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One of my favorite
quotes about the Victorian Era is listed under figure 9-47 on page 161. It
reads, “…This design demonstrates the eclectic confusion of the Victorian era.
Medieval letterforms, baroque plant designs, and Celtic interlaces are combined
into a dense symmetrical design.” (Megs, 2012). This is almost a perfect
description as to how I feel when asked to compare and contrast the Victorian
era and the Arts & Crafts movement. I get it but I’m still somewhat
confused.
During the Industrial
Revolution (IR) the invention of the “automated” printing press came about
which made printing books and newspapers much easier. In turn the volume of
material the newspaper could cover increased and the ability of the every-day
person to own books was now a reality. I see the early part of this revolution
as looking somewhat sterile, very plain and not ornate at all. As the movement
progressed and advancements were made with the printing press and within the IR
we see the development of circus posters with very ornate serifs, very
cluttered with text aligned on the vertical plane opposed to the more
traditional horizontal plane. In addition, type foundries developed fonts like
“Arboret” (see on page 175 in our book) and “Glyptic Shaded”, which are so
ornate that they can be difficult to read. Couple this with all the imagery
typically associated with type in the era you’ve got yourself one very
confused, very busy piece containing information you have to find on it.
The problem that many
people had with the IR was how impersonal it was. What a wonderful thing it was
to have all of these machines to build, to do, and to produce. Most of the
people operating these machines, in whatever industry it was they were working
in, were seriously underpaid and living in squalor. It was their version of a
McDonalds society and many people didn’t like the loss of human touch. Enter
the Arts & Crafts movement and resurgence in quality and craftsmanship. The
Arts & Crafts (A&C) movement was about providing quality hand made
products to the ‘every-day man’. Ironically the time it took to make most
things during the A&C movement made it impossible to sell the items at an
affordable price and make a profit.
The IR saw the
development of the printing press and advancements in the way that the press
worked and the capabilities of the press. Fonts became very ornate and
difficult to read and books were produced en mass; where the A&C movement
revisits more simple and elegant serif fonts, opposed to the very ornate, and
very organic and organized designs to compliment the text within books.
And the best I can figure from the recesses of
my brain is that the small press movement is a rebirth of the letterpress style
of printing in conjunction with modern day graphic design standards. It is the
modern day techno weenie’s detachment from their Mac and the desire to get back
into a pressroom and get their hands on various fonts, literally. The work that is being produced also happens to be really cool!
***I’ve racked my brain,
Google images, Artstor, our book and the World Wide Web. I get designers eye
when doing all of these things. That is to say I go cross eyed when looking at
the progression of design and the incredible pieces of work to come out of both
of these eras. I did my best to intellectually gather my thoughts…
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| 1925, Three Mountains Press |
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| 1916-1920, Hendry S. Saunders |
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| I love this but can't find the info on it so I'm keeping it and I'll take the hit for no info |
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| 1978 (?), Angelstone Press |
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| 1862, William Morris Design |
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| 1829, Edward Calvert, Ideal Pastoral Life |
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| 1912, Gresham |
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| 1903, Eragany Press, The Descent of Ishtar |
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| 1896, Kelmscott Press |
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