Letters and Lettering

CORNELL UNIVERSITY LIBRARY

BOUGHT WITH THE INCOME OF THE SAGE

ENDOWMENT

FUND GIVEN IN 1 89 1 BY HENRY WILLIAMS SAGE

NK3600.B8™92"l""™"^ '"'"'*

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3 1924 019 514 037

DATE DUE

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PRINTED INU.S.A.

p^

Cornell University Library

The tine

original of

tiiis

book

is in

Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

http://www.archive.org/details/cu31924019514037

Letters and Lettering

LETTE R S ^

Copyright, 1921, by

BATES & GUILD COMPANY

Printed by

The Davis Press Worcester, Mass,

NOTE This book

is

who have

intended for those

felt

the need of

a varied collection of alphabets of standard forms, arranged for convenient use.

The

alphabets illustrated, while primarily intended

exhibit the letter shapes, have in as to

show

also

how

in those instances

as initials. to

The

the letters

to

most cases been so arranged

compose

into words, except

where they are intended

to be used only

application of classic and medieval letters

modern usages has been,

by showing modern designs

as far as possible, suggested in

which similar forms are

employed. In view of the practical aim of

deemed advisable

this treatise

number of

to include a larger

examples rather than to devote space to the lution

To

of the

it

has been

illustrative

historical evo-

letter forms.

American and European, who have so him with drawings of their characteristic without whose cordial assistance this book

the artists,

kindly furnished letters

—

^and

would hardly have been possible

who have allowed him

to

show

them, and to the pubUshers to

borrow from

their

—

to the master-printers

types specially designed for

who have

given him permission

books and magazines, the author wishes

to express his sincere obligations.

F. C. B.

2 3 1

3 7 8

LIST OF ILLUSTRATIONS I

Alphabet AFTER Sebastian Serlio (1473-1 554). Reconstructed by Albert R. Ross . •4-5

and 2

.

.

Width Proportions of Modern Roman Capitals. F. C. B 4 Drawing for Incised Roman Capitals. For cutting in 3

.

Letter forms based

granite. I

and

upon those shown

in figures

B

F. C.

2.

7

10

Photograph of Incised Roman Capitals. Cut in granite from drawing shown in figure 4 .11 6 Incised Roman Capitals. From the Arch of Constantine, Rome. 315 A.D. From a photograph .12 7 Model for Incised Roman Capitals. Used for inscrip5

.

.

tions cut in granite

8

Mead & White, Roman Incised

.

.

.

.

on Boston Public Library.

Architects.

McKim,

Photographed from a

Capitals.

From

cast

.

1

fi-agments in marble.

'14

National Museum, Naples. Rubbing Museo Civico, Bologna. 9 Roman Incised Inscription. ,

From

a photograph

.

.

.

.

.

10

Roman

1

Detail from a Roman Incised Inscription.

From

a photograph

Redrawn

composition. 1

"

Museo

Incised Inscription.

Rustic

' '

.

.

.

fi-om a rubbing.

Redrawn Museum, Naples. F. C. B. Roman Capitals from Fragments of Showing

various

firom rubbings.

i

S

.

•

•

S

Showing

F. C. B.

.

16

Modern Roman From

characteristic

forms.

letter

F. C. B.

.

.

.

.

Executed

Incised Capitals.

.

.16

Inscriptions.

Redrawn .

•

1

in sand-

Harvard Architectural Building, CamMcKim, Mead & White, Architects Letters Shown in Alphabet and 2, in Composition. By Albert R. Ross .19 stone.

the

bridge, Mass.

15

•

Capitals. Of pen forms, but cut in from a rubbing. From fragment in the

National

14

.

.

Bologna.

Roman

stone.

1

Civico,

.

.

i

.

.

.

.

.

1

1

LIST OF ILLUSTRATIONS

viii

PAGE

FIGURE

^

Roman

Cut in marble. Redrawn froin rubbings made in the Forum, Rome. zo-zi F. C. B and i g Classic Roman Capitals. Late period. Cut in 1 8 22-23 Redrawn from rubbings. F. C. B. marble. zo Portion of Roman Inscription. With supplied letters. 1

6 and 17

Classic

Capitals.

