Creator Gutenberg, Johann Creator/Era Dates Creator Nation Germany Creator Role Painter Title Gothic Type Style/Period

Transcription

1 Creator Gutenberg, Johann Creator/Era Dates Creator Nation Germany Creator Role Painter Title Gothic Type Style/Period Renaissance Classification Graphic Design: Typeface Technique letterpress printing Subject Type Design--Typeface Design Subject Visual Technology--History of Printing Description Gutenberg's first black-letter type was modeled on medieval manuscript hand. Wishing to retain the richness and variety of this gothic calligraphy, he used an alphabet with 290 different type punches. Assigned Terms Typography / Calligraphy Assigned Terms Graphic Communications Assigned Terms Visual Communications Image Source Z4 O , p.114 Rights Educational Use (Can be Printed) on Closed Network Country Germany Century 15th C. Image ID Resolution Size 5 Format JP2 Media Type Image File Name 68445d.jp2 Width 1228 Height 2959

2 Creator Gutenberg, Johann Creator/Era Dates Creator Nation Germany Creator Role Painter Title a, Black Letter Style/Period Renaissance Classification Graphic Design: Typeface Technique letterpress printing Subject Type Design--Typeface Design Subject Visual Technology--History of Printing Description Gutenberg designed and cut the first printed gothic typeface for his new moveable-type press. Imitating the textura hand of medieval and Renaissance manuscripts, Gutenberg's letters included several character variations so as to provide an authentic variety to blocks of text. This is one example of a lowercase a. Assigned Terms Historical Assigned Terms Typography / Calligraphy Assigned Terms Graphic Communications Assigned Terms Visual Communications Image Source Z250 H6753, p.3 Rights Educational Use (Can be Printed) on Closed Network Country Germany Century 15th C. Image ID Resolution Size 5 Format JP2 Media Type Image File Name 68394d.jp2 Width 1639 Height 2377

3 Field name: Creator Value: Gutenberg, Johann Field name: Creator/Era Dates Value: Field name: Title Value: Letters of Indulgence Field name: Date Value: 1454 Field name: Style/Period Value: Northern Renaissance Field name: Classification Value: Manuscript Field name: Subject Value: Reformation Field name: Subject Value: Visual Technology--History of Printing Field name: Description Value: This letter of indulgence is one of many copies that pardons the sins of any Christian who had donated money to support the war against the Turks. The notes, commissioned by Pope Nicholas V, are some of the earliest dated examples of Gutenberg's mass-produced prints. Field name: Assigned Terms Value: Christian Field name: Image Source Value: Z244.5 M , fig.5-12 Field name: Country Value: Germany

4 Field name: Creator Value: Gutenberg, Johann Field name: Creator/Era Dates Value: Field name: Title Value: Begininning of the First Book of Kings, Old Testament Field name: Variant Title Value: Mazarin Bible Field name: Larger Entity Value: 42-Line Bible Field name: Date Value: Field name: Style/Period Value: Renaissance, (Germany) Field name: Classification Value: Manuscript Field name: Material/Medium Value: vellum Field name: Material/Medium Value: ink Field name: Height Value: 40.5 Field name: Width Value: 60 Field name: Subject Value: Visual Technology--History of Printing Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: Gutenberg printed 210 copies of his bible, 180 on paper and 30 on fine vellum. Each book (in two volumes) consisted of 1,282 pages of carefully arranged type set within tightly justified columns and generous margins. The pristine justification was made possible by Latin's flexibility in abbreviation. A typeface of 290 different characters gave the manuscript richness and variety. The red and blue illumination was added by a later scribe. Field name: Assigned Terms Value: New Testament Field name: Assigned Terms Value: Historical Field name: Assigned Terms Value: Christian Field name: Assigned Terms Value: Old Testament and Apocrypha Field name: Assigned Terms Value: Illustration Field name: Assigned Terms Value: Manuscripts Field name: Image Source Value: Z241 B58 T , pp.6-7 Field name: Country Value: Germany

