• Calligraphic qualities, small,angled, and course wedged-shaped bracketed serifs, and relatively even stroke weights.
• Often have concave bases and small x-height.
• In the round stroke the stress is diagonal, or oblique, as the design mimics the handheld angle of pen nibs of the scribe.Top ascenders often exceed the height of capitals,

• d.1470
• A Mainz goldsmith who was given a 5 year monopoly on printing in Venice. He published the 1st book "Letters to Friends" in 1469 by Cicero.
• His roman type cast off some of the gothic type found in Sweynheym and Pennartz. He claimed it was an original and managed to restrict it to his own personal use until his death in 1470.
• His 1470 edition of Hippo's De Ciuitate Dei is the 1st book with printed # pages. The vertice stress and sharp angles of textura evident in Sweynheym and Pennartz's fonts yielded to an organic unity of horizontal, vertical, diagonal, and circular forms.

• 1480-1561 He was a French type designer and punch cutter during the Italian Renaissance (1400-early 1600s)
• 1st punch cutter to work independently of printing firms. His roman typeface were so perfect that French printers in the 16th century were able to print books of extraordinary legibility and beauty. He is credited w/ eliminating Gothic styles from all over Europe, except Germany.

• 1692-1766. He was an English genius that created his type during the Rococo period. His typeface is popular b/c their regularity, legibility, and sensitive proportions constituted a remarkable achievement in design.
• His type consist of Old Style yet it was not considerably fashionable, rather "comfortable" and "friendly" to the eye. He increased constrast of the thick and thin stroke by making the latter heavier.
• His fonts have a variety of designs, giving them an uneven rhythmic texture that adds to their visual interest and appeal.

• Started in the cusp of the 17th century.
• Characterized by vertical or almost vertical stress in the bowl, greater contrast btwn strokes, and more horizonal serifs. These symbolized breaks w/ the calligraphic traditions of Old Style.
• Romain du Roi, Baskerville, and Fournier le Jeune have all the same characteristics of transitional type.

• 1705-75. As a English master writing teacher and stonecutter, he created type that was the bridge btwn Old Style and Modern type. His type were wider, had increased constrast in stroke weights, the placement of the thickest stroke was different, and the serifs flowed smoothly out of the major stroke into a finer point.
• Where everyone else followed the designs of the Rococo sensibility, he wanted to create a more typographic book.
• He was a manufacture of Japanese ware with frames, boxed, clocks, cases, and trays made from thin sheets of metal and decorated w/ handmade fruits and flowers.
• He designed, cast, and set type, improved the printing press with his new inks of boiled linseed oil and smooth paper achieved by hot-pressing.
• His type was not popular in the British Isles however it did gain popularity elsewhere, and it influenced many others like Giambattista Bodoni in Italy, and the Didot family in Paris.

• Defines a new category of roman type first described by Fournier le Jeune's Manual of Typography about Bodoni's work.
• Its characterized by thin straight hairline serifs, even more increased contrast in stroke weights, taller and more geometric appearance, lighter texture, and unbracketed serifs. It also has vertical axises and horizontal stresses and smaller apertures.
• There characters were more stiff, but they are elegant. They are unhurried, calm,and in control. They dont lead our eyes across the page but rather up and down.

• 1740-1813. He led the way in evolving new typefaces and page layout. His work was strongly influenced by Le Jeunes Rococo style work. He achieved and inprecedented level of technical refinement, allowing him to produce letterforms w/ very thin "hairlines," standing sharp contrast to thick and thin strokes.
• He redesigned the roman letterform to give them a more mathematical, geometric, and mechanical appearance. His modern type was a concept of the emerging Industrial era of the machine.
• Like Baskerville, earlier ornate and decorative borders were cast out of this work for the economy of form and efficiency of function.
• Open, simple page design w/ generous margins, wide letter-and line spaces, and large areas of white space became his trademark.

Didot Family

• French family of printers, punch cutters, and publishers that hand many achievements in printing, publishing, and typography.
• Their constant experimentation w/ size led to the maigre (thin) and gras (fat) type style which is similar to the condensed and expanded fonts of today.
• Francois-Ambroise Didot revised Le Jeune's point system and created his own.
• Firmin Didot invented stereotyping which involves casting a duplicate of a relief printing's surface by pressing a molding material against it to make a matrix. His type was even more mechanical and precise than Bodoni's.
• They used their extravagant folio editions and stereotype process to produce much larger editions of economical books for a broader audience.