.

Redrawn from 21

Classic

Roman

F. C. B.

a rubbing.

Inscription.

.

.

.

Incised in marble

J

.

F. C. B. . • from a rubbing. . Redrawn from 22 Classic Roman Inscription. In stone. a rubbing. F. C. B 23 Italian Renaissance Inscription. Square-sunk in marble. . . From a photograph of a mortuary slab 24 Italian Renaissance Medal. By Vittore Pisano. 1 5th .

24.

Redrawn

.

?S

26 '

.28

Century.

25

From

a photograph

Modern French Medal.

.

.

.

.

From

By Oscar Roty.

.29 a pho-

.29

tograph of the original in the Luxembourg, Paris 26 Capitals Adapted from Renaissance Medals. F. C. B. By Juan de Yciar. 27 Spanish Renaissance Alphabet. From "Arte por la qual se esena a escrevir perfectamente." (Saragossa, 1550) 28 Renaissance Inlaid Medallion. From a floor-slab in .

.

Santa Croce, Florence.

.

.

Redrawn from

.

.

a rubbing.

.

•

F. C. B.

30

3'

32

29 Italian Renaissance Capitals. From an inlaid floor-slab in Santa Croce, Florence. ( Compare figure 28.) Redrawn

-33

from a rubbing. F. C. B. . . Renaissance Panel. From Raphael's tomb. Pantheon, Rome. From a photograph . . Italian Renaissance Incised Inscription. From the Marsuppini Tomb, Santa Croce, Florence, 1455. Rub.

.

30 Italian

-34

3

bing 32

.

.

.35

Italian Renaissance Incised Inscription. From a floorslab .in Santa Croce, Florence. Early 15th Century.

Rubbing

.

.

.

.

.

.

.

-35

Redrawn from inscrip33 Italian Renaissance Capitals. tion on the Marsuppini Tomb, Sahta Croce, Florence, F. C. B. . . . 1455. (Compare figure 31.) Redrawn from rubbings 34 Italian Renaissance Capitals. of inscriptions in Santa Croce, Florence. F. C. B. . Italian Renaissance Capitals. By G. A. 35 and 36

36 37

'

'

'

LIST OF ILLUSTRATIONS

ix

PAGE

FIGURE

From 'La

Tagliente.

vera arte dello eccellento scrivere.'

(Venice, 1524) 38-39 By Albrecht 37 and 38 German Renaissance Capitals. Durer. Adapted from ' Underweyssung der messung, mit

dem

berg,

1

zirckel,

un

richtscheyt, in Linien, etc'

(Nurem40-41

525)

39 and 40

Italian Renaissance Capitals.

By

Sebastian

Serlio. (1473-1554.) Compare figures i and z 42-43 41 German Renaissance Capitals. By Urbain Wyss. From . scribendarum literarum genera (Zurich, 1549) . . . • Italian Renaissance Panel. Above the door of the Badia, Florence. Redrawn by Claude Fayette Bragdon.

'

Libellus valde doctus

.

.

complectens. '

42

From 'Minor Italian Palaces.' (Cutler Manufacturing Company, Rochester, N.Y., 1898) -45 Modern Title in Anglo-Saxon Capitals. By Bertram G.Goodhue. (Compare figure 46.) From The Quest of Merlin.' (Small, Maynard & Co., Boston, 189 1) 46 Modern Title with Characteristics of i6th Century English Capitals. By Walter Crane. (Compare figure 49.) From 'The Story of Don Quixote.' (John Lane, New York, 1900) 4^ Title in Early English Capitals. By W. Eden Nesfield. From ' Specimens of Medieval Architecture. (Day & Sons, London, 1862) -47 Anglo-Saxon Capitals. 6th Century. From ' The .

43

++

.

'

.

44

......

45

.

46

Bodleian Library, Oxford

Rule of St. Benedict.'

47 Anglo-Saxon Capitals. Gospels of

St.