5 Rubrication Field name: Creator Value: Gutenberg, Johann Field name: Creator/Era Dates Value: Field name: Title Value: Beginning of the Prologue to the Book of Daniel, detail Field name: Variant Title Value: Mazarin Bible Field name: Larger Entity Value: 42-Line Bible Field name: Date Value: Field name: Style/Period Value: Renaissance, (Germany) Field name: Classification Value: Manuscript Field name: Material/Medium Value: vellum Field name: Material/Medium Value: ink Field name: Height Value: 40.5 Field name: Width Value: 60 Field name: Subject Value: Visual Technology--History of Printing Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: Gutenberg printed 210 copies of his bible, 180 on paper and 30 on fine vellum. Each book (in two volumes) consisted of 1,282 pages of carefully arranged type set within tightly justified columns and generous margins. The pristine justification was made possible by Latin's flexibility in abbreviation. A typeface of 290 different characters gave the manuscript richness and variety. The rubrication and illumination was added later by a scribe, making each copy unique. Field name: Assigned Terms Value: Historical Field name: Assigned Terms Value: Christian Field name: Assigned Terms Value: Old Testament and Apocrypha Field name: Assigned Terms Value: Illustration Field name: Assigned Terms Value: Manuscripts Field name: Image Source Value: Z241 B58 T , pp.6-7 Field name: Country Value: Germany

6 Field name: Title Value: Illustration of the operation of a counter-punch Field name: Classification Value: Graphic Design: Typeface Field name: Subject Value: Visual Technology--History of Printing Field name: Description Value: Illustration of the punch/counter-punches used to make type. The punch was a short bar of annealed steel, the end of which was to be shaped to the form of the character. For any letter that contained an interior space, such as B or O, the punch-cutter would first make a counter-punch to the shape of the interior white area. The counter-punch would be driven into the face of the punch, and then the outer profile of the letter would be formed by filing away the unwanted metal - slow, painstaking work, with many pauses for the checking of the size of the letter and the thickness of its strokes with a variety of specially-made gauges. Field name: Assigned Terms Value: Diagram / Information Field name: Image Source Value: Z250 A2 T , p.33

7 Field name: Creator Value: Fust, Johann Field name: Creator Nation Value: Germany Field name: Creator Role Value: printer Field name: Title Value: Mainz Psalter, opening page Field name: Date Value: 1457 Field name: Style/Period Value: Renaissance, (Germany) Field name: Classification Value: Manuscript Field name: Height Value: 35.4 Field name: Width Value: 24.4 Field name: Subject Value: Visual Technology--History of Printing Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: The elaborate initials of Fust's and Schoeffer's Latin Psalter were printed using two colors. Two interlocking parts were each inked seperately, and then joined together for printing, creating a perfect registration. Field name: Assigned Terms Value: Christian Field name: Image Source Value: Z4 O , p.123 Field name: Country Value: Germany

8 Field name: Creator Value: Sweynheym, Conrad Field name: Creator Nation Value: Germany Field name: Creator Role Value: printer Field name: Creator Value: Pannartz, Arnold Field name: Creator Nation Value: Germany Field name: Creator Role Value: artist, painter, printer Field name: Title Value: Gothico-Roman Type Field name: Date Value: 1465 Field name: Style/Period Value: Renaissance, (Germany) Field name: Classification Value: Graphic Design: Typeface Field name: Description Value: This type shows the influence of both northern, black letter faces from Germany and the Italian roman types that were being developed in Venice and Rome. Sweynheym and Pannartz were two German printers who opened the first press in Italy in a monastery in Subiaco, just outside of Rome. Field name: Image Source Value: Z250 H6753, p.35 Field name: Country Value: Germany

9 Field name: Creator Value: Jenson, Nikolaus Field name: Creator/Era Dates Value: Field name: Creator Nation Value: France Field name: Creator Role Value: printer Field name: Title Value: Roman type Field name: Date Value: 1470 Field name: Style/Period Value: Renaissance, (Italy) Field name: Classification Value: Graphic Design: Typeface Field name: Description Value: Jenson's famous Roman typeface was designed in Venice and surpassed all other humanist faces for readability and elegance. It became the inspiration for many other fonts including Eusebius, Cloister, and Centaur. Field name: Assigned Terms Value: Historical Field name: Image Source Value: Z250 A2 M , fig.15 Field name: Country Value: Italy

