 Okay, so, feel free to oo and awe, I will enjoy that. Clap, if you do something you like, that's fine. That would be fun. So I'm gonna talk about typographic and printing renegades. It's a small exploration of the artistic printing movement and the type designers that were a part of this wild and rebellious landscape, from the mid-19th century to the early 20th century. I use the term renegade because many artists and purists during and after this time period felt that the designs produced were over the top or garish and used more specifically that type was used incorrectly. So to add to the fussiness of the designs were ornamental borders and motifs designed along with the typefaces. And these represented popular culture patterns with Asian, Egyptian, botanical and architectural flair. I'll talk about and show examples of the work created by these rebels. Herman Eilenberg is the type designer I'll focus on the most. His work that I'm gonna show you is from his personal papers collection that is housed at the Kerry Collection at RIT in Rochester, New York. His work was meticulous, it was detailed and I think it was beautiful. I see these early renegades as having greatly influenced the type and design landscape of today, which speaks to the beauty of the work and the longevity of a style that was looked upon at times with disdain. Yet still it persists within our typographic and visual canon of today. So just a little background, a little historic background. So the Victorian time period was considered modern due to its many different inventions of steam power printing technology and photography. Steam power enabled the growth of factories in production of goods. More goods meant designing advertisements for the goods as well as packaging and new ways to print the packaging. Another aspect of this time was the creation also of or what became middle class, which was made up of managers of factories for these packaged products, bankers and lawyers and more disposable money to purchase goods. The middle class were also influencing the landscape in terms of building Victorian homes with a lot of decorative trim and ironwork and interiors that showed off their stuff and moving out of the cities into what was considered suburbs. So as well, women's clothing was also accentuated with busts and bustles, lace and ribbons and it also showed off their stuff more. So things during this time were being designed with a universal theme of over accentuation. So it makes sense that we begin to see this in the advertisements of ephemera of the time. Colors were being introduced, bright pops of color to direct grab attention. Swash ornaments were used and designed and paired up with type and also would add another level of interest. Architectural details were also added to the page. So you'd see a lot more type on a curve encapsulated type within a pattern square. Borders were added and like the women's clothing of the time, type faces were pushed and pulled and tightened and inflated. So all of the type and ornaments were hand drawn before being cast in metal. So adding many different type faces to one ad was becoming the norm and it was used in such a way to designate the importance of each chunk of text and clearly all of the text was important. Sometimes the swashes of type were used to enhance imagery or direct the eye, point things out or enhance meaning and emulate movement. Type was becoming stylized to fit with themes and to add interest to a product. Perhaps it's something that seemed mundane. To make everyday objects more interesting. So you would try and make an automatic pencil more interesting or thinking about smoking tobacco and making that more interesting. Any ooze yet? This is a drawing from Herman Islandberg's scrapbook and sketchbooks. He was born in Berlin, Germany in 1843. He was trained in painting and drawing and was extremely grounded and proficient in these skills. Here, was there a wow? So he apprenticed as a punch cutter for type foundries in Berlin first, Frankfurt, Prague, and then Paris. Within his work, the attention to detail is phenomenal. His work in tonal quality emulates ornate architectural stonework like these examples. And this is all done. The example on the left is in pen, ink and the example on the right is pencil. Thank you. In 1866, he immigrated to the United States and he worked for McKellar, Smiths and Jordan which later became American type foundry or part of American type foundry, where he designed type borders and ornaments. By 1898, he had drawn and cut approximately 80 alphabets of more than 3,000 sizes and 31 borders. He's best known for his type faces being extremely ornamental, as you can see here. And he admired the work of lithographers and preferred drawn type designs and followed more of a lithographic style with his drawings. Not all of his type faces were cast in metal, but there are hundreds of drawings and these are just three pages from chunks of sketchbooks that he has or had. Many of his type face designs that were patented used aspects from these drawings so I was able to see the patented designs and then kind of pull characteristics or little traits from these that he was using. So I, for instance, Phylum, which is, I think it's Phylum, on the top left, was, did become filigree or aspects of Phylum