DOCSLIB.ORG

History of Graphic Design Chapter 1 the Invention of Writing Use Tool

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History of Graphic Design Chapter 1 the Invention of Writing Use Tool History of Graphic Design chapter 1 The invention of writing Use tool was a major step in the human species journey form a primitive to an organize state«. Pictographs: the animals painted on caves. Elementary sketches, the dawning of visual communication. Cuneiform: Petroglyphs and ideographs: petroglyphs: carved or scratched signs or simple figures on rock. Ideographs: many petroglyphs can also be pictographs or ideographs, which are symbols to represent ideas or concepts. The cradle of civilization: Ancient Mesopotamia The Sumerian influence Evolution of writing: Pictographs Cuneiform Rebus writing Difficult to learn Writing elevated« Libraries Literature Sense of history Standardization of weights and measurements Law Hammurabi¶s code Mesopotamian visual identification: Mesopotamian Cylinder seals. Egyptian hieroglyphs: Egyptian rebus: represent of picture and sounds The Rosetta ston Papyrus and writing: writing on one side with olive oil. Major step in visual communication Scribes Illustrated manuscripts: Egyptians also combined words and pictures to communicate information Egyptian visual identification: Scarabs Conclusion: 3000 years chapter 2 The alphabet: a set of visual symbols of characters used to represent the elementary sounds of a spoken language. North Semitic alphabet: Semite: a member of a number of people of ancient SW Asian including akkadians, Phoenicians, Hebrews and Arabs. Semitic refers to the language family« Aramaic alphabet: origin from syria First used by the tribes from Aram Become d Dominant in the near East Predecessor to modern Arabic and Hebrew. Hebrew and Arabic languages: Square Hebrews to Modern Hebrew kufic Naskhi Aramic and India The Greek alphabet: Greek civilization King Cadmus of Phoenicia Votive stela Boustrophedon: reading left to right, right to left. Uncials: rounder writing with all caps«. The Latin alphabet: The rise of Rome Roman serifs The Latin alphabet: Capitalis Quadrata Capitalis rustica: no space, even on wall writing Wall writing Parchment and vellum: cattle or cat skin. Vellum. Codex: a early book Conclusions: alphabetic writing slowly transformed western society. Alphabetic writingwas easy to learn and literacy was put with in reach of ordinary people, in contrast tothe Egyptian and Mesopotamian cultures. Chapter 3 Chinese contribute: Relief printing block print Invention of paper Chops Calligraphy: A purely visual language Invented by Ts-an Chieh Logogram: A graphic character or sign that represents an entire word Early forms of Chinese calligraphy: four phases Chia-ku-wen: bone or shell script Chin-wen: bronze script: food Hisao chuan Chen-shu Chinese calligraphy: Bone-size authority Blood texture of ink Muscle ±spirit or vital force The invention of paper: Invented by ts¶ai lun His process for making paper stayed almost unchanged until nineteenth-century England mechanized it. The discovery of printing: Relief printing: parchment. Chops: made out of jade, ivory, silver, or gold. For legal document, contrast, and trade. Ink rubbings: Currency and religious texts Confucian classics and playing cards Moveable type: Invented around 1045 AD. Chapter 4 Two great traditions of manuscript illumination: combined detailed typography with pictures, color, and used presets material: gold, silver, leather, and jewel. Eastern in Islamic country Western in Europe Scriptorium: Scrittori= art director Copist=letterer Illustrator=illuminator The classical style: Vatican Vergil: collection of poetry by Publius Vergillius Maro The medieval era: The 1000 year medieval era lasted from the 5 th century fall of Rome to the 15th century renaissance. Celtic design: use 3 ornamental design with borders, carpet pages, geometric. The book of Durrow : 680 AD. The book of Durrow is the earliest fully designed and ornamented Celtic book Lindisfarne gospels 680-720AD: carpet pages Interlaces :geometric design made up of ribbon lacertines: animals Book of kells :800AD . Detail of a hare and hound(dog). used spaces between books The Caroline graphic renewal: Developed by the king of Franks Charlemagne. He unified writing, lower cap, and readability, page layout, punctuation further developed. Spanish pictorial expressionism: combined