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design history, graphic design, information design, product design

design history, graphic design, information design, product design

design history, graphic design, information design, product design

130 Alphabets and Other Signs

May 21, 2009 by Roy Johnson

charming samples of unusual alphabets, fonts, and signs

When it first appeared, this is a book I used to pick up and browse in bookshops, wondering whether to buy it or not. There was no need to be so cautious, because it’s quite cheap, and since taking the plunge it’s given me hours of enjoyment. Basically, it’s a sample book of fonts, characters, trademarks, alphabet designs, logos, and dingbats. But what makes the book so attractive is that the collection is both eclectic and suffused with a period charm of the inter-war years.

AlphabetsMany of the designs and fonts are drawn from that period – with a hint of colonial nostalgia in labels from products destined for Africa, China, and India. Even the pages are printed in a pre-faded manner and cut with rounded corners. But there’s also the cosmopolitan up-side to the same tendency, with fonts from the Victorian revival, Russian constructivism, and even an alphabet cut in bone by French prisoners during the Napoleonic wars.

There are elaborate display fonts, shaded letters, monograms, a set called ‘Huxley Vertical’ which seem like a precursor to Neville Brody, a selection of ink blots, labels from Joan of Arc laxatives, labels for matches, cigarettes and drinks, a two-page spread of ampersands, examples of visiting cards, Japanese packaging labels, even a typographic book-cover design by Natalia Goncharova from 1920s Paris.

Don’t expect any scholarly rigour. Although the collection is interspersed with a few short essays, there are very few technical details given. Many of the fonts are not even even given a name or credited by a caption. A full alphabet in Cyrillic on a single page is left to speak for itself. But somehow this doesn’t really matter.

The compilation is very obviously offered just as a source of visual stimulation, and it works marvelously. It would be a jaded aesthetic palate indeed which was not stimulated by the range and vitality of this collection. It’s a treat, from first page to last.

© Roy Johnson 2000

130 Alphabets and Other Signs   Buy the book at Amazon UK

130 Alphabets and Other Signs   Buy the book at Amazon US


Julian Rothenstein and Mel Gooding (eds), 130 Alphabets and Other Signs, London: Thames and Hudson, 1993, pp.183, ISBN: 0500277419


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Filed Under: Graphic design, Typography Tagged With: Alphabets, Fontss, Graphic design, Symbols, Typography

20th Century Type: Remix

May 26, 2009 by Roy Johnson

illustrated showcase of 20th century type designers

This book became an instant classic on font design when it first appeared. The second revised and enlarged edition is even more impressive. In structure, it’s quite simple. Ten chapters are split into periods of a decade each. It starts from the Art Nouveau type of the early 1900s then works its way to the present via a series of beautifully designed pages.

Font DesignLewis Blackwell has a very keen eye and a sharp sense of historical innovation in spotting the typographical innovations developed by designers such as Marinetti and the Italian futurists, El Lissitsky, Moholy-Nagy, and the Bauhaus workers.

All the examples are illustrated by type in practical use, set alongside a number of sample font sets of what have become modern classics. There are some particularly good reproductions of book pages and the use of typography as a design feature.

What he’s done is to distil the essential innovations of designers such as Jan Tschichold and Paul Renner, and he places them in a well developed historical context. Into the middle of the century the names become Saul Bass, Roger Excoffon, Paul Rand, and Adrian Frutiger.

The 1960s sees the first signs of the influence of computer technology on type design, as well as the explosion of pop psychedelia on design. Some of the rock music albumn covers might make you cringe if like me you lived through that period.

In the 1980s the major influence is Neville Brody – who is still very popular and influential – as well as the Emigreé designers Rudy Vanderlans and Zuzana Licko. Next comes the ‘expressive’ school of David Carson. He challenged the notion of type’s legibility to the point where the pages of his work in the influential Ray Gun became almost unreadable.

Yet this experimental approach to designing type forms continued unabated in the 1990s, alongside more traditional work in public signage done by designers such as Erik Spiekermann. All of this is given generous coverage, and the book ends with a section on type description and classification – the most modern examples of which become BC (Beyond Classification).

This is an excellent piece of work which well deserves its place in the list of favourite typography manuals amongst professional designers.

