How IKEA Revolutionized Furniture-Making

The humorist San­dra Tsing Loh once described her gen­er­a­tional cohort as “today’s young, high­ly trained, down­ward­ly mobile pro­fes­sion­als: ‘dump­ies.’ We’re just emerg­ing from years of col­lege only to learn that there are no jobs avail­able for peo­ple with our advanced qual­i­fi­ca­tions,” and thus no route to own­er­ship of all their hoped-for lifestyle accou­trements. No, she’s not a mil­len­ni­al, but rather what she calls a “late boomer” in an essay that dates from the mid-nineties — a few years after IKEA founder Ing­var Kam­prad “came into South­ern Cal­i­for­nia, utter­ing those five immor­tal words: ‘Halo­gen! Impos­si­ble Price: $29!’ The rest was his­to­ry. In that instant, we dump­ies found our niche. We rose up and became the IKEA Gen­er­a­tion!”

IKEA could expand so far out of its native Swe­den thanks to the suc­cess of prod­ucts like the LACK cof­fee table, the sub­ject of the new Pri­mal Space video above. Though small in scale and high­ly unpre­pos­sess­ing in appear­ance (and, let’s face it, a visu­al byword for cheap fur­nish­ings sec­ond only to the num­ber-one-sell­ing BILLY book­shelf) it’s long been a steady sell­er the world over, not least because its price, just under the equiv­a­lent of ten euros when intro­duced in 1981, has nev­er been raised. To man­age that, IKEA has had to use every trick in its book: not just the do-it-your­self “flat-packed” design it pio­neered, but also non-warp­ing par­ti­cle board, hon­ey­comb paper struc­tures for max­i­mum strength using a min­i­mum of mate­r­i­al, and even new­ly engi­neered leg-fold­ing machines.

How­ev­er briskly it sells, this par­tic­u­lar prod­uct may be unfor­tu­nate­ly named in an Eng­lish-speak­ing mar­ket; “What they ‘lack’ is sta­bil­i­ty,” one inter­vie­wee says to Loh. Still, it remains emblem­at­ic enough of the cor­po­rate mis­sion once artic­u­lat­ed by Kam­prad him­self: “To cre­ate a bet­ter every­day life for the major­i­ty of peo­ple.” (“How many Repub­li­can politi­cians can say they’ve done that?” Loh adds. “How many Democ­rats?”) That extends to the design of IKEA’s stores, which offer only one path to fol­low all the way through, like an extra-large fun­house. As not­ed in the video, while this forces cus­tomers to pass every prod­uct — and thus every temp­ta­tion to impulse buy — it also turns a vis­it into an expe­ri­ence unto itself, before the cus­tomer even reach­es the cafe­te­ria. Fun­ny; I could go for a plate of meat­balls right about now.

If you want to take a deep dive into the ori­gin and growth of IKEA, lis­ten to this three hour episode from the Acquired pod­cast.

Relat­ed Con­tent:

IKEA Dig­i­tizes & Puts Online 70 Years of Its Cat­a­logs: Explore the Designs of the Swedish Fur­ni­ture Giant

Hans Rosling Uses Ikea Props to Explain World of 7 Bil­lion Peo­ple

What Hap­pens When a Cheap Ikea Print Gets Pre­sent­ed as Fine Art in a Muse­um

Meet the Mem­phis Group, the Bob Dylan-Inspired Design­ers of David Bowie’s Favorite Fur­ni­ture

Spike Jonze’s Imag­i­na­tive TV Ads

Charles & Ray Eames’ Icon­ic Lounge Chair Debuts on Amer­i­can TV (1956)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How a Dutch “Dementia Village” Improves Quality of Life with Intentional Design

Peo­ple suf­fer­ing from demen­tia lose their abil­i­ty to take an active part in con­ver­sa­tions, every­day activ­i­ties, and their own phys­i­cal upkeep.

They are prone to sud­den mood swings, irri­tabil­i­ty, depres­sion, and anx­i­ety.

They may be strick­en with delu­sions and wild hal­lu­ci­na­tions.

All of these things can be under­stand­ably upset­ting to friends and fam­i­lies. There’s a lot of stig­ma sur­round­ing this sit­u­a­tion.

