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 (1398–1468CE)
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Johann Gensfleisch zum Gutenberg (1398–1468CE)
• GutenbergofMainz,Germanywasthefirst to bring together the complex systems and subsystems necessary to print a typographic book around the year 1450
• Theneed for for exact alignment and the modest alphabet systemofabout2dozenleDersmadetheprin@ng of text material highly desirable in the West
• Gutenberg appren@ced as a goldsmith,developingthemetalworkingandengravingskillsnecessaryformakingtype
• Gutenberg used the square, compact textura leDering style commonlyusedbyGermanscribesofhisday
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EngravingillustraJngGutenberg’ssystemforcasJngtype
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EngravingillustraJngGutenberg’ssystemforcasJngtype
• ThekeytoGutenberg’sinvenJonwasthetype mold used for cas@ng the individual leDers.
• Eachcharacterhadtobeplane parallel in every direc@on and the exact same height
• Gutenberg’stwo‐type mold, which adjusted to accept matrixes for narrow leDers (I) and wide ones (H), permiDed large volumes of type to be cast. Gutenbergneededasmanyas50,000singlepiecesoftypeataJme.
• With a background as a goldsmith, Gutenberg developed a unique alloy of80percentlead,5percentJn,and15percentanJmonysothatthemetalwouldnotexpandorcontracttoomuchwhenitwascreated
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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 ontheLastJudgment,four calendars,andanumberofediJonsofaLa@n grammarbookbyDonatus.
• Theearliestdatedspecimensarethe1454 leDers of indulgence issuedinMainz.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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JohannGutenberg,The Gutenberg Bible,1450‐55
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JohannGutenbergThe Gutenberg Bible1450‐55
• Gutenberg conceived the idea of prin@ng a Bible which was to be the first printed book andoneofthefinestexamplesoftheprinter’sart
• 1,282 pages in a two‐volume work. 210 copies consistedof180onpaperand30onfinevellum,requiring5,000carefullypreparedcalfskins.
• Generous number of alterna@ve characters and ligatures (strokethatjoinsadjacentleDers)enabledGutenbergtoachievetherichnessandvarietyofthemanuscriptpage
• 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 Knabensberg1450s
• AYer Gutenberg’s inven@on of movable type, prin@ng spread rapidly in Europe. By1500prinJngwaspracJcedinover140towns.This period between 1450 – 1500 is known as the incunabula period (incunabulaisalaJnwordandreferstothebirthofprinJng)
• It is es@mated that 9 million books were printed between 1450 and 1500.InaddiJon,otherprintedmaterialswereproducedforfreedistribuJonorsale.
• Early in the incunabula period, a printed ex libris, or bookplate was pasted in the front of a book to iden@fy the owner. AsprinJngspreadfromMainz,sodidtheuse of a printer’s trademark as a visual iden@fier.
• The inscrip@on means “Hans Igler that the hedgehog may kiss you”. Igler,Knabensberg’snickname,issimilartotheGermanwordforhedgehog,makingthisanearlygraphicpun.
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AntonKoberger,page from the Nuremberg Chronicle,1493
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AntonKoberger,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)whosefirmwasstaffedby100cra\smenoperaJng24prinJngpresses
• 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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AntonKoberger, Page from the Nuremberg Chronicle,1493
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Judith beheading Holofernes,illustraJonfromtheNurembergChronicle,1493
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Judith beheading Holofernes,illustraJonfromtheNurembergChronicle,1493
• Judith beheading Holofernes is a story from the Bible
• Inthestory,Judith, a beau@ful widow enters the tent of the Assyrian general Holofernes becauseofhisdesireforher.
• Holofernes is about to destroy Judith’s home of Behulia, so when he passes out from too much alcohol, she decapitates him andtakeshisheadawayinabasket.
• Judith has been a popular subject in art andhasbeendepictedinover114painJngsandsculpturesinhistory.Today,sheisconsideredtobeafeministicon.
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AlbrechtDürerThe Four Horsemen of the Apolcalypse woodcut,1498
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AlbrechtDürerThe Four Horsemen of the Apolcalypse woodcut,1498
• Albrecht Dürer (1471–1528)grew up near Anton Koberger anditislikelythatheworkedontheNurembergChronicle.DürerusedKoberger’stypethathecreated.
• 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,whichbecomesametaphorforlightinaturbulentworldofawesomepowers
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AlbrechtDürer,broadside,woodcutillustraJon,1515
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AlbrechtDürer Broadside,woodcutillustraJon1515
• Inhismaturework,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,andDürer’swereverypopular.