© Roy Johnson 2000

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Lewis Blackwell, 20th Century Type: Remix, London: Lawrence King, 1998, pp.191, ISBN: 1856691160


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72 dpi

July 2, 2009 by Roy Johnson

showcase of the latest in web design techniques

This is a handsome collection of web site illustrations – with a difference. All the designers wish to challenge conventional web design principles and exploit the possibilities of the new medium to achieve dramatically innovative effects. 72 dpi is a book with superb graphics and production values, but you have to be prepared for some challenging visual concepts. The pages make few concessions to what Jakob Nielsen calls ‘usability’. Plus the authors are not very good at explaining what they’re up to. Details of navigation and who produced what are almost wilfully obscure. But it’s all there if you’re patient.

72 dpi What the designers have in common is seemingly a desire to get away from standard navigation devices and text-dominated explanations of content. Their home pages offer instead visual dramas which are more like modernist paintings. Black and dark grey are the most popular screen colours, and there’s lots of imaginative use of typography as a graphic design element. When I checked some the sites, many of them were using Flash and Shockwave [no surprise there then].

The elegant page spreads are interspersed by brief policy statements from the designers, some of them interestingly thoughtful on the subject of web design and its new challenges, others lapsing badly into art school manifesto babble.

Some of the designs show exquisite use of colour. I particularly liked Matt Owens’ deeply layered pages which are reminiscent of Francis Bacon portraits. And indeed, some of these creations are very close to being works of art in a new medium.

Most of the latest avant-garde styles are represented – what Curt Cloninger calls HTML minimalism, Lo-Fi grunge, Mondrian poster, and Drafting table / transformer. What they certainly have in common is an imaginative approach to creating web sites. You are sure to find fresh ideas and visual stimulation here, even if they don’t reveal how their special effects are achieved.

© Roy Johnson 2000

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Robert Klanten (ed), 72 dpi , Berlin: Die Gestalten Verlag, 2000, pp.345, ISBN: 3931126358


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A 2 Z and More Signs

May 21, 2009 by Roy Johnson

unusual alphabets, fonts, logos, symbols, and signs

This is a compilation of the best-selling albumns of quirky typography, 130 Alphabets and Other Signs and A B Z: More Alphabets and Other Signs, with new materials added. Basically, it’s a sample book of fonts, characters, trademarks, logos, dingbats, and alphabet designs. But what makes the book so attractive is that the collection is both eclectic and suffused with a period charm of the inter-war years. Many of the designs and fonts are drawn from that period – with a hint of colonial nostalgia in labels from products destined for Africa, China, and India.

Alphabet Design Even the pages are printed in a pre-faded manner and cut with rounded corners to enhance this effect. There are elaborate display fonts, shaded letters, monograms, a set called ‘Huxley Vertical’ which seem like a precursor to Neville Brody, a selection of ink blots, labels from Joan of Arc laxatives, labels for matches, cigarettes and drinks, a two-page spread of ampersands, examples of visiting cards, Japanese packaging labels, even a typographic book-cover design by Natalia Goncharova from 1920s Paris.

The materials are the products of the main centres of modernist design in the first third of the last century: largely French, German, Czech, and Russian. The selection of material comes from private collections in London, Paris, Amsterdam, Prague, New York, and Mexico City.

Many of the designs appear here for the first time since their first use. Some of the examples, such as Karel Tiegel’s photo-balletic alphabet of 1926 and a Spanish civil war manual for illiterate soldiers, have never been reproduced before since they first appeared.

The sources of this new collection are wonderfully assorted. There are plenty of straight font sets, but also monograms, letter headings, package labels, posters, shop signs, opticians’ eye test charts, book jackets, film posters, technical manuals, propaganda leaflets, and magazine covers. The selection reflects mainly European modernism, constructivism, and Art Deco – though there are also novelties from Mexican graffiti and Asian medicine labels.

Each large page is striking in its muted, silkscreened colours, and the book
itself is amazingly attractive, with rounded corners, pre-faded yellow edges, and splotchy endpapers.

It has to be said that the main charm of this book is its unashamed retro feel; but I would defy anyone not to be pleased with the result. It is beautifully designed and produced, well printed, and altogether a must-have for anybody interested in typography and graphic design.

