Download - Renaissance Graphic Design
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Renaissance Graphic Design
Graphic Design History
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Printing comes to Europe
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Johann Gensfleisch zum Gutenberg (late 14th Century – 1468)
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Johann Gensfleisch zum Gutenberg
(late 14th Century – 1468)
• Gutenberg of Mainz, Germany was the first to bring together the complex systems and subsystems necessary to print a typographic book around the year 1450
• The need for for exact alignment and the
modest alphabet system of about 2 dozen leAers made the prin@ng of text material highly desirable in the West
• Gutenberg appren@ced as a goldsmith,
developing the metalworking and engraving skills necessary for making type
• Gutenberg used the square, compact
textura leDering style commonly used by German scribes of his day
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Engraving illustraHng Gutenberg’s system for casHng type
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Engraving illustraHng Gutenberg’s system for casHng type
• The key to Gutenberg’s invenHon was the type mold used for cas@ng the individual leDers.
• Each character had to be plane parallel in every direc@on and the exact same height
• Gutenberg’s two‐type mold, which adjusted to accept matrixes for narrow leDers (I) and wide ones (H), permiDed large volumes of type to be cast. Gutenberg needed as many as 50,000 single pieces of type at a Hme.
• With a background as a goldsmith, Gutenberg developed a unique alloy of 80 percent lead, 5 percent Hn, and 15 percent anHmony so that the metal would not expand or contract too much when it was created
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Gutenberg, thirty‐one line leDers of indulgence, 1454
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Gutenberg, thirty‐one line leDers of indulgence, 1454
• Early examples of typographic design and prin@ng include a German poem on the Last Judgment, four calendars, and a number of ediHons of a La@n grammar book by Donatus.
• The earliest dated specimens are the 1454 leDers of indulgence issued in Mainz. Pope Nicholas V issued this pardon of sins to all Chris@ans who had given money to support the war against the Turks.
• Thousands of copies of this leDer were printed.
• Gutenberg made every effort to imitate handwriDen calligraphy
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Johann Gutenberg, The Gutenberg Bible, 1450 ‐55
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Johann Gutenberg The Gutenberg Bible 1450 ‐55
• Gutenberg conceived the idea of prin@ng a Bible which was to be the first printed book and one of the finest examples of the printer’s art
• 1,282 pages in a two‐volume work. 210 copies consisted of 180 on paper and 30 on fine vellum, requiring 5,000 carefully prepared calfskins.
• Generous number of alterna@ve characters and ligatures (stroke that joins adjacent leAers) enabled Gutenberg to achieve the richness and variety of the manuscript page
• Blank spaces were leY for decora@ve ini@als to be drawn in later by a scribe
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Page from the Gutenberg Bible
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Detail from the Gutenberg Bible
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Detail from the Gutenberg Bible
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The German Illustrated Book
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Ex Libris design for Johannes Knabensberg, 1450s
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Ex Libris design for Johannes Knabensberg 1450s
• AYer Gutenberg’s inven@on of movable type, prin@ng spread rapidly in Europe. By 1500 prinHng was pracHced in over 140 towns. This period between 1450 – 1500 is known as the incunabula period (incunabula is a laHn word and refers to the birth of prinHng)
• It is es@mated that 9 million books were printed
between 1450 and 1500. In addiHon, other printed materials were produced for free distribuHon or sale.
• Early in the incunabula period, a printed ex libris, or bookplate was pasted in the front of a book to iden@fy the owner. As prinHng spread from Mainz, so did the use of a printer’s trademark as a visual iden@fier.
• The inscrip@on means “Hans Igler that the hedgehog may kiss you”. Igler, Knabensberg’s nickname, is similar to the German word for hedgehog, making this an early graphic pun.
