GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Overview i / LXXXiii The Arts & Crafts Movement 1 The Great Exhibition of 1851 1 2 Industrial Excess 14 3 Precursors to the Arts & Crafts 21 4 The Arts & Crafts Movement 39 5 William Morris 45 6 The Kelmscott Press 62 7 The Private Press Movement 78 8 Conclusion 83 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Overview ii / LXXXiii © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT 1 / 83 The Great Exhibition of 1851 1851 Prideful and rich from the Industrial Revolution, the English upper class organized a showcase for modern industrial technology and design. The Great Exhibition of the Works of Industry of All Nations • Hosted in London • Celebrated the progress gained by the Industrial Revolution © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 2 / 83 Organized by Prince Albert and Queen Victoria © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 3 / 83 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 4 / 83 1851 The Great Exhibition England and a number of invited countries displayed their achievements in four categories: 1. Raw Materials 2. Machinery 3. Manufacturers 4. Fine Arts © KEVIN WOODLAND, 2015 THE OPENING ADDRESS GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 5 / 83 1851 The Crystal Palace • Hyde Park, London, England • Designed by Joseph Paxton • Unprecedented use of cast plate glass (invented 1848) • Large, strong, affordable sheets of glass © KEVIN WOODLAND, 2015 THE CRYSTAL PALACE, LONDON · JOSEPH PAXTON, ARCHITECT · 1850 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 6 / 83 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 7 / 83 © KEVIN WOODLAND, 2015 TRANSEPT LOOKING SOUTH SHOWING THE INTERIOR OF EDWARD COWPER’S ROOF GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 8 / 83 © KEVIN WOODLAND, 2015 THE CRYSTAL PALACE, LONDON, FLOOR PLAN GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 9 / 83 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 10 / 83 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 11 / 83 © KEVIN WOODLAND, 2015 THE CRYSTAL PALACE, LONDON · JOSEPH PAXTON, ARCHITECT · 1850 (DESTROYED 1935) GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 12 / 83 1853 The New York Crystal Palace The Exhibition of the Industry of All Nations • Bryant Park, New York 1854 The Glaspalast First General German Industrial Exhibition • Munich, Germany © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / The Great EXhiBition of 1851 13 / 83 1853 The New York Crystal Palace The Exhibition of the Industry of All Nations • Bryant Park, New York • Destroyed by fire, 1858 1854 The Glaspalast First General German Industrial Exhibition • Munich, Germany • Destroyed by fire, 1931 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT 14 / 83 1750–1850 Industrial Excess Society is forced to draw conclusions about the mounting ethical trade-offs invoked by the Industrial Revolution. “The worker now served the machine, feeding it raw materials and allowing it to determine the final product.” – MEGGS © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / IndustriaL EXcess 15 / 83 1750–1850 Results of the new steam engine driven machines: • Replaced craftsmen • Cheaper labor • Much faster production • Greatly inferior results Traditionally, manual laborers learned their trade by progressing through stages of apprenticeship under a master craftsman. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / IndustriaL EXcess 16 / 83 1851 The Great Exhibition of 1851 The exhibition was a popular success but the critical reviews were not so positive. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / IndustriaL EXcess 17 / 83 1851 The Great Exhibition of 1851 The Victorian over- decoration and hodgepodge of unrelated styles was ridiculed as symptomatic of a tasteless and over- capitalistic society. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / IndustriaL EXcess 18 / 83 1851 The Great Exhibition of 1851 Critics found the work created by industrialized methods to be shoddy and poorly designed, full of superfluous ornaments that did not enhance the product. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / IndustriaL EXcess 19 / 83 1750–1850 Graphic Arts • Punchcutters, type casters, type setters and printers loose jobs • Book design and production declines • Book binding was mechanized and cheapened, as book craftsmen faded away. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / IndustriaL EXcess 20 / 83 1750–1850 Graphic Arts • Paper containts high acidic content • Ignited a string of precursors to the Arts & Crafts Movement © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT 21 / 83 John Ruskin 1820–1850’S Precursors to the Arts & Crafts William Pickering A handful of radical thinkers grapple with the role of capitalism, mechanized manufacturing, and the nauseating Victorian aesthetic. Owen Jones © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 22 / 83 1819–1900 John Ruskin • English writer • Rejected the mercantile economy • Fought for union of art and labor • Asked how individuals could serve society © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 23 / 83 1819–1900 John Ruskin • Art and society began to split after the Renaissance • Industrialization and technology isolated the artist • Pointed to the design and construction of the medieval Gothic cathedral as example of the union of art and labor © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 24 / 83 1819–1900 John Ruskin Claimed that the Industrial Revolution resulted in: • Eclectic borrowing from historical models • A decline in creativity • Design by engineers without aesthetic concern • Believed in the value of beauty © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 25 / 83 1796–1854 William Pickering • English publisher • Strict attention to design details • Apprenticed to a London bookseller and publisher (age 14) © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 26 / 83 1796–1854 William Pickering • Established his own bookshop specializing in old and rare volumes (age 24) • Began a publishing program around the same time • Not a printer • Separation of graphic design from print production © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 27 / 83 1796–1854 William Pickering • Notable for introducing cloth binding to British publishing • Commissioned new woodblock ornaments, initials, and illustrations • Specified format design, type selection, illustrations, and all other visual considerations © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 28 / 83 1847 The Elements of Euclid • Written by Oliver Byrne • Pickering’s greatest printing effort • Exquisitely block printed • Brilliant primary colors © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 29 / 83 1847 The Elements of Euclid • Unprecedented use of diagrams and symbols • Elaborate color-coding system • Lines, shapes, and forms • Color replaced traditional alphabetic labeling • Infographics © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 30 / 83 1847 The Elements of Euclid Geometry could be learned in one-third the time needed with traditional textbooks. – OLIVER BYRNE The dynamic color and crisp structures anticipate geometric abstract art of the twentieth century. –MEGGS © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 31 / 83 1856 Owen Jones A direct result of the Great Exhibition, the pioneering work of Owen Jones redirects the Victorian aesthetic, breaks new ground in chromolithogy, and sets new design standards. © KEVIN WOODLAND, 2015 OWEN JONES, PORTRAIT (LEFT), MOSAIC PATTERN (RIGHT) · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE ARTS & CRAFTS MOVEMENT / Precursors to the Arts & Crafts 32 / 83 1856 The Grammar of Ornament In response to the failings at the Crystal Palace, a call for better understanding of design and ornamentation was answered