Pierre Simon Fournier le Jeune

• 1712-68. At 24 he estab. his own independant type design and foundry operation.
• In 1737 Fournier le Jeune pioneered standardization when he published his first table of proportions for type measurement which could be the basis of out "point" system today.
• His variety of weights and widths initiated the idea of a “type family” of fonts that are visually compatible and can be mixed.
• Created a type specimen book (Models of Printing Characters) that presented all his characters available for purchase
• His type was influenced by the Rococo period and intergrated many fleurons in his work.
• He created a Manual of Typography(1764-68).

  Fournier le Jeune planned a four-volume  book but produced only two volumes: Type, Its Cutting and Founding, in 1764, and Type Specimens in 1768. He did not live to complete the other two volumes, one on printing and one on the great typographers’ lives and work.

• d.1785. He began the trend of sand casting large, bold display types as early as 1765. There were as large as 12 lines of Pica.
• His designs led to the inventions of Fat Faces, a major category of type design innovated by his successor and pupil Robert Thorne. They were roman face who contrast and weight have been increased by expanding the thickness of the heavy stroke.

Industrial Era (1760-1840)

• 1771-1834. A Bavarian author and inventor of lithography. He invented it between 1796-98. He was seeking a cheaper way to print his own work by experimenting w/ etched stone and metal reliefs.
• He created a "complete textbook of lithography" in 1818. The image is neither raised or incised, rather it is formed on the flat plane of the stone.
• It was based on the principle that oil and water don't mix. An image is drawn on a stone w/ oil-based substance. Water is dispersed over the surface which is repelled by the oil. Oil-based ink is rolled over the image and a printing press is used to transfer the image to paper.
• He predicted that one day the process of multicolor lithography would be perfected to allow production of paintings.

Industrial Revolution (1760-1840)

• In 1800 he constructed a printing press made up of all iron parts. A process which radically altered printing during the Industrial era. It required only a 1/10 of the original manual force needed to print with the wooded presses, and he could print a sheet double the size.

Industrial Era (1760-1840)

• 1766-1844. Apprenticed to Joseph Jackson, he estab. his own type foundry and built up his own reputation for type design. He designed and cast a complete range of romans and began to produce scholorly and foreign faces.
• His 1815 printing specimen slows a full range of modern styles, and antiques (Egyptian), the second major innovation of the 19th century type design. They conveyed a bold, mechanical feeling thru slablike rectangular serifs, even weight throughout the letter, and short ascenders and descenders.
• His specimen book also presented the 1st 19th century Tuscan-style type characterize by serifs that are extended and curved which were put thru an astounding range of variations. It also shows styles that projected the illusion of 3D.

Industrial Era (1760-1840)

• 1781-1869. He created the 3rd major innovation of the Industrial Era in the early 1800s w/ his own "sans-serif." Published in his 1816 specimen book.
• It was written in the back of his book in one line of medium weight capital letters. It resembled Egyptian fonts w/ serifs removed.
• It was called two line English Egyptian at first by Caslon, and others created their own variation w/ their own name for it. However Vincent Figgins coined it as "sans-serifs" and the name stuck.
• It was not popular until the early 1830s.

Industrial Revolution (1760-1840)

• A German printer who arrived in London to present his plan for a steam-powered printing press. He got his patent in March 1810. It could print 400 sheets/hour, which was 250 sheets/hour more than Charles Stanhope's.
• His invention included a method of inking the paper by rollers rather than hand-inking balls.
• His stop-cylinder stream-powered press could operate much faster. The type form was on a flat bed, which was moved back and forth beneath the cylinder. It rotated over the type carrying the sheet to be printed.
• John Walter II of The Times commission him to build two double-cylinder steam-powered presses. They were much quicker and they created savings in the composing room. They were capable of printing 1100 impressions an hour on larger paper.

Industrial Revolution (1760-1840)

• In 1815 he obtained the patent for printing press using curved stereotype plates wrapped around a cylinder. It could print 2410 impressions, and could be used to print 1200 sheets on both sides.
• The Applegath and Cowper steam-powered multicylinder press commission by The Times could produce 32 impressions for every one of the Stanhope handpress, and the cost of printing plunged, as the size of editions soared.

Industrial Revolution (1760-1840)

• 1799-1806. In 1834 he combined the pantograph and router so that wood type fonts could be reproduced easily. All they had to do was turn in one letter and he could manufacture an entire font based of that sketch.
• This new design of type display was so popular ranging from public posters to traveling circuses, and clothing stores.

Industrial Revolution (1760-1840)

• a German immigrant working in a Baltimore machine shop who achieved the first patent for a type composing machine in 1825
• Perfected in 1886 by Ottmar Mergenthaler; a typesetting machine operated from a keyboard that casts an entire line as a single slug of metal, in order to automatically reset type that was usually done so by hand.
• Books published explanded into other genres such as fiction, biography, technical book, and history w/ the number of book pages mulitplying.

