Griffo, Francesco

Francesco Griffo was a famous Italian type founder, punchcutter and type designer in a late fifteenth-century. In 1495, He worked for Aldus Manutius cutting early italics, who was Italian scholar of the Italian Renaissancer. Griffo has huge Contribution with roman type, which include finding the equilibrium point for the normal capital letter and the lower case. By achieving that, he compress the weight of the capitals and cut shorter of it.

Francesco Griffo did this work on 1501, is one of the type design in the Italian renaissance.

I also find a really usefull book about Francesco Griffo, which is Francesco Griffo da Bologna, fragments & glimpses : a compendium of information & opinions about his life and work.

JianJian Zhou

Baskerville, John

John Baskerville (28 January 1706 - 8 January 1775), was an English businessman in areas which consist japanning and papier-mâché, but his many interest was on printmaking and typography. Baskerville also was responsible for significant innovations in printing, paper and ink production. Moreover, he was responsible for significant innovations in printing, paper and ink production. He renovated a method which manufactured a smoother whiter and established a entire new style of typography including wide margins and leading between each line. Despite the significance of his work, he was critised by other competitors, but since the 1920s many new fonts have been published by Linotype, Monotype, and other typefoundries renewal of his work and mostly called 'Baskerville'.

Furthermore, he set up a printing house in 1757 where his first work was issued,an edition of Virgil, which was followed by another edition, the John Milton. Expect from that, he appointed printer to the University of Cambridge and although he was an atheist he undertook an edition of the Bible (1763), which was regarded as a work of art. He died on the 8th of January 1775.


BIBLIOGRAPHY
Biographical Dictionary (2006), Famous Quotes from Baskerville John,
http://www.s9.com/Biography/Baskerville-John
Date accessed 27/10/2009

Wikipedia(2009),JohnBaskeville,
http://en.wikipedia.org/wiki/John_Baskerville/
Date accessed 27/10/2009

Biography Base,John Baskerville Biography,
http://www.biographybase.com/biography/Baskerville_John.html
Date accessed 27/10/2009

Encyclopedia Brtitannica (2009), John Baskerville,
http://www.britannica.com/EBchecked/topic/55215/John-Baskerville
Date accessed 28/10/2009

Nadine Daouti

Bonnard, Pierre

Francisco Belo dos Santos

Cappiello, Leonetto

Leonetto Cappiello (1875–1942) was an italian designer renowned for his innovation in poster art design during the early 20th century. Cappiello worked in a way which opposed the usual painterly quality of early advertising poster design and that of his predecessors, such as Jules Cheret. Cappiello used simple, bold characters contrasted with a dark background. From this only, the audience could relate the advertisement to a particular product, without directly identifying the figure as a particular class, gender or celebrity. This skill in graphic design lead to his audience subconsciously associating an image with a product.

With no formal art education, Cappiello began with sketches and caricatures, later leading to finished designs which captured that same individuality and liveliness. A successful example of this is Cappiello’s 1921 advertisement for Cafe Martin. The designer crossed boudaries. A clear Art Nouveau influence can be seen throughout the work, along with more modernist, Art Deco inspirations.

Bibliography: Cappiello: the posters of Leonetto Cappiello, Jack Rennert 2004
http://www.cappiello.fr/anglais/biography.htm

Dani Fitzwalter

Fraktur, Type Style

Fraktur typeface founded in the early 15th Century, came from ‘Fracture’ in Latin established after the gothic textura. This explains why the letters are broken into sharp angles. It was often used until the end of the great World War II mainly in Germany having the first German newspaper printed in this particular type style and also documenting birth certificates and land purchases by the Pennsylvania Dutch. Now occasionally used by the American Journalists writing their mastheads and also found on beer steins.

References
http://german.about.com/od/readinggerman/a/fraktur.htm
http://www.fonts.com/findfonts/SearchPage.htm?kid=Fraktur

Aashni Shah

Bradley, Will H

Will H Bradley (1868-1962) was an illustrator and designer within the art nouveau movement. He set up the Wayside Press in December 1897. There he worked as an illustrator, editor, designer, typographer and press manager on many publications, including a periodical called Bradley: His Book. It contained stories, posters and sketches and could perhaps be considered as an early zine. His most famous piece was his first poster for the publication The Chap Book, also known as The Twins.
He continued to work as freelance graphic designer and in 1954 he won an award from the American Institute of the Graphic Arts (AIGA), which is regarded as one of the highest honours a graphic designer can achieve.

Further reading link: http://www.willbradley.com/

Picture link: http://images.lunaimaging.com/images/AMICA/Size0/D8003/mia_.21693c.jpg

Jessica Barton

Atelier Populaire

A youth movement took place in 1968, through atelier populaire, producing numerous posters of which protested the moribund policies of the president Charles de Gaulle.

The posters produced by the ATELIER POPULAIRE are weapons in the service of the struggle and are an inseparable part of it. Their rightful place is in the centers of conflict, that is to say, in the streets and on the walls of the Factories. To use them for decorative purposes, to display them in bourgeois places of culture or to consider them as objects of aesthetic interest is to impair both their function and their effect. This is why the ATELIER POPULAIRE has always refused to put them on sale. Even to keep them as historical evidence of a certain stage in the struggle is a betrayal, for the struggle itself is of such primary importance that the position of an ‘outside’ observer is a fiction which inevitably plays into the hands of the Ruling Class. That is why these works should not be taken as the final outcome of an experience, but as an inducement for finding, though contact with the masses, new levels of action, both on the cultural and the political plane.

Statement by the Atelier Populaire, Paris, 1968.

Ref: http://www.creativereview.co.uk/cr-blog/2008/april/may-1968-a-graphic-uprising

Candi Wong