Tak­ing care of a spouse or par­ent with demen­tia can be an over­whelm­ing­ly iso­lat­ing expe­ri­ence, though no one is more iso­lat­ed than the per­son expe­ri­enc­ing severe cog­ni­tive decline first­hand.

While many of us would do any­thing to stay out of them, the sad fact is res­i­den­tial mem­o­ry care facil­i­ties are often the end-of-the-line real­i­ty for those liv­ing with extreme demen­tia.

The Hogeweyk, a planned vil­lage just out­side of Ams­ter­dam, offers a dif­fer­ent sort of future for those with severe demen­tia.

The above episode of By Design, Vox’s series about the inter­sec­tion of design and tech­nol­o­gy, explores the inno­va­tions that con­tribute to the Hogeweyk’s res­i­dents’ over­all hap­pi­ness and well­be­ing.

Rather than group­ing res­i­dents togeth­er in a sin­gle insti­tu­tion­al set­ting, they are placed in groups of six, with every­one inhab­it­ing a pri­vate room and shar­ing com­mon spaces as they see fit.

The com­mon spaces open onto out­door areas that can be freely enjoyed by all housed in that “neigh­bor­hood”. No need to wait until a staff mem­ber grants per­mis­sion or fin­ish­es some task.

Those wish­ing to ven­ture fur­ther afield can avail them­selves of such pleas­ant quo­tid­i­an des­ti­na­tions as a gro­cery, a restau­rant, a bar­ber­shop, or a the­ater.

These loca­tions are designed in accor­dance with cer­tain things proven to work well in insti­tu­tion­al set­tings —  for instance, avoid­ing dark floor tiles, which some peo­ple with demen­tia per­ceive as holes.

But oth­er design ele­ments reflect the choice to err on the side of qual­i­ty of life. Hand rails may help in pre­vent­ing falls, but so do rol­la­tors and walk­ers, which the res­i­dents use on their jaunts to the town squares, gar­dens and pub­lic ameni­ties.

The design­ers believe that equip­ping res­i­dents with a high lev­el of free­dom not only pro­motes phys­i­cal activ­i­ty, it min­i­mizes issues asso­ci­at­ed with demen­tia like aggres­sion, con­fu­sion, and wan­der­ing.

Co-founders Eloy van Hal and Jan­nette Spier­ing write that the Hogeweyk’s crit­ics com­pare it to the Tru­man Show, the 1998 film in which Jim Car­rey’s title char­ac­ter real­izes that his whole­some small town life, and his every inter­ac­tion with his pur­port­ed friends, neigh­bors, and loved ones, have been a set up for a high­ly rat­ed, hid­den cam­era real­i­ty TV show.

They describe The Hogeweyk as a stage for, “the rem­i­nis­cence world”, in which actors help the res­i­dents live in a fic­ti­tious world. Many Alzheimer’s experts have, how­ev­er, val­ued The Hogeweyk for what it real­ly is: a famil­iar and safe envi­ron­ment in which peo­ple with demen­tia live while retain­ing their own iden­ti­ty and auton­o­my as much as pos­si­ble. They live in a social com­mu­ni­ty with real streets and squares, a real restau­rant with real cus­tomers, a super­mar­ket for gro­ceries and a the­atre that hosts real per­for­mances. There is no fake bus stop or post office, there are no fake façades and sets. The restau­rant employ­ee, the handy­man, the care­tak­er, the nurse, the hair­dress­er, etc.—in short: every­one who works at The Hogeweyk uses their pro­fes­sion­al skills to actu­al­ly sup­port the res­i­dents and are, there­fore, cer­tain­ly not actors.

Pro­fes­sion­al care and sup­port goes on around the clock, but rarely takes cen­ter­stage. Nor­mal life is pri­or­i­tized.

