered
legal
action
against
him.
• Beardsley
used
flat
shapes
and
contour
lines
• In
1894
Oscar
Wilde’s
Solomé received
widespread
notoriety
for
the
obvious
erotic
sensuality
of
Beardsley’s
illustrations.
• Late
Victorian
English
society
was
shocked
by
this
celebration
of
evil
and
his
work
was
banned
by
English
censors.

48. Théophile-­‐Alexandre Steinlen
Poster,
“Tournée du
Chat
Noir
de
Rudolphe Salis”
1896

49. Théophile-­‐Alexandre Steinlen
Poster,
“Tournée du
Chat
Noir
de
Rudolphe Salis”
1896
• Steinlen was
a
Swiss-­‐born
French
Art
nouveau
illustrator
who
was
particularly
prolific
in
the
1880s
and
1890s.
• His
work
includes
over
2,000
magazine
covers
and
interior
illustrations,
nearly
200
sheet-­‐music
covers,
and
over
100
book
illustration
assignments,
and
36
large
posters
• His
first
commissions
were
cat
drawings
for
Le
Chat
Noir
(The
Black
Cat),
a
famous
nightclub
in
Paris
believed
to
be
the
home
of
modern
cabaret.
• Rudolphe Salis was
the
creator,
host,
and
owner
of
the
famous
club

50. Alphonse
Mucha
Poster
for
Job
cigarette
papers
1898

51. Alphonse
Mucha
Poster
for
Job
cigarette
papers
1898
• Alphonse
Mucha (1860
– 1939)
was
a
Czech
artist
who
studied
and
worked
in
France.
• During
his
career,
he
created
graphics,
furniture,
carpets,
stained
glass
windows,
and
manufactured
objects.
• Mucha was
inspired
by
the
Arts
and
Crafts
movement
and
18th Century
French
Rococo
style
• His
graphic
work
often
includes
a
female
figure
with
stylized
hair
patterns
and
surrounded
with
stylized
forms
derived
from
plants
and
flowers,
Moravian
folk
art,
and
Byzantine
mosaics

52. Will
Bradley
Poster
and
cover
for
the
Chap
Book
1895

53. Will
Bradley
Poster
and
cover
for
the
Chap
Book
1895
• British
and
French
graphic
art
joined
forces
to
invade
America
starting
in
the
late
1880s
• William
H.
Bradley
(1868
– 1962)
apprenticed
as
an
engraver
and
worked
as
a
typographic
designer
in
Chicago.
Later,
he
was
an
art
director
of
magazines
and
in
advertising
• Bradley
was
influenced
by
the
work
of
William
Morris.
• In
1894,
Bradley
became
aware
of
Beardsley’s
work
which
lead
him
to
use
flat
shapes
and
stylized
contour.
• In
1895,
after
a
visit
to
the
Boston
Public
Library,
Bradley
studied
its
collection
of
chapbooks,
small
books
from
colonial
New
England
named
after
chapmen,
the
traveling
peddlers
who
sold
them,
and
then
wrote
and
designed
his
own
series
of
12
books.

54. Edward
Penfield
Poster
for
Harper’s
1897

55. Edward
Penfield
Poster
for
Harper’s
1897
• Edward
Penfield
(1866
– 1925)
was
an
art
director
for
Harper
and
Brothers
publications
• His
monthly
series
of
posters
from
1893
–
1898
for
Harper’s
Magazine
were
directed
toward
the
affluent
members
of
society,
frequently
depicting
them
reading
or
carrying
an
issue
of
the
magazine
• Penfield’s
style
includes
contour
drawing
with
flat
planes
of
color
inspired
by
Japanese
prints
• Penfield’s
Harper’s
campaign
was
wildly
successful
and
competitive
publications
commissioned
imitative
designs

56. Henri
van
de
Velde
Poster
for
Tropon
food
concentrate
1899

57. Henri
van
de
Velde
Poster
for
Tropon
food
concentrate
1899
• By
the
1880’s,
Belgian
art
nouveau
became
a
significant
force
• Van
de
Velde,
a
Belgian
architect,
painter,
designer,
and
educator,
synthesized
sources
such
as
Japanese
prints,
French
art
nouveau,
and
the
English
Arts
and
Crafts
movement
• In
1892,
van
de
Velde 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
• In
1889,
he
created
a
poster
for
Tropon,
a
concentrated
food
product
and
rather
than
communicating
information
about
the
product
or
depicting
people
using
it,
he
engaged
the
viewer
with
symbolic
form
and
color