A 2 Z and More Signs   Buy the book at Amazon UK

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© Roy Johnson 2006


Julian Rothenstein and Mel Goodwin, A 2 Z and More Signs, London: Thames and Hudson, 2006, pp.320, ISBN: 0500286043


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Filed Under: Graphic design, Typography Tagged With: Alphabets, Graphic design, Symbols, Typography

A B Z More Alphabets and Signs

May 21, 2009 by Roy Johnson

glamorous collection of font sets and graphic designs

This is a follow-up to the excellent 130 Alphabets and Other Signs – a fascinating collection of font sets, alphabet design, and attractively printed designs from the early part of the last century. The sources of this new collection are wonderfully assorted. There are plenty of straight font sets, but also monograms, letter headings, packaging labels, posters, shop signs, opticians’ eye test charts, book jackets, film posters, technical manuals, propaganda leaflets, magazine covers, and dingbats. The selection reflects mainly European modernism, and Art Deco – though there are also novelties from Mexican graffiti art and Asian medicine labels.

A B Z: More Alphabets & SignsThe materials are the products of the main centres of modernist design in the first third of the last century: largely French, German, Czech, and Russian. The selection of material comes from private collections in London, Paris, Amsterdam, Prague, New York, and Mexico City.

Many of the designs appear here for the first time since their first use. Some of the examples, such as Karel Tiegel’s photo-balletic alphabet of 1926 and a Spanish civil war manual for illiterate soldiers, have never been reproduced before since they first appeared.

I was slightly disappointed that there’s so little explanation or comment on the materials – except for some rather cryptic notes on sources in the index. This seems to have been done to keep the display area free of any visual clutter.

Each large page is striking in its muted, silkscreened colours, and the book itself is beautiful, with rounded corners, pre-faded yellow edges, and green splotchy endpapers.

It has to be said that the main charm of this book is its unashamed retro feel; but I would defy anyone not to be pleased with the result. It is beautifully designed and produced, well printed (in Hong Kong) and altogether a must-have for anybody interested in typography, design, or attractive books.

© Roy Johnson 2004

A B Z: More Alphabets and Signs   Buy the book at Amazon UK

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Julian Rothenstein and Mel Gooding, A B Z: More Alphabets and Other Signs, London: Redstone Press, 2003, pp.221, ISBN: 1870003330


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Alexander Rodchenko Design

June 21, 2010 by Roy Johnson

design, modernism, and constructivism

Alexander Rodchenko (1891-1956) was one of the most influential artists to emerge from the explosion of Russian modernism which took place between 1915 and 1923. Initially working as a painter, he stripped bare the canvas and worked with ruler and compasses to devise minimalist pictures which he described as ‘subjectless’. But then given the opportunities presented by the early years of the revolution, he went on to become a designer in furniture and fabrics, ceramics, posters, typography, stage and film design, exhibition display, and radical innovations in photography. He was a central figure in the movement of Russian constructivism, a radical activist, a theorist, teacher, and a pioneer of photo-montage. Alexander Rodchenko Design is an elegantly illustrated introduction to the full range of his work.

Alexander RodchenkoAfter the early abstract designs he moved on to public artworks – kiosks, posters, and theatre designs which you could say provided him with a subject – yet he continued to create what he called ‘spatial compositions’, many of which look like bicycle wheels distorted into three dimensional sculptural arrangements.

He worked alongside and sometimes in collaboration with Malevich, Kandinsky, and Tatlin, developing his abstract work into three-dimensional paintings, product designs, and constructions that were half way between art works and domestic objects. It was in the spirit of the new communism to produce an art that aimed to be useful, classless, and practical. This was the aim of what came to be called ‘Constructivism’, even if its results were what we would now call modernist art.

Alexander Rodchenko - poster design

In the early 1920s he produced the work for which he is best known – the combinations of collage images, new typography, and asymmetric graphic design which created the hallmark of Russian modernism. It is this brief period of state-sponsored radical designs that still have an influence today – as you can see in the work of Neville Brody and his many imitators.

His work in the late 1920s and 1930s centred largely on photography, much of it featuring objects shot from unusual angles – street scenes from overhead, trees and chimneys from ground level, all objects highlighted wherever possible by dark expressive shadows.

The illustrations are very well chosen to avoid some of the better-known images. Instead, they draw on quite rare materials from the Rodchenko and Stepanova archive in Moscow, the Burman Collection in New York, and the David King collection in London.

It’s amazing that such an original and gifted artist survived the Stalinist purges (unlike so many others) but then he did produce propaganda work which glorified the regime – including even such projects as the construction of the White Sea Canal in 1933 which cost the lives of 100,000 GULAG prisoners.