A vis­i­tor describes a stroll through some of the Hogeweyk’s pub­lic areas:

In the shade of one of the large trees, a mar­ried cou­ple gazes hap­pi­ly at the activ­i­ty in the the­atre square. An elder­ly gen­tle­man, togeth­er with a young lady, intent­ly study the large chess board and take turns mov­ing the pieces. At the foun­tain, a group of women chat loud­ly on colour­ful gar­den chairs. The sto­ry is clear­ly audible—it is about a mem­o­ry of a vis­it to a park in Paris which had the same chairs. Passers-by, old and young, greet the women enthu­si­as­ti­cal­ly. A lit­tle fur­ther on, a woman is talk­ing to a man oppo­site her. She is ges­tur­ing wild­ly. After a while, anoth­er woman joins the con­ver­sa­tion. The two women then walk through the open front door of Boule­vard 15.

The cov­ered pas­sage smells of fresh­ly-baked cook­ies. The scent is com­ing from De Bonte Hof. Amus­ing con­ver­sa­tions can be heard that pause for a moment when the oven beeps in the kitchen that has been dec­o­rat­ed in an old-fash­ioned style. A tray of fresh cook­ies is removed from the oven. Two women, one in a wheel­chair, enter the venue, obvi­ous­ly seduced by the smell. They sam­ple the cook­ies.

The super­mar­ket across the street is very busy. Shop­ping trol­leys loaded with gro­ceries are pushed out of the shop. The rat­tle of a shop­ping trol­ley dis­si­pates into the dis­tance as it dis­ap­pears from view towards Grote Plein. A man reluc­tant­ly push­es the full trol­ley while two women fol­low behind him arm in arm. The trio dis­ap­pear behind the front door of Grote Plein 5.


A staffer’s account of a typ­i­cal morn­ing in one of Hogeweyk’s hous­es reveals more about the hands-on care that allows res­i­dents to con­tin­ue enjoy­ing their care­ful­ly designed home, and the autonomous lifestyle it makes pos­si­ble:

Mr Hen­dricks wakes up on the sofa. He unzips his fly. I jump up and escort him to the toi­let just in time. I grab a roll of med­ica­tion for him from the med­ica­tion trol­ley. He is now walk­ing to his room. We pick out clothes togeth­er and I lay them out on his bed. He wash­es him­self at the sink. I watch briefly before leav­ing. Fif­teen min­utes lat­er, I poke my head through the door. That’s not how elec­tric shav­ing works! I offer to help, but Mr. Hen­dricks is clear­ly a bit irri­tat­ed and grum­bles. He’ll be a lit­tle less shaven today. We’ll try again after break­fast…

We help Mrs Sti­j­nen into the show­er chair with the hoist. She is clear­ly not used to it. Dis­cussing her exten­sive Swarovs­ki col­lec­tion, dis­played in the glass case in her room, turns out to be an excel­lent dis­trac­tion. She proud­ly talks about the lat­est piece she acquired this year. On to the show­er. The two oth­er res­i­dents are still sleep­ing. Great, that gives me the chance to devote some extra time to Mrs Sti­j­nen today.

The door­bell rings again and my col­league, Yas­min, walks in. She’s the famil­iar face that every­one can rely on. Always present at 8 a.m., 5 days a week. What a relief for res­i­dents and fam­i­ly. She, too, puts her coat and bag in the lock­er. The wash­ing machine is ready, and Yas­min loads up the dry­er. The table in the din­ing room is then set. Yas­min puts a flo­ral table­cloth from the cup­board on the table. Mr Hen­dricks lends a hand and, with some guid­ance, puts two plates in their place, but then walks away to the sofa and sits down. A Dutch break­fast with bread, cheese, cold cuts, jam, cof­fee, tea and milk is served. Yas­min is mak­ing por­ridge for Mrs Smit. As always, she has break­fast in bed. Yas­min helps Mrs Smit. It is now 08:45 and Mr Hen­dricks and Mrs Sti­j­nen are sit­ting at the din­ing table. Yas­min push­es the chairs in and sits down her­self. They chat about the weath­er, and Yas­min lends a help­ing hand when need­ed.

Mr Hen­dricks is real­ly grumpy today and is cur­rent­ly grum­bling at Mrs Jansen. I’m won­der­ing if we’re over­look­ing some­thing?

Learn more about the Hogeweyk, the world’s first demen­tia vil­lage here.