58. Chris
Lebeau,
binding
for
De
stille kracht (The
Quiet
Power),
1900

59. Chris
Lebeau,
binding
for
De
stille kracht (The
Quiet
Power),
1900
• The
introduction
of
batik
as
a
modern
design
medium
was
one
of
the
important
contributions
of
the
Netherlands
to
the
international
art
nouveau
movement
• Batik
had
long
been
a
traditional
craft
for
women
of
the
Dutch
East
Indies
(now
Indonesia)
• The
lush
and
organic
designs
of
Javanese
batik
greatly
inspired
Chris
Lebeau (1878
– 1945)
and
this
flat-­‐pattern
design
soon
evolved
into
a
distinctive
Dutch
style
• In
1900
a
publisher
commissioned
Lebeau to
design
the
binding
for
De
stille kracht,
the
most
heavily
East
Indian
of
all
the
novels
by
the
writer
Louis
Couperus
• The
design
was
created
in
batik
and
then
stamped
in
gold
before
being
made
into
the
binding

60. Peter
Behrens
The
Kiss
Woodcut
1898

61. Peter
Behrens
The
Kiss
Woodcut
1898
• When
art
nouveau
arrived
in
Germany
it
was
called
Jugendstil (youth
style)
• German
art
nouveau
had
strong
French
and
British
influences,
but
it
also
retained
strong
links
to
traditional
academic
art
• Peter
Behrens
(1868
– 1940)
became
known
for
his
large,
multicolor
woodblock
prints
inspired
by
French
art
nouveau
and
Japanese
prints.
• This six-­‐color
woodcut,
with
controversial
imagery
of
androgynous
figures
kissing,
was
first
reproduced
in
Pan
Magazine

62. Adolfo
Hohenstein,
Bitter
Compari poster,
1901

63. Adolfo
Hohenstein,
Bitter
Compari poster,
1901
• At
the
turn
of
the
century,
Italian
posters
rivaled
those
in
France.
• For
twenty-­‐five
years,
the
Milan
firm
of
Giulio
Ricordi,
previously
known
for
publishing
opera
librettos,
produced
most
of
the
masterpieces
of
Italian
poster
design.
• Adolfo
Hohenstein(1854
– 1928),
German-­‐
born
director
of
Ricordi,
known
as
the
father
of
Italian
poster
design.

64. The Glasgow School

65. • The
Glasgow
School
was
formed
by
a
group
of
four
friends
who
had
met
at
the
Glasgow
School
of
Art
in
the
early
1890s,
including
Charles
Rennie
Mackintosh
(1868
– 1928),
J.
Herbert
McNair
(1868
– 1955)
and
two
sisters,
Margaret (1865
– 1933)
and
Frances
Macdonald
(1874
– 1921).
• The
young
collaborators
developed
a
unique
style
of
expressive
originality
and
symbolic
complexity.
They
innovated
a
geometric
style
made
up
of
rectilinear
forms
with
floral
and
curvilinear
elements
added.
Designs
by
“the
Four”
are
distinguished
by
symbolic
imagery
and
stylized
form.
Bold,
simple
lines
define
flat
planes
of
color.
• The
Glasgow
School
was
a
countermovement
to
the
floral
art
nouveau
that
flourished
in
other
parts
of
Europe.
The
work
of
“the
Four”
and
their
influence
became
important
transitions
to
the
aesthetic
of
the
20th
Century.

66. Margaret
and
Frances
Macdonald
with
J.
Herbert
McNair
poster
for
the
Glasgow
Institute
of
the
Fine
Arts,
1895

67. Margaret
and
Frances
Macdonald
with
J.
Herbert
McNair
poster
for
the
Glasgow
Institute
of
the
Fine
Arts,
1895
• The
Macdonald
sisters
held
strong
religious
beliefs
and
embraced
symbolist
and
mystical
ideas.
Their
work
often
involves
the
combination
of
an
architectural
structure
with
a
world
of
fantasy
and
dreams.
• In
a
poster
for
the
Glasgow
Institute
of
the
Fine
Arts,
a
rising
vertical
format
is
used
which
became
a
hallmark
of
their
later
work.
• Another
trademark
of
their
work
is
the
use
of
flowing
curves
within
a
rectangular
structure.

68. Charles
Rennie Mackintosh
Poster
for
the
Scottish
Musical
Review
1896

69. Charles
Rennie
Mackintosh
Poster
for
the
Scottish
Musical
Review
1896
• Abstract
interpretations
of
the
human
figure,
such
as
Mackintosh’s
Scottish
Musical
Review
poster,
had
not
been
seen
in
Scotland
before
and
many
viewers
were
outraged.
• An
editor
at
the
time
published
an
article
about
Mackintosh’s
work
and
wrote,
“The
purpose
of
the
poster
is
to
attract
notice,
and
the
mildest
eccentricity
would
not
be
out
of
place
provided
it
aroused
curiosity
and
so
riveted
the
attention
of
passers-­‐by…There
is
so
much
decorative
method
in
his
perversion
of
humanity
that
despite
all
the
ridicule
and
abuse
it
has
excited,
it
is
possible
to
defined
his
treatment.”
• The
towering
image
on
the
poster
rises
2.5
meters
tall.
Complex
overlapping
planes
are
unified
by
areas
of
flat
color.
The
white
ring
and
birds
around
the
figure
create
a
strong
focal
point.

