Arts and Crafts Movement Graphic Design History

A N M 2 4 5 | H I S TO RY O F G R A P H I C A N D W E B D E S I G N
CHAPTER 10
The Arts and Crafts

Movement and Its Heritage
ARTS AND CRAFTS MOVEMENT
During the industrial Revolution there was an increase in

mass produced items, and the craftsmanship suffered.
• Arts and Crafts movement was a reaction against the social, moral,
and artistic confusion of the Industrial Revolution
• They sought to address the tastelessness
of mass-produced goods and the lack of honest craftsmanship
through a reunion of art and craft
• This gave rise to a book design renaissance at the end of the
ninetheenth century (late 1800’s)
• The movement advocated truth to materials and traditional
craftsmanship using simple forms and often medieval, romantic or
folk styles of decoration. It also proposed economic and social reform
and has been seen as essentially anti-industrial.
‣ http://gds.parkland.edu/gds/!lectures/history/1850/arts_crafts.html
William Pickering, title page for the
Book of Common Prayer, 1844.
THE ARTS AND CRAFTS MOVEMENT 2

T H E C E N T U RY G U I L D
Societies and guilds emerged to establish democratic artistic

communities united for the common good and with the aim to
elevate the design arts
• The Century Guild, led by Arthur H. Mackmurdo
• The Century Guild Hobby Horse featured the work of guild members
• The first printed magazine devoted exclusively to the visual arts
• Known for it’s outstanding typography, graphic design, and printing
• Careful layout, typesetting, handmade paper, and intricate woodblock
illustrations proclaimed the philosophy of the guild
• The Century Guild evolved a new design aesthetic that incorporated
Renaissance and Japanese design ideas and bridged the Arts and Crafts
movement and the floral stylization of Art Nouveau


B O O K PA G E S
William Pickering
• Title page Book of Common
Prayer by, 1844
• Gothic architecture and
heraldic motifs


B O O K PA G E S
William Pickering
• The Elements
of Euclid, 1847
• System of color
coding brought
clarity to the
teaching of geometry
• Color was added with
woodblock prints
‣ http://
www.mccunecollection.org/
euclid.html

PRODUCT DESIGN
Aurthur H. Mackmurdo
• chair, 1881
• unifying construction and
ornament became an important
characteristic of art nouveau
• decorative pattern
• visual design qualities and
structural strength


ARTHUR H. MACKMURDO
Wren’s City Churches

title page
• 1883
• flamelike, stylized
plant forms
• undulating rhythms
compress the
negative space
between shapes
• positive and negative
interplay between
black ink and white
paper


ARTHUR H. MACKMURDO
Trademark for the

Century Guild
• 1884
• Flame, flower, and
initials
compressed and
tapered into proto ‑
art nouveau forms


I L L U S T R AT I O N
Arthur H. Mackmurdo
• element from the Hobby Horse, 1884Design is a reversal of the
title‑page design
• stylized plant forms, undulating rhythms
• animation of the space, and visual tension between positive and
negative spaces
• white forms on a black field, instead of black forms on a white field


PA G E D E S I G N
Selwyn Image
• Century Guild Hobby
Horse, title page,
1884
• packing it with detail
• image designed a
“page within a page”
• reflects Arts and
Crafts movement
preoccupation with
the medieval


S E LW Y N I M A G E
Selwyn Image
• Hobby Horse, 1886
• Shape and pattern as visual
means to express thought and
feeling is realized in this
• graphic elegy for illustrator/
engraver Arthur Burgess
• black bird flies toward sun
• mournful downturned tulips
with flamelike leaves


TRADEMARK
Herbert Horne
• Trademark for the
Chiswick Press, c.
1895
• The Aldine dolphin
joined a heraldic lion
on the press’s
emblem


TRADEMARK
Walter Crane
Chiswick Press,
c. 1898
• Medieval overtones
of Crane’s version of
the Chiswick mark, in
contrast to the
simplified version by
Horne
• Demonstrate the
divergent viewpoints
of the period
‣ LINK: Arts and Crafts

Book Design William Pickering, title page for the

T I T L E PA G E
Herbert Horne
• Title page for Poems,
by Lionel Johnson,
1895
• Symmetry, outline
type, letterspacing,
and alignment
• Letterforms are a
perfect companion
for the illustration.


