DOCSLIB.ORG

141 19 Timeline.Numbers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
141 19 Timeline.Numbers 141 Survey 5: Painters and posters (1850 - 1895) 1850-54 1877 c.1890-1915 The Douglas Treaes signed with First William Morris gave lectures on design Art nouveau period Naons on Vancouver Island 1878 1891 1850 BC imposed a “breathing tax” Zippers invented California became the 31st state (U.S.) on Chinese immigrants 1891 1851 1878 Lautrec designed La Gouloue poster Herman Melville’s Eadweard Muybridge published his Moby Dick published photographic moon studies 1891 1851 1879 William Morris founded Kelmsco press The Great Exhibion opened London Thomas Edison invented electric lamp 1892 1852 c.1880-1910 American Type Founders Company established Dr. Livingston lost on Zambezi River Arts and Cra:s period 1892 1852 1881-1885 Portable typewriter invented Singer sewing machine invented CPR built railway from Montreal to Vancouver 1892 1854 1881 Morris published U.S. Commodore Perry forced open The Recuyell of the Historyes of Troye trade with Japan Frederic Ives commercializes Talbot’s halone photomechanical process 1892 1854-c.1900 1882 Eugène Grasset designed covers for Japonisme trend Harpers Magazine The Century Guild formed 1856 1892 1883 Owen Jones’ Lautrec designed Reine de Joie poster The Grammar of Ornament published Arthur Mackmurdo designed bookcover for Wren’s City Churches 1893 1858 1883 Jules Cheret designed Gold rush started on the Fraser River Palais de Glaces poster Eugène Grasset designed 1859 Histoire des Quatre Fils 1893 Charles Darwin’s On the Origin of 1883 Aubrey Beardsley designed book cover Species published for Morris’s Le Morte D’Arthur Robert Louis Stevenson’s 1859 Treasure Island published 1893 First oil well drilled in Pennsylvania 1884 Coca-Cola trademark registered 1861 Art Worker’s guild founded 1893 4 year U.S. Civil War began 1884 William Morris designed Chaucer typeface 1861 London Underground opened 1893 William Morris founded decorang firm 1884 Ford invented the first gasoline engine 1862 Mark Twain’s Huckleberry Finn published 1894 Thomas Nast joined Harper’s Weekly 1884 Linn Boyd Benton designed 1862 The Hobby Horse periodical published Century typeface Dutch ophthalmologist Herman Snellen 1885 1894 invents the eye chart Karl Benz built first automobile with Charles Rickes designed bookcover for 1865 internal combuson engine Oscar Wilde’s The Sphinx Walter Crane illustrated 1885-1951 1894 his first children’s book BC First Naons potlatch ban Aubrey Beardsley designed 1867 Salome poster c. 1885-1905 Canadian Confederaon 1894 Post-Impressionism Period 1868 Morris & Crane worked together on 1886 The Story of the Gliering Plain Bicycle mass-producon began in France Statue of Liberty completed 1894 1869 1887 Nicolas II crowned Czar of Russia The Suez Canal opened Tolbert Langston perfected 1894 the Monotype machine 1871 The Yellow Book launched in UK 1888 BC joined Confederaon 1894 Eastman Kodak box camera launched 1872 Louis Rhead designed covers for 1888 First Naons and Chinese immigrants Harpers magazine lost the right to vote William Morris designed Golden typeface 1894 1872 1888 The Beggarstaffs agency was founded Claude Monet painted Charles Ashbee founded 1894 Impression Sunrise the Guild of Handicrats Jan Toorop designed salad oil poster c. 1870’s-1880’s 1889 1894 Impressionism Period The Eiffel Tower completed Alfons Mucha designed Gismonda poster 1876 1889 1894-97 BC Indian Act imposed Paris Exposion Universelle opened Edward Penfield designed covers for 1876 1885 Harpers magazine Bell invented the telephone The world's first skyscraper completed 1895 Home Insurance Building, Chicago Elbert Hubbard sets up the Roycrot community (U.S. Arts and Crats) 1895 !5 141 Survey 6: Dreams and designers (1895 - 1905) 1895 1898 1901 Frances Macdonald (The Four) designed Ver Sacrum secessionist magazine Marllo Dudovich designed Campari Glasgow Institute of Fine Arts poster launched in Vienna Advertisment (Dudovich & Hohenstein and the Italian pictorial tradition) 1895 1898 1902 Oscar Wilde was imprisoned for Peter Behrens carved “The Kiss” “gross indency” in Reading jail, UK Koloman Moser designed poster for the 1898 13th Vienna Secession exhibition 1895 Will Bradley designed 1902 The Lumière