Watch a playlist of Vox By Design episodes here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent 

The Restau­rant of Mis­tak­en Orders: A Tokyo Restau­rant Where All the Servers Are Peo­ple Liv­ing with Demen­tia

How Music Can Awak­en Patients with Alzheimer’s and Demen­tia

Demen­tia Patients Find Some Eter­nal Youth in the Sounds of AC/DC

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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A 400-Year-Old Ring that Unfolds to Track the Movements of the Heavens


Rings with a dis­creet dual pur­pose have been in use since before the com­mon era, when Han­ni­bal, fac­ing extra­di­tion, alleged­ly ingest­ed the poi­son he kept secret­ed behind a gem­stone on his fin­ger. (More recent­ly, poi­son rings gave rise to a pop­u­lar Game of Thrones fan the­o­ry…)

Vic­to­ri­ans pre­vent­ed their most close­ly kept secrets—illicit love let­ters, per­haps? Last wills and testaments?—from falling into the wrong hands by wear­ing the keys to the box­es con­tain­ing these items con­cealed in signet rings and oth­er state­ment-type pieces.

A tiny con­cealed blade could be lethal on the fin­ger of a skilled (and no doubt, beau­ti­ful) assas­sin. These days, they might be used to col­lect a bit of one’s attack­er’s DNA.

Enter the fic­tion­al world of James Bond, and you’ll find a num­ber of handy dandy spy rings includ­ing one that dou­bles as a cam­era, and anoth­er capa­ble of shat­ter­ing bul­let­proof glass with a sin­gle twist.

Armil­lary sphere rings like the ones in the British Muse­um’s col­lec­tion and the Swedish His­tor­i­cal Muse­um (top) serve a more benign pur­pose. Fold­ed togeth­er, the two-part out­er hoop and three inte­ri­or hoops give the illu­sion of a sim­ple gold band. Slipped off the wearer’s fin­ger, they can fan out into a phys­i­cal mod­el of celes­tial lon­gi­tude and lat­i­tude.

Art his­to­ri­an Jes­si­ca Stew­art writes that in the 17th cen­tu­ry, rings such as the above spec­i­men were “used by astronomers to study and make cal­cu­la­tions. These pieces of jew­el­ry were con­sid­ered tokens of knowl­edge. Inscrip­tions or zodi­ac sym­bols were often used as dec­o­ra­tive ele­ments on the bands.”

The armil­lary sphere rings in the British Museum’s col­lec­tion are made of a soft high-alloy gold.

Jew­el­ry-lov­ing mod­ern astronomers seek­ing an old school fin­ger-based cal­cu­la­tion tool that real­ly works can order armil­lary sphere rings from Brook­lyn-based design­er Black Adept.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent: 

A 16th-Cen­tu­ry Astron­o­my Book Fea­tured “Ana­log Com­put­ers” to Cal­cu­late the Shape of the Moon, the Posi­tion of the Sun, and More

When Astronomer Johannes Kepler Wrote the First Work of Sci­ence Fic­tion, The Dream (1609)

The Rem­brandt Book Bracelet: Behold a Func­tion­al Bracelet Fea­tur­ing 1400 Rem­brandt Draw­ings

Behold the Astro­nom­icum Cae­sareum, “Per­haps the Most Beau­ti­ful Sci­en­tif­ic Book Ever Print­ed” (1540)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist in New York City.

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How Saul Bass Designed the Strange Original Poster for Stanley Kubrick’s The Shining

With Hal­loween just days away, many of us are even now ready­ing a scary movie or two to watch on the night itself. If you’re still unde­cid­ed about your own Hal­loween view­ing mate­r­i­al, allow us to sug­gest The Shin­ing, Stan­ley Kubrick­’s “mas­ter­piece of mod­ern hor­ror.” Those words come straight from the orig­i­nal poster hung up at the­aters when the film was released in 1980, and pre­sump­tu­ous though they may have sound­ed at the time — espe­cial­ly con­sid­er­ing the mixed first wave of crit­i­cal recep­tion — the decades have proven them right. Even if you’ve watched it for ten, twen­ty, forty Hal­loweens in a row, The Shin­ing remains fright­en­ing on both the jump-scare and exis­ten­tial-dread lev­els, while its each and every frame appears more clear­ly than ever to be the work of an auteur.