10 Field name: Creator Value: Caxton, William Field name: Creator/Era Dates Value: Field name: Title Value: Caxton's Type 2 Field name: Date Value: 1477 Field name: Style/Period Value: Renaissance, (England) Field name: Classification Value: Graphic Design: Type Specimen Field name: Image Source Value: Z250 A2 U6 1962, pl.60 Field name: Country Value: England

11 Field name: Creator Value: Caxton, William Field name: Creator/Era Dates Value: Field name: Title Value: The Squire's Tale, introduction Field name: Larger Entity Value: Geoffrey Chaucer's 'The Canterbury Tales' Field name: Date Value: 1484 Field name: Style/Period Value: Renaissance, (England) Field name: Classification Value: Graphic Design: Book Design Field name: Technique Value: woodcut (process) Field name: Subject Value: Book and Publication Design--History of the Book Field name: Assigned Terms Value: Figure, Male Field name: Assigned Terms Value: Literature Field name: Assigned Terms Value: Illustration Field name: Image Source Value: Z4 O , p.124 Field name: Country Value: England

12 Field name: Title Value: Construction of Roman Alphabet by Damiano Da Moille Field name: Date Value: 1480 Field name: Style/Period Value: Renaissance, (France) Field name: Classification Value: Graphic Design: Typeface Field name: Image Source Value: Z250 H6753, p.28 Field name: Country Value: France

13 Koberger, printer/publisher. Wolgemuth, illustrator, provided the layout of the entire book Written in Latin by Hartmann Schedel, with a version in German, translation by Georg Alt, it appeared in It is one of the best-documented early printed books an incunabulum and one of the first to successfully integrate illustrations and text. Latin scholars refer to it as Liber Chronicarum (Book of Chronicles) as this phrase appears in the index introduction of the Latin edition. English speakers have long referred to it as the Nuremberg Chronicle after the city in which it was published. German speakers refer to it as Die Schedelsche Weltchronik (Schedel's World History) in honour of its author. Two Nuremberg merchants, Sebald Schreyer ( ) and his son-in-law, Sebastian Kammermeister ( ), commissioned the Latin version of the Chronicle. They also commissioned George Alt ( ), a scribe at the Nuremberg treasury, to translate the work into German. Both Latin and German editions were printed by Anton Koberger, in Nuremberg.[1] The contracts were recorded by scribes, bound into volumes, and deposited in the Nuremberg City Archives.[2] The first contract, from December, 1491, established the relationship between the illustrators and the patrons. Wolgemut and Pleydenwurff, the painters, were to provide the layout of the Chronicle, to oversee the production of the woodcuts, and to guard the designs against piracy. The patrons agreed to advance 1000 gulden for paper, printing costs, and the distribution and sale of the book. A second contract, between the patrons and the printer, was executed in March, It stipulated conditions for acquiring the paper and managing the printing. The blocks and the archetype were to be returned to the patrons once the printing was completed.[3] The Chronicle was first published in Latin on 12 July 1493 in the city of Nuremberg. This was quickly followed by a German translation on 23 December An estimated 1400 to 1500 Latin and 700 to 1000 German copies were published. The author of the text, Hartmann Schedel, was a medical doctor, humanist and book collector. He earned a doctorate in medicine in Padua in 1466, then settled in Nuremberg to practice medicine and collect books. The publisher and printer was Anton Koberger, the godfather of Albrecht Dürer, who in the year of Dürer's birth in 1471 ceased goldsmithing to become a printer and publisher. He quickly became the most successful publisher in Germany, eventually owning 24 printing presses and having many offices in Germany and abroad, from Lyon to Budapest.[6] Field name: Creator Value: Koberger, Anton Field name: Creator/Era Dates Value: Field name: Creator Nation Value: Germany Field name: Creator Role Value: printer Field name: Title Value: Nuremberg Chronicle, page spread Field name: Variant Title Value: Liber Chronicarum Field name: Date Value: 1493 Field name: Style/Period Value: Northern Renaissance Field name: Classification Value: Incunabula Field name: Height Value: 47.5 Field name: Width Value: 65.2 Field name: Subject Value: Visual Technology--History of Printing Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: Hermann Schedel wrote this book from the incunabula period of graphic design which tells the history of the world from the biblical story of creation to the year The complex and carefully designed layout of this spread shows how rules surrounding the illustrations made a more tight-fitting composition with the rigidly justified rectangles of text.