Islamic design with Christian tradition Romanesque and gothic manuscripts: letters were very conde nsed, emphasis on linear drawing, distorted figures. The Romanesque period THE GOTHIC PERIOD 1150-1300AD: Textura: text are dark, heavy, no space. The Douce apocalypse: 1265AD The ormesby psalter-1300¶s Judaic manuscripts: encouraged artstic creativity for educational reason, or adorn religious objects. Haggadot: Islamic manuscripts: Koran Aniconish Islamic society believed that to make a representation n of a living thing was wrong, only god could create life and we as mortals should not make.. Persian artists Chapter 5 Printing comes to Europe Xylography: t t i lt t li i ti i t t i i t i i Typography: i t t i ti t t i t l l it t l i i l tt t ¤ ¡ £ £ W ¢ m : t l t l ¥¦ ¤ © ¤ ¨ §§ § : t i t it li i j t ¥¦ ¤ ¡ £ ¨ § : it i ti ti ¦ ¡ £ £ § ¢ ¢ ¢ i ti i i i t Type punch: engraved each character in the font small and capital letters, number, punctuation, ligatures into the tope of a steel bar Type matri :a soft copper or brass to make a negative impression of the letterform. Type mold: to cast individual letter. European block printing Devotional prints of saints Grotesques In art a grotesque is a decorative form with interlaced garlands and strange animal figures. Popular 1250 through the 15th century The ars moriendi Manual on the art of dying. Moveable t pe and Johann Gutenberg 1450 the first book printed in printing press: bible ype mold he Gutenberg bible 11.75x15 inch, 42line bible, 2 Columns, 2500 characters, 1282 pages Colophon: end of the book. Psalter in Latin was the first book with colophon. Chapter 6 the German Illustrated Book Typography is the major communications advance between the invention of writing and 20th century mass electronic communication. Incunabula : the cradle or body¶s linen or beginning caused 17th century book makers to adopt it as a name for books printed from Gutenberg¶s invention of typography to the end of 15th century 1450-1500 Albrecht pfister 1460AD became to illustrated book. Nuremberg becomes a printing center: ³Nuremberg chronicle ´ made by Anton Koberger with Latin and roman language. Exemplars: handmade model layouts and manuscript texts used as guides for woodcut illustrations, typesetting, page design, and creation of books. Albrecht durer: publish Latin and German book´ the four horseman of the apocalypse´ ³ The Life of the Virgin´ his books were an example of his mastery in the use of line as tone. ³Rhinoceros broadside´ ³a course in the art of measurement with compass and ruler 1525´ geometric, Broad of martin luther. Designed marked first step roman typographic that based on humane italic script William Caxton created first English language book: the game and player of chesse. 90 books. Woodcut from Canterbury tales. Spanish style ³Great works´ White on black Broadsheet: Broadside: Chapter 7 Renaissance Graphic Design 1. Renaissance: revial, rebirth. Type design, page layout, illustration 2. Ars Moriendi: the art of dying. Italian style. 3. die cut 4. fleuron 5. humanism 6. can-celleresca 7. renaissance man 8. caracteres de civilte 9. crible Nicolas: his font is extremely legible, but it was the spacing between the letters that was the genius of his work. 150 books Erhard ratdolt: Calendarium (record book) He renaissance loved floral decoration. Elements of geometry 1482 Ars Moriendi: the art of dying. Italian style. Giovanni and Alberto Alvise. 1st book believed to have fleuron. Renaissance humanism: was a philosophy of human dignity and worth that defined man as capable of using reason and scientific inquire to achieve both an understanding of the world and self meaning. Aldus Manutius: printer Francesco da bologna-aka griffo: art designer. They created the type Bembo at 1495 is still used today. The dream of poliphilus. Vergil¶s Opera: The first book set in italic font, which is modeled after can- celleresca , a slanted handwriting style favored by scholars. Renaissance men: Geoffrey Tory loved letterform. Pot Casse : his trademark of his ten years old died daughter. Illustrated crible technique: tiny dots at background to add unity. Book of Hours:1525 Champ Fleury: ideas of proportion of letterform. Claude Garamond: was the first punch cutter to work independently of printing firms. He virtually eliminated Gothic style from Europe. Robert Granjon: developed character de civillite: the first book of fabulous stories. Christophe