One could hard­ly find a more suit­able fig­ure to rep­re­sent the notion of the auteur — the direc­tor as pri­ma­ry “author” of a film — than Kubrick, whose aes­thet­ic and intel­lec­tu­al sen­si­bil­i­ty comes through in all of his major pic­tures, each of which belongs to a dif­fer­ent genre. Kubrick had tried his hand at film noir, World War I, swords-and-san­dals epic, psy­cho­log­i­cal dra­ma, Cold War black com­e­dy, sci­ence fic­tion, dystopi­an crime, and cos­tume dra­ma; a much-reworked adap­ta­tion of Stephen King’s nov­el, The Shin­ing rep­re­sents, of course, Kubrick­’s for­ay into hor­ror.

Despite the famous­ly quick-and-dirty ten­den­cies of that defi­ant­ly unre­spectable cin­e­mat­ic tra­di­tion, Kubrick exer­cised, if any­thing, an even greater degree of metic­u­lous­ness than that for which he was already noto­ri­ous, demand­ing per­fec­tion not just on set, but also in the cre­ation of the mar­ket­ing mate­ri­als.

Accord­ing to the new Paper & Light video above, famed design­er Saul Bass (who’d pre­vi­ous­ly cre­at­ed the title sequence of Kubrick­’s Spar­ta­cus) did more than 300 draw­ings for The Shin­ing’s movie poster. The only con­cept that met with the direc­tor’s approval placed a ter­ri­fied, vague­ly inhu­man vis­age inside the let­ter­ing of the title. We don’t know whose face it’s sup­posed to be, but Paper & Light haz­ards a guess that it may be that of Dan­ny, the young son of the Over­look Hotel’s doomed care­tak­er Jack Tor­rance, or even Dan­ny’s invis­i­ble friend Tony. (Note the con­tain­ment of all of its fea­tures with­in the T.) Though Kubrick cred­it­ed Bass’ final design with solv­ing “the eter­nal prob­lem of try­ing to com­bine art­work with the title of the film,” The Shin­ing’s bright yel­low poster now sits some­how uneasi­ly with the movie’s lega­cy, more as a curios­i­ty than an icon. Nev­er­the­less, it does evoke — and maybe too well — what we’ll all hope to feel when we press play this, or any, Hal­loween night.

Relat­ed con­tent:

Saul Bass’ Reject­ed Poster Con­cepts for The Shin­ing (and His Pret­ty Excel­lent Sig­na­ture)

Who Cre­at­ed the Famous Show­er Scene in Psy­cho? Alfred Hitch­cock or the Leg­endary Design­er Saul Bass?

Watch Saul Bass’s Trip­py, Kitschy Short Film The Quest (1983), Based on a Ray Brad­bury Short Sto­ry

The Invis­i­ble Hor­ror of The Shin­ing: How Music Makes Stan­ley Kubrick’s Icon­ic Film Even More Ter­ri­fy­ing

40 Years of Saul Bass’ Ground­break­ing Title Sequences in One Com­pi­la­tion

Saul Bass’ Advice for Design­ers: Make Some­thing Beau­ti­ful and Don’t Wor­ry About the Mon­ey

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How Did The World Get So Ugly?: Then Versus Now

More than a few of us might be inter­est­ed in the oppor­tu­ni­ty to spend a day in Vic­to­ri­an Lon­don. But very few of us indeed who’ve ever read, say, a Charles Dick­ens nov­el would ever elect to live there. “Lon­don’s lit­tle lanes are charm­ing now,” says Shee­han Quirke, the host of the video above, while stand­ing in one of them, “but 150 years ago in places like this, you’d have had whole fam­i­lies crammed into these tiny rooms with­out run­ning water. There would have been open cesspits spilling down the streets, and the stench of sewage boil­ing in the mid­day sun would have been unbear­able.” The stink­ing city, already the biggest in the world and grow­ing every day, “was­n’t only hor­ri­ble to live in, but gen­uine­ly dan­ger­ous.”

Much of the tremen­dous amount of waste pro­duced by Lon­don­ers went straight into the Riv­er Thames, which even­tu­al­ly grew so foul that the engi­neer Joseph Bazal­gette took on the job of design­ing not just a sew­er sys­tem, but also an embank­ment to “replace what was essen­tial­ly a stink­ing swamp filled with rub­bish and human waste and eels.” Though emi­nent­ly, even mirac­u­lous­ly func­tion­al, Bazal­get­te’s design was­n’t util­i­tar­i­an.