1834-96. Arts and Crafts Movement (1860-1910)

• The leader of the English Arts and Crafts movement.  He wanted people to use high meticulous materials for the purpose of art, not the cheap industrialize materials that were only used for uniformed items.
• Compared to the Victorian designs Morris’s work was more organically  ornate patterning, but they are more simple and clear. His natural patterns acts as if the vine grew naturally, whereas other Victorian work is more “stamplike.”
• Looked back to those in the incunabula period because of their collaboration to create high quality books.

• 1860-1910 in England and spread to the US.
• The Arts and Crafts Movement was an international design movement that reacted against mass production, both the low quality of design and the demeaning conditions under which products were produced.
• They were concerned with the quality of life of "average" ppl, concerned about the declining quality  and craftsmenship of goods, and concerns bout the role of the designer in production.
• The  forms of the Arts and Crafts style were typically rectilinear and angular, with stylized decorative motifs remeniscent of medieval and Islamic design
• Preserving and emphasising the natural qualities of the materials used to make objects was one of the most important principles of Arts and Crafts style. There was no extravagant or superfluous decoration and the actual construction of the object was often exposed. Simple forms were used. The patterns used were inspired by the flora and fauna of the British countryside. The vernacular, or domestic, traditions of the British countryside provided the main inspiration for the Arts and Crafts Movement.

• means “pictures of the floating world” and defines an art movement of Japan’s Tokugawa period (1603–1867).
• During this period of national isolation, Japanese art acquired a singular national character with few external influences.

• Ukiyo-e blended the realistic narratives of emaki (traditional picture scrolls) with influences from decorative arts; scenes from daily life and from “entertainment district” (including erotica). It becomes well known in Europe and U.S. after 1850.  

• Impact: promotes interest in design that emphasizes impressionism and simplicity, instead of detailed depictions.

• Originated in Paris,France. From the 1880s until 1910.
• Taking inspiration from the unruly aspects of the natural world, Art Nouveau influenced art and architecture especially in the applied arts, graphic work, and illustration. Sinuous lines and “whiplash” curves were derived, in part, from botanical studies and illustrations of deep-sea organisms.
• Art Nouveau designers objected to the borrowing of design ideas from the past, and even from other cultures. It was a deliberate attempt to create a new style, free of the imitative historicism that dominated much of 19th-century art and design.
• Art nouveau is a transition from Victorian clutter to modern abstraction & minimalism
• The characteristics of the style included above all the use of the sinuous curved line, together with asymmetrical arrangement of forms and patterns.Art Nouveau designers endeavored to achieve the synthesis of art and craft, and further, the creation of the spiritually uplifting Gesamtkunstwerk (“total work of art”) encompassing a variety of media.

• The movement name means “Youth Style,” named for the influential magazine Jugend (“Youth”), published 1896- 1914.
• Jugendstil graphics often  blended curvilinear stylization with traditional realism.
• Jugendstil art includes a variety of different methods, applied by the various individual artists and features the use of hard lines as well as sinuous curves. Methods range from classic to romantic.

• Netherlands term for “new art” which spanned roughly 14 years between 1892-1906.
• The book was one of the principal expressive media of Nieuwe Kunst. Some special qualities of the movement’s book design are unpredictability, eccentricity, openness, and innovation. It also reflects a love for order and geometry, balanced by a penchant for the primitive and independence from accepted norms.
• Compared to the art nouveau in other european countries, it was more playful and diverse.

• Based in Glasgow, Scotland, about 1890-1910. The school is composed of The Four: Charles Rennie Mackintosh (1868-1928), J. Herbert McNair (1868-1955), Margaret MacDonald (1865-1933), Frances MacDonald (1874-1921). They 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.
• The sisters' work is discribed as feminine, a fairland fantasy, and melancholy.
• The style of their work is more geometrical and linear than British Arts & Crafts works

• 1897-1910: several younger members resign from the Viennese Creative Arts Association, protesting the group’s focus on traditional fine art.
• They were concerned w/ exploring the possibilities of art outside the academic tradition. They hoped to create a new style that owed nothing to historical influence.
• Vienna Secession became a countermovement to the floral art nouveau that flourished in other parts of Europe. hey turned toward flat shapes and greater simplicity.
• The resulting design language used square rectangles, and circles in repetition and combination. Decoration and the application of ornament depended on similar elements used in parallel, non rhythmic sequence.