Plantin: his contribution to .. The Whole Book of Psalms: first book to north America. Chapter 8 Romain du roi:1692, transitional type style. quare grid. Frech king. Two people created this type: Philippe Grandjean- punchcutter. Louis Simonneau- engraver. Romain du roi initiated a category of type called transitional roman of antiques. The calligrapher was replace by the engineer Rococo era Rococo related to the fanciful French art and architecture that flourished from about 1720 to 1770 Characteristics: fluid and intricate and composed of a and c curves with scrollwork, tracery and plant forms derived from nature classical, oriental art and medieval sources. Light pastel color.. Pierre simon fourier le jeune.: established the first type family. Regular, bold ,italic. He had the most the impact in this area, the book ³ manual of typography´ Engraving Business card: calling card. William
Load more

Recommended publications
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • Liz Falletta ______
    Liz Falletta _____________________________________________________________________________________ CONTACT University of Southern California Phone: (213) 740 - 3267 INFORMATION Price School of Public Policy Mobile: (323) 683 - 6355 Ralph and Goldy Lewis Hall, 240 Email: [email protected] Los Angeles, CA 90089-0626 Date: January 2015 TEACHING University of Southern California, Los Angeles, CA APPOINTMENTS Price School of Public Policy Associate Professor (Teaching), July 2014 – present Assistant Professor (Teaching), January 2009 – May 2014 Clinical Assistant Professor, July 2007 – December 2008 Lecturer, June 2004 – June 2007 Iowa State University, Ames, IA College of Design, Department of Architecture Visiting Lecturer, January 2003 – May 2003 University of California Los Angeles, Los Angeles, CA School of Architecture and Urban Design Co-Instructor (with Mark Mack), October 2002 – December 2002 Southern California Institute of Architecture (SCI-Arc), Los Angeles, CA Instructor, August 2000 – December 2000 Associate Instructor, June 2000 – August 2000 EDUCATION University of Southern California, Los Angeles, CA Master of Real Estate Development, 2004 Southern California Institute of Architecture, Los Angeles, CA Master of Architecture, 2000 Washington University, St. Louis, MO Bachelor of Arts in Architecture, Philosophy Minor, magna cum laude, 1993 COURSES University of Southern California TAUGHT Price School of Public Policy Design History and Criticism (RED 573), Summer 2004 – present Community Development and Site Planning (PPD
    [Show full text]
  • Introduction
    Introduction One way to understand the ongoing amplification and extension of design is to see how it is being driven by market and societal demand. With a public that is familiar with design thinking and social design, there is a kind of design renaissance today where those who are not necessarily from within the design community see its value. This “pull” that design currently enjoys is evident in several ways: those working in consultancies are adding a more Downloaded from http://direct.mit.edu/desi/article-pdf/36/2/1/1716215/desi_e_00584.pdf by guest on 26 September 2021 balanced approach to traditional business-heavy perspectives at the request of more sophisticated clients; those in corporations are building in-house design capabilities to meet the needs of their internal constituents; and those working in and for non-profits are translating and facilitating authentic insights regarding the underserved who desire to be engaged in more humane and equi- table ways. There is another way that design continues to expand and it is through its own “push” mechanism. It is a healthy sign when a discipline—not seeking to rest on its own laurels—takes on a con- tinuous and collective reflection-in-action. Like the concept of a learning organization, designers are busy pushing beyond their own set of boundaries, approaching design itself as a learning dis- cipline where action and course correction are constantly at play. The authors in this issue, adopting the latter approach to developing design, push themselves and the discipline beyond the status quo. Though they use different terms to describe the idea of incompleteness and the opportunity to expand, their message is uniform: design is but one dimension in our complex world and yet it serves an important function in the shaping of larger wholes.