7th

Cuthbert

48 Anglo-Saxon Capitals. an Anglo-Saxon Bible

.

.

.

..... From

Century.

'

.

.

.

.

.

.50

From tomb

49 Early English

of Henry vii, 50 and 5 1 Scheme for the Cqnstruction of Roman Small

Letters.

F. C. B.

52 Spanish Roman Pen

.

.

.

5

.

.

•

.

.

54-55

Drawn

Letters. By Francisco Lucas. From 'Arte de Escrevirde.' (Madrid, 1577) . Showing use of 53 Spanish Roman Pen Drawn Letters. above. By Francisco Lucas. From ' Arte de Escrevirde.

(Madrid, 1577)

49

From

Early loth Century.

Capitals. i6th Century. Westminster Abbey, London

48

The

58

58

LIST OF ILLUSTRATIONS

X

PAGB

FIGURE

,

Drawn

Letters. By Francisco From 'Arte de Escrevirdc' (Madrid, 1577) Lucas. Showing use of 55 Sjpanish Italic Pen Drawn Letters. above. By Francisco Lucas. From 'Arte de Escrevirdc.'

Pen

54 Spanish Italic

(Madrid, 1577) 56 Italian Small Letters.

59

By

.

57 English 17th Century Letters. tombstones

58

.

.

Modern Small alen Alphabete

Letters.

.

From

F. Cresci.

J.

(Rome, 1560)

fetto Scrittore.'

59

.

.

.

.

Incised in

.60 From

slate.

.

'Per-

.

.61

After C. Hrachowina's 'Initi-

und Randleisten verschiedener Kunstepo-

6i (Vienna, 1883) By Claude Fayette Bragdon. 59 Modern Small Letters. Based on Venetian types cut by Nicholas Jenson, 1 47 1 -8 1 63 60 Inscription from English 17th Century Tombstone. 1 69 1. From slate tombstone at Chippenham, England. . F. C. B . .64. 61 Roman and Italic Type. Designed by William Caslon. (London, 1734) From his Specimen Book. • • ^S 62 Modern Roman Type, "Montaigne." Designed by 66 Bruce Rogers for The Riverside Press, Cambridge, Mass. 63 Modern Roman Type, " Renner." Designed by Theo. chen.'

L.

De

Vinne

for

The De Vinne

Press,

New

York

.

67

64 Modern Roman Type, " Merrymount." Designed by Bertram G. Goodhue for The Merrymount Press, Boston, Mass.

.......

65 Modern Roman Type, "Cheltenham Old Style. "Designed by Beriram G. Goodhue for The Cheltenham (Owned by American Type FoundPress, New York. ers Company and Linotype Company) 66 Modern Greek Type. Designed by Selwyn Image for The Macmillan Company, London Designed by C. R. Ashbee for 67 Modern Roman Type. a Prayerbook for the King of England 68 Modern German Capitals. After lettering by J. M. .

68

-70

.

.

.

.

•

.

.

-73

Olbrich

T^

74

69 Modern German Capitals. By Gustave Lemmen. From

........

'Beispiele Kunstlerische Schrift.'

Vienna)

(A. Schroll

&

Co.,

75

LIST OF ILLUSTRATIONS FIGVRB

^

70 Modern German Capitals. Ludwig .

71

Modern German Eckmann

72

.

.

After

.

.

Capitals. .

.

Modern German

xi

After

.

.

.

•

........ .........

'Beispiele

Kunstlerische

Schrift.'

&

(A. SchroU

Co.,

Vienna) 73

Modern German 'Beispiele

Capitals.

Kunstlerische

By Joseph

Schrift.'

&

(A. SchroU

Stuck

75

Modern German F.

Capitals.

Co.,

After lettering

by Franz

Arranged from

originals.

C.B

.

.

.

.

.

.

.

.

.

.

79

.

81

8z

8z

..83

.

........ ....'... .