Alexander Rodchenko - magazine coverIn fact the depictions of his subjects become more and more heroic, almost in inverse proportion to the degree of social and political misery in the Soviet Union under Stalin. There is very little evidence (anywhere) of his work beyond 1940, even though he lived until 1956 – although there is one astonishing image in this collection dated 1943-44 which you would swear was a Jackson Pollock painting. But it seems quite obvious that the creative highpoint of his career is the 1920s, when he was free to experiment and theorise with his fellow pioneers, and even (dare one say it) when the state encouraged and supported such experimentation.

The series of design monographs of which this volume is part feature very high design and production values. They are slim but beautifully stylish productions, each with an introductory essay, and all the illustrative material is fully referenced. Even the cover design is taken from Rochenko’s work. It’s from a 1923 poster advertising Zebra biscuits.

Alexander Rodchenko Buy the book at Amazon UK

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© Roy Johnson 2010


John Milner, Rodchenko: Design, Suffolk: Antique Collectors Club, 2009, pp.98, ISBN: 1851495916


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Filed Under: Art, Design, Graphic design, Individual designers Tagged With: Alexander Rodchenko, Design, Graphic design, Modernism, Russian modernism

Ambient Findability

July 10, 2009 by Roy Johnson

why designers must keep users in mind

Peter Morville was co-author (with Louis Rosenfeld) of one of the essential books on information architecture, Information Architecture for the World Wide Web. This is his solo follow-up, which looks at the latest features of on-line life and tries to see what lies ahead. Ambient Findability is a very positive, almost excited, view of the last decade in web development. His central thesis is that information literacy, information architecture, and usability are all critical components of a new world order.

Ambient Findability He believes we have almost an ethical imperative to design the best possible software and web services to enhance the quality of our online life. All this has come about because of the unprecedented developments in data manipulation, connectivity, hyperlinking, and interactive services which have emerged in the last few years.

His new take on arranging information and navigational systems insists that they must be constructed around what the user requires, not the designer, and that they must be constructed with maximum findability in mind. The users, purchasers, or consumers are now Kings – because of their experiences on sites such as eBay and Amazon.

Never before has the consumer had so much access to product information before the point of purchase.

He looks at wayfinding systems in the natural world, then considers the relationship between language and information retrieval, including how we define meta-data. He sets great store by the theory of information analyst Calvin Moores, who suggested that people will not seek information that makes their jobs harder, even if it might benefit the organisation they work for.

For this reason, he has positive things to say about gossip and browsing. We are conditioned by evolution to pick up signals and recognise what he calls ‘textual landmarks’ in our search for information and our interpretation of the world. “Technology moves fast. Evolution moves slow.”

Because computers are becoming smaller and smaller, he then moves on to an encomium for the mobile device. This is followed by the technology which comes closest to fulfilling his desire for maximum findability – GPS (Global Positioning Systems).

He then looks at the issues of reconciling good web design with the competing demands of usability and efficient marketing – and solves the problem with a mantra that summarises his principal thesis: “Findability precedes usability. You can’t use what you can’t find.”

This leads into what I take to be the heart of the book – his take on the state of information architecture today. First he explains the competing views regarding the ‘semantic web’, which centre around definitions of meta-data so far as I understand it. Then he argues that these views can be reconciled if we accept the traditional roles of taxonomies for defining data – along with what he called ‘folksonomies’ whereby people put their own definitions on tagged objects.

This is not as important a book as Information Architecture for the World Wide Web, but it’s a thought-provoking guide to recent web developments and what might happen next in the online world. It’s full of interesting and provocative ideas, relevant graphics (first time I’ve seen colour in an O’Reilly publication!) and all the references are fully sourced.

© Roy Johnson 2005

Ambient Findability   Buy the book at Amazon UK

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Peter Morville, Ambient Findability, Sebastopol, CA: O’Reilly, 2005, pp.188, ISBN: 0596007655


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Filed Under: Information Design, Web design Tagged With: Ambient Findability, Findability, Information design, Navigation, Search, Usability, Web design

An Essay on Typography

June 19, 2009 by Roy Johnson

classic study of the aesthetics and morals of good design

This is Eric Gill’s memorable and engagingly dogmatic work on unchecked commercialism, moral living – oh, and on typographic design too. An Essay on Typography is where Gill firmly established what he believed type design should be, what it should do, and how it should be done. I read Gill’s Essay from cover to cover, then I immediately read it again. It’s short, (133 pages, plus an introduction and afterword) but quite enjoyable.