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Anton Koberger, page from the Nuremberg Chronicle, 1493
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Anton Koberger, page from the Nuremberg Chronicle, 1493
• Nuremberg, a prosperous center of commerce and distribu@on, became a prin@ng center during the incunabula period
• One of the most esteemed printers was Anton Koberger (1440 – 1513) whose firm was staffed by 100 cra\smen operaHng 24 prinHng presses
• Koberger was also a bookseller with over 16 shops and agents throughout Europe
• One of Koberger’s masterpieces is the Nuremberg Chronicle with 1809 woodcut illustra@ons. Major ci@es of the world were illustrated, as well as 598 portraits of popes, kings, and other historical figures.
• The dense textures and rounded strokes of Koberger’s Gothic type contrast with the tones of the woodcuts
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Anton Koberger, Page from the Nuremberg Chronicle, 1493
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Judith beheading Holofernes, illustraHon from the Nuremberg Chronicle, 1493
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Judith beheading Holofernes, illustraHon from the Nuremberg Chronicle, 1493
• Judith beheading Holofernes is a story from the Bible
• In the story, Judith, a beau@ful widow enters the tent of the Assyrian general Holofernes because of his desire for her.
• Holofernes is about to destroy Judith’s home of Behulia, so when he passes out from too much alcohol, she decapitates him and takes his head away in a basket.
• Judith has been a popular subject in art and has been depicted in over 114 painHngs and sculptures in history. Today, she is considered to be a feminist icon.
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Albrecht Dürer The Four Horsemen of the Apolcalypse woodcut, 1498
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Albrecht Dürer The Four Horsemen of the Apolcalypse woodcut, 1498
• Albrecht Dürer (1471 – 1528) grew up near Anton Koberger and it is likely that he worked on the Nuremberg Chronicle. Dürer used Koberger’s type that he created.
• Dürer was a goldsmith appren@ce • In 1498 Dürer published La@n and German
edi@ons of The Apocalypse illustrated by his monumental sequence of fiYeen woodcuts
• The Apocalypse has an unprecedented emo@onal power and graphic expressiveness
• Volume and depth, light and shadow, texture and surface are created by black ink on white paper, which becomes a metaphor for light in a turbulent world of awesome powers
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Albrecht Dürer, broadside, woodcut illustraHon, 1515
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Albrecht Dürer Broadside, woodcut illustraHon 1515
• In his mature work, he achieved mastery in the use of line as tone.
• A broadside is a single‐leaf page printed on one side that eventually evolved into printed posters, adver@sements, and newspapers, and Dürer’s were very popular.
• His woodcut illustra@on of a rhinoceros is from a sketch and descrip@on sent from Spain, a\er the first rhinoceros in over 1,000 years arrived in Europe
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Albrect Dürer, from A Course in the Art of Measurement with Compass and Ruler, 1525
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Albrect Dürer, from A Course in the Art of Measurement with Compass and Ruler 1525
• Dürer traveled to Venice, Italy twice in his life, where he absorbed humanist philosophy and Italian Renaissance art theories and techniques
• This inspired his book A Course in the Art of Measurement with Compass and Ruler (Underweissung der Messung mit dem Zirckel and Richtscheyt)
• The first two chapters are theore@cal discussions of linear geometry and 2‐D geometric construc@ons. The third chapter explains the applica@on of geometry to architecture, decora@on, engineering, and leDerforms.
• Dürer’s beau@fully propor@oned Roman capitals, with clear instrucHon for their composiHon, contributed significantly to the evolu@on of alphabet design.
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Printer’s Trademark Late 15th Century
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Andreas Torresanus Printer’s Trademark Late 15th Century
• During the Italian Renaissance, Venice led the way in Italian typographic book design, not Florence where the wealthy Medicis scorned prinHng as inferior to manuscript books
• Many early printers designed trademarks to iden@fy their books. This one is aAributed to Andreas Torresanus (1451 – 1529).
• The emblem bears witness to the revived aDen@on to Egyp@an hieroglyphics during the Renaissance.
• One of the oldest symbolic themes, the orb and cross is found in a chamber of Cheops’s pyramid at Giza, where it was a quarry mark
• Symbolizes that “God shall reign over earth”.
