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Lascaux | Cave painting, France. 17,000 BP |
http://art85.patrickaievoli.com/?p=75 |
Ishango Bone | Use to measure, keep tally. Found in Africa | http://art85.patrickaievoli.com/?p=75 |
Petroglyphs | Carvings on rocks. Southwest USA | http://art85.patrickaievoli.com/?p=75 |
Hieroglyphics | Egyptian symbols | http://art85.patrickaievoli.com/?p=75 |
Sumerian | First true letter shape | http://art85.patrickaievoli.com/?p=75 |
Cuneiform | First organized letter shape. Same cohesive look. | http://art85.patrickaievoli.com/?p=75 |
Phoenician | First 26 letter alphabet | http://art85.patrickaievoli.com/?p=75 |
Roman/Greek | Simplified and organized version of Phoenician | http://art85.patrickaievoli.com/?p=75 |
Sanskrit | Ancient language similar to Arabic | http://art85.patrickaievoli.com/?p=75 |
Rosetta Stone | Stone with scripture in 3 languages. Used to decipher. Used for translation. | http://art85.patrickaievoli.com/?p=75 |
Unical | Capital letters. Just uppercase. | http://art85.patrickaievoli.com/?p=75 |
half-unical | First time having both uppercase and lowercase together. New level of organization. | http://art85.patrickaievoli.com/?p=75 |
Column of Trajan | 100 ft tall Roman column for Emperor Trajan. Tells his story in a spiral down the column. |
http://art85.patrickaievoli.com/?p=75 |
Book of Kells | Ancient book to convert pagans to Christianity. | http://art85.patrickaievoli.com/?p=75 |
Michelangelo | Sistine chapel | http://art85.patrickaievoli.com/?p=222 |
DaVinci | Mona Lisa, Last Supper | http://art85.patrickaievoli.com/?p=222 |
Titian | Venus of Urbino | http://art85.patrickaievoli.com/?p=222 |
Raphael | ‘Assunta’ (Assumption of the Virgin Mary) | http://art85.patrickaievoli.com/?p=222 |
Durer | German etchings, leading craftsman – 4 Horsemen of the Apocalypse | http://art85.patrickaievoli.com/?p=222 |
German Renaissance | Use of black letter shapes. Heavier gothic type. | http://art85.patrickaievoli.com/?p=222 |
Pi Sheng | First moveable type – jade | http://art85.patrickaievoli.com/?p=216 |
Gutenberg | First use of printing press. 1450 | http://art85.patrickaievoli.com/?p=216 |
Mainz | City where Gutenberg’s first press was housed | http://art85.patrickaievoli.com/?p=216 |
Lyons | Start of printing in France | http://art85.patrickaievoli.com/?p=216 |
Copperplate | First commercialized typeface | http://art85.patrickaievoli.com/?p=216 |
Jensen | Typographer | http://art85.patrickaievoli.com/?p=216 |
Grilla | Typographer | http://art85.patrickaievoli.com/?p=216 |
Garamond | Typographer | http://art85.patrickaievoli.com/?p=216 |
Caslon | Typographer | http://art85.patrickaievoli.com/?p=216 |
Didot | Typographer | http://art85.patrickaievoli.com/?p=216 |
Bodoni | Typographer | http://art85.patrickaievoli.com/?p=216 |
Manitus | Inventor of first italic typographer | http://art85.patrickaievoli.com/?p=216 |
Poor Richards Almanac | First modern newspaper. Publisher: Ben Franklin | http://art85.patrickaievoli.com/?p=222 |
Senefelder | Inventor of lithography | http://art85.patrickaievoli.com/?p=222 |
Chromolithography | Use of multiple colors. Lithography with multiple colors. | http://art85.patrickaievoli.com/?p=222 |
Machine printing | First time they hooked up to an actual machine. Increased production. | http://art85.patrickaievoli.com/?p=222 |
Goudy | Typographer | http://art85.patrickaievoli.com/?p=222 |
Linotype | Machine typography. First time type could be set in a machine. Full lines of type set to whatever height and width you specify. | http://art85.patrickaievoli.com/?p=222 |
VOGUE | First magazines | http://art85.patrickaievoli.com/?page_id=547 |
Harper’s Bazzar | First magazines. Weekly | http://art85.patrickaievoli.com/?page_id=547 |
Cheret | French posters. Very specific aesthetic/style. | http://art85.patrickaievoli.com/?page_id=547 |
Beggarstaff Brothers | Commercial posters. Not fine art. | http://art85.patrickaievoli.com/?page_id=547 |