14 Modularization Field name: Creator Value: Koberger, Anton Field name: Creator/Era Dates Value: Field name: Creator Nation Value: Germany Field name: Creator Role Value: printer Field name: Title Value: Nuremberg Chronicle, page spread Field name: Variant Title Value: Liber Chronicarum Field name: Date Value: 1493 Field name: Style/Period Value: Northern Renaissance Field name: Classification Value: Incunabula Field name: Height Value: 47.5 Field name: Width Value: 65.2 Field name: Subject Value: Visual Technology--History of Printing Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: This book from the incunabula period of graphic design tells the history of the world from the biblical story of creation to the year This page sread features an illustration from Genesis in which cocentric circles symbolize progression of the story of creation. Field name: Assigned Terms Value: Historical Field name: Assigned Terms Value: Christian Field name: Assigned Terms Value: Old Testament and Apocrypha Field name: Assigned Terms Value: Diagram / Information Field name: Assigned Terms Value: Illustration Field name: Assigned Terms Value: Manuscripts Field name: Image Source Value: Z244.5 M , fig.6-9 Field name: Country Value: Germany

15 Field name: Creator Value: Koberger, Anton Field name: Creator/Era Dates Value: Field name: Creator Nation Value: Germany Field name: Creator Role Value: printer Field name: Title Value: Nuremberg Chronicle, title page Field name: Variant Title Value: Liber Chronicarum Field name: Date Value: 1493 Field name: Style/Period Value: Northern Renaissance Field name: Classification Value: Incunabula Field name: Height Value: 47.5 Field name: Width Value: 65.2 Field name: Repository Name Value: Saint Louis, Olin Library [Washington University] Field name: Subject Value: Type Design--Calligraphy Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: Hermann Schedel wrote this book from the incunabula perios of graphic desgin which tells the history of the world from the biblical story of creation to the year Field name: Assigned Terms Value: Historical Field name: Assigned Terms Value: Christian Field name: Assigned Terms Value: Old Testament and Apocrypha Field name: Assigned Terms Value: Maps Field name: Assigned Terms Value: Manuscripts Field name: Image Source Value: DD87 L fol Field name: Country Value: Germany

16 Field name: Creator Value: Manutius, Aldus Field name: Creator/Era Dates Value: Field name: Creator Nation Value: Italy Field name: Creator Role Value: humanist, publisher, typographer Field name: Title Value: Typeface speciman from De Aetna by Pietro Bembo Field name: Date Value: 1495 Field name: Classification Value: Graphic Design: Typeface Field name: Description Value: Typographer Griffo designed and cut this typeface for printer Aldus Manutius who was working on Pietro Bembo's De Aetna. The font became the model for the Garamond type family. Field name: Image Source Value: Z244.5 M , fig.7-14 Field name: Country Value: Italy