Brothers showed covers for His Book, U.S. their first moving pictures The teddy bear first appeared 1898 1895 1902 Henri Privet Livemont designed poster Frederic Goudy for Absinthe Robette Georges Claude invented neon light designed Camelot typeface 1898 1903 1896 Charles Gibson redefined the image of Wright Brothers first gas motored plane Théophile Steinlen designed women in the U.S. with the Gibson Girls 1903 Chat Noir poster 1899 Weiner Werkstatte founded 1896 Henri Van de Velde designed 1903 Morris published the Kelmscott Chaucer poster for Tropon foods UK Daily Mirror abandoned 1896 1899 illustration for photography Lucien & Esther Pissarro founded Joseph Conrad’s Heart of Darkness 1903 The Eragny Press, France published (Apocalypse Now) Emmeline Pankhurst founded the 1895 Late 1880’s Women's Social and Political Union Will Bradley designed covers Mass produced furniture takes over 1905 for The Chap Book, U.S. 1899 Lucian Bernhard designed 1895 Sigmund Freud’s The Interpretation of Priester matches poster (Plakastil) Ethel Reed designed poster Dreams published 1905 for Arabella and Araminta stories 1900 Einstein published his theory of relativity 1895 Count Ferdinand Zeppelin 1905 William L. Carqueville designed covers launched the Zeppelin for Lippincott’s magazine “Bloody Sunday” led to 1900 the first Russian Revolution 1895 Behrens used sans-serif for body text Siegfried Bing’s art nouveau gallery 1900 opened in Paris Behrens designed Behrenschrift and 1896 Eckmannschrift typefaces Yukon gold rush began 1900 1896 Talwin Morris designed FLW published The House Beautiful The Book of the Home 1896 1901 Jugend magazine launched in Germany Queen Victoria died 1896 1901 Charles Ricketts founded Vale Press, UK Japanese-Canadian Tomekichi Homma refused the right to vote in BC election 1897 1901 The Vienna Secession formed Marconi sent the first 1897 transatlantic radio message US General Electric established 1901 corporate identity department Nobel Prize was established 1898 1901 Alfons Mucha designed Job poster Paperclips and vacuum cleaners 1898 were invented Berthold type foundry, Berlin, launched Akzidenz Grotesque typeface !6.
Load more

Recommended publications
  • Pictorial Modernism PICTORIAL MONDERNISM
    ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 14 Pictorial Modernism PICTORIAL MONDERNISM The Beggarstaffs • Brothers-on-law, James Pryde and William Nicholson opened an advertising design studio in 1894 and to protect their reputations as fine artists, they named it The Beggarstaff Brothers. They developed a new technique that was later called collage. By cutting pieces of paper, moving them around and pasting in position on a board, they created flat plans of color where the edges of the shapes were “drawn” with scissors. • Unlike Art Nouveau, the Beggarstaffs forged a new beginning of design focused on powerful colored shapes and silhouettes rather than organic and decorative form. PICTORIAL MODERNISM 2 PICTORIAL MONDERNISM Poster Design in Europe • The European poster in the first half of the 20th century was greatly influenced by the modern-art movements surrealism, cubism, and dadaism. Designers were aware of the need to use pictorial references in their posters as a way to visually enhance and ultimately communicate more persuasively their views. Influenced mostly by cubism and constructivism, poster artists combined expressive and symbolic images as well as total visual organization on the picture plane. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 3 POSTER DESIGN The Beggarstaffs • poster for Harper’s Magazine, 1895 PICTORIAL MODERNISM 4 POSTER DESIGN The Beggarstaffs • poster for Don Quixote, 1896 • never printed because the director/producer of the play felt the image was a bad likeness of Quixote. PICTORIAL MODERNISM 5 POSTER DESIGN Dudley Hardy • British painter who joined The Beggarstaffs in creating posters and advertising design • Theatrical poster for The Gaiety Girl, 1898 • Developed a formula for theatre poster design where letters and images appeared on a flat plane of color PICTORIAL MODERNISM 6 PICTORIAL MONDERNISM Plakastijl • A design school originating in Germany— the name means “poster style.” • The traits of Plakastijl are usually bold, straight lettering with a very simple design.