    [Show full text]
  • Narrative Problems of Graphic Design History
    233 Victor Margolin Narrative Problems of Graphic Design History The problem of method in the construction of narratives is particularly acute in the field of graphic design history. Various publications have brought attention to the subject of graphic design history, but have not marked a course for the full explanation of how graphic design developed as a practice. Three major texts by Philip Meggs, Enric Satue and Richard Hollis address the history of graphic design, but each raises questions about what material to include, as well as how graphic design is both related to and distinct from other visual practices such as typography, art direction and illustra­ Victor Margolin is associate professor tion. The author calls for a narrative strategy that is of design history at the University of Illinois, Chicago. He is editor of more attentive to these distinctions and probes more Design Discourse: History, Theory, deeply into the way that graphic design has evolved . Criticism, author ofThe American Poster Renaissance and co-editor of Discovering Design : Explorations in Design Studies (forthcoming). Professor Margolin is also a founding editor of the journal Design Issues. University of Ill inois, Chicago School of Art and Design m/c 036 Chicago Illinois 60680 Visible Language, 28:3 Victor Margolin, 233·243 © Visible Language, 1994 Rhode Island School of Design Providence Rhode Island 02903 234 Visible Language 28.3 Narrativity becomes a problem only when we wish to give real events the form of a story.' Introduction In recent years scholars have devoted considerable attention to the study of narrative structures in history and fiction.
    [Show full text]
  • Modern Architecture & Ideology: Modernism As a Political Tool in Sweden and the Soviet Union
    Momentum Volume 5 Issue 1 Article 6 2018 Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union Robert Levine University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/momentum Recommended Citation Levine, Robert (2018) "Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union," Momentum: Vol. 5 : Iss. 1 , Article 6. Available at: https://repository.upenn.edu/momentum/vol5/iss1/6 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/momentum/vol5/iss1/6 For more information, please contact [email protected]. Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union Abstract This paper examines the role of architecture in the promotion of political ideologies through the study of modern architecture in the 20th century. First, it historicizes the development of modern architecture and establishes the style as a tool to convey progressive thought; following this perspective, the paper examines Swedish Functionalism and Constructivism in the Soviet Union as two case studies exploring how politicians react to modern architecture and the ideas that it promotes. In Sweden, Modernism’s ideals of moving past “tradition,” embracing modernity, and striving to improve life were in lock step with the folkhemmet, unleashing the nation from its past and ushering it into the future. In the Soviet Union, on the other hand, these ideals represented an ideological threat to Stalin’s totalitarian state. This thesis or dissertation is available in Momentum: https://repository.upenn.edu/momentum/vol5/iss1/6 Levine: Modern Architecture & Ideology Modern Architecture & Ideology Modernism as a Political Tool in Sweden and the Soviet Union Robert Levine, University of Pennsylvania C'17 Abstract This paper examines the role of architecture in the promotion of political ideologies through the study of modern architecture in the 20th century.
    [Show full text]
  • Teasley, Sarah. "“Methods of Reasoning and Imagination
    Teasley, Sarah. "“Methods of Reasoning and Imagination”: History’s Failures and Capacities in Anglophone Design Research." Theories of History: History Read across the Humanities. By Michael J. Kelly and Arthur Rose. London: Bloomsbury Academic, 2018. 183–206. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781474271332.ch-010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 02:53 UTC. Copyright © Michael J. Kelly, Arthur Rose, and Contributors 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 10 “Methods of Reasoning and Imagination”: History’s Failures and Capacities in Anglophone Design Research Sarah Teasley This chapter critically explores the place of history as concept and practice within the field of design research, past and present. Design, today, refers to a spectrum of practices varying widely in medium, scale, and application. Alongside famil- iar forms such as architecture, fashion, interiors, graphic, product, industrial, textile, engineering, and systems design and urban planning, practices such as interaction design, service design, social design, and speculative critical design have emerged in the past decade, alongside new forms of technology, new inter- faces, new economic and political landscapes, and new ideas about the roles that design can play in society and the economy.1 In its expanded practice, design shapes, creates, and implements material and immaterial artefacts, not only the buildings, chairs, and garments familiar to us as “design” but public policy, cor- porate strategy, and social behavior.2 On a more abstract level, design is both verb and noun, both action and the product of action.