Niepce | Inventor of photography | http://art85.patrickaievoli.com/?p=263 |
Talbot | Early photographer | http://art85.patrickaievoli.com/?p=263 |
Daguerre | Inventor of Daguerre type | http://art85.patrickaievoli.com/?p=263 |
Muybridge | Invented motion pictures through photography. | http://art85.patrickaievoli.com/?p=263 |
Edison | Wizard of Menlo Park – Countless patents. | http://art85.patrickaievoli.com/?p=263 |
Tesla | Nikola, electricity, radio, etc. | http://art85.patrickaievoli.com/?p=263 |
Art Nouveau | Decorative art – circular | http://art85.patrickaievoli.com/?page_id=547 |
Bauhaus/Dada | Design School – Art Movement | |
Art Deco | Non-decorative art style – linear | http://art85.patrickaievoli.com/?page_id=547 |
Farnsworth | Inventor of television |
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Casting Metal Type from Dave Keyes on Vimeo.
Traditional letterpress printing requires physical letters, cast from metal or carved from wood, which get inked and pressed into paper to make a print. In the next two blog posts, we’ll take an introductory look into how these letters get made.
First up, metal type!
https://www.stbrigidpress.net/blog/how-type-is-made-part-1
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Thomas Alva Edison (February 11, 1847 to October 18, 1931) was an American inventor who is considered one of America’s leading businessmen. Edison rose from humble beginnings to work as an inventor of major technology, including the first commercially viable incandescent light bulb. He is credited today for helping to build America’s economy during the nation’s vulnerable early years.
Thomas Edison’s inventions included the telegraph, the universal stock ticker, the phonograph, the first commercially practical incandescent electric light bulb, alkaline storage batteries and the Kinetograph (a camera for motion pictures).
Hollywood couldn’t have devised a more titillating scenario. Eadweard Muybridge, an eccentric inventor, was on the verge of a truly revolutionary discovery when his young wife had an affair. Muybridge killed the suitor in cold blood and was later acquitted on a verdict of “justifiable homicide.” He resumed his work and developed a miraculous process for capturing movement on film, laying the groundwork for the motion picture industry.
History of the motion picture, history of cinema from the 19th century to the present.
The illusion of motion pictures is based on the optical phenomena known as persistence of vision and the phi phenomenon. The first of these causes the brain to retain images cast upon the retina of the eye for a fraction of a second beyond their disappearance from the field of sight, while the latter creates apparent movement between images when they succeed one another rapidly. Together these phenomena permit the succession of still frames on a motion-picture film strip to represent continuous movement when projected at the proper speed (traditionally 16 frames per second for silent films and 24 frames per second for sound films). Before the invention of photography, a variety of optical toys exploited this effect by mounting successive phase drawings of things in motion on the face of a twirling disk (the phenakistoscope, c. 1832) or inside a rotating drum (the zoetrope, c. 1834). Then, in 1839, Louis-Jacques-Mandé Daguerre, a French painter, perfected the positive photographic process known as daguerreotypy, and that same year the English scientist William Henry Fox Talbot successfully demonstrated a negativephotographic process that theoretically allowed unlimited positive prints to be produced from each negative. As photography was innovated and refined over the next few decades, it became possible to replace the phase drawings in the early optical toys and devices with individually posed phase photographs, a practice that was widely and popularly carried out.