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Johannes Nicolai de Verona, pages from Roberto Valturio’s De Re militari, 1472
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Johannes Nicolai de Verona, pages from Roberto Valturio’s De Re militari, 1472
• Johannes Nicolai de Verona printed a manual on warfare by Robert Valturio
• The light contour style of woodblock illustra@on ini@ated the fine‐line style that became popular in Italian graphic design during the late 15th Century
• This book demonstrates the latest techniques and devices for scaling walls, catapul@ng missiles, ramming for@fica@ons, and torturing enemies.
• In this spread showing baAering rams, the repe@@on of towers and rams’ heads gives the pages a lively visual rhythm
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Henri EsHenne the Elder Title page for Aristotle’s Metaphysics, 1515
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Henri EsHenne the Elder Title page for Aristotle’s Metaphysics, 1515
• StarHng in 1494, the French tried to conquer Italy for fiYy years and the cultural vitality of the Italian Renaissance was imported to France. In 1515, Francis I ascended to the French throne and the French Renaissance flowered as he gave generous support to humanist, authors, and visual arHsts.
• This cultural epoch was fer@le for book design and prin@ng
• Henri Es@enne the Elder was one of the early French scholar‐printers
• Inspired by Italian Renaissance style, Henri
EsHenne the Elder used roman type and set the type in geometric shapes, achieving a disHncHve graphic design with minimal means
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Geoffroy Tory, pages from Books of Hours, 1541
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Geoffroy Tory, pages from Books of Hours, 1541
• Geoffroy Tory (1480 – 1533) was a French designer, illustrator, printer, bookseller, author, poet, publisher, calligrapher, and engraver. In the graphic arts, he played a major role in impor@ng the Italianate influence and then developing a unique French Renaissance style of book design and illustra@on.
• His Horae (Books of Hours) set the style for the era. A new clarity of thought and a precise harmony of text, capital ini@als, borders , and illustra@ons, mark the book as a milestone in graphic design.
• Tory achieved a light, delicate effect in the complex illustra@ons of plant and animal mo@fs by using a fine contour line which echoes the typographic lightness.
• The crowned F (boAom le\) is an homage to King Francis I who named him as printer to the king.
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Geoffroy Tory Fantas@c alphabet 1529
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Geoffroy Tory Fantas@c alphabet 1529
• Tory published a series of three books en@tled Champ Fleury in 1529. It was his most important and influen@al work.
• The first book aDempts to establish and order French grammar by fixed rules of pronunciaHon and speech (Tory introduced the use of the apostrophe and accents). The second book discusses the history of roman leDers.
• The third book offers instruc@ons in the geometric construc@on of the 23 leDers of the La@n alphabet.
• The third book also contains Tory’s designs for 13 alphabets, including Greek, Hebrew, Persian and his fantasy style made of hand tools.
• The A is a compass, the B is a fusy used to start fires, and the C is a handle
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Henri EsHenne the Younger Title page from Ciceronianum Lexicon 1557
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Henri EsHenne the Younger Title page from Ciceronianum Lexicon 1557
• During the 1530s, 40s, and 50s, the Es@ennes achieved a wide reputa@on as great printers.
• The types used in the book are Claude Garamond’s roman typefaces. They were designed with such perfecHon that French printers in the 16th Century were able to print books of extraordinary legibility and beauty.
• Headings are set in single lines of leDerspaced capitals alterna@ng with lines of lowercase.
• The illustra@on depicts an olive tree with branches falling off by Es@enne.
•
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Johann Oporinus, page from De Humani Corporis Fabrica, 1543
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Johann Oporinus page from De Humani Corporis Fabrica, 1543
• Basel, which became part of Switzerland in 1501, developed into a major center for graphic design.
• Johann Oporinus became a leading printer in Basel.
• His masterpiece was the 667 page folio De Humani Corporis Fabrica (Construc@on of the Human Body) by the founder of modern anatomy, Andreas Vesalius.
• The illustra@ons are woodcuts with remarkable clarity and accuracy
• Many of the anatomical figures are gracefully posed in landscapes.
• Oporinus set Vesaliu’s text in @ght pages of roman text