84 84

8j

86 87

Auriol

Modern French Cover From

78

80

76 Modern German Capitals. After lettering by Bernhard Pankok 'La Libre Esthetique.' By 77 Modern French Poster. Theo. van Rysselberghe By M. P. Vemeuil. 78 Modern French Book-cover. From 'L' Animal dans la decoration.' (E. Levy, Paris) 79 Modern French Letters. After lettering by M. P. Vemeuil 'La Revue Blanche.' By P. 80 Modern French Poster. Bonnard By George 81 Modern French Magazine Cover Design. . Auriol. From 'L'Image.' (Floury, Paris, 1897) By Alphons M. Mucha. 82 Modern French Capitals. From 'Beispiele Kunstlerischer Schrift.' (A. SchroU & Co., Vienna) By 83 Modern French Lettered Page in "Cursive." From ' Le Premier Livre des Cachets, George Auriol. etc' (Librairie Centrale des Beaux- Arts, Paris, 1 901) 84 Modern French Letters, "Cursive." By George 85

77

From

Plecnik.

Vienna)

74 Modern German Capitals.

7(>

From

By Otto Hupp.

Capitals.

-75

.

by Otto

lettering .

.

by Alois

lettering .

PAGE.

^

Design.

'Art et Decoration.'

86 Modern English Capitals.

By Eugene

(Paris)

.

Grasset.

.

.

By Walter Crane.

•Beispiele Kunstlerischer Schrift.'

(A. SchroU

&

Co.,

Vienna)

87 Modern English Theatrical Poster.

88

From 88

By Walter Crane

89

LIST OF ILLUSTRATIONS

xu 88

PAGE

'

FIGURE

Modern English

Capitals.

•Alphabets Old and

New.'

By Walter

From

Crane.

(B. T. Batsford, London,

9°

1899)

89 Modern English Letters.

By Walter

'Beispiele Kunsterischer Schrift.'

Vienna)

.

.

.

(A. Schroll

.

.

From

Crane.

.

& .

Co.,

-91

90 Modern English Title. ByJosephW. Simpson. From (Williams & Norgate, 'The Book of Book-plates.'

...

-91

. Edinburgh) . . Modern English Poster. By Joseph W. Simpson 92 Modern English Book-cover. By William Nicholson. From 'London Types.' (R. H. Russell, New York, .

91

.

92

92

189?) 93 Modern English Magazine Cover.

By Lewis

Day. Co., London) F.

From 'The Art Journal.' (H. Virtue & 94 Modern English Title. By Gordon Craig. From ' The Page (The Sign of the Rose, Hackbridge, Surrey) 95 Modern English Capitals. By Lewis F. Day. From (B. T. Batsford, London, 'Alphabets Old and New.' '

93

93

-94

1899) .• 96 Modern English Title Page. By Robert Anning Bell. From 'Poems by John Keats.' (George Bell & Sons, London, 1897) 97 Modern English Book-cover. By Edmund H. New. From 'The Natural History of Selborne.' (John Lane, London, 1900) By Selwyn Image. 98 Modern English Book-cover. From 'Representative Painters of the 19th Century.' (Sampson, Low, Marston & Co., London, 1899) 99 Modern English Capitals. Anonymous. From an

....... .

.

.

.

.

.

-95 .

....... ........

advertisement

100 Modern English Title. By Charles Ricketts. From 'Nimphidia and the Muses Elizium.' (The Vale Press, London) loi Modern American Title. By Edwin A. Abbey.

From

&

Brothers,

Modern American er's

95

96

96

'Selections from the Poetry of Robert Herrick.'

(Harper 102

95

Weekly.'

New

York, 1899)

Anonymous. York)

Title.

(New

.

.

.

.

From

'

.

.

-97 Harp-

-97

LIST OF ILLUSTRATIONS

xiii

PACK

FIGURE

Modern American Magazine Cover.

By Edward From 'Harper's Weekly.' (New York) By Edward Penfield 104 Modern American Capitals. Modern American Small Letters. By Edward PenJ 05 103

Penfield.

.

.........