After its com­ple­tion in 1870, the embank­ment was lined with elab­o­rate­ly dec­o­rat­ed lamps (some of the first pieces of elec­tric light­ing in the world) that still catch the eye of passers­by today, well into the twen­ty-first cen­tu­ry. “We don’t asso­ciate dec­o­ra­tion with cut­ting-edge tech­nol­o­gy, and that’s a major dif­fer­ence between us and the Vic­to­ri­ans,” who “saw no con­tra­dic­tion between star­tling moder­ni­ty and time-hon­ored tra­di­tion.”

Quirke became renowned as The Cul­tur­al Tutor a few years ago on the social media plat­form then called Twit­ter. His threads have cul­ti­vat­ed the under­stand­ing of count­less many read­ers about a host of sub­jects to do with his­to­ry, art, archi­tec­ture, music, and design, with an eye toward the ways in which past civ­i­liza­tions may have done them bet­ter than ours does. The Vic­to­ri­ans, for instance, may have lacked mod­ern ameni­ties that none of us could live with­out, but they designed even their sewage pump­ing sta­tions “with the same orna­men­tal exu­ber­ance as any church or palace.” Per­haps they thought their san­i­ta­tion work­ers deserved beau­ti­ful sur­round­ings; they cer­tain­ly had “a sense of pride, a belief that what they’d done here was worth­while, that it meant some­thing.” Cur­rent infra­struc­ture, large-scale and small, is tech­no­log­i­cal­ly supe­ri­or, yet almost none of it is worth regard­ing, to put it mild­ly. Whether our own civ­i­liza­tion could return to beau­ty is the ques­tion at the heart of Quirke’s enter­prise — and one his grow­ing group of fol­low­ers has begun to ask them­selves every time they step out­side.

Relat­ed con­tent:

Why Do Peo­ple Hate Mod­ern Archi­tec­ture?: A Video Essay

Richard Feyn­man on Beau­ty

Why Dutch & Japan­ese Cities Are Insane­ly Well Designed (and Amer­i­can Cities Are Ter­ri­bly Designed)

Dis­cov­er The Gram­mar of Orna­ment, One of the Great Col­or Books & Design Mas­ter­pieces of the 19th Cen­tu­ry

Dieter Rams Lists the 10 Time­less Prin­ci­ples of Good Design — Backed by Music by Bri­an Eno

Saul Bass’ Advice for Design­ers: Make Some­thing Beau­ti­ful and Don’t Wor­ry About the Mon­ey

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Explore a New Digital Edition of Printing Types, the Authoritative History of Printing & Typography from 1922

Times New Roman has been around since 1931, longer than most of us have been alive — and for longer than many of us have been alive, word-pro­cess­ing appli­ca­tions have come with it as the default font. We tend, there­fore, to regard it less as some­thing cre­at­ed than as some­thing for all intents and pur­pos­es eter­nal, but there was a time when pub­lish­ers had to active­ly adopt it. The first Amer­i­can firm to start using Times New Roman was the Mer­ry­mount Press, which had already made a high­ly pres­ti­gious name for itself with pub­li­ca­tions like the ele­gant Book of Com­mon Prayer financed by no less a cap­tain of indus­try than J. Pier­pont Mor­gan. But oth­er print­ers knew Mer­ry­mount for a book that would have inspired in them an equal­ly wor­ship­ful impulse.

“Released in 1922 with a lat­er revi­sion in 1937,” Print­ing Types: Their His­to­ry, Forms and Use “became known as the stan­dard work on the his­to­ry of [print­ing and typog­ra­phy] and a basic book for all inter­est­ed in the graph­ic arts. This two-vol­ume work spans near­ly 450 years and includes detailed analy­ses of the print­ers and type design­ers and their work.”