Philo Farnsworth, in full Philo Taylor Farnsworth II (born August 19, 1906, Beaver, Utah, U.S.—died March 11, 1971, Salt Lake City, Utah), American inventor who developed the first all-electronic televisionsystem.
Farnsworth was a technical prodigy from an early age. An avid reader of science magazines as a teenager, he became interested in the problem of television and was convinced that mechanical systems that used, for example, a spinning disc would be too slow to scan and assemble images many times a second. Only an electronic system could scan and assemble an image fast enough, and by 1922 he had worked out the basic outlines of electronic television.
In 1923, while still in high school, Farnsworth also entered Brigham Young University in Provo, Utah, as a special student. However, his father’s death in January 1924 meant that he had to leave Brigham Youngand work to support his family while finishing high school.
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
The Arts and Crafts movement emerged during the late Victorian period in England, the most industrialized country in the world at that time. Anxieties about industrial life fueled a positive revaluation of handcraftsmanship and precapitalist forms of culture and society. Arts and Crafts designers sought to improve standards of decorative design, believed to have been debased by mechanization, and to create environments in which beautiful and fine workmanship governed. The Arts and Crafts movement did not promote a particular style, but it did advocate reform as part of its philosophy and instigated a critique of industrial labor; as modern machines replaced workers, Arts and Crafts proponents called for an end to the division of labor and advanced the designer as craftsman.
Elegant swirls of vines, flowers, and leaves in perfect symmetry, William Morris’ iconic patterns are instantly recognizable. Designed during the 1800s, Morris’ woodblock-printed wallpaper designs were revolutionary for their time, and can still be found all over the world, printed for furniture upholstery, curtains, ceramics, and even fashion accessories. But do you know the history of how they came to be?
Charles Rennie Mackintosh (7 June 1868 – 10 December 1928) was a Scottish architect, designer, water colourist and artist. His artistic approach had much in common with European Symbolism. His work, alongside that of his wife Margaret Macdonald, was influential on European design movements such as Art Nouveau and Secessionism and praised by great modernists such as Josef Hoffmann. Mackintosh was born in Glasgow and died in London.
Peter Behrens (1868-1940) was Germany’s foremost architect in the early 20th century, as well as a painter and designer. His buildings greatly influenced the architecture of the next generation in Europe.
Peter Behrens was born in Hamburg on April 14, 1868. He studied painting at the School of Art in Karlsruhe (1886-1889). He spent the 1890s in Munich as a painter and designer in the current Jugendstil, or German Art Nouveau style, and cofounded the Sezession group of artists, architects, and designers in 1893. In 1899 he joined the artists’ colony on the Mathildenhöhe in Darmstadt, where, under the influence of J. M. Olbrich, he turned to architecture. Behrens’s house at Darmstadt (1900-1901) was a characteristic Art Nouveau work.
During his tenure as director of the School of Applied Arts in Düsseldorf (1903-1907), Behrens designed a series of buildings, including the exhibition hall for the Northwestern German Art Exhibition at Oldenburg (1905). In this design, simple rectilinear geometry, plane surfaces, and incised linear decoration replaced the curvilinear forms of his residence.
Link –
The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883–1969). Its core objective was a radical concept: to reimagine the material world to reflect the unity of all the arts. Gropius explained this vision for a union of art and design in the Proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture, sculpture, and painting into a single creative expression. Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living.
http://www.famousgraphicdesigners.org/
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Leonardo da Vinci (1452-1519) was a painter, architect, inventor, and student of all things scientific. His natural genius crossed so many disciplines that he epitomized the term “Renaissance man.” Today he remains best known for his art, including two paintings that remain among the world’s most famous and admired, Mona Lisa and The Last Supper. Art, da Vinci believed, was indisputably connected with science and nature. Largely self-educated, he filled dozens of secret notebooks with inventions, observations and theories about pursuits from aeronautics to anatomy. But the rest of the world was just beginning to share knowledge in books made with moveable type, and the concepts expressed in his notebooks were often difficult to interpret. As a result, though he was lauded in his time as a great artist, his contemporaries often did not fully appreciate his genius—the combination of intellect and imagination that allowed him to create, at least on paper, such inventions as the bicycle, the helicopter and an airplane based on the physiology and flying capability of a bat.