TYPE SPECIMEN
Lucien Pisssarro
• Brook type, 1903
• From Verses by
Christina G. Rosetti
• Shows the roman
structure, slab serifs,
and decorative
details of Pissarro’s
private press
typeface


TYPE SPECIMEN
William Morris
• Golden typeface
• 1888–1890
• Inspired renewed
interest in Venetian
and Old Style
typography


TRADEMARK
William Morris
Kelmscott Press, 1892
• Ornate, ontertwined
vines
• Play of positive and
negative shapes
• The Kelmscott Press
produced high quality
hand-printed books
to be seen and
cherished as objects
d'art
‣ LINK: Kelmscott Chaucer Book /
William Morris

T I T L E PA G E S
William Morris
(designer)
Walter Crane
(illustrator)
• title‑page spread for
The Story of the
Glittering Plain, 1894
• ornamentation covers
the whole spread
• range of tonal values
are created with the
patterns


B O O K PA G E
Charles R. Ashbee
• The Essex House Press
emblem, c. 1902
• Full‑page woodcut
• Metaphorically relating the
Guild of Handicraft with the
bee seeking a flower
• Appears on the colophon
page of the Essex House
Psalter
• Colophon = a statement at
the end of a book, typically
with a printer's emblem,
giving information about
authorship and printing William Pickering, title page for the

B O O K PA G E S
Charles R. Ashbee
• Page from the Essex
House Psalter, 1902
• Hand‑cut woodblock
initials, calligraphic
type, handmade paper,
and hand‑press printing
• Recreates the quality of
the incunabula


B O O K PA G E S
C. H. St. John Hornby

• Pages from Saint
Francis of Assisi’s
Legend, 1922
• Liberal use of
all-capital type
• Initial words printed
in color
• Ashendene Press


T I T L E PA G E
Louis Rhead
• The Essay on Walt
Whitman, 1900
• Roycroft Press
commissioned this design
• Louis Rhead was a
prominent graphic designer


B O O K PA G E S
Lucien and
Esther Pissarro
• Pages from Ishtar’s
Descent to the
Nether World, 1903
• Image, color, and
ornament combine
• Intense
expressionistic
energy


T Y P E FA C E D E S I G N
Rudolf Koch
• Halbfette Deutsche Schrift,
1911–1913
• Deutsche Schrift, 1906–1910
• Schmale Deutsche Schrift,
1910–1913
• Gothic revival style
• Unusual legibility, striking
typographic color and spatial
interval
• Many original forms and
ligatures


BOOKLET COVER
Frederic W. Goudy
• 1911
• The ideals of the Arts
and Crafts movement
were actualized in
printing for
commerce


B O O K PA G E S
Frederick Goudy
• American Type Founders’
Specimen Book and
Catalogue, 1923
• Sample page of Goudy type
family of Old Style fonts
• Included fonts designed by
others besides Goudy


B O O K PA G E S
Bruce Rogers
• page from The Centaur, by
Maurice de Guerin, 1915
• Headpiece, initial, and page
layout echo the graphic
designs of the French
Renaissance


B O O K PA G E S
American Type
Founders’ Specimen
Book and Catalogue,
1923
• display printing
demonstration
• Garamond revival
with Cleland
ornaments


CHAPTER ELEVEN HISTORY OF GRAPHIC & WEB DESIGN
Art Nouveau
29
Art Nouveau
Art Nouveau was an international

decorative style that thrived roughly during
two decades between 1890 and 1910. It
was reflected in all the designer arts—
architecture, furniture, product design,
fashion, fabric, wallpaper, advertisments
and graphic design. It is most noted for its
organic, flowing line, and decorative
patterns from nature. The female figure
was a frequent subject.
29
Art Nouveau
30
Art Nouveau
Art Nouveau, or “new art” was embraced

by all areas of the arts: architecture,
30
Art Nouveau

furniture,
30
Art Nouveau

furniture, jewelry,
30
Art Nouveau

furniture, jewelry, fabrics and wallpaper,
30
Art Nouveau

furniture, jewelry, fabrics and wallpaper,

and other design ornamentation.
30
Art Nouveau
31
Art Nouveau
Art Nouveau provided a powerful transition from the clutter of the Victorian style,
to the cleaner more elegant transitional style. Graphic and industrial design,
surrealism, abstract art and the psychedelic movement of the 60s all have roots
and influences from art nouveau.
The overall principle unified decoration, structure and intended function. Art
nouveau forms and lines were often invented rather than copied from nature
or the past, thus revitalizing the whole design process.
31
Art Nouveau
32
Art Nouveau
One of the most noted design genius of

