c. Tyoeface of early northern Europe printing was Gothic blackletter; not acceptable to humanist southern Europe. d. Chancery script e.

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1 Synopsis #1 Name of Student Outline Sample From Gutenberg to Opentype, Dood 2006 pg I. The Renaissance (pg. 16) o 14 th century 16 th century o Ancient pre-christian cultures of Greece & Rome o Humanist ideals: individualism, originality, & a general proficiency that was a basis of Renaissance education o Michelangelo Buonarotti, Leonardo da Vinci & Raphael. o Leon Battista Alberti 1. Driving Forces a. Credit, loans with interest or concessions b. Invention of printing from moveable type c. Expeditions of discovery A. Johannes Gutenberg & Movable Type System of mass production, spread of knowledge Rotunda one of the main forms of blackletter/ Gothic Letter Bastarda one of the four main groups that cover vernacular blackletter texts 42-line Bible Gutenberg s masterpiece. Consisted of two 42-ine columns per page. Based on Texture, the formal script of northern Germany. Trade secrets early printers, like all tradesmen of the time, jealously guarded their craft secrets & practices. 1. The Adjustable Mold a. Two fitting parts that could be adjusted to fit the matrix of each letter width to be cast b. Thick, oil-based ink 2. Early Publications a. Four main groups of blackletter: Texturas, Gotico-antiquas or Ferehumanisticas, Rotunda or round text, and Bastarda (vernacular types). b. Fust and Schoeffer Mainz Psalter 3. From Gothic to Roman a. Incunabula Period b. William Caxton, first introduced printing. He occupied the post of Governor of English in Bruges in i. Published some 73 books in English

2 c. Tyoeface of early northern Europe printing was Gothic blackletter; not acceptable to humanist southern Europe. d. Chancery script e. Roman typeface i. Sweynheim and Pannartz ii. Johnannes and Wendelin da Spira iii. Nicholas Jenson 23 letters 4. From a Craft to an Art a. Jenson, from apprentice to Master of the Mint at Tours. i. Raised type design from craft to an art form b. William Morris, Golden type c. Bruce Rogers, roman type Centaur B. Aldus Manutius & the Italian Old-Face First teacher, then printer of classical Greek literature Device, dolphin and anchor Plain an simple readability 1. Early Texts a. Greek did not develop like Latin did b. De Aetna, by Pietro Bembo, typeface that made the names of Manutius and Griffo part of printing history. 2. Italic Type a. Series of pocket books b. Manutuis want typeface base on humanist script, lower case only, more condensed/ economical. c. First vol.- Virgil 1501 d. Aldus claimed copyright and monopolies. Griffo claimed he did not get enough credit C. Bembo: the Italian Old-Face Full, generous forms, light in color. Generous flourish to the tail of the J and Q 1. Bembo Revival a. Only available as printed books created promblems for redesign b. Griffo Poliphilus 1499, cut & released in 1923 c. Bembo De Aetna 1495, 1929 i. Successful book face through 20 th cent. ii. Digital departs from hot-metal Bembo

3 D. Claude Garamond & the French Old-Face Simon de Colines, Jean de Tournes, Robert Estienne, Geoffroy Troy (first Imprimeur de Roi) Garamond supported advance of French printing 1. A Harmonious Set a. Companion italic alphabet, with capitals that would partner roman fonts, now a basic feature. b. Cutting and casting of type as a specialized skill c. Collection purchased by Christopher Plantin E. Christopher Plantin & the Netherlands Old-Face 21 presses going at one in workshop 1. Dutch Rise to Prominence a. Family - Johannes Moretus, Balathasar b. French printing gave way to the Netherlands i. Van den Keere, Christoffel van Dyke, Dirck Voskens II. The Enlightenment (pg. 36) o Isaac Newton gravity, light, and motion 1. Revolutionary Developments a. Technological advances/ machines b. Royal Academy of Arts 1768 c. French Revolution A. William Caslon & the English Old-face Archbishop Control the number of printing presses, printers and apprentices in Oxford, Cambridge, and London. Quality of printed work declined. 1. Skilled Craftsman a. Caslon received financial support to set up type foundry. i. Produced a roman & italic font as well as one of Hebrew that was used by Bowyer for a folio ed. ii. Coptic and other exotic types iii. Success in Britain, but based on the types of the 16 th century. B. Caslon: the Last Old-Face British typeface instead of those imported from Holland George Bernard Shaw insisted all his books printed in Caslon 1. Twentieth-century Caslon a. Lots of versions available