Leonardo da Vinci (1452–1519) seems to have begun recording his thoughts in notebooks from the mid-1480s. When he died at Amboise in 1519, he left all his drawings, papers and notebooks to his assistant, Francesco Melzi (1491/3–about 1570), who took them back to Milan.
“Lord, grant that I may always desire more than I accomplish.”
—Michelangelo
Painter, sculptor, architect and poet Michelangelo di Lodovico Buonarroti Simoni (March 6, 1475 to February 18, 1564) is considered one of the most famous artists of the Italian Renaissance, with works including the “David” and “Pieta” statues and the ceiling paintings of Rome’s Sistine Chapel, including the “Last Judgment.” Born to a family of moderate means in the banking business, Michelangelo became an apprentice to a painter before studying in the sculpture gardens of the powerful Medici family. What followed was a remarkable career as an artist, recognized in his own time for his artistic virtuosity. Although he always considered himself a Florentine, Michelangelo lived most of his life in Rome, where he died at age 88.
Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch.
Youth and debut
Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490.
Raphael, Italian in full Raffaello Sanzio or Raffaello Santi (born April 6, 1483, Urbino, Duchy of Urbino [Italy]—died April 6, 1520, Rome, Papal States [Italy]), master painter and architect of the Italian High Renaissance. Raphael is best known for his Madonnas and for his large figure compositions in the Vatican. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur.
Johannes Gutenberg, in full Johann Gensfleisch zur Laden zum Gutenberg (born 14th century, Mainz [Germany]—died probably February 3, 1468, Mainz), German craftsman and inventor who originated a method of printing from movable type that was used without important change until the 20th century. The unique elements of his invention consisted of a mold, with punch-stamped matrices (metal prisms used to mold the face of the type) with which type could be cast precisely and in large quantities; a type-metal alloy; a new press, derived from those used in wine making, papermaking, and bookbinding; and an oil-based printing ink. None of these features existed in Chinese or Korean printing, or in the existing European technique of stamping letters on various surfaces, or in woodblock printing.
A supremely gifted and versatile German artist of the Renaissance period, Albrecht Dürer (1471–1528) was born in the Franconian city of Nuremberg, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries. He was a brilliant painter draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking.
Dürer apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications. An admirer of his compatriot Martin Schongauer, Dürer revolutionized printmaking, elevating it to the level of an independent art form. He expanded its tonal and dramatic range, and provided the imagery with a new conceptual foundation. By the age of thirty, Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Apocalypse (1498; 19.73.209, 18.65.8), the Large Woodcut Passion cycle (ca. 1497–1500), and the Life of the Virgin (begun 1500). He went on to produce independent prints, such as the engraving Adam and Eve (1504; 19.73.1), and small, self-contained groups of images, such as the so-called Meisterstiche (master engravings) featuring Knight, Death, and the Devil (1513; 43.106.2), Saint Jerome in His Study (1514), and Melencolia I (1514; 43.106.1), which were intended more for connoisseurs and collectors than for popular devotion. Their technical virtuosity, intellectual scope, and psychological depth were unmatched by earlier printed work.
Though Leonardo da Vinci may be most famous for his works as an artist, he actually spent quite a bit more time working on his endeavors in science and technology. Of course, his detailed sketches and distinct artistry played a large role in his inventions, and his sketchbooks later provided evidence that da Vinci had envisioned many ideas long before the technology to build them actually existed.
One of the most prolific inventors in history, Leonardo da Vinci dreamed up inventions and innovations across a variety of fields. Whether designing weapons of war, flying machines, water systems or work tools, da Vinci the inventor (much like da Vinci the artist) was never afraid to look beyond traditional thinking or “dream big”.