    [Show full text]
  • School of Industrial Design Automotive Restoration Program
    FOUNDED IN SAN FRANCISCO 1929 BY ARTISTS FOR ARTISTS School of Industrial Design Featured Program: Automotive Restoration 1 Academy of Art University has helped to open students’ eyes and has given them the vision necessary to see and create art, and make a life of art. What we do here is enable students to create, and that’s what we’ve been doing since 1929. There is an industry demand for entry level Automotive Restorers, and most programs lack the historical restoration and preservation elements necessary to restore vintage vehicles. Our program will not only focus on technology, but it will also provide instruction for building the unique skillsets, historical knowledge, and research skills required for replicating historically authentic classic cars. Vintage vehicle restoration is unique in that it requires parts to be repaired or reproduced because many cannot be purchased or refurbished from a factory. For this reason, our new Automotive Restoration program will train for hands-on skills and machining technology, while also covering the critical component of history and research processes for repairing parts or creating historically accurate components for authenticity. Car collectors place a high value on historical preservation because original parts have more historical significance and also increase the value of a car. Our students will receive training on how to evaluate a component and determine if it must be fabricated or if it can be repaired. The School of Industrial Design has the facilities and a long tradition of excellence in production, analysis, and research, which will be leveraged to support this new program.
    [Show full text]
  • From Product Design to Design for System Innovations and Transitions
    Evolution of design for sustainability: From product design to design for system innovations and transitions Fabrizio Ceschin, Brunel University London, College of Engineering, Design and Physical Sciences, Department of Design, Uxbridge UB8 3PH, UK Idil Gaziulusoy, University of Melbourne, Melbourne School of Design, Victorian Eco-innovation Lab, Carlton, VIC 3053, Melbourne, Australia, Aalto University, Department of Design, School of Arts, Design and Architecture, Helsinki, Finland The paper explores the evolution of Design for Sustainability (DfS). Following a quasi-chronological pattern, our exploration provides an overview of the DfS field, categorising the design approaches developed in the past decades under four innovation levels: Product, Product-Service System, Spatio-Social and Socio-Technical System. As a result, we propose an evolutionary framework and map the reviewed DfS approaches onto this framework. The proposed framework synthesizes the evolution of the DfS field, showing how it has progressively expanded from a technical and product-centric focus towards large scale system level changes in which sustainability is understood as a socio- technical challenge. The framework also shows how the various DfS approaches contribute to particular sustainability aspects and visualises linkages, overlaps and complementarities between these approaches. Ó 2016 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/). Keywords: design for sustainability, innovation, product design, design research, literature review he famous Brundtland Report coined one of the most frequently cited definitions of sustainable development in 1987 as ‘development that Tmeets the needs of the present without compromising the ability of future generations to meet their own needs’ (World Commission on Environ- ment and Development (WCED, 1987: p 43)).