4 b. Two Hot-metal: Monotype and Linotype 2. Digital Caslon a. Nine digital versions; Adobe Caslon C. The King s Roman: The Transition Begins Louis XIV of France commissioned a new collection of types to be created for the exclusive use of the Imprimerie Royale. Forms determined by mathematics rather than craft. Pied du roi unit of linear measurement at the time. 1. Romain Du Roi a. 21 sizes of roman & italics, 21 roman and italic initial letters. A total of 84 fonts. b. Serif brackets are less prominent than Old-face types c. Database for Descriptions of Arts and Trades d. Individual shape related to the grid D. Pierre Simon Fournier & the Point System Typefounder of Romain du Roi 1. Measurement System a. Typeface named to give an indication of size b. Based standard on two inches i. Two nonpareils equals one Cicero c. Two-volume Manuel Typographique E. Baskerville & Typography as an Art Form 1. Baskerville s Legacy a. Perfectionism hindered his financial success b. After death, wife sold typefoundry to the French Pierre Augustin Caron de Beaumachais. Intended to print Voltaire. c. Layout has a pure simplicity C. The Didot Family & the Modern Face 1. A Family Business Type casting machine a. First Modern type i. Modern roman b. Printing office was allocated premises in the Louvre. G. Giambattista Bodoni & the Modern Face Brought the modern face to the height of elegance & sophistication End of the 18 th

5 1. From Craftsman to Artist a. Duke of Parma asked Bodoni to become director b. Large capitals, hairline serifs H. Bodoni: the Typeface Itself 1. Works of Art a. Goal was to producespectacular visual experiences for his reader b. Seldom read, rather collected & admired in themselves as works of art. III. The Machine Age o 19 th Century: rapid developments & arrival of new forms of power. 1. The Arts a. Heroic neoclassicism met a challenge from rural life i. Painters of modern life 1870s b. Telephone 1876 A. The Fat-Face & the Slab-Serif Egyptians New client: jobbing printer, demand for display 1. The First Slab-Serifs a. Outsized types that were measured by lines b. Thorne, slab-serif Egyptian c. Vincent Figgins; first slab-serif 1815 Antique B. Slab-Serifs: the Type Sans-serif & resilient slab-serif Maintained Egyptian theme Memphis, Karnak, Beton, Cairo, Pharaoh, Peignot, Rockwell, Scarab C. Clarendon: the Fann Street Foundry 1. A Much Needed Addition a. Robert Besley b. Designed to emphasize type, bolder face with delicate Modern form c. First typeface to be registered under England s Designs Copyright Amendment Act. D. The 19 th Century: Technical Development 1. Typecasting Machines a. Faster typesetting b. Linotype machine: Ottmar Mergenthaler i. slug one piece of metal casting a line of matrices c. Monotype machine: Tolbert Lanston i. Individual letters

6 2. Image Production Methods a. Stereotyping foundry forme b. Illustrations in books & periodicals c. Wood engraving: popular for advertising d. photography 3. Printing Press Advances a. All iron press: Stanhope b. Konig s steam-driven stop-cylinder press 1812 E. William Morris & Looking Back for the Way Ahead 1. The Arts and Crafts Movement a. Arts and Crafts Exhibition Society 1887 i. Craft guilds & communities of craftsman ii. Products were expensive 2. Calligraphy a. Morris interest b. Gothic typeface 3. The Kelmscott Press a. Golden type: popular with early printers b. Among first of the private presses