    [Show full text]
  • Versidad Autónoma Metropolitana, Unidad Azcapotzalco
    Este material tiene fines pedagógicos y su función es servir como apoyo en las prácticas educativas que se llevan a cabo en las licenciaturas que se imparten en la División de Ciencias y Artes para el Diseño de la Universidad Autónoma Metropolitana, unidad Azcapotzalco. En este sentido, el único fin de esta obra es generar y compartir material de apoyo para el proceso de enseñanza-aprendizaje en el campo del diseño. Asimismo, el autor de esta presentación es responsable de todo su contenido y la obra se encuentra protegida bajo una licencia de Creative Commons 4.0. Para más información se puede consultar el sitio https://creativecommons.org/. Escuela tipográfica alemana del estilo gótico hasta nuestros días Apoyo A lA UEA Clave UEA: 1424013 Nombre UEA: Temas Selectos de Tipografía Clave UEA 1423014 Nombre UEA: Teoría y metodología Aplicada I (Apoyo a Diseño de Mensajes Gráficos) Guión argumental Revisar los tipógrafos e impresores clave de la escuela alemana del estilo gótico hasta nuestros días y su influencia en desarrollo de la forma tipográfica en el pasado a la actualidad. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 1 Escuela tipográfica alemana del estilo gótico hasta nuestros días Objetivo Conocer las generalidades y los momentos clave de la historia de la tipográfica alemana desde el estilo gótico hasta la fecha, desarrollando criterios propios para asociar forma y producción al contexto histórico y su aplicación. Desarrollar una apreciación de los diversos estilos históricos alemanes desde el estilo gótico a la fecha, y como estos sirvieron de base para formar criterios, encontrar el estilos tipográficos apropiados para proyectos de diseño e interpretar un nuevo estilo tipográfico con las herramientas digitales.
    [Show full text]
  • Hajo Christoph Papers MG
    A Guide to the Hajo Christoph Papers Collection Summary Collection Title: Hajo Christoph Papers Call Number: MG-195 Creator: Hajo Christoph Inclusive Dates: June 28,1926 - May 27, 1977 Bulk Dates: Abstract: Materials relating to the activities of Hajo Christoph, specifically his time working for the Fort Orange Paper Company designing graphic designs, and time spent as a member of the Albany Artists Group. Quantity: 2 linear feet Administrative Information Custodial History: Donated as a gift by Peter and Flo Christoph Preferred Citation: Hajo Christoph Papers. Albany Institute of History & Art Library, New York. Acquisition Information: Accession #: Accession Date: Processing Information: Processed by Brendan Peabody; completed on March 2, 2010. Restrictions Restrictions on Access: None Restrictions on Use: Permission to publish material must be obtained in writing prior to publication from the Chief Librarian & Archivist, Albany Institute of History & Art, 125 Washington Avenue, Albany, NY 12210. Index Term Persons Bernhard, Lucian (04/15/1883-05/29/1972) Brashear, Peter C. (1868-1943) Corning, Erastus 2nd (1909-1983) Justus, Donald C. (Mayor of Castleton on Hudson in 1970’s) Latham, William G. (1896 -1953) Organizations Fort Orange Paper Company- Castleton on the Hudson (N.Y.) Embossing Company of Albany Albany Artists Group Subjects Commerce-Advertising Fine Arts-Commercial Art Fine Arts- Advertising Art Fine Arts-Visual Arts-Exhibitions Immigration Industry-Manufacturing Industries Places Berlin (Germany) Castleton on Hudson (N.Y.) New York (N.Y.) Document Types Awards Photographs Correspondences License Memoir Newspaper Articles Magazine Articles Catalogs Certificates Programs Titles Biography of Hajo Christoph Hajo is not his actual birth name, but rather it is used as a trademark for his graphic designs.