An Essay on Typography The unassuming size of the book does not affect its flow as it is set in Gill’s own face, Joanna. Although the use of some odd contractions and word breaks may take a little warming up to, the book is a testament to book design and layout concerns as discussed in sections The Procrustean Bed and The Book.

In the section entitled Lettering, Gill lends his views on letter form history and follows their evolution from Trajan’s Column in Rome to the printed page of the 1930’s with his own engravings presented to illustrate the walk-through.

At times Gill is somewhat idealistic but many of the arguments he makes are timeless and most of his advice is practical- consisting of basic truths which will apply to the craft no matter what tools or level of technology are employed in the creation and implementation of letter forms.

In Typography, a clear line is drawn between mechanized industry, seen as the work of many as opposed to fine craftsmanship, being the work of the individual. With his focus more on the social aspect of these ‘two worlds’ of typography, Gill explores and defines the limits inherent to each:

…the commercial article at its best is simply physically serviceable and, per accidens, beautiful in its efficiency; the work of art at its best is beautiful in its very substance and, per accidens, as serviceable as an article of commerce

The exceptions to its usefulness are the occasional segue into what seems a little like preaching (this essay is thoroughly peppered with religious references) and some ideas he proposes, such as letter-spaced italics for emphasis, that have thankfully fallen by the typographic wayside. Or perhaps when he coyly proposes to abolish lettering as we know it in favor of what he calls ‘Phonography’ (a form of shorthand), in But Why Lettering. I would equate this to today’s practice of flame-baiting online.

© Delve Withrington 2000

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Eric Gill, An Essay on Typography, David R. Godine [1993], pp.144, ISBN: 0879239506


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Anime

July 1, 2009 by Roy Johnson

Showcase of the latest digital animation – print and DVD

Don’t be misled if you see this book in a shop. It’s a dazzlingly attractive publication – an elegant catalogue of full-colour screenshots housed in a translucent plastic case. But the heart of the production is a huge collection of animated graphics on the enclosed DVD. These are movie clips, motion graphics, linear narrative sequences, interactive web pages, and vector presentations – some as long as promotional videos. They range from avant-guard art-school productions – fuzzy, out-of-focus, and granular – to slick commercial projects by some of the best designers in this new field.

AnimeQuite a few of the most stylish examples are rendered in the manner of French bandes dessinées and graphic novels – hard outlines, block colour, and a predominance of black and grey highlighted by occasional dark brown, blue, or citron. I’ve watched them over and over again, and I’m still amazed.

There’s lots of deliberately jerky editing, overlayering, jumpcuts, and out-of-focus images set to the rhythms of stripped-down, heavily sampled techno-music – sometimes drum-and-base dance style, and occasionally ‘ambient’ sound.

A lot of them are in what Web designer Curt Cloninger in his recent Fresh Styles for Web Designers calls ‘Drafting Table/Transformer’ style – the kind of things that look like docking station accidents in outer space. Others favour the ‘Mondrian poster style’ – screen filled with block colour in muted tones, and pared down text in lower-case sans-serif font.

There are lots of recurrent images and themes – architecture, motorways, metal fabrications, skyscrapers – and the spirit of Ridley Scott’s Bladerunner hangs over the majority. It’s a great pity there isn’t more technical detail on how these pieces were made – though Flash seems to be the prevalent technology.

Most of the movies seem to be from the ‘Yellow Submarine’ school of graphic design – lots of semi-surreal cartoon figures morphing in and out of each other. There’s also a popular streak of sci-fi comic book characters and their icons brought to life.

For me, the simplest and the shortest pieces are the best. There are two wonderful movie title sequences designed by YU + CO for ‘Mercury Rising’ and ‘Lost Souls’. These are in black and white, and they are largely composed of motion typography with a moody soundtrack. They show how a simple combination of image, movement, and music can create stunning effects.

This is not just a book with DVD attached, it’s an outstanding DVD gallery of motion graphics with a first rate printed catalogue. There is an amazing amount of visual stimulation material here for those studying or working in the digital arts. Anybody who is interested in graphic animation and the latest developments in Web technology should see these works.