.

field

97 98

99

106 Modern American Cover Design. By H. Van Buren Magonigle .100 . By H. Van Buren 107 Modern American Capitals. Magonigle .101 . . . . . 108 Modern American Capitals. By Bertram G. Goodhue. .

.

.

.

.

.

.

.

.102 From « Masters in Art.' (Boston, 1900) By Will Bradley. From 109 Modern American T'tle. ' The Book List of Dodd, Mead & Co.' (New York, 102 1899) no Modern American Capitals and Small Letters. By Will Bradley. From 'Bradley, His Book.' (The Wayside Press, Springfield, Mass., 1896) 103 By Will Brad111 Modern American Magazine Cover. ley. From 'The International Studio.' (New York) 104 112 Modern American Ticket. B.y A. J. lorio .104 After lettering by Will 3 Modern American Capitals. 1 1 .

.

.

.

Bradley

........

105

1 06 114 Modern American Capitals. By Maxfield Parrish 115 Modern American Title. By Maxfield Parrish. From (R. H. 'Knickerbocker's History of New York.' Russell, New York, 1900) .107 By Addison B. Le BoutUlier 107 116 Modern American Title. By Addison B. Le 117 Modern American Capitals. .

Boutillier

118

.

.

.

Modern American Small

Le BoutiUier 119 Modern American .

Boutillier

.

.

.

.

.

.

Letters. .

.

.

.

120 Modern American Book-Plate. Bragdon 121

.

.

Modern American

.

Title.

.

By

Poster.

.

.

.

.

.

.

.

B. .

.108 B.

.109 Le

.110

Fayette

.

.

.

.

.

By Addison

By Claude

From ' Literature. (New York) 122 Modern American Letter-heading. ette Bragdon .

.

Addison

By Claude

'

.

.

.

.110

Fayette Bragdon. .

.

.Ill

By Claude Fay.

.

.Ill

3

LIST OF ILLUSTRATIONS

xiv

PAGB

FIGURE

123

Modern American Advertisement.

By H. L.

^

Brid-

liz . well. (Strowbridge Lithographic Co., Cincinnati) 1 1 . 24 Modern American Capitals. By H. L. Bridwell 114. 1 By Franic Hazenplug 2 ; Modern American Capitals. By 126 Modern American Capitals, "Heavy Face." . . • Frank Hazenplug . . . 5 By Frank Hazen127 Modern American Book-cover. plug. From ''Ickery Ann and other_ Girls and Boys,' .116 (Herbert S. Stone & Co., Chicago, 1899) 128 Modern American Title. By Edw^ard Edwards. From

1

.

"

.

.

'Harper's Pictorial History of the War with Spain.' .116 (Harper & Brothers, New York, 1899) . . By Frank 129 Modern American Catalogue Cover. Hazenplug. From the Catalogue of the Chicago Arts

'i? and Crafts Society. (Chicago) . . By Guernsey Moore. 130 Modern American Title. From 'The Saturday Evening Post.' (PhiJadelphia) . 117 By Harry Everett Towns131 Modern American Title. end. From 'The Blue Sky.' (Langworthy & Stevens, .

Chicago, 1.901) 1

32

.

.

.

.

(New

'Harper's Magazine.'

133 Modern American Letters. sources. F. C. B. 134 Modern American Capitals. .

.

.

.

Modern American Heading. By Howard

.118 From

Pyle.

.118 York) Compiled from various . 119 After lettering by Orson .

.

.

.

•

.120 Lowell . . . .121 135 Modern American Small Letters. F. C. B. . 136 Modern American Titles. By Orson Lowell. From (New York) 'Truth.' 122 By Orson Lowell. From 137 Modern American Title. 'Truth.' (New York) 123 138 Modern American Letters. For rapid use. F. C. B. 124 139 Modern American Italic. For use in lettering architects' plans, etc. By Claude Fayette Bragdon . .125 For rapid 140 Modern American Letters, "Cursive." use. By Maxfield Parrish iz6 . After Lucan141 Italian Round Gothic Small Letters. .

.

.

.

.

.

.

.