So writes the design­er Nicholas Rougeux, pre­vi­ous­ly fea­tured here on Open Cul­ture for his dig­i­tal edi­tions of vin­tage books like Illus­tra­tions of the Nat­ur­al Orders of Plants; British & Exot­ic Min­er­al­o­gy; A Mono­graph of the Trochilidæ, or Fam­i­ly of Hum­ming-Birds; Werner’s Nomen­cla­ture of Colours; Euclid’s Ele­ments, and Pierre-Joseph Red­outé’s col­lec­tions of rose and lily illus­tra­tions. His lat­est project to go live is a painstak­ing­ly assem­bled dig­i­tal edi­tion of Print­ing Types, which you can explore here.

That book was also orig­i­nal­ly the work of one man, Mer­ry­mount Press founder Daniel Berke­ley Updike. “Dur­ing his tenure at Har­vard Uni­ver­si­ty, he taught a course on Tech­nique of Print­ing in the Grad­u­ate School of Busi­ness Admin­is­tra­tion for five years,” Rougeux writes, “the lec­tures of which served as the basis for Print­ing Types.” In the book, Updike offers a his­to­ry of “the art of typog­ra­phy from the dawn of West­ern print­ing in the fif­teenth cen­tu­ry to the begin­ning of the twen­ti­eth — focus­ing pri­mar­i­ly on Euro­pean print­ing in Ger­many, France, Italy, the Nether­lands, Spain, and Eng­land as well as the Unit­ed States.” In trac­ing “the devel­op­ment of type design,” he also dis­cuss­es “the impor­tance of each his­toric peri­od and the lessons they con­tain for con­tem­po­rary design­ers.”

Orig­i­nal­ly pub­lished in 1922 and exten­sive­ly revised in 1937, Print­ing Types long stood as the author­i­ta­tive his­to­ry of typog­ra­phy in the Latin alpha­bet, with its “more than 360 fac­sim­i­le illus­tra­tions show­cas­ing exam­ples of typog­ra­phy, bor­ders, flow­ers, and pages pulled from the books cov­ered.” Track­ing down the sources of those illus­tra­tions con­sti­tut­ed no small part of the painstak­ing pro­duc­tion of Rougeux’s dig­i­tal edi­tion, and the 100 of them most high­ly praised by Updike have also been made avail­able for pur­chase in poster form. For those who do a lot of work with text, in print or dig­i­tal forms, it could pro­vide just as much moti­va­tion as an actu­al copy of Print­ing Types on the shelf to find our way beyond the defaults.

Relat­ed Con­tent:

The His­to­ry of Typog­ra­phy Told in Five Ani­mat­ed Min­utes

See How The Guten­berg Press Worked: Demon­stra­tion Shows the Old­est Func­tion­ing Guten­berg Press in Action

Dis­cov­er the First Illus­trat­ed Book Print­ed in Eng­lish, William Caxton’s Mir­ror of the World (1481)

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Behold a Dig­i­ti­za­tion of “The Most Beau­ti­ful of All Print­ed Books,” The Kelm­scott Chaucer

Fonts in Use: Enter a Giant Archive of Typog­ra­phy, Fea­tur­ing 12,618 Type­faces

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Explore and Download 14,000+ Woodcuts from Antwerp’s Plantin-Moretus Museum Online Archive

We appre­ci­ate illu­mi­nat­ed man­u­scripts and his­tor­i­cal books here on Open Cul­ture, adhere though we do to a much more restrained aes­thet­ic style in our own texts. But that’s not to deny the temp­ta­tion to start this para­graph with one of those over­sized ini­tial let­ters that grew ever larg­er and more elab­o­rate over cen­turies past. The online archive of Antwer­p’s Plan­tin-More­tus Muse­um offers plen­ty of wood­cut Ws to choose from, includ­ing designs sober and bare­ly leg­i­ble, as well as Ws that incor­po­rate a sprout­ing plant, some kind of saint, and even a scene of what looks like impend­ing mur­der.

If you’re not in the mar­ket for fan­cy let­ters, you can also browse the Plan­tin-More­tus wood­cut archive through the cat­e­gories of plants, ani­mals, and sci­ences. Some of these illus­tra­tions are tech­ni­cal, and oth­ers more fan­ci­ful; in cer­tain cas­es, the cen­turies have prob­a­bly ren­dered them less real­is­tic-look­ing than once they were.

