Weekly Field Journal “Research Portfolio”
WEEKLY JOURNAL 3: October 15
Renaissance Design & Modern Typography in Graphic Design 1450–1800
In Module 4, we learned about major developments in graphic design due to the increase in the publics ravenous appetite for knowledge and the need for printed material in quantity. Some of those major develoments included, early print design, graphic communication in renaissance culture, print technology, as well as, type design, and innovative graphic forms. The public sphere’s responsibility, in response to the need, was the creation of news, books, broadsheets, and newspapers. This would greatly impact politics and there would be politics, because of the press. This was a significant time for graphic arts, graphic design, and major breakthroughs in modern type design. Aldus Manutius was, but one of the important figures responsible for the innovations of this time. This week’s examples are of, the “Aldus icons and book layout” *3, and the modern interpretation of an Aldus idea *4.
Graphic Design in the Renaissance & Modern Typography
The Renaissance was a time of revival, or “rebirth,” A time of enlightenment and rebirth of classical learning in ancient Greece, Rome, and Europe. Making knowledge from the ancient world available to all readers was the catalyst for a duplicating printing process that at the beginning of the late 15th century. They evolved typeface designs to what are now called Old Style types, which were based on capital letters used in ancient Roman inscriptions and by lowercase letters found in manuscript writing from the Carolingian period.
In 1495, Aldus Manutius, the Italian scholar, printer and elder founded Aldine Press due to the need to produce printed editions of Greek and Latin classics. Inexpensive, pocket-sized editions of books with cloth covers were his innovations. Designed by Francesco Griffohe, the first italic typeface, introduced in about 1500, when Manutius created a cast punch cut for the type. By setting these narrow letters that slanted to the right more type could fit on a page, making new pocket-sized books possible.
Hypnerotomachia Poliphili, was the prototype for Renaissance book design at Aldine Press in 1499, “(believed to be written by Francesco Colonna). The design of the work achieves an understated simplicity and tonal harmony, and its elegant synthesis of type and image has seldom been equaled. The layout combined exquisitely light woodcuts by an anonymous illustrator with roman types by Griffo utilizing new, smaller capitals; Griffo cut these types after careful study of Roman inscriptions. Importantly, double-page spreads were conceived in the book as unified designs, rather than as two separate pages.” *2
“During the 16th century, France became a centre for fine typography and book design. Geoffroy Tory—whose considerable talents included design, engraving, and illustration, in addition to his work as a scholar and author—created books with types, ornaments, and illustrations that achieved the seemingly contradictory qualities of delicacy and complexity. In his Book of Hours (1531), he framed columns of roman type with modular borders; these exuberant forms were a perfect complement to his illustrations.
Typeface designer and punch-cutter Claude Garamond, one of Tory’s pupils, achieved refinement and consistency in his Old Style fonts. Printers commissioned types from him rather than casting their own, making Garamond the first independent typefounder not directly associated with a printing firm. Works by Tory, Garamond, and many other graphic artists and printers created a standard of excellence in graphic design that spread beyond France.” *2
The 17th century was a quiet time for graphic design. Apparently the stock of typeface designs, woodblock illustrations, and ornaments produced during the 16th century satisfied the needs of most printers, and additional innovation seemed unnecessary.” *2
Conclusion
This period was even more evolutionary than the last, but with the foundation and benefit of all the previous different culture’s early graphic forms this period was exceptional. The Renaissance periods’ advancement and major development of graphic design happened, because of the publics increased appetite for knowledge, advances in print technology and type design evolved. It became the public sphere’s responsibility to respond to the needs of the time, to be able to create news books, broadsheets, and newspapers, in quantity. Yes, this was a significant time for graphic arts, graphic design, and major breakthroughs in modern type design. Aldus Manutius was, but one of the important figures responsible for the innovations of this time. Finally, this weeks examples are of, the “Aldus icons and book layout” *3, and the modern interpretation of an Aldus idea *4. (Please refer to page 2.) (If you are viewing this document online please find the missing pictures online, links are provided in the bibliography, below.)
Bibliography
All information, most everything written unless marked otherwise is all credited to the authors of ‘Graphic Design History, A Critical Guide’ and Professor Kent Manske.
*2 “graphic design.” Encyclopædia Britannica. 2008. Encyclopædia Britannica Online. 20 Oct. 2008 <http://www.britannica.com/EBchecked/topic/1032864/graphic-design>.
*3 Molly McLeod’s Portfolio <http://my.aperture.googlepages.com/graphicdesign>
*4 Aldus Manutius <http://content.answers.com/main/content/wp/en/thumb/f/fb/180px-Aldus_Manutius.jpg>
Aldus Manutius <http://content.answers.com/main/content/wp/en/thumb/f/fb/180px-Aldus_Manutius.jpg>
Codex - Dante - Early Aldus Book Layout <http://www.italnet.nd.edu/Dante/images/tp1502/NewberryAldine.inf1.150dpi.jpeg>
No comments:
Post a Comment