70. Talwin Morris
Covers
for
the
Red
Letter
Shakespeare
series
1908

71. Talwin Morris
Covers
for
the
Red
Letter
Shakespeare
series
1908
• After
working
in
architectural
offices
and
serving
as
an
assistant
art
director
for
Black
and
White
magazine
in
London,
Talwin Morris
(1865
– 1911)
became
art
director
of
the
Glasgow
publishing
firm
of
Blackie’s.
• Shortly
after
moving
to
Glasgow,
Morris
met
“the
Four”
from
the
Glasgow
School
and
embraced
their
ideas.
• Blackie’s
– a
printer
of
large
editions
of
popular
books
for
the
mass
market
–
provided
Morris
with
a
forum
for
applying
the
geometric
spatial
division
and
lyrical
organic
forms
of
the
Glasgow
group
to
mass
communications.
• The
name
for
this
small,
modestly
priced
set
derives
from
its
two-­‐color
printing
with
character
names
in
red.

72. The Vienna Secession

73. • In
Austria,
the
Vienna
Secession
came
into
being
in
1897
when
the
younger
members
of
the
Viennese
Creative
Artists’
Association
resigned
in
protest.
The
main
issue
was
that
the
VCAA
did
not
allow
foreign
members
to
participate,
but
another
reason
is
that
the
young
artists
wanted
to
exhibit
their
work
more
frequently
and
they
were
forming
new
ideas
that
were
non-­‐traditional.
(Secession
means
to
formally
withdraw
from
membership
of
a
group)
• Like
the
Glasgow
School,
the
Vienna
Succession
was
a
countermovement
to
Art
Nouveau.
The
Vienna
Secession
drew
inspiration
from
the
Glasgow
School.
• Gustav
Klimt
(1862
– 1918),
Joseph
Maria
Obrich (1867
– 1908),
Josef
Hoffmann
(1870
– 1956)
and
Koloman Moser
(1868
– 1918)
were
key
members.

74. Gustav
Klimt
Poster
for
the
first
Vienna
Secession
Exhibition
1898

75. Gustav
Klimt
Poster
for
the
first
Vienna
Secession
Exhibition
1898
• In
the
first
Vienna
Secession
exhibition
poster,
Klimt
referred
to
Greek
mythology
to
show
Athena,
goddess
of
the
arts,
watching
Theseus
deliver
a
deathblow
to
the
Minotaur.
Athena
and
her
shield,
which
depicts
Medusa,
form
a
simultaneous
profile
and
frontal
symbolic
image.
This
is
an
allegory
of
the
struggle
between
the
Secession
and
the
Viennese
Creative
Artists’
Association
• Certain
“parts”
of
the
male
nude
figure
were
later
covered
with
an
image
of
a
tree
after
it
had
outraged
the
Vienna
police,
but
this
controversy
only
fueled
public
interest
in
the
artists’
revolt.

76. Koloman Moser
Cover
design
for
Ver Sacrum
1899

77. Koloman Moser
Cover
design
for
Ver Sacrum
1899
• Ver Sacrum
(Sacred
Spring)
published
from
1898
to
1903,
was
a
Vienna
Secessionist
magazine
with
a
continuously
changing
editorial
staff
with
design
responsibilities
handled
by
a
rotating
committee
of
artists,
and
unpaid
contributions
of
art
and
design.
• The
magazine
had
an
unusual
square
format
(28
x
28.5
cm)
with
hand-­‐lettering
and
bold
line
drawings
printed
in
color
on
a
colored
background.
Decorative
elements
were
used
generously.
• Experimentation
of
printing
techniques
(gold
text
on
translucent
paper,
white-­‐on-­‐white
embossed
design,
photographs
printed
in
red
ink,
etc.)
• The
designers
explored
the
merger
of
text,
illustration,
and
ornament
into
a
lively
unity.

78. Koloman Moser
Illustration
of
a
duchess
and
a
page
for
Rainer
Maria
Rilke’s
poem,
“Vorfrühling”
(Early
Spring)
from
Ver Sacrum
magazine,
1901

79. Personal
monograms
by
various
Secession
artists,
1902

80. Personal
monograms
by
various
Secession
artists,
1902
• Each
artist
of
the
Vienna
Secession
created
their
own
personal
monogram,
including
Gustave Klimt
(second
row
center)
and
Koloman Moser
(third
row
right)
• The
designs
convey
a
communal
aesthetic,
but
the
various
member
were
working
in
a
variety
of
disciplines
including
architecture,
graphic
deign,
interior
design,
painting,
printmaking,
and
sculpture
• Monograms
designed
by
Secession
artists
were
printed
in
a
1902
catalogue