Antiquarian science books are original historical works (e.g., books or technical papers) concerning science, mathematicsand sometimes engineering. These books are important primary references for the study of the history of science and technology, they can provide valuable insights into the historical development of the various fields of scientific inquiry (History of science, History of mathematics, etc.)
The Prominent and Prodigiously Popular Poor Richard – By Lisa Morgan, Summer 2008
Throughout Benjamin Franklin’s long and distinguished life, he achieved success and notoriety as a printer, author, postmaster, inventor and scientist, statesman and diplomat, and sage. But perhaps the most memorable contribution Franklin made to Americana was Poor Richard’s Almanack, which proved itself a brilliant success among its contemporaries and endures as a lasting legacy to the American ideals of morality, frugality, industry, and humor.
Harper’s BAZAAR is a world-renowned arbiter of fashion and good taste. Since its inception in 1867 as America’s first fashion magazine, BAZAAR has been home to extraordinary talents of Man Ray and Richard Avedon, and continues that tradition today with photographers including Peter Lindbergh and Sølve Sundsbø.
Sophisticated, elegant and provocative, Harper’s BAZAAR is the style resource for women who are the first to buy the best, from casual to couture. With style, authority and insider insight, BAZAAR focuses strictly on fashion and beauty, and covers what’s new to what’s next.
Month after month, Harper’s BAZAAR showcases the world’s most visionary stylists and talented designers, to deliver readers a visually stunning portrayal of the world of fashion and beauty.
BAZAAR is available in 43 countries around the globe.
THE HISTORY OF LITHOGRAPHY Alois Senefelder invented lithography in 1798. From its modest beginnings, it has become one of the largest industries in the United States—a part of the Printing Industry, which is the third largest manufacturing industry in the U.S. For many years, indeed over a century and a half, lithography was a very small segment of the printing industry, used mainly by artists to produce prints. However, during the late 1800’s and throughout the twentieth century, great advancements in technology made lithography into the most popular form of printing in the United States. The history of lithography occurred in four major steps: 1) The invention and early use of the process; 2) The introduction of photography to the process; 3) The addition of the offset press to the process; 4) The revolution of the lithographic plate.
The 50 years following the Civil War have been called the period of “chromo civilization” in America. Millions of chromolithographs were made, and they became the customary decoration in most homes throughout the country –what print historian Peter Marzio calls “the core of American life.” One of the great appeals of chromolithography was its low production costs, allowing thousands of bright, attractive colored to be sold inexpensively, bringing glimpses of grand art within reach of the masses. But chromolithography was much more than this. Through chromolithography, historical events were graphically depicted, American views were spread far and wide, and all aspects of American life were vividly documented. Alongside these pragmatic purposes, artists employed the process to create prints that very closely followed their artistic vision, and many chromolithographs, which were produced using heavy oil-based inks, closely duplicated the appearance of actual oil paintings.
History of photography, method of recording the image of an object through the action of light, or related radiation, on a light-sensitive material. The word, derived from the Greek photos (“light”) and graphein (“to draw”), was first used in the 1830s.
March 7th 1765: Birth of Joseph Niépce in Chalon-sur-Saône (he will change his name to Nicéphore later). His father is a King counseller and deposits collector for Chalonnais. He has one sister & two brothers.
• 1786: Joseph studies in Angers at the Oratorian Brothers. Physics and Chemistry are his passions.
• 1788: Leaves the Oratoire and enlists in the National Guard in Chalon-sur-Saône.
He signs his letters using Nicéphore as a first name.
• 1789: French Revolution.
• 1792: Enlistment in the Revolutionary Army (south of France & Sardinia campaigns).
• 1794: Nicéphore leaves the Army and lives in Nice. He gets married. His elder brother Claude comes to join him.
• 1795: Birth of his son Isidore.
