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Honoré Daumier MacaireBill
Poster, lithograph, 1837
In Western cities, the expansion and acceleration of printing
‘had a profound liberalising effect on the urban populations of
Europe’
The rapid growth of mechanical printing not only changed
communication, the worlds of work and entertainment, it also
visually transformed the urban environment.
This work by the French caricaturist Honoré Daumier comments
on the proliferation of posters and print in public space: ‘Hot!
Hot! […] we must push the sale of goods,[…] attract the
attention of the sucker!’ (Daumier, 1837, quoted in Eskilson,
2007, p. 30).
Through his imagery he targeted the foibles of the bourgeoisie,
the corruption of the law and the incompetence of the
government through his acerbic pictorial statements
Illustrated London News,
1842
Pictorial newspapers were one of the most popular and
influential types of publication in the 19thcentury.
Printed using steam-powered printing presses, these
newspapers could cheaply and effectively mass-produce up to
100,000 copies per run.
The combination of images and text was novel, and enhanced
the experience of the reading public.
 Halftone print of a lion, 1885
The first type of popular photography
was developed in 1839
-‘Daguerrotype’. It was later
superseded by ‘Ambrotype’ in 1860.
By the late 19thcentury, the
development of ‘Halftone’ techniques
meant that periodicals could print
photographic images at scale
Poster for Uxbridge Fair, c.
1878
Mass-produced posters were also printed on steam-driven
presses. They were displayed on every available surface along
the streets of major cities.
The rise of posters created a proliferation of new ‘decorative’
typefaces.
Choir service poster,
J. Proctor Printers, 1875
In 19th advertising design, a variety of contrasting type styles
were employed together on the same page or poster
Stylistic coherence was not much regarded; all available space
was filled. Different type sizes and weights were combined,
creating a chaotic effect.
 Poster for Astley’s Circus,
printed by T. Romney, 1833
‘In a rush of commerce, little regard was given for stylistic
coherence; the printer […] filled all of the available space with
either image or text, employing an assortment of type sizes and
weights in a manner that creates an overall chaotic effect, like
the blaring of a sideshow tout’ (Eskilson, 2007, p. 42).
This concentrated, energetic use of type often effectively
communicates the energy and excitement of the event
advertised –in this case a circus.
Advertisement for
Canfield Bustle, c.1880s
Victorian horror vacui(a fear of emptiness)
characterises advertisements in magazines
and periodicals of the 19th century.
They were usually text-heavy, with every inch
of space being filled with image or text.
The ethos of ‘more is more’ characterised
much of Victorian design.
 Owen Jones: The Grammar of Ornament
Owen Jones's The Grammar of Ornament (1856) is a seminal work of Victorian design that
reflects the prevailing aesthetic and intellectual trends of the mid-19th century.
he Grammar of Ornament is characterized by its intricate patterns, bold colors, and symmetrical
compositions. Jones believed that the essence of good design lay in the harmonious
arrangement of basic geometric shapes and motifs, and he sought to demonstrate this principle
through his extensive collection of ornamental examples. It belongs to the broader movement of
Historicism, which emphasized the study and emulation of past styles in art and design
Owen Jones was an architect and designer, and one of the most influential design theorists of
the 19th century. He was involved in the Great Exhibition, and with others, tasked with raising
the standards of design in Britain generally.
Jones' theories on design formed the basis for his seminal publication, The Grammar of
Ornament in 1856.In this book he formulated a design language that was suitable for the
modern world. However, Jones believed that ornament must be secondary to utility.
Jones believed that the best principles in design were derived from forms found in nature.

The publication of The Grammar of Ornament coincided with a period of rapid industrialization and social change in
Britain. The Industrial Revolution had transformed the country's economy and society, creating new wealth and
opportunities but also leading to social unrest and environmental degradation.
In this context, Jones's work was seen as a way to revitalize British design and create a sense of national identity. His
emphasis on traditional craftsmanship and his fascination with Islamic art offered a counterpoint to the mass-
produced, machine-made goods that were flooding the market.
Morris & Co ‘Fruit’ Wallpaper, 1865 -66
Morris & Co ‘Honeysuckle’ furnishing fabric, 1876
Morris's work is characterized by its organic forms, naturalistic patterns, and use of rich,
vibrant colors. He was inspired by the beauty of the natural world and by the
craftsmanship of medieval artisans. His designs are often bold and striking, but they are
also carefully considered and well-crafted. His designs are often based on simple
geometric shapes, which he used to create complex and intricate patterns. He was also a
skilled printer, and he developed a number of innovative techniques for printing textiles
and wallpaper. Morris was a pioneer in the use of bright, saturated colors in design. He
was inspired by the rich colors of medieval textiles and stained glass, and he used his
own designs to create a new palette of colors that was both vibrant and sophisticated.
Morris's work was a reaction to the Industrial Revolution,
which had transformed Britain in the 19th century. He
believed that mass production had led to a decline in the
quality of craftsmanship and a loss of appreciation for
beauty. He saw the Arts and Crafts movement as a way to
revive traditional craftsmanship and create a more humane
and beautiful society.
William Morris, Kelmscott Press, The Works
of Geoffrey Chaucer, 1896
In 1891, Morris founded the Kelmscott Press, reacting to the poor design of contemporary mass-produced books.
Morris founded the Kelmscott Press in order to create beautiful and affordable books. The press produced a limited
number of books, which were printed on handmade paper and bound in Morris's own designs. The books are
characterized by their elegant typography, their use of woodcuts, and their overall sense of quality and craftsmanship.

