Craig Eliason portrait

Craig Eliason

Professor of Art History
Degree
B.A., Amherst College
M.A., Ph.D., Rutgers University
Office
44 N. Cleveland Ave.
Phone
(651) 962-5595
Toll Free
(800) 328-6819, Ext. 2-5595
Fax
(651) 962-5861
Mail
44C

Specialization: Modern art, design, and aesthetics

Craig Eliason’s current research focuses on the history of typography and type design. He is focused on the history of the production and reception of so-called “modern-face” types, which emerged in the late eighteenth century. He has also published on the history of the labels used to classify printing types in the modern period. His earlier research investigated the theoretical and practical relationships between the Dada and Constructivist movements in the 1920's, particularly in the career of Dutch artist Theo van Doesburg.

Publications

“Pathos” [typeface review] Typographica. http://typographica.org/typeface-reviews/pathos/ (posted July 5, 2017).

“‘Transitional’ Typefaces: The History of a Typefounding Classification,” Design Issues 31 no. 4 (Autumn 2015): 30–43.

“A History of the ‘Humanist’ Type Classification,” Printing History new series no. 18 (July 2015): 3–26.

“Roger Excoffon et la Fonderie Olive by Sandra Chamaret, Julien Gineste, and Sébastien Morlighem” [book review] Design and Culture 4 no. 2 (July 2012): 254-256.

“Uppercase, Lowercase, Unicase: The Making of Ambicase Modern,” Codex: The Journal of Typography no. 1 (Spring 2011): 94–105.

“Adrian Frutiger Typefaces: The Complete Works by Heidrun Osterer and Philipp Stamm; José Mendoza y Almeida by Martin Majoor and Sébastien Morlighem” [book review] Design and Culture 3 no. 1 (March 2011): 130–33.

“‘All the Serious Men are Sick’: Van Doesburg, Mondrian, and Dada,” Simiolus 34 no. 1 (2009-2010): 50-55.

“Theo van Doesburg: Italian Futurist?” In The Low Countries: Crossroads of Cultures, ed. Ton Broos, Margriet Bruyn Lacy, and Thomas F. Shannon (Münster: Nodus, 2006), 47-56.

“Manifestoes by Mail: Postcards from the Theo van Doesburg Correspondence,” Visual Resources, 17 no. 4 (Dec. 2001): 449–458.

“De conferenties van 1922: Tristan Tzara als Van Doesburgs saboteur” [The Conferences of 1922: Tristan Tzara as Van Doesburg's Saboteur], Jong Holland (The Hague) 16 no. 2 (Spring 2000), 31–37, 66–67.

Typeface Designs

Ambicase Modern, 2010.

Ambicase Fatface, 2011.

  • Selected for “Call for Type: NeueSchriften/New Typefaces” exhibition, Gutenberg Museum, Mainz, Germany, 2013.

Backflip (formerly Flipper), in production.

  • Earned Honorable Mention, Morisawa Type Design Competition, Tokyo, Japan, 2014.

Strooptest, in development.

  • Selected for “Text, Type, Typography” exhibition, California Marymount University, San Pedro, 2016–17.

Exhibitions

"Insights into Modern Art: Dolly Fiterman Collection."
OEC Lobby Gallery, University of St. Thomas, January 17-May 26, 2013

“Founding Zero.”
Harry Ransom Center for the Humanities, University of Texas, Austin, October-November, 2010 

“Face the Nation: How National Identity Shaped Modern Typeface Design.”
Minnesota Center for Book Arts, Minneapolis, July 12–September 21, 2008 

“Renovation: UST Chapels After Sacrosanctum Concilium.” 
OEC Lobby Gallery, University of St. Thomas, October 11-31, 2003

Fellowships and Grants

Harry Ransom Center, University of Texas
Limited Editions Club Endowment Fellowship, 2009–10

Houghton Library, Harvard University
Katherine F. Pantzer Jr. Fellowship in Descriptive Bibliography, 2009–10

Recent Research Presentations 

Stanford University
Face/Interface: Type Design and Human-Computer Interaction Beyond the Western World
Palo Alto, CA 2017
“The Picasso Effect: How ‘Exotic’ Scripts Catalyzed Bodoni’s Modern-Face Types”

Drexel University
Fashion and Media Symposium
Philadelphia, 2017
“Idealization and Didot, the Fashion Font”

College Art Association
New York, 2017
“MoMA and the Accession of Digital Type Designs”

Art Historians of the Twin Cities
St. Paul, 2016
“Haute Couture, Neoclassical Aesthetics, and the Roots of Didot Type” 

Association Typographique Internationale (ATypl)

Amsterdam, 2013

"The History of 'Humanist' Types" 
 
College Art Association Annual Meeting
New York, 2013
“Typeface Classification and the Chinese Encyclopedia of Borges"
"Putting Design in Boxes: The Problem of Taxonomy" panel chair 
 
American Printing History Association
Chicago, 2012
“Inventing ‘Ambicase’ Letters"
 
TypeCon2012

Milwaukee, 2012

“Students as Rasterizers"
 
TypeCon2010

Los Angeles, CA, 2010

“Type History in Transition: The Emergence of the 'Transitional' Label for Type Designs”
 
TypeCon2009

Atlanta, GA, 2009

“Why ‘Humanist’ Type?”

