the strange mr. strange

edward fairbrother strange made his living writing articles and books about design: lettering, bookbinding, lace, etc. his tone was often one of arch dissatisfaction and resentment that no longer were the excellent standards of the past being upheld.

we've met him already, listening to him rail against the degenerate work of seitei watanabe, and i promised you you'd hear more. after railing generally against american book design, he says:

to turn to the consideration of some particular cases, one is compelled to reiterate a somewhat well-worn story, that of the wide-spread and curious influence of aubrey beardsley. the cover designs by bertram g goodhue are often full of it--beardsley's earlier manner of the morte d'arthur;

but of all beardsley's disciples the one who has more closely approached to him in method is will h bradley. the binding of the romance of zion castle is a typical example of this somewhat common tendency. here we have another version of the 'avenue poster' type of decoration;

with, however, not a tithe of the marvellous success of the latter in indication form and drapery by judiciously balance flat masses. in mr bradley's design the gold is over-done, and the hard boundary lines to which it gives rise spoil the effect of the decidedly clever distribution of the upper part of the cover.

the same artist's lyrics of earth wants balance; the serpentine line is rather too heavy, and not very gracefully distributed, although the tree is well rendered and just in its proper place.

a very pleasant treatment of a conventional landscape is that adopted by mr louis rhead, in meadow grass. the use of a picture pure and simple for a cover, instead of some arrangement of ornament, is a new and dangerous device; and it requires powers of no uncommon order to secure for it the success obtained by mr rhead in this instance.

a book-cover has been made by margaret armstrong for love-letters of a musician. it is good in color, the rare subordination of the two lines of floral diaper giving a pleasing effect, but the head of st cecelia, done on an inlay of vellum in slight relief, and the border gold which surrounds it, seem rather forced and over-wrought.

the same artist has produced an effective composition of poppies and pipe-stems, in crimson, light green and gold, on coarse white canvas, for washington irving's rip van winkle.

this is, one would imagine, a good 'saleable' cover, though, from the critical point of view it must not be too closely considered, and the lettering cries aloud for condemnation.

(mr strange was by no means alone in his pouts; snipping, snapping and sniping were the trade of the day in the large and gor- geously produced periodicals covering the art world. so what else is new?)

the alternate shaping of reality

while some 60s poster artists looked to french art nouveau, others looked to vienna. particularly when it came to lettering, alfred roller's font was nearly ubiquitous.

"The lettering by Alfred Roller in this poster he designed for a Secessionist exhibition in 1903 was the major source of inspiration for Wes Wilson and the other San Francisco poster artists of the 1960s period." 1

other designers of that moment included kolomon moser, but even on his own posters, he used variations of roller's fonts.

david goines borrowed from wiener werkstatte fonts (along with many others) in his posters as well.

when i was living in the haight-ashbury district of san francisco in the late 60s, my favorite poster artist was mari tepper. her work was so different from the rest, but now i see echos of vienna here as well.

why, you might ask, should there be such a strong influence from secession vienna on bay area artists? patience, grasshopper. all will be shown in the end.

beyond the letter- ing, we saw the alternate shaping of reality which may easily explain the way the fonts look different in the hands of wilson versus their originator. what do you think?

plakatstil & hand-lettering

in order to understand the evolution of japonisme into what was called plakatstil in germany (and which occurred, as a look, mainly in germany, england, and the united states), we need not think image, we need to think calligraphy.

we have seen the numerous art nouveau lettering styles that so closely imitated the japanese brush-made letters. the important thing was that, in the flurry of the industrial age, this stress on hand-lettering.

one of the first to take the hand- lettering beyond the purely japanese- brush look was toulouse- lautrec. his hand-lettering is a bit awkward at times (look at the 'd' in aristide's name) but always quite charming, and maintains the feel of the japanese calligraphy. there is just nothing hard-edged about it. an itc font has been created to honor it, and you've been looking at it at the top of this page for a year and a half now; it's called 'le petit trottin' after a sketch lautrec made of a trottin, a shop-girl.

note also in the lautrec posters the blocks of color, the flat surfaces, diagonal structures, and the asymmetry in their layouts -- all things we have compared with japanese prints in the past.



the next steps the hand- drawn characters took were to still less stylized but no less charming forms. credited as leading this movement were the beggarstaff brothers (the name william nicholson and james pryde took to do commercial work so as nobody would think they were not serious artistes).

while they still borrowed many of the design elements of the japanese prints, they took the lettering to its next step.





and following closely on their tails were edward penfield in the us, and the artists of plakatstil: german advertising posters which are said to have revolutionized advertising (while still richly inspired by the japanese).


among these were lucian bernhard (the instigator), ludwig hohlstein, paul schuerich, emil paul rumpf, julius gipkens, and many more. note additionally, of course, the use of outline, blocks of color, simplicity and solitary focus, and the diagonal lines of their inspiration.

otto heim codified the wonderful fonts, and in our own time, nick curtis has reinvigorated them. to me, they are the most charming fonts available.



why did the rest of europe never adopt this lettering? i'll let you know when i find out.

countering the ornamentation, often juxtaposing it, was unadulterated color.

Toulouse-Lautrec was, however, the most innovative of the poster designers, with his Japonisme-inspired compositions (characterized by simplified figures and forms, planes of flat pure color and jolting diagonal lines), and his emphasis on subjects that had previously fallen outside the purview of fine art.1

show business, the ladies of the night and their fellows: ukiyo-e. this was the floating world. the use of calligraphy, hand-lettering, as a part of the design scheme, saw letter characters as art in themselves.

and the joy in color, in art and design as in clothing for the first time in centuries, is a joy in itself.

how very short a road it was then, on to modern art.