Louis Jacques Mande DAGUERRE (1787-1851)
The daguerreotype process was the first practicable method of obtaining permanent images with a camera. The man who gave his name to the process and perfected the method of producing direct positive images on a silver-coated copper plate was Louis Jacques Mande Daguerre, a French artist and scenic painter. Daguerre had began experimenting with ways of fixing the images formed by the camera obscura around 1824, but in 1829 he entered into partnership with Joseph Nicephore Niepce (1765-1833), a French amateur scientist and inventor who, in 1826, had succeeded in securing a picture of the view from his window by using a a camera obscura and a pewter plate coated with bitumen. Niepce called his picture-making process heliography (“sun drawing”), but although he had managed to produce a permanent image using a camera, the exposure time was around 8 hours. Niepce later abandoned pewter plates in favour of silver-plated sheets of copper and discovered that the vapour from iodine reacted with the silver coating to produce silver iodide, a light sensitive compound.
Casting Metal Type from Dave Keyes on Vimeo.
Traditional letterpress printing requires physical letters, cast from metal or carved from wood, which get inked and pressed into paper to make a print. In the next two blog posts, we’ll take an introductory look into how these letters get made.
A rotary printing press is a printing press in which the images to be printed are curved around a cylinder. Printing can be done on a large number of substrates, including paper, cardboard, and plastic. Substrates can be sheet feed or unwound on a continuous roll through the press to be printed and further modified if required (e.g. die cut, overprint varnished, embossed). Printing presses that use continuous rolls are sometimes referred to as “web presses”.
Edison
Tesla
Muybridge
The years between the mid-15th century and the early 18th century proved to be a time of many changes and developments in the world of typography. Great examples of diverse type and type history.
Claude Garamond – born c. 1480 in Paris, France, died 1561 in Paris, France – type founder, publisher, punch cutter, type designer.
Caslon is the name given to serif typefaces designed by William Caslon I (c. 1692–1766) in London, or inspired by his work.
Giabattista Bodoni – born 16. 2. 1740 in Saluzzo, Piedmont, Italy, died 30. 11. 1813 in Parma, Italy – engraver
Frederic William Goudy – born 8. 3. 1865 in Bloomington, USA, died 11. 5. 1947 in Malborough-on-Hudson, USA – type designer, typographer, publisher, teacher.
German designer Hermann Zapf created the following fonts:
Aldus® (1954), Aldus Nova (2005), Aurelia (1983), Comenius® Antiqua BQ (1976), Edison (1978), Kompakt (1954), Marconi®(1976), Medici® Script (1971), Melior® (1952), Noris Script® (1976),Optima® (1958), Optima nova (2002), Orion (1974), Palatino®(1950), Palatino nova (2005), Palatino Sans (2006), Saphir (1953),Sistina® (1950), Vario (1982), Venture (1969), Virtuosa® Classic(2009), Linotype Zapf Essentials (2002), Zapfino® (1998), Zapfino Extra (2003), ITC Zapf Chancery® (1979) ITC Zapf International® (1976),ITC Zapf Book® (1976), Zapf Renaissance Antiqua (1984–1987), ITC Zapf Dingbats® (1978).
Adrian Johann Frutiger (Swiss German pronunciation: [ˈfrutɪɡər]; 24 May 1928 – 10 September 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. His career spanned the hot metal, phototypesetting and digital typesetting eras. Until his death, he lived in Bremgarten bei Bern.
Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neogrotesque, humanist and geometric. Univers was notable for being one of the first sans-serif faces to form a consistent but wide-ranging family, across a range of widths and weights. Frutiger described creating sans-serif types as his “main life’s work,”[7] partially due to the difficulty in designing them compared to serif fonts.
Max Miedinger (24 December 1910 – 8 March 1980) was a Swiss typeface designer. He was famous for creating the Neue Haas Grotesk typeface in 1957 that was renamed Helvetica in 1960. Marketed as a symbol of cutting-edge Swiss technology, Helvetica achieved immediate global success.
Between 1926 and 1930 Miedinger trained as a typesetter in Zurich, after which he attended evening classes at the Kunstgewerbeschule Zurich.