Recent Lectures

Ampersand Club
Minneapolis, MN, 2017
“The Intersections of Type Design and Visual Culture, 1500-1800”

Selim Center for Lifelong Learning
University of St. Thomas, St. Paul, MN, 2011
“Painting in the United States”

Collectors' Forum
Minnesota Center for Book Arts, Minneapolis, MN, 2011
“Classifying Printing Types: Maximilien Vox and the Power of Suggestion"

Design Lecture Series
University of Texas, Austin, TX, 2010
“Classifying Printing Types: Maximilien Vox and the Power of Suggestion”

Book Arts Roundtable
Minnesota Center for Book Arts, Minneapolis, MN, 2008
“The Place of Letters”

ACTC Art History Symposium
Associated Colleges of the Twin Cities, St. Paul, MN, 2008
“Equivocally Modern Letters: Gill Sans and the Origin of the Humanist Sans Serif”

 

Fall 2018 Courses

Fall 2018 Courses
Course - Section Title Days Time Location
ARHS 500 - 01 Methods & Approaches to AH - - W - - - - 1730 - 2030 OEC 203

Days of Week:

- - W - - - -

Time of Day:

1730 - 2030

Location:

OEC 203

Course Registration Number:

40408 (View in ClassFinder)

Credit Hours:

Instructor:

Craig D. Eliason

This class will begin with a consideration of the beginnings and definition of art history and then move on to a survey of different methods or approaches, considering a new method each week beginning with stylistic/formal analysis and moving on to methods that consider meaning and context. Common readings will consist of historiographical overviews, theoretical explanations, and practical applications of each method; students will present summaries and critiques on selected additional readings for class discussion. Students will be asked to write a synopsis of each method defining its goal, basic process, terminology, and evidence. In addition, they will write short essays that will apply some of the methods in assigned projects drawing from a range of historical and geographic periods. We will also spend several nights discussing the role of ethics in art history. Unlike other graduate seminars that produce an in-depth research paper, this class will produce a portfolio of shorter writings that focus on processes. The course will also be held jointly with ARTH 211 (undergraduate majors and minors).

Schedule Details

Location Time Day(s)
ARHS 593 - 03 Qualifying Paper Prospectus - - - - - - - -

Days of Week:

- - - - - - -

Time of Day:

-

Location:

Course Registration Number:

43368 (View in ClassFinder)

Credit Hours:

Instructor:

Craig D. Eliason

During the semester before the student plans to make application for graduation and to graduate, the student must prepare a 10-page typed, double-spaced prospectus. This prospectus must be submitted to the advisor of the qualifying paper, and to the other two faculty members of the Graduation Committee. Prerequisite: ARHS 500. Completion of the language reading requirement. Permission of the department.

Schedule Details

Location Time Day(s)
ARHS 594 - 02 Qualifying Paper &Presentation - - - - - - - -

Days of Week:

- - - - - - -

Time of Day:

-

Location:

Course Registration Number:

43369 (View in ClassFinder)

Credit Hours:

Instructor:

Craig D. Eliason

As a demonstration of the ability to formulate and carry out original and scholarly work in the discipline, all students are required to submit a qualifying paper during the last semester of study. The qualifying paper must also be presented at the annual graduate forum sponsored by the department. Prerequisite: ARHS 593

Schedule Details

Location Time Day(s)
ARTH 211 - D01 Methods/Approaches/Problems - - W - - - - 1730 - 2030 OEC 203

Days of Week:

- - W - - - -

Time of Day:

1730 - 2030

Location:

OEC 203

Course Registration Number:

41779 (View in ClassFinder)

Credit Hours:

Instructor:

Craig D. Eliason

An introduction to the methods and problems of art history, including the theoretical approaches to art and its history, the examination and analysis of the work and its medium, the role of the museum and gallery in the study of art, and bibliographic tools of the different disciplines of the field. Prerequisite: ARTH 110 (or 151 or 152 from earlier catalogs) or permission of chair

Schedule Details

Location Time Day(s)

J-Term 2019 Courses

J-Term 2019 Courses
Course - Section Title Days Time Location

Spring 2019 Courses

Spring 2019 Courses
Course - Section Title Days Time Location
ARTH 297 - 01 Type Design and History M - W - F - - 0815 - 0920 OEC 312

Days of Week:

M - W - F - -

Time of Day:

0815 - 0920

Location:

OEC 312

Course Registration Number:

22276 (View in ClassFinder)

Credit Hours:

Instructor:

Craig D. Eliason

The subject matter of these courses will vary from year to year, but will not duplicate existing courses. Descriptions of these courses are available in the Online Printable Schedule, View Searchable Class Schedule

Schedule Details

Location Time Day(s)
HONR 480 - 06 HONORS Contemplative Art & Mus - T - - - - - 1525 - 1700 BEC 111

Days of Week:

- T - - - - -

Time of Day:

1525 - 1700

Location:

BEC 111

Course Registration Number:

21557 (View in ClassFinder)

Credit Hours:

2 Credit Hours

Instructor:

Craig D. Eliason, Vanessa Cornett-Murtada

These interdisciplinary seminars are intended to develop integrating insights through an analysis of topics chosen from different disciplines. Often they are taught by two faculty members or by a visiting lecturer who holds one of the endowed chairs at the university.

Schedule Details

Location Time Day(s)