    [Show full text]
  • Bernhard Modern Mostly Self-Taught, Bernhard Studied Briefly at the Munich Art Academy Before Going to Berlin in 1901
    >> “You see with your eyes, not with your brain. What you do with your hands should express the physical process and should never be 1883 - 1972 mechanical.” — Lucian Bernhard The life and work of is his enduring masterpiece of Lucian Bernhard. Lucian Bernhard was a German graphic designer, type designer, illustrator, painter, teacher, interior designer, and artist during the first half of the twentieth century. He was born in Stuttgart, Germany on March 15, 1883 as Emil Kahn, but changed his name in 1905. The family of typefaces he developed is called Bernhard. Bernhard Modern Mostly self-taught, Bernhard studied briefly at the Munich Art Academy before going to Berlin in 1901. He was influential in helping create the design style known as Plakastil (Poster Style), which used reductive imagery and flat-color as well as Sachplakat (Functional Poster), which restricted the image to simply the object being advertised and the brand name. These styles of poster design incorporated brief powerful statements with a single image and generated their own form of display lettering. designers. designers. without counting on the ink spread.” - Lucian Bernhard type design. It is considered a decorative and display font. Lucian Bernhard was one of this century’s eminent graphic “My aim was to get all the spice and contrast into the contour... Bernhard was a professor at the Berlin School of Arts & Crafts. In 1923, he emigrated to the United States, where he lived until his death on May 29, 1972. Bernhard had three children - Karl, Manfred and Ruth, a renowned photographer. 1 1883-1972 * Lucian Bernhard 2 Bernhard’s father was a physician and wanted him to follow a career in medicine.
    [Show full text]
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
    Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
    [Show full text]
  • The Power of the Poster Propaganda Poster Design
    Austin Klubenspies Fall Quarter 2017 The Power of the Poster Graphic Design Studio 1 SCAD Atlanta Propaganda Poster Design For centuries, posters have played a major role in delivering information to the public. Whether it is the date for an upcoming performance or an alert about a missing person, posters offer quick access to information throughout our daily lives. However, during the years of WWI and WWII, posters played a much darker role. During the beginning of WWI in 1914, the era of the propaganda poster had begun. Both the Allied Forces and the Central Powers started creating public posters that would engage the people in the war. Besides an attempt to validate their war engagement, these posters were used to promote enlistment, encourage conservation of food and resources among the people, raise funds for the military, and boost the overall public morale. Little did designers know that their posters would be the difference between victory and defeat. The Beginning of Central Propaganda Unsurprisingly, the Central Powers had quite a different approach to design than the Allied Forces. The poster design of the Central Powers was primarily inspired by Lucian Bernhard (figure 1) and the simplicity of the Plakatstil style (seen in figures 2). Bernhard, largely known for his influence and engagement in Plakatstil, was born in Stuttgart, Germany in 1883, originally named Emil Kahn. Primarily self-taught, Bernhard was a Graphic Designer, Typographer, Professor, Interior Designer, and Fine-Artist. At the beginning of his career, the artist, after being kicked out of his home for repainting Fig.1. Lucian Bernhard Portrait his family’s antique décor, had decided to enter a poster advertisement competition for the Priester Lucian Bernhard, 1955.