the art nouveau movement was Belgian
architect Victor Horta. His design for the
townhouse for Emile Tassel was a perfect
example of the art nouveau way of
thinking in both style and functionality.
32
Art Nouveau
33
Art Nouveau
Art nouveau graphic designers and

illustrators used their fine art training to
create from an aesthetic perspective.
Because of advances in communications
technology, the transportation of ideas was
easily shared with other artists and
designers all over the world.
But the transition from Victorian to art

nouveau style was gradual.
33
Art Nouveau
Art nouveau graphic designers and

illustrators used their fine art training to
create from an aesthetic perspective.
Because of advances in communications
technology, the transportation of ideas was
easily shared with other artists and
designers all over the world.
But the transition from Victorian to art

nouveau style was gradual.
33
Art Nouveau
34
Art Nouveau
New laws concerning freedom of the

press allowed posters to be designed
and freely displayed anywhere but
churches, polling locations, a areas
specifically designated for official
notices. This law led to a booming
poster industry.
Two notable graphic artists working in

Paris were Jules Chéret and Eugene
Jules Chéret posters 1879, 1893
Grasset.
34
Art Nouveau
35
Art Nouveau
Chéret’s figures often expressed great energy and movement with twisting torsos, brilliant,
lively color, and bold typography that echoed the shapes and gestures of the subjects.
35
Art Nouveau
36
Art Nouveau
His typical composition featured a

central figure with supportive figures or
props in the background, with swirling
colors of type and texture surrounding
the the figures.
The “women” in his posters became

known as “Chérettes” by the public, and
later served as the influence for fashion
and lifestyle for a generation of French
women. Chéret introduced a new
liberated role model for women—happy,
fun loving who danced, drank wine, and
even smoked in public! 36 Jules Chéret posters 1879, 1893
Art Nouveau
37
Art Nouveau
Swiss born Grasset was the first

illustrator to rival Chéret in popularity.
He studied medieval art, and his love of
oriental art, influenced his style—
decorative borders that framed the text,
integration of illustrations and text into
one unit, and printing type directly over
the illustrations.

37
Art Nouveau
38
Art Nouveau
Eugene Grasset, Histoire des quatre fils Aymom (History of the four Aymon sons) 1883
38
Art Nouveau
39
Art Nouveau
Grasset’s posters often depicted willowy

maidens who wore long, flowing robes
and posed to advertise and sell inks,
chocolates, and other items. These
illustrations were drawn with a thick
black contour line that were filled with
flat areas of color similar in style to the
medieval stained glass windows. This
technique became known as his “coloring
book style.”

39
Art Nouveau
40
Art Nouveau
Grasset’s subdued colors and

tightly detailed drawing style
contrasted from Chéret’s lively
color palette and his loose and
informal compositions.
Eugene Grasset Jules Chéret
40
Art Nouveau
41
Art Nouveau
Art nouveau in England was

primarily concerned with graphic
design and illustration rather than
product or architectural design.
One notable artist was Aubrey

Beardsley who’s strong black pen
and ink illustrations contained
highly erotic imagery and were
controversial at best.
Aubrey Beardsley
41
Art Nouveau
42
Art Nouveau
His illustrations also took on a

strong Kelmscott Press influence—
something that outraged its
founder William Morris. Despite
this, Beardsley was hugely popular
and was considered a cult figure.
He was named art director for The
Yellow Book, a magazine who’s
bright yellow cover became
synonymous with the new and
outrageous. Aubrey Beardsley Kelmscott Press, Century Guild Cover
42
Art Nouveau
43
Art Nouveau
While a prolific artist, Aubrey Beardsley

died of tuberculosis at only twenty-six.
The Yellow Book , July and April, 1894

43
Art Nouveau
44
Art Nouveau
During the 1880s, Grasset became friends with

other young artists, most notable was Henri de
Toulouse-Lautrec. Primarily a printmaker,
draftsman, and painter, Toulouse-Lautrec
broke new ground in poster design. His
simplified shapes and dynamic spatial
relationships resulted in dramatic and
highly stylized poster compositions.
He drew directly on lithographic stones, usually

