Ch.8–10_Notes

Ch.8–10_Notes - GRA 111 Fall 2010 CH 8: An...

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Unformatted text preview: GRA 111 Fall 2010 CH 8: An Epoch of Typographical Genius Introduction 1600s: a drought of graphic design creativity 1700s: an epoch of typographic originality 1640: French king Louis XIV established a committee of scholars to develop a new type for the Imprimerie Royale (royal printing office) new letters based on scientific principles scholars studied previous alphabets and types they developed the ______________________________ Romain du Roi square was divided into an 8 x 8 grid (64 units) each was divided into 36 smaller units (2,304 units in all) new letterforms had fewer calligraphic properties inspired by chisel or flat pen mathematical harmony achieved by measurement and the use of drafting instruments final decisions, however, were made by the eye increased contrast between thick and thin strokes sharp horizontal serifs even balance to each letterform first, the master alphabets were engraved as copperplate prints then, converted into punches that could be used for typographic printing 1 the refinement gained by the 2,304-square grid was worthless when reduced to text-size types other typeface designers made similar types (but different enough to avoid committing what was a capital offense!) the Mdailles folio was the first book to feature the new types (left) transitional roman calligrapher was being replaced by the engineer as the dominant typographic influence ironically, this type would be used in 1790 to print radical political tracts in support of the French Revolution Graphic design of the rococo era Rococo fanciful French art and architecture that flourished from about 1720 until around 1770 florid and intricate S- and C-curves scrollwork, tracery, and plant forms natural, classical, oriental, and even Medieval influences lavish expression of the era of King Louis XV Pierre Simon Fournier le Jeune from a prominent family of printers and typefounders (founding = casting) apprenticed with is older brother at 24, established his own type design and foundry operation pioneer of standard type sizes (which, up until that time, varied by foundry) table of proportions pouce (a unit of measure slightly greater than an inch) was divided into 12 lines, each of which was then divided into 6 lines Petit- Roman size was about equal to our 10-point Cicero size was 12-point Modles des caractres limprimerie (Models of Printing Characters) his first specimen book 2 4,600 characters over six years, he had designed and cut the punches by himself transitional forms inspired by the Romain du Roi but, he initiated the idea of a type family, in which types are visually compatible and can be mixed casting up to 84- and 108-point type (the largest yet) his decorative types work well with his roman fonts (which had similar...
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This note was uploaded on 09/19/2011 for the course GRA 111 taught by Professor Staff during the Fall '08 term at ASU.

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Ch.8–10_Notes - GRA 111 Fall 2010 CH 8: An...

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