    [Show full text]
  • Women of the West & a World At
    This catalogue is published on the occasion of Women of the West & A World at War, an exhibition curated by Kiaonno Bradley, Leah Holtz, Montana MacDonald and Chandra Yang, students of History 12: The West and Its Cultural Traditions Part II, under the direction of Professor Bert Gordon and Mills College Art Museum Director, Stephanie Hanor. The exhibition is presented May 4 through September 1, 2013 at MCAM and the lobby of the Vera M. Long Building for the Social Sciences. This project is made possible through support of The Andrew W. Mellon Foundation. © 2013 Mills College Art Museum 5000 MacArthur Boulevard Oakland, California 94613 mcam.mills.edu All rights reserved. No part of this publication may be reproduced in any manner without permission. Design: John Borruso COVER: Unknown Artist Become a Nurse—World War II Poster Color lithograph on paper, 28 x 22 inches Collection Mills College Art Museum Transfer from Mills College Library, 1972.25 2 Introduction Women of the West & A World at War, an exhibit organized by the students of History 12: The West and Its Cultural Traditions Part II, is curated by Kiaonno Bradley, Leah Holtz, Montana MacDonald and Chandra Yang, under the direction of Professor Bert Gordon and Mills College Art Museum Director, Stephanie Hanor. Using works selected by the History 12 students for their research projects, the curators have put together an exhibit showcasing works from the collection of the Mills College Art Museum. Spanning the 17th to the 20th centuries, the objects in the exhibition relate to women in the workplace and the World Wars, with additional objects focused on health, educa- tion, or fashion in the Western world.
    [Show full text]
  • Audi Rs7 Cargurus Audi Is a Wholly Owned Subsidiary of the Volkswagen Group and Has Its Roots at Ingolstadt , Bavaria , Germany
    Audi rs7 cargurus Audi is a wholly owned subsidiary of the Volkswagen Group and has its roots at Ingolstadt , Bavaria , Germany. Audi-branded vehicles are produced in nine production facilities worldwide. The origins of the company are complex, going back to the early 20th century and the initial enterprises Horch and the Audiwerke founded by engineer August Horch ; and two other manufacturers DKW and Wanderer , leading to the foundation of Auto Union in The company name is based on the Latin translation of the surname of the founder, August Horch. The four rings of the Audi logo each represent one of four car companies that banded together to create Audi's predecessor company, Auto Union. Automobile company Wanderer was originally established in , later becoming a branch of Audi AG. Another company, NSU, which also later merged into Audi, was founded during this time, and later supplied the chassis for Gottlieb Daimler 's four-wheeler. On 14 November , August Horch — established the company A. In , he moved with his company to Reichenbach im Vogtland. His former partners sued him for trademark infringement. The German Reichsgericht Supreme Court in Leipzig , [14] eventually determined that the Horch brand belonged to his former company. Since August Horch was prohibited from using "Horch" as a trade name in his new car business, he called a meeting with close business friends, Paul and Franz Fikentscher from Zwickau. At the apartment of Franz Fikentscher, they discussed how to come up with a new name for the company. During this meeting, Franz's son was quietly studying Latin in a corner of the room.
    [Show full text]
  • John Heartfield: Wallpapering the Everyday Life of Leftist
    the art institute of chicago yale university press, new haven and london edited by matthew s. witkovsky Avant-Garde Art Avant-Garde Life in Everyday with essays by jared ash, maria gough, jindŘich toman, nancy j. troy, matthew s. witkovsky, early-twentieth-century european modernism early-twentieth-century and andrés mario zervigÓn contents 8 Foreword 10 Acknowledgments 13 Introduction matthew s. witkovsky 29 1. John Heartfield andrés mario zervigÓn 45 2. Gustav Klutsis jared ash 67 3. El Lissitzky maria gough 85 4. Ladislav Sutnar jindŘich toman 99 5. Karel Teige matthew s. witkovsky 117 6. Piet Zwart nancy j. troy 137 Note to the Reader 138 Exhibition Checklist 153 Selected Bibliography 156 Index 160 Photography Credits 29 john heartfield 1 John Heartfield wallpapering the everyday life of leftist germany andrés mario zervigón 30 john heartfield In Germany’s turbulent Weimar Republic, political orientation defined the daily life of average communists and their fellow travelers. Along each step of this quotidian but “revolutionary” existence, the imagery of John Heartfield offered direction. The radical- left citizen, for instance, might rise from bed and begin his or her morning by perusing the ultra- partisan Die rote Fahne (The Red Banner); at one time, Heartfield’s photomontages regularly appeared in this daily newspaper of the German Communist Party (KPD).1 Opening the folded paper to its full length on May 13, 1928, waking communists would have been confronted by the artist’s unequivocal appeal to vote the party’s electoral list. Later in the day, on the way to a KPD- affiliated food cooperative, these citizens would see the identical composition — 5 Finger hat die Hand (The Hand Has Five Fingers) (plate 13) — catapulting from posters plastered throughout urban areas.