from memory, and used an old toothbrush to
create a splatter effect.
44
Art Nouveau
During the 1880s, Grasset became friends with

other young artists, most notable was Henri de
Toulouse-Lautrec. Primarily a printmaker,
draftsman, and painter, Toulouse-Lautrec
broke new ground in poster design. His
simplified shapes and dynamic spatial
relationships resulted in dramatic and
highly stylized poster compositions.
He drew directly on lithographic stones, usually

from memory, and used an old toothbrush to
create a splatter effect.
44
Art Nouveau
45
Art Nouveau
Theophile-Alexandre Steinlen was another

important figure in the art nouveau movement.
His radical political views and socialist
affiliations led him toward a social realism
depicting poverty, exploitation, and the
working class. He designed over 2,000
magazine covers, and hundreds of
book illustrations, posters, and
sheet music covers.
45
Art Nouveau
Theophile-Alexandre Steinlen was another

important figure in the art nouveau movement.
His radical political views and socialist
affiliations led him toward a social realism
depicting poverty, exploitation, and the
working class. He designed over 2,000
magazine covers, and hundreds of
book illustrations, posters, and
sheet music covers.
He also had a thing for cats.
45
Art Nouveau
46
Art Nouveau
Along with Chéret, Grasset, and Toulouse-Lautrec, Alphonse

Mucha was a significant player in the art nouveau style.
One of his most famous posters, Gismonda, served as the

springboard for his career and ultimately made him one of
the most well-known artists of the era. Needing to design a
poster for the actress Sarah Bernhardt in only a week, he
produced one totally unique from his prior work. He placed
Byzantine-inspired mosaics as background motifs, and the
lower portion remained unfinished because of the short
time-frame.
46
Art Nouveau
47
Art Nouveau
Graphic design was more ephemeral than

other art forms and the more flowing,
floral motif phase of art nouveau evolved.
From 1895-1900 marked a comprehensive
collection of Mucha poster design. His
dominant theme was the female figure with
long flowing hair, and surrounded by plants
and flowers. Often the typography would
appear as a halo above the figure’s head.
47
Art Nouveau
48
Art Nouveau
His women project no specific age, nationality, or historical

period. His stylized hair patterns and sensuous, flowing
lines, became the hallmark of the era.
48
Art Nouveau
49
Art Nouveau
49
Art Nouveau
Art Nouveau
Summary of Terms Victor Horta

Jules Chéret
Eugene Grasset
Aubrey Beardsley
Alphonse Mucha
Henri Toulouse-Lautrec
S U M M E RY O F T E R M S
• The Elements of Euclid • Arts and Crafts Exhibition

Society
• Arts and Crafts Movement
• Kelmscott Press
• Societies and guild
• Essex House Press
• Century Guild
• Ashendene Press
• The Century Guild Hobby Horse
• Roycroft Press
• Private Press Movement
• A Book Design Renaissance
• Art Workers Guild
• Combined Arts Society


Arts and Crafts Movement Graphic Design History

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A N M 2 4 5 | H I S TO RY O F G R A P H I C A N D W E B D E S I G N

The Arts and Crafts

During the industrial Revolution there was an increase in

THE ARTS AND CRAFTS MOVEMENT 2

Societies and guilds emerged to establish democratic artistic

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 3

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 4

THE ARTS AND CRAFTS MOVEMENT 5

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 6

Wren’s City Churches

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 7

Trademark for the

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 8

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 9

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 10

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 11

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 12

‣ LINK: Arts and Crafts

THE ARTS AND CRAFTS MOVEMENT 13

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 14

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 15

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 16

THE ARTS AND CRAFTS MOVEMENT 17

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 18

THE ARTS AND CRAFTS MOVEMENT 19

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 20

C. H. St. John Hornby

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 21

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 22

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 23

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 24

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 25

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 26

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 27

William Pickering, title page for the

THE ARTS AND CRAFTS MOVEMENT 28

Art Nouveau was an international

Art Nouveau, or “new art” was embraced

Art Nouveau, or “new art” was embraced

Art Nouveau, or “new art” was embraced

Art Nouveau, or “new art” was embraced

furniture, jewelry, fabrics and wallpaper,