Morris's Chaucer is characterized by its

medievalist style, its use of hand-cut woodcuts,
and its overall sense of beauty and harmony. The
typography is based on early 15th-century
German typefaces, and the woodcuts are inspired
by medieval manuscripts and tapestries. The
book is beautifully bound in Morris's own
designs, using leather and hand-tooled brass.
Morris's Chaucer was published at the end of the
19th century, a time of great social and economic
change.
The Industrial Revolution had transformed Britain, but it had also led to widespread poverty and environmental
degradation. Morris believed that the Arts and Crafts movement could provide a way to create a more humane and
beautiful society.
 William Morris, Kelmscott Press, The Wood
Beyond the World, 1894
Ironically, while Morris believed in the positive
affect of good design on working people, only the
very wealthy could afford his exclusive hand-
crafted products. Critics of the Arts & Crafts
movement called it ‘the work of a few for the few’.
After the movement had peaked, critics said that
the historicist style and historical model that Morris
and others embraced was inappropriate for a
modern and urban society.
Vale Press, The Works of Shakespeare,
1900-03
The establishment of Kelmscott Press by Morris
inspired the opening of small publishing and
printing houses, known as ‘The Private Presses’.
Opposing the industrialisation of book
production, they focused on small print runs of
classic texts, fine printing, and the rejuvenation
of medieval type and style.
Established by Charles Ricketts in 1896, Vale
Press is most well-known for its publication of
The Works of Shakespeare in 39 volumes
(19001903).
Doves Press Bible, 1903
Doves Press was founded in Hammersmith in 1900 by T. J. CobdenSanderson and
Emery Walker, both former associates of William Morris. The Doves Bible of 1903 is
considered to be the masterpiece of the press.
The Doves Press Bible is printed in red and black ink, which is a traditional color
scheme for Bibles. The red ink is used for the headings and rubrics, and the black ink is
used for the body of the text. The contrast between the two colors is striking and
elegant.
The Doves Press Bible was published at the beginning of the 20th century, a time of
great social and cultural change. The Industrial Revolution had transformed Britain, but
it had also led to widespread poverty and environmental degradation. The Arts and
Crafts movement was a reaction to these changes, and it sought to create a more
humane and beautiful society.
Doves Press Bible is printed in Cobden-Sanderson's own typeface, which is based on
Nicholas Jenson's 15th-century Venetian typefaces. The typeface is a clear, legible
typeface that is both elegant and modern.
The Four Gospels, published by Golden Cockrel
Press, 1931
After Morris died, the Private Press looked beyond Medieval type, and began
to explore more refined, sparser type. Eric Gill was a sculptor, stone mason,
and letter-carver. He was an advocate for Art & Crafts principles and
staunchly rejected industrialisation.
The Four Gospels, published by Golden Cockerel Press in 1931, belongs to
the Art Deco movement. Art Deco was a style of art and design that originated
in the 1920s and flourished in the 1930s. It was characterized by its use of
bold geometric shapes, stylized motifs, and rich colors. The Golden Cockerel
Press was a leading publisher of Art Deco books, and The Four Gospels is one
of its most celebrated works.
The Four Gospels is characterized by its elegant and sophisticated style. The
typography is based on a specially designed typeface that is both modern and
traditional.
The Four Gospels is a rare and valuable book, but it is also a work of art that
can be appreciated by anyone who loves books. It is a testament to Eric Gill's
genius and to the enduring power of Art Deco.
Insel Verlag, early 20thcentury
Insel Verlag's books were distinguished by their clean, elegant design,
characterized by simplicity and balance. The typography was carefully
chosen to complement the content, often featuring stylized typefaces that
echoed the flowing lines of Art Nouveau. The use of high-quality paper
and printing techniques further enhanced the visual appeal of the books.
Color played a significant role in Insel Verlag's publications, often used
to enhance the mood or atmosphere of the content. The use of muted
tones, such as soft greens, blues, and browns, was prevalent, creating a
sense of sophistication and refinement. Occasional bursts of vibrant
colors, such as reds and yellows, were employed to create accents and
draw attention to specific elements of the design.
Insel Verlag emerged during a period of significant social and cultural
change in Germany. The late 19th and early 20th centuries were marked
by rapid industrialization, urbanization, and a growing sense of
modernity. Art Nouveau, with its emphasis on beauty, craftsmanship, and
a connection to nature, offered a counterpoint to the perceived excesses
of industrialism and urban life.
 Edward Gordon Craig (illustrator) for the
Cranach Press, Hamlet,1930
The Cranach-Presse was founded in Weimar in
Germany in 1913 by Count Harry Kressler. The
company worked with English Arts & Crafts
movement. Craig's illustrations are characterized
by their boldness, simplicity, and expressiveness.
He uses strong lines, geometric shapes, and
simplified forms to create a sense of power and
drama. His figures are stylized and often distorted,
reflecting his interest in the expressive potential of
movement and gesture. The 1930s were a time of
great social, cultural, and economic upheaval. The
Great Depression was ravaging the world, and
there was a growing sense of uncertainty and
anxiety.
 Mia Cranwill, enamelled casketfor first Free
State senate roll, 1924
In Ireland, the ‘Arts and Crafts movement which had evolved in
England from [the] utopian socialism and romantic
medievalism […] provided a natural focus for nationalist
aspirations towards identity as well as artistic, educational and
environmental concerns (Gordon-Bowe, 1991).
Celtic motifs were featured in Irish crafts and book design, and
Celtic culture was a popular subject matter in literature and
painting.
This type of subject matter was seen as appropriate in the
establishment of Irish national identity.
Margaret Stokes, illustrations for H.H Todd’s Descriptive Remarks on
Illuminations in Certain Ancient Irish Manuscripts, 1869 and Samuel
Ferguson’s Cromlech of Howth, 1861