    [Show full text]
  • Contents Preface Introduction the First Posters Historical Overview: Early Days of the Poster Circus and Carny Posters Chromolit
    Contents 6 Preface 8 Introduction 12 The First Posters 20 Historical Overview: Early Days of the Poster With the generous support of: 22 Circus and Carny Posters 30 Chromolithographs 40 Art Nouveau in Paris 64 Historical Overview: The Poster We should like to express our very special in Art Nouveau thanks to the Hubertus Wald Stiftung. Once again, the foundation has proven to 66 be a reliable partner, and has supported Art Nouveau in this exhibition through a substantial con- tribution — in whose absence this endeav- Great Britain and the or, of such exceptional importance to our museum, would not have been possible. United States 82 Art Nouveau 228 The International Style in the Rest of Europe 246 Pop Art and the Poster 102 The First Professional 258 Historical Overview: Poster Artists Pop Art and the Poster 110 The German Sachplakat 264 (Object Poster) Protest Posters 268 122 Historical Overview: The 1970s Half Way to Modernism 282 Photo Design around 124 World War Ⅰ 1980 and the Political Poster 290 The 1980s 138 Art Deco 304 Historical Overview: 152 Cassandre Globalization 306 160 Historical Overview: Shock Advertising: Art Deco Poster Design around and Avant-Garde 1990 322 162 The Typographic Poster Japanese Posters 332 170 The Poster and the Posters of the 1990s Russian Avant-Garde 344 Chinese Posters 182 The 1930s 356 The Poster since 2005 198 The Political Poster and World War Ⅱ 372 Printing Techniques 206 The 1950s 374 Notes 210 Historical Overview: 379 Developments Image Rights after World War Ⅱ 380 Index 222 The Polish Poster 384 Imprint Jürgen Döring In 1966, the Polish poster artist Jan Lenica observed: “The poster undoubtedly has a function, it has a job to do, and it must fulfill this duty.
    [Show full text]
  • An Investigation Into the Growing Popularity of Script Typefaces and the Technical Means by Which They Are Created Today Yacotzin Alva
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 An Investigation into the growing popularity of script typefaces and the technical means by which they are created today Yacotzin Alva Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Alva, Yacotzin, "An Investigation into the growing popularity of script typefaces and the technical means by which they are created today" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute ofTechnology SCHOOL OF PRINTING MANAGEMENT AND SCIENCES An Investigation into the Growing Popularity of Script Typefaces and the Technical Means by which They are Created Today. A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences of the College of Imaging Arts and Sciences of the Rochester Institute ofTechnology Yacotzin Alva Thesis Advisor: David Pankow Technical Advisor: Archibald Provan Rochester, New York School of Printing Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Yacotzin Alva With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May, I997 Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Pro am Coordinator Director or,Designate An Investigation into the Growing Popularity of Script Typefaces and the Technical Means by which They are Created Today.
    [Show full text]
  • New Typography in Scandinavia 2 in the Design Histories of Kjetil Fallan and Julia Meer.2 Titled
    New Ty pog raphy in Scandinavia: Domesticating theory and practice amongst the graphic trades, 1927–43 Trond Klevgaard A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy The Royal College of Art / Victoria and Albert Museum 22 December 2017 79,976 words ii Copyright statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. iii Abstract This work provides the first extended account of New Typography’s path in Scandinavian countries, a topic which has yet to receive attention beyond a handful of articles and book chapters. Based on an exhaustive study of graphic trade journals published in Denmark, Norway and Sweden between the years of 1927 and 1943, it charts debate on New Typography and discusses the journals’ changing designs. Additional visual material has been sourced from a number of Scandinavian archives. In discussing the spread of New Typography’s theory and aesthetic from elsewhere in Europe, and then primarily from Germany, the thesis uses the concepts of domestication and networks, rather than those of diffusion or influence and centre–periphery. Dealing with a period in which the graphic designer had yet to appear as a professional figure, New Typography’s impact on a range of professional groups — all of which held responsibility for the design of graphic materials — is considered.
    [Show full text]