    [Show full text]
  • Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century
    Keith Tam 62 Calligraphic tendencies in the development of sanserif types in the twentieth century Abstract Dissertation submitted in Sanserif typefaces are often perceived as something inextricably linked partial fulfillment of the to ideals of Swiss modernism. They are also often thought of as some- requirements for the thing as far as one can get from calligraphic writing. Yet, throughout Master of Arts in Typeface Design, University of the twentieth century and especially in the past decade or so, the design Reading, 2002 of sanserif typefaces have been consistently inspired by calligraphic writing. This dissertation hence explores the relationship between calli- graphic writing and the formal developments of sanserif typefaces in the twentieth century. Although type design is an inherently different dis- cipline from writing, conventions of calligraphic writing did and still do impose certain important characteristics on the design of typefaces that modern readers expect. This paper traces and analyzes the formal devel- opments of sanserif typefaces through the use of written forms. It gives a historical account of the development of sanserif typefaces by charting six distinct phases of sanserif designs that were in some ways informed by calligraphic writing: • Humanist sanserifs: Britain 1900s • Geometric sanserifs: 1920s–30s • Contrast sanserifs: 1920s–50s • Sanserif as a book type: 1960s–80s • Neo-humanist sanserifs: 1990s Three primary ways to create calligraphic writing, namely the broadnib pen, flexible pointed pen and monoline pen are studied and linages drawn to how designers imitate or subvert the conventions of these tools. These studies are put into historical perspective and links made to the contexts of use.
    [Show full text]
  • Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
    Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard
    [Show full text]
  • Cadernos De Tipografia Nr.6 Fevereiro 2008 Página 1
    Cadernos de Tipografia 6 Made in USA — Part 1 — Cadernos de Tipografia Nr.6 Fevereiro 2008 página 1 CT6 – Temas aros leitores! Pela selecção de temas deste CCa derno de Tipografia – e também do Made in USA, Parte 1. seguinte – rapidamente verá que esta edição foi As letras que vieram da publicidade ...............3 consagrada a uma apresentação da Tipografia A Cromolitografia expulsa os «made in USA». Este tema de grande fôlego só tipos de chumbo ................................................. 6 pode ser abordado por um patchwork de aponta- Fundamentalistas protestantes, mentos soltos, que, no melhor dos casos, servirão pioneiros do design contemporâneo ............10 para o leitor poder construir a sua própria imagem Os móveis Shaker: paradigmas da evolução da Tipografia nos EUA. Junto com do Modernismo ................................................13 os temas tipográficos poderá ler duas excursões a Benjamin Franklin, tipógrafo ........................17 temas do Design (pág. 10-16). Neste CT 6 reuni- Frederic Wiliam Goudy .................................20 mos temas até 1930-40; o seguinte Caderno fará o Linotype: a composição mecaniza-se ..........23 inventário até aos criadores contemporâneos. A Monotype de Tolbert Lanston ..................25 Mas então existirá o «quintessential American Linn Boyd Benton .......................................... 27 font», com já foi perguntado no site typophile? Morris Fuller Benton ......................................29 Claro que sim, existem várias fontes «tipicamente A fonte Broadway
    [Show full text]
  • The State of Design History As a Discipline Denise Whitehouse
    ã 2017 dharn.org.au, All Rights Reserved http://dharn.org.au/the-state-of-design-history-as-a-discipline/ The State of Design History as a Discipline Denise Whitehouse Design History is a new field of knowledge that has developed in the international academy as a scholarly discipline during the last forty years. Its emergence within universities during the 1970s and 1980s was the product of an era of dynamic cultural and economic change that stimulated intellectual interest in design as a mode of cultural and economic production and created an increased demand for qualified designers to work in new and expanding specializations. As Dilnot (1) asserts the post war expansion of capitalism and the explosion of popular culture and mass consumerism was pivotal to the institutionalization of design as a professional practice and academic discipline and with this the intellectualization of the history of design. First generation design historians tell of how the impetus to develop design history came from the impact of these changes on design education, which stimulated an acute need for a history that in defining and explaining how design as we know it came into being also identified its subject, players and manifestations (2). The postwar elevation of Design (‘Design’ here meaning a specialist practice, profession and disciplinary field) to degree, postgraduate and research status within universities having created a demand for contextual studies that dealt not, as in the past with art and architecture, but with design as a field of knowledge in its own right. The challenge, therefore, was to rescue the history of design from the margins of the modernist historiography’s grand narratives of art, craft and architecture as exemplified by Nikolaus Pevsner’s Pioneers of Modern Design (3), and create a new history, which Dilnot (4) advocated in his vision statement, ‘The State of Design History’ would explore the boundaries of what design is and could be.
    [Show full text]