Not all the more than 14,000 wood­cuts now in the archive would seem to fit neat­ly in one of those cat­e­gories, but if you take a look at par­tic­u­lar entries, you’ll find that the muse­um has also labeled them with more spe­cif­ic tags, like “clas­si­cal antiq­ui­ty,” “map/landscape,” or “aure­ole” (the bright medieval-look­ing halo that marks a fig­ure as holy).

All these wood­cuts, in any case, have been made free to down­load (just click the cloud icon in the upper-right of the win­dow that opens after you click on the image itself) and use as you please. Back in the six­teenth cen­tu­ry, Christophe Plan­tin and Jan More­tus, for whom the Plan­tin-More­tus Muse­um was named, were well-placed to col­lect such things. The Plan­tin-More­tus Muse­um’s web­site describes them as “a rev­o­lu­tion­ary duo.

They were the first print­ers on an indus­tri­al scale — the Steve Jobs and Mark Zucker­berg of their day.” And if these decon­tex­tu­al­ized arti­facts of the print rev­o­lu­tion strike us as a bit strange to us today, just imag­ine how our sur­viv­ing inter­net memes will look four cen­turies hence. Enter the wood­block col­lec­tion here.

via Metafil­ter

Relat­ed con­tent:

Down­load 215,000 Japan­ese Wood­block Prints by Mas­ters Span­ning the Tradition’s 350-Year His­to­ry

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

Stephen Fry Takes Us Inside the Sto­ry of Johannes Guten­berg & the First Print­ing Press

Behold the Beau­ti­ful Pages from a Medieval Monk’s Sketch­book: A Win­dow Into How Illu­mi­nat­ed Man­u­scripts Were Made (1494)

Clas­sic Films and Film­mak­ers, Ren­dered in Wood­cut By a Los Ange­les Artist-Cinephile

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall.

20 Mesmerizing Videos of Japanese Artisans Creating Traditional Handicrafts

In Japan­ese “tewaza” means “hand tech­nique” or “hand­craft” and, in this YouTube playlist of 20 short films, var­i­ous arti­sanal tech­niques are explored and demon­strat­ed by Japan­ese mas­ters in the field. For those who are both obsessed with Japan­ese art and watch­ing things get made, these videos are cat­nip. There’s very lit­tle spo­ken, except a few quotes from the mak­ers them­selves, and gen­tle music plays over shots of del­i­cate, intri­cate, and con­fi­dent hand­i­work.

Watch the video up top, a look at how a small group of men forge a Sakai knife. (Yes, we keep expect­ing the music to turn into the Lau­ra Palmer’s Theme too.) No words are nec­es­sary in this exact­ing demon­stra­tion, and just check out the wood-like grain in the met­al.

And the names of these goods denote the towns of origin–Sakai is just out­side Osa­ka, and is one of Japan’s main sea­ports and, yes, known for its knives.

Oth­er videos show the mak­ing of hand­made washi paper from Mino; stun­ning gold leaf pro­duc­tion from Kanaza­wa; paper lantern making from Gifu; dec­o­rat­ed wall­pa­per from Ueno; a Kumano writ­ing brush, and very del­i­cate bam­boo weav­ing from Bep­pu that looks so pre­cise it’s like it’s made by machine, but no, this is all in the eye.

The YouTube chan­nel that has pro­duced these videos, Aoya­ma Square, is a lit­er­al one-stop shop in Tokyo for all the kinds of crafts seen in the videos, and is a mem­ber of the Japan­ese nation­al asso­ci­a­tion that pro­motes and keeps these skills and mini-indus­tries alive. So is this one long ad for a large crafts empo­ri­um? Well, could be. Do we still want to buy some of that beau­ti­ful lac­quer­ware from Echizen? Oh yes, very much so.

Relat­ed Con­tent:

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

The Beau­ti­ful Art of Mak­ing Japan­ese Cal­lig­ra­phy Ink Out of Soot & Glue

Watch a Japan­ese Crafts­man Lov­ing­ly Bring a Tat­tered Old Book Back to Near Mint Con­di­tion

Watch a Japan­ese Arti­san Make a Noh Mask, Cre­at­ing an Aston­ish­ing Char­ac­ter From a Sin­gle Block of Wood

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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