17 The book was printed by Aldus Manutius in Venice in December The book is anonymous, but an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT, "Brother Francesco Colonna has dearly loved Polia." Despite this, scholars have also attributed the book to Leon Battista Alberti, and earlier, to Lorenzo de Medici. The latest contribution in this respect was the attribution to Aldus Manutius, and a different Francesco Colonna, this one a wealthy Roman Governor. The author of the illustrations is even less certain. The subject matter lies within the tradition of the genre of Romance within the conventions of courtly love, which still provided engaging thematic matter for Quattrocento aristocrats. The Hypnerotomachia also draws from a humanist tradition of arcane writings as a demonstration of classical thought. The text of the book is written in a bizarre Latinate Italian, full of words based on Latin and Greek roots without explanation. The book, however, also includes words from the Italian language, as well as illustrations including Arabic and Hebrew words; Colonna also invented new languages when the ones available to him were inaccurate. (It also contains some uses of Egyptian hieroglyphs, but they are not authentic, most being drawn from a medieval text called Hieroglyphica of dubious origin.) Its story, which is set in 1467, consists of precious and elaborate descriptions of scenes involving the title character, Poliphilo ("Friend of Many Things", from Greek Polloi "Many" + Philos "Friend"), as he wanders a sort of bucolic-classical dreamland in search of his love Polia ("Many Things"). The author's style is elaborately descriptive and unsparing in its use of superlatives. The text makes frequent references to classical geography and mythology, mostly by way of comparison. The book has long been sought after as one of the most beautiful incunabula ever printed.[1] The typography is famous for its quality and clarity, in a roman typeface cut by Francesco Griffo, a revised version of a type which Aldus had first used in 1496 for the De Aetna of Pietro Bembo. The type was revived by the Monotype Corporation in 1923 as Poliphilus.[2] Another revival, of the earlier version of Griffo's type, was completed under the direction of Stanley Morison in 1929 as Bembo. The type is thought to be one of the first examples of the italic typeface, and unique to the Aldine Press in incunabula. The overall literary merit of this work is debatable, and some critics have dismissed it as unreadable. Certainly it is written in an odd hybrid of Latin vocabulary imposed upon Italian syntax; this idiosyncratic language would probably have been as difficult for sixteenth century readers as it is today. Field name: Creator Value: Manutius, Aldus Field name: Creator/Era Dates Value: Field name: Creator Nation Value: Italy Field name: Creator Role Value: humanist, publisher, typographer Field name: Title Value: Hypnerotomachia Poliphili, page spread Field name: Variant Title Value: The Strife of Love in a Dream Field name: Date Value: 1499 Field name: Style/Period Value: Renaissance, (Italy) Field name: Classification Value: Graphic Design: Book Design Field name: Height Value: 30.2 Field name: Width Value: 19.8 Field name: Repository Name Value: Provo, L. Tom Perry Special Collections, BYU Field name: Subject Value: Book and Publication Design--History of the Book Field name: Description Value: This famous book, written by Dominican Francesco Colonna, tells the dream of Poliphilo, an allegorical story of the search for a lost mistress named Polia. Famous for its innovative and graceful use of illustration, shaped type, and white space, the book became an influential work for printers and typographers for hundreds of years. For a full electronic version of the book, visit the MIT Press online at Field name: Assigned Terms Value: Allegorical Field name: Assigned Terms Value: Illustration Field name: Image Source Value: Z4 O , p.130 Field name: Country Value: Italy

18 Field name: Creator Value: Manutius, Aldus Field name: Creator/Era Dates Value: Field name: Creator Nation Value: Italy Field name: Creator Role Value: humanist, publisher, typographer Field name: Title Value: Illustrated spread from Hypnerotomachia Poliphili Field name: Date Value: 1499 Field name: Classification Value: Graphic Design: Book Design Field name: Repository Name Value: Washington D.C., The Library of Congress Field name: Subject Value: Visual Technology--History of Printing Field name: Description Value: The assymetrical balance was unusual for its time. the arched borders of the two illustrations on the right echo the arch form in the illustration on the left. This masterpiece of graphic design achieved an elegant harmony of typography and illustration that has seldom been equaled. The communicative coordination of the illustrations with the text and the exceptional design integration of images and typography indicate that the printer, type designer, author, and artist worked in close collaboration. The name of the artist who designed the 168 delicate linear illustrations is lost to history. Griffo designed new capitals for use with the Bembo lowercase. These capitals were based on the most precise research and study of Toman inscriptions available and used the one-to-ten (stroke weight-to-height) proportion advanced by leading mathematicians of the era, whose search for mathematical laws of proportion included a study of Roman inscription lettering. Griffo made his lowercase ascenders taller than the capitals to correct an optical color problem- the tendency of capitals to appear too large and heavy in a page of text- that had plagued earlier Roman fonts. Griffo's typefaces became the model for the talented French type designers who perfected these letterforms during the following century. Exquisite chapter headings in capitals of the same size as those used in the text, large outline initials surrounded by stylized floral ornamentation, and an overall lightness to the page, combined with generous margins, beautiful paper, and meticulous presswork, excited printers and designers throughout Europe. Poliphili was Manutius's only illustrated book. After it was published, the Aldine staff turned their attention to scholarly editions. Field name: Image Source Value: Z244.5 M , figure 7-17 Field name: Country Value: Italy