Redrawn from ' Graduate Sanctae Romanae (Venice, 1500) . . . . .128 Italian Round Gothic Small Letters, i 6th Century. 1 42 Redrawn from Italian originals . . . .129 tonii Giunta.

Ecclesiae.'

LIST OF ILLUSTRATIONS

xv PAGE

FIGURE

143 Spanish Round Gothic Letters. By Francisco Lucas. From 'Arte de Escrevirde.' (Madrid, 1577) . 130 By Albrecht 144 German Blackletter Construction. Diirer. From ' Underweyssung der messung> mit dem (Nuremberg, iirckel, tin richtscheyt, in Linien, etc' .

1525) '33 134 145 German Blackletters. Redrawn from manuscripts 146 German Blackletters. With rounded angles. Redrawn •

•

•

.

from manuscripts . 147 Italian Blackletter Title-page. .

.

pus Foresti (Bergomensis).

.

.

By From 'De

.

''35

Jacopus PhilipClaris

Mulieri-

-137 1497) 148 German Blackletter Page. By Albrecht Durer. From the Prayerbook designed by him for the Emperor Maximilian. (Nuremberg, 1515) -138 149 German Memorial Brass with Blackletter Inscripbus, etc'

.

.

.

.

.

.

.

Cathedral of Meis-

Ascribed to Albrecht Diirer.

tion. sen,

(Ferrara,

1510.

From

'

Fac-similes of

(W.

on the Continent of Europe.' wich, 1884)

.

.

Monumental

.

Brasses

F. Creeney, .

.

.

Nor-

•139

150 Modern American Calendar Cover in Blackletter. By Bertram G. Goodhue. From ' Every Day's Date Calendar.'

(Fleming, Schiller

1897) 151

Modern German

&

Carnrick,

New York,

.....

Blackletters.

By Walter

HI

Puttner.

From 'Jugend.' (Munich) 142 By Otto 152 Modern German Title in Blackletter. Hupp. From ' Miinchener Kalendar.' (Munich, 1900) 142 153 Modern American Page in English Blackletter. By Edwin A. Abbey. From ' Scribner's Magazine.' (New York) 143 Redrawn from l zth Century I 54 Uncial GpTHic Initials. examples. F. C. B. 144 155 Uncial Gothic Initials. Redrawn from 13th Century F. C. B. examples. 14S 156 Uncial Gothic Capitals. Redrawn from 14th Century examples. F. C. B. .146 .

.

.

.

.

.

.

.

.

.

.

•

.

.

.

.

.

14th Century. After J. 157 Uncial Gothic Capitals. Weale. Redrawn from ' Portfolio of Ancient Capital Letters.' (London, 1838-9) 147

....

LIST OF ILLUSTRATIONS

xvi

PAGE

"FIGURE

158 Italian Uncial Gothic Capitals, in the "Papal" Hand. From a Florentine manuscript of 1 3 1 5. British . .148 Museum, London. F. C. B. . . By Juan de Yciar. 1 59 Spanish Uncial Gothic Capitals. Adapted frpm 'Arte por la qual se esena a escrevir perfectamente.'

161

l6z 163

164

(Saragossa,

1550)

Wall

....

149

Panel, of Marble, Inscribed with Uncial From the Church of Gothic Letters. 1 5th Century. Rubbing . S. Giovanni e Paolo, Venice. . .150 Venetian Gothic Capitals. 15th Century. Redrawn F. C. B. • from the rubbing shown in figure 160. '51 German Uncial Capitals. 1341. Redrawn from a ' 52 memorial brass in the Cathedral of Liibeck . . • French and Spanish Gothic Capitals. 14th Century. After W. S. Weatherley . . • 'S3 and 165 Italian Gothic Initials. After G. A. Tag-

160 Venetian

...

'La vera 1524)

liente, in ice,

166 Italian Gothic

From ' Libro 1548)

Atlas.'

.

Initials!

nel qual

s'

(Ven154-155

By Giovanni Battista Palatino. ( Rome,

insegna a scrivere. '

156

167, 168 and 169"

Nuremberg,

arte dello eccellento scrivere.'