Around for a century, Linotype machines were made obsolete in the 1970s by changing technologies — but they have not been forgotten
To embark on Linotype was to embark on greatness. Linotype machines powered newspapers, factories, a whole industry that was as American as any and existed for a century, at least until the tides of technology wiped it out as an occupation in the 1960s and 1970s — and now, Linotype is nearly extinguished from American memory. Yet Thomas Edison, it’s said, called the machine the Eighth Wonder of the World (no faint praise from the man who invented the light bulb). This fabled technology, this wonder, once occupied the imagination of countless people in our nation’s past.
The Internet wasn’t just designed by one person or one team at one time. As more and more people peeled back the frontiers of information technology, they contributed to the understanding and development of what we all now take for granted. The Internet is here to stay, but there were times when it was a fragile thing that only a few people could envision. The following people are visionaries, inventors, researchers and programmers who, in the early days of the internet, dreamed big and pioneered the technologies and programs behind all the standard Internet operating tools of today.
Charlemagne was born around 742, the son of Bertrada of Laon (d.783) and Pepin the Short (d.768), who became king of the Franks in 751. Charlemagne’s exact birthplace is unknown, although historians have suggested Liege in present-day Belgium and Aachen in modern-day Germany as possible locations. Similarly, little is known about the future ruler’s childhood and education, although as an adult, he displayed a talent for languages and could speak Latin and understand Greek, among other languages.
After Pepin’s death in 768, the Frankish kingdom was divided between Charlemagne and his younger brother Carloman (751-771). The brothers had a strained relationship; however, with Carloman’s death in 771, Charlemagne became the sole ruler of the Franconians.
Carolingian minuscule, in calligraphy, clear and manageable script that was established by the educational reforms of Charlemagne in the latter part of the 8th and early 9th centuries. As rediscovered and refined in the Italian Renaissance by the humanists, the script survives as the basis of the present-day Roman upper- and lowercase type.
A learned English cleric, Alcuin of York, was invited in 781 by Charlemagne to become master of the palace school at Aachen (Aix-la-Chapelle). He returned to England in 786 and again in 790, but he eventually retired as abbot of St. Martin’s at Tours, where he built up a monastic school and gathered many books. He is credited with Roman Catholic liturgical reforms and with the promotion of Carolingian minuscule as the official court hand.
The crowning achievement of the Tours school of scholars, Carolingian minuscule scribes, and artists was attained in the mid-9th century in theGospels of Lothair, produced by Alcuin’s successors.
To understand the development of modern Western calligraphy it is important to survey historical writing styles—some of which profoundly influenced subsequent work—as well as how the materials of writing have been used. Most calligraphy is done with pen and ink on paper or parchment, although brushes and chisels are also used for making large letters on various surfaces. Later judgments about how the tip of a pen (usually a quill or reed) was cut, the angle at which it was held, and the formation of individual letters are conjectures based on the evidence of images of people writing.
What is Gothic? Gothic was the culminating artistic expression of the middle ages, occurring roughly from 1200—1500. The term Gothic originated with the Italians who used it to refer to rude or barbaric cultures north of the Italian Alps.
According to Christopher Wren’s Saracenic Theory, Gothic style had nothing to do with the Goths, rather it was a style influenced by a number of factors includingSaracenic art —an Islamic influence from the Crusades.
The Gothic spirit took hold in France, Germany and England where it was manifested through unhindered upward striving: the vertical supplanted horizontals as the dominant line in architecture; the pointed arch replaced the round arch of the Romans; the almond shape, or mandorla, was preferred. Gothic writing forms reflected this aesthetic.
Bibliography
http://www.history.com/topics/charlemagne
https://www.britannica.com/art/Carolingian-minuscule
http://www.designhistory.org/Handwriting_pages/Blackletter.html
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https://www.history.com/this-day-in-history/lascaux-cave-paintings-discovered
http://publicdomainreview.org/collections/labors-of-the-months-from-the-tres-riches-heures/