became a patented type face which is called filigree. I hear a couple. Okay, so Eilenberg kept sketchbooks or scrapbooks where he would cut out interesting labels and ads, and this is actually an example from that. This is one of his scrapbook pages. So he would cut out ads and he would use these to help keep up with what was going on at the time, the current trends, if you will. He would draw his type in ornaments based off of what was popular in printed work and he excelled at creating these borders, which you see here. They weren't very popular at first, the borders, because people didn't know really how to use them and once they were shown by printers how to be used, then they became much more popular. Eilenberg created the most famous and best-selling ornamental styles of type, borders, and ornaments of the time. Here is a couple examples of the patented type faces. So we have filigree and italic copper plate. This was put out by McKellar, Smith, and Jordan and they produced some of the most original type faces of the time period. Here's patents for Nymphic and Zinco. Another thing that shows up in Eilenberg's work is that he favored decorative swashes and encapsulated letters. They're similar styles to the 15th and 16th eliminated manuscript letters. He was also very fond of three-dimensional letters that appeared to be kind of popping out of the page. So with McKellar, McKellar, Smith, and Jordan, they were considered distinctly an American school of design. Their type was considered that. So some of the commentary that was being said at the time about it was that it was liberty run mad and this was being said a lot of times in Europe, liberty run mad or it was a style that had no style. So many of the type designers of this time had immigrated to the US from Germany and Scotland where the tradition of fine craftsmanship and faithfulness to detail was very important. So as well as a knowledge of fine hand lettering, Henry Bremmer was a peer of Eilenberg's and he was from Germany as well. These are some examples of his work. It's Edith, Kleptomania, and Alma, which is also Crayonet. He had designed Crayonet for another type foundry and then designed Alma, which is the exact same typeface for a different type foundry. So he designed typefaces for James Conner's sons, George Bruce's sons and company, and Lindsay type foundry. Lindsay type foundry is a type foundry that he created Alma for and Edith. He did a lot of female named typefaces for Lindsay. Bremmer's type designs were more condensed and they had much more thinner strokes. They were less decorative. They used a bit more, they were used a little bit more in copy than they were in just a couple of words. And he also was very prolific with his orders and ornaments as well. So again, like I said, but for a lot of people didn't understand how these ornament or these typefaces worked together until they were put together on a page. So a lot of times in specimen books, you would see the ornaments making, creating the actual border on the page so you could see how it could be utilized. Julius Harriet Sr. was another peer of Eilenberg's and he created type that, or I think some of the type designers at the time created typefaces that emulated a little bit of a nationalistic feel. So you'll find that the German type designers at the time used a lot of black letter and so added decorative kind of swashes and motifs and small ornamental designs to those. So like Eilenberg, Harriet also designed letters that were encapsulated but also used thinner lines and swashes as part of his type design. Harriet's most popular designs were his word logotypes, which are all the way on the right, which he designed as abbreviations of words or condensed the words together to make some one unit. So when they were laid out on the page, it wouldn't take up as much space. And here's some more work from Harriet. So Julius Harriet also designed utility ornaments, but these were more of an illustrative kind of ornament rather than a decorative ornament. They actually were a picture of something. So here's an example of Eilenberg's work in print. So this is also a listing of the different typefaces that are shown in some of these ads, but I wanted to show this, I don't know if I can, all the way on the left, there are those little corner pieces. That's from Eilenberg's sketchbook, which I thought was kind of cool because he shows a lot of the, I guess it's crib lay, is it crib lay? Yeah, so he shows a little bit of the crib lay, which I didn't know that term, so thank you. And it looks like it's being used then in this ad next to it. So again, just some more ads that were used at the time with some of Eilenberg's work as well. And then also this was, these works were being produced by the American printer specimen exchange. So it was produced by Edward McClure, which allowed, this is where the printers could be a little more renegade and rebellious. It allowed printers to print, like throw everything onto the page and show off what they could do. So they could use all of their typefaces and they could use all of the inks and the technology that they had at the time and show people what could be done. So these are examples from that page. Eilenberg's in memoriam, that's one of his typefaces at the bottom. We have black