© Roy Johnson 2001

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Robert Klanten (editor), Anime, Die Gestalten Verlag, 2001, pp.192 pages ISBN: 3931126722


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Filed Under: Graphic design, Media Tagged With: Anime, Graphic design, Media, Video animation, Web design

Art Nouveau

April 21, 2010 by Roy Johnson

short-lived but influential design from the Belle Epoque

Alastair Duncan points out in his introduction to this beautifully illustrated study, that Art Nouveau was not a style but a movement which was a reaction against the stuffy over-decoration of the nineteenth century. It took its early inspiration from the work of William Morris, Arthur Mackmurdo, and Walter Crane, and fused these with an enthusiam for Chinoiserie and Japonisme. And as a movement it errupted very suddenly in the 1890s, spread throughout Europe and even top the USA – and then ended just as abruptly in the first decade of the new century.

Art NouveauIt was known by a variety of names in different countries – Jugendstil in Germany, Art Nouveau in English-speaking countries, Stile Liberty in Italy (after the famous London store) Modernista in Spain, and Style Metro in France, after Guimard’s Underground entrances.

The main features of Art Nouveau were the adoption of flowing, organic forms and the use of floral or vegetable decorative motifs. Even those who followed the severely vertical forms of a designer such as Mackintosh nevertheless chose tulips, poppies, and dragonflies as their embellishments.

After a general introduction, separate chapters of this study are devoted to the manifestation of Art Nouveau in architecture, furniture, graphics, ceramics, jewellery, and sculpture. In architecture, many of the commissions gained by Guimard, Van der Velde, Mucha, and Gaudi are still visible in the Parisian storefronts, the Metro entrances, and of course Gaudi’s buildings in Barcelona – plus the enormous Sagrada Familia which is still under construction (and currently giving town planners headaches).

The furniture that was created at the same time was supposed to be matched in its decorative detail with the buildings for which it was designed – to demonstrate an organic and integrated aesthetic. But most of the tables, cabinets, armoires, and sideboards tend to be illustrated in isolation from their surrounds. Too much ornamentation in a room tends to take it back into the Victorian excess from which Art Nouveau was supposed to be an escape.

Mucha posterStrangely enough, there was no Art Nouveau school of painting, mainly because it constituted an approach to design. It was in the realm of posters, woodcuts, illustrated books, and typography that it made its greatest impact, and there are excellent examples of posters by Lautrec, Mucha, and Bonnard. These were works which gave birth to the figure that came to symbolise fin de siecle Paris and la Belle Epoque – a young woman with serpentine hair, clad fashionably in jewelled or feathered headgear and wearing immense sweeping skirts, all of which flowed abundantly to fill the frame of the picture. It’s amazing to realise that these romantically stylised images were being used to advertise such mundane objects as bicycles, wine, household soap, and cigarette papers.

The field of decorative glassware was dominated by two figures – Gallé in France and Louis Comfort Tiffany in the USA. The American developed new techniques from his foundry on Long Island:

By mixing up to seven colours, trown together from different ladles, his staff could produce a giddy range of blended hues, many mottled or deeply veined to simulate nature’s ever-changing moods and palette. The sheets obtained were often treated with an iridescent surface finish created in a heating chamber, where an atomised solution of metallic vapours was sprayed onto the final piece. The process gave a kaleidoscopic lustre to the glass, which became a principal characteristic of the firm’s domestic wares.

In ceramics the the novelty elelment was in the application of subtle and complex glazes, but the vases, plates, and jugs are still recognisable Art Nouveau from the curvilnear plant forms and decorative leaves and tendrils cast into their surfaces.

The jewellery section is dominated by the French master of jouillerie, Lalique. He brought the setting of precious stones to a high art by the intricacy of his decorations and the inventiveness of his symbols.

There’s a good bibliography and index, but a future edition might usefully include a glossary of terms for the general reader. It’s not always easy to work out the differences between a selette, a guéridon, and an étagère.

Art Nouveau Buy the book at Amazon UK

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© Roy Johnson 2010


Alastair Duncan, Art Nouveau, London: Thames and Hudson, 2010, pp.236, ISBN 0500202737


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Filed Under: Architecture, Art, Design history, Product design Tagged With: Art Nouveau, Cultural history, Design, Modernism

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