In Ireland, many women were the driving force

behind the Irish Arts & Crafts movement.
Margaret Stokes illustrated many publications on
Irish antiquities, as well as poetry.
She expertly reproduced imagery from a
10thcentury Latin gospel book The Garland of
Howth.
She also based her own decoration of the
Cromlech of Howth on her studies of the Book of
Kells.
Dun Emer rug, early 20th
century
Women were responsible for establishing guilds in textiles,
woodcutting, stained glass and embroidery in Ireland.
The Dun Emer Guildwasformed by Evelyn Gleeson and Lily and
Elizabeth Yeats. This collective produced rugs and embroidery
as well as books and prints.
W.B. Yeats, Silver Apples, designed by Victor Brown, published by Cuala
Press, early 20th century
James Stephens, Joy Be With US, published by Cuala Press, c.1930
In 1908 WB Yeats joined his sisters to form The Cuala Press, a private
press in the Arts & Crafts tradition
The press was in operation until 1946, and published over 70 titles from
wellknown Irish. The work featured intricate illustrations and typefaces
developed by Cuala.
The Cuala Press's books were characterized by their clean, simple lines,
use of hand-lettered typefaces, and occasional use of woodcuts and other
illustrations. The designs were often based on traditional Irish motifs, such
as Celtic knots and patterns. The overall effect was one of elegance and
sophistication, with a strong sense of Irish identity.
The Cuala Press's books were typically printed in muted tones, such as black, white, brown, and green. This limited palette was
in keeping with the Arts and Crafts movement's emphasis on simplicity and natural materials. The occasional use of color, such
as gold or red, was used to create accents and draw attention to specific elements of the design.
The designers associated with the Cuala Press were influenced by a wide range of sources, including Irish folk art, Celtic
design, and the Arts and Crafts movement. They were also inspired by the work of William Morris, the leading figure in the Arts
and Crafts movement.
Harry Clarke, Arts and Crafts Society of
Ireland Exhibition Catalogue, 1917
Harry Clarke's contributions to the 1917 Arts and Crafts Society of Ireland Exhibition
Catalogue belong to the Arts and Crafts movement, which originated in Britain in the
late 19th century. The Arts and Crafts movement was a reaction to the mass
production and poor craftsmanship of the Industrial Revolution. It emphasized the use
of natural materials, traditional craftsmanship, and simple, elegant designs.
Clarke's work for the catalogue is characterized by its organic forms, naturalistic
patterns, and use of rich, vibrant colors. He was inspired by the beauty of the natural
world and by the craftsmanship of medieval artisans. His designs are often bold and
striking, but they are also carefully considered and well-crafted.
Clarke's use of color is one of the most striking aspects of his work. He was a pioneer
in the use of bright, saturated colors in design. He was inspired by the rich colors of
medieval textiles and stained glass, and he used his own designs to create a new
palette of colors that was both vibrant and sophisticated.
The 1917 Arts and Crafts Society of Ireland Exhibition Catalogue was published
during a time of great social and cultural change in Ireland. The early 20th century
was a time of growing nationalism and a desire to establish a distinct Irish identity.
The Arts and Crafts movement was seen as a way to revive traditional Irish
craftsmanship and create a new Irish aesthetic.