condense or black ornamented number 523, which is the steam press printer typeface up at the top, this Eilenberg. Printers is filigree. So again, you can kind of see that reference to the Illuminati manuscript typefaces from the 15th and 16th century. But what I really like about this are the metallic, like that blue metallicy. Ooh. I didn't hear any ooze on that one. It's might be harder to say. So it's kind of fun to see these bright pops of color metallic inks. So the example in the middle for the Turner Levisay, Levisay the writing inks copying and the example on the bottom improved favorite and the example on the right, the board of education are actually Julius Harriet's typefaces. And that typeface, the board of education is called Nero. Does it look like something like familiar to you guys, does anybody know? There's a prize to be had if somebody answers this. Yeah, so I noticed that right away and I was like, that's so weird. Except that they seem to, I'll give you a prize, you can pick it out. Find me later. I have a little prize for you. So it just seems like they kind of snipped off the little serifs a little bit from the original and made it a little bit, just tweaked it, stylized it for the movie, but definitely based off of Nero. So what's happening now? So I wanted to talk just a little bit about 21st century renegades or how this is being used in the 21st century with graphic designers, with type designers and with printers. So the first example, and it's just a small sampling. I know there's so many other names and I'm not gonna even touch upon and it's such a big conversation, this whole thing. So I'm kind of condensing it into 20 minutes. But the first example is from Star Shaped Press. They're out of Chicago, Illinois. Again, using ornaments and highly decorative types for her projects. A lot of her work I see, especially at the bottom right, you know, reminds me of the example on the left where she builds everything out of type ornaments. Or the example on the left here, which is an Eilenberg example. Hammer Press Studio, which is out of Kansas City. Was there a woohoo? Nice, nice. Which is, again, the same thing of the Eilenberg references of building the page out of type ornaments. Using the type ornaments to build the page. Thinking about why this is all, why this is coming back or hasn't totally gone away. It's kind of interesting to me too. What is it about this that people are attracted to? I think when this first started coming back, Letter Press, it was more precious. It was used as invitation design, right? That sort of thing, like special events. But now it feels like it's being used in more everyday things, in our packaging, our labels. I think we see it more in the landscape. Studio and Fire is one of my favorite studios. They're out of Minneapolis. Okay, nice. Many. So the top row are projects that they printed for designers, for design companies, studios. And the bottom are projects that they have done in-house and then printed in-house as well. So again, I think these print shops and design studios are doing really cool things with playing with different types of printing technology, different types of inks, metallics, die cuts, shapes, that sort of thing. And the next two are Kevin Cantrell and Yield Studio. They do some nice work as well. This is Kevin Cantrell's I like, because we start seeing this in the ads that were the way it was being used in the late 19th century. So maybe, I think in some ways, ephemera is more important now than it used to be. I mean, ephemera at the time of the late 19th century that was meant to just be put up and then just disappear. It wasn't meant to last. And I don't know about you all, but I collect a lot of ephemera to the point where it reminds me of how much I drink because I have all these wine bottles and beer bottles and I'm like, whoa, this might be a problem. But I collect a lot of this stuff because I think it's beautiful. I think some of it's really, really quite fantastic. And I think there is something about design and visuals and type that stays with us. And we keep these things that weren't meant to. I mean, I have coasters in the bombs of my bags that are now all crappy, but I still have them. TPD Design House and also has done some interesting things with taking ornamental swashes and adding them to their designs. And also Mama Sauce, which is more of a print studio. I like that, a little shimmery. Whoa, that was a good, oh, yeah. Do you want me to play it again? Sing it, oh, oh, I'm not gonna touch it anymore, J.Pay, sorry. So anyway, we'll move on. But anyway, Mama Sauce, they're out of Orlando and they do a lot of crazy technical print stuff as well. Oh no, did I just mess it up? I know, okay. All right, Doretta Rinaldi. Again, you know, it's interesting for me because I'm really getting interested in the fourth dimension and motion and how type can start playing within that realm. So again, adding these ornamental swashes and details into the work. So I guess one thing I wanna just leave with is just like, well, what's next? Like, what's gonna be the next thing? Is this gonna go away? Is it gonna stay? I think there's something beautiful about all of it. And just in the details. And I hope it does stay. I'm really curious as to where it'll go next. So thank you.