• His woodcut illustra@on of a rhinoceros is from a sketch and descrip@on sent from Spain,a\erthefirstrhinocerosinover1,000yearsarrivedinEurope
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AlbrectDürer,from A Course in the Art of Measurement with Compass and Ruler,1525
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AlbrectDürer,from A Course in the Art of Measurement with Compass and Ruler1525
• 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’sbeau@fully propor@oned Roman capitals, withclearinstrucJonfortheircomposiJon,contributed significantly to the evolu@on of alphabet design.
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Printer’sTrademarkLate15thCentury
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AndreasTorresanusPrinter’s Trademark Late15thCentury
• During the Italian Renaissance, Venice led the way in Italian typographic book design,notFlorencewherethewealthyMedicisscornedprinJngasinferiortomanuscriptbooks
• Many early printersdesigned trademarks to iden@fy their books. ThisoneisaDributedtoAndreasTorresanus(1451–1529).
• Theemblembearswitnesstotherevived aDen@on to Egyp@an hieroglyphics during the Renaissance.
• Oneoftheoldestsymbolicthemes,the orb and cross is found in a chamber of Cheops’s pyramid at Giza,whereitwasaquarrymark
• Symbolizes that “God shall reign over earth”.
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JohannesNicolaideVerona,pages from Roberto Valturio’s De Re militari,1472
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JohannesNicolaideVerona,pages from Roberto Valturio’s De Re militari,1472
• Johannes Nicolai de Verona printed a manual on warfare byRobertValturio
• The light contour style of woodblock illustra@on ini@ated the fine‐line style that became popular in Italian graphic design duringthelate15thCentury
• Thisbookdemonstratesthelatest techniques and devices for scaling walls, catapul@ng missiles, ramming for@fica@ons, and torturing enemies.
• InthisspreadshowingbaDeringrams,the repe@@on of towers and rams’ heads gives the pages a lively visual rhythm
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HenriEsJennetheElderTitle page for Aristotle’s Metaphysics,1515
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HenriEsJennetheElderTitle page for Aristotle’s Metaphysics,1515
• StarJngin1494,the French tried to conquer Italy for fiYy years and the cultural vitality of the Italian Renaissance was imported to France.In1515,FrancisIascendedtotheFrenchthroneandtheFrenchRenaissancefloweredashegavegeneroussupporttohumanist,authors,andvisualarJsts.
• 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
• InspiredbyItalianRenaissancestyle,HenriEsJennetheElderused roman type and set the type in geometric shapes,achievingadisJncJvegraphicdesignwithminimalmeans
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GeoffroyTory,pages from Books of Hours,1541
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GeoffroyTory,pages from Books of Hours,1541
• Geoffroy Tory (1480–1533)wasaFrenchdesigner,illustrator,printer,bookseller,author,poet,publisher,calligrapher,andengraver.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.
• HisHorae(BooksofHours)setthestylefortheera.Anewclarityofthoughtandaprecise harmony of text, capital ini@als, borders , and illustra@ons, mark the book as a milestone in graphic design.
• Toryachievedalight, delicate effect in the complex illustra@ons of plant and animal mo@fs by using a fine contour line which echoesthetypographiclightness.
• The crowned F (boDomle\)is an homage to King Francis I whonamedhimasprintertotheking.
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GeoffroyToryFantas@c alphabet 1529
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GeoffroyToryFantas@c alphabet 1529
• Torypublishedaseries of three books en@tled Champ Fleury in 1529. It was his most important and influen@al work.
• Thefirst book aDempts to establish and order French grammar byfixedrulesofpronunciaJonandspeech(Toryintroducedtheuseoftheapostropheandaccents).The second book discusses the history of roman leDers.
• Thethirdbookoffers instruc@ons in the geometric construc@on of the 23 leDers of the La@n alphabet.
• ThethirdbookalsocontainsTory’s designs for 13 alphabets, including Greek, Hebrew, Persian and his fantasy style made of hand tools.
• TheAisacompass,theBisafusyusedtostartfires,andtheCisahandle
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HenriEsJennetheYoungerTitle page from Ciceronianum Lexicon 1557
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HenriEsJennetheYoungerTitle page from Ciceronianum Lexicon 1557
• During the 1530s, 40s, and 50s, the Es@ennes achieved a wide reputa@on as great printers.
• Thetypesusedinthebookare Claude Garamond’s roman typefaces.TheyweredesignedwithsuchperfecJonthatFrenchprintersinthe16thCenturywereabletoprintbooksofextraordinarylegibilityandbeauty.
• 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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JohannOporinus,page from De Humani Corporis Fabrica,1543
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JohannOporinuspage 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.
• Hismasterpiecewasthe667 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 withremarkableclarityandaccuracy
• Manyoftheanatomical figures are gracefully posed in landscapes.
• Oporinus set Vesaliu’s text in @ght pages of roman text