1

German Gothic 60 1.

(Stuttgart,

From

Initials.

By

P. Frank.

'

Schriften-

Petzendorfer's

1889)

.

170 Italian Gothic Capitals.

.

.

i6th Century.

1

57-1 58-1 59

Redrawn

from old examples . . . .160 . . i6th Century. 171 Gothic Capitals of English Form. Redrawn from old examples . .161 . . . 17th Century. Redrawn 172 Italian Gothic Capitals. from various examples . .162 . . . . 17th Century. Redrawn 173 German Gothic Capitals. " from various manuscripts . . . .163 German Gothic Capitals. From manuscripts . . 1 1 74 64 From manuscripts .. 165 175 German Gothic Capitals. 176 German Gothic Capitals, Heavy Faced .166 177 English Gothic "Text," Initials and Blackletters. From manuscripts . . 1 5th Century. .167 178 English Gothic Uncials^ and Blackletters. 15th Century. From Queen Eleanor's tomb. F. C. B. .168 .

•

.

.

.

LIST OF ILLUSTRATIONS

xvii

FIGURE

PAGE

: 5th 79 English Gothic Capitals and Blackletters. Century. From tomb of Richard 11, Westminster Abbey, London. F. C. B. .169 German Blackletters. From a brass. Redrawn from J 80 :

F. C. B.

a rubbing.

181

.

.

.

.

German Blackletters. With

,

.

.

.

.

.

Albrecht Diirer's

1 6th Century. F. C. B. 182 Italian Blackletters. By G. A. Taglien^e. .

'La 183

.

vera arte dello eccellento scrivere.'

German Blackletters. Diirer.

184 German Durer.

i6th Century

After

.

.170

initials. .

•

17Z

From

(Venice, 1524) 172 by Albrecht

lettering

. . . . • '73 Blackletters. After lettering by Albrecht i6th Century . . . . • . 174 Gothic Capitals. By Albrecht Diirer. i6th .

185 German Century '75 186 English Gothic Blackletters. Late 15th Century. Redrawn from a brass. F. C. B. 1 76 187 Italian Inlaid Blackletters. From a marble slab in Santa Croce, Florence. Redrawn from a rubbing. F.C.B. 177 188 and 1 89 Modern American Blackletters with Gothic Capitals. By Bertram G. Goodhue 178-179 190 Modern German Blackletters. After lettering by Julius Diez .180 191 Modern German Blackletters, flourished. F.C.B. 181 By Gottlieb Munch. From 'Ord192 German Italic. nung der Schrift.' (Munich, 1744) .183 Spanish Script. By Torquato Torio. From ' Arte de 1 93 Escribir.' (Madrid, 1802) 184 By Torquato Torio. From ' Arte de 1 94 Spanish Scripts. Escribir.' (Madrid, 1802) 185 From 'Arte de 195 Spanish Script. By Francisco Lucas. .

.

.

.

.

.

.,

.

.

.

.

•

.

.

.

.

.

.

.

.

.

.

.

•Escrevirde.' (Madrid, 1577) .186 196 Spanish Cursive. By Francisco Lucas. From 'Arte de Escrevirde.' (Madrid, 1577) .187 By Claude Fayette !97 Modern American Script Title.

Bragdon.

From an

advertisement

.

.

.

.

.

.

.

.

.

.188

898 Modern American Script Title. By George Wharton Edwards. From 'Collier's Weekly.' (New York) 188 189 199 French Script Capitals, i 8th Century. F.C.B. .

.

LIST

xviii

OFILLUSTRATIONS PAGa

FIGURE

ZOO German Script.

Adapted from C. Hrachowina's ' Initialen, Alphabete und Randleisten (Vienna, 1883) verschiedener Kunstepochen. .190 Spanish Script Capitals. Early i 8th Century. Adapted F. C. B. .191 from a Spanish Writing-book. Spanish Script Alphabets. Late 17th Century. Adapted F. C. B. .192 from Spanish Writing-books. Redrawn from inscriptions in English Incised Script. F. C. B. 193 slate and stone in Westminster Abbey, London. Modern American Script Book Title. By Bruce From cover design of ' The House of the Seven Rogers. Gables.' (Houghton, Mifflin & Co., Boston, 1899) 194 Modern American Script. By Bruce Rogers '95 Modern American Script Capitals. After lettering by ." Frank Hazenplug .196 Modern American Italic Capitals. F. C. B. 197 i8th Century forms.

'

201

Z02 203

204

.

.

.

.

.

205 206

.

.

.

.

.

•

.

207 208 Modern American Script Title. Anonymous. From 'Harper's Weekly.' (New York) 198 209 Modern American Script Title. By Edward Penfield. From 'Harper's Weekly.' (New York) . 198 210 Diagram to Snovif Method of Enlarging a Panel, .

•

.... .

from upper 2

1 1

left

corner

......

204

Diagram to Show Method of Enlarging a Panel, from perpendicular center

End

.

tury.

line

.

.

.

.

.20;

From an embroidered Altar-cloth. 17th CenChurch of St. Mary, Soest, Westphalia, Germany.

Papers.

CONTENTS PAGE

CHA-PTBT-

I.

II.

ROMAN

CAPITALS

MODERN ROMAN LETTERS ...

III.

GOTHIC LETTERS

IV.

ITALIC

V.

......

AND

i

52

127

SCRIPT

182

TO THE BEGINNER

199

CHAPTER

I

ROMAN CAPITALS In speaking of the " its

capital

Romans cule"

form

—

will

—

Roman "

letter

throughout this chapter

monumental use among the always be implied. The small or "minusthe form in

which present nomenclature includes under title of " Roman " letters, and which will be

letters,

the general

considered in the following chapter, were of later formation

than the capitals

;

and modern form

and indeed only attained

their definitive

after the invention of printing

from mov-

able types.

The

first

form of the

point to be observed in regard to the general

Roman

Although the

capital

letter as

portions from

its

is

its

characteristic squareness.

used to-day varies somewhat in pro-

classic prototype, its skeleton

is still

based

on the square.

Next

to this typical squareness of outline, the observer

should note that the

At

thin lines.

rules determine

which thin

;

first

Roman sight

letter

is

composed of thick and

may seem

which of these

lines

that

no systematic

should be thick and

but closer investigation will discover that the

alternate widths of line

and that they exactly letters

it

were evolved quite methodically,

fulfil

the functions of making the

both more legible and more decorative.

rearrangements of these thick and thin

Arbitrary

lines, differing

from

the arrangement of them in the classic examples, have,

; :

ROMAN CAPITALS

2

indeed, been often attempted;

have never resulted tric lettering,

The classic

have

in

such rearrangements

improvement, and, except

fallen into

original thickening

Roman

but

in eccen-

complete disuse.

and thinning of the

capitals w^as partly

lines

of the

due to the imitation in

stone inscriptions of the letter forms as they were w^ritten on

parchment with the pen. stifF-nibbed reed

The

early Latin scribes held their

pens almost directly upright and at right

angles to the writing surface, so that a

down

stroke from left

to right and slanted at an angle of about forty-five degrees

would bring the nib across the surface broadwise, resulting

On

in the widest line possible to the pen.

the other hand,

a stroke drawn at right angles to this, the pen being held upright, would be. made with the thin edge of the

and would this

result in

the narrowest possible line.

method of handling the pen the

Roman

in the standard

forms arose

still

nib,

From

variations of line width ;

and we may therefore

deduce three logical rules, based upon pen use, which will determine the proper distribution of the thick and thin lines

Never accent horizontal

I,

sloping

down

lines,

ii.

Always accent the

which run from left to right, includ" swash " lines, or flying tails, of Q^and R

strokes

ing the so-called

but never weight those which, contrariwise, slope up from left to righty

which,

z, in

case

with a single exception in the case of the letter if rule i

made with

to accent, lines,

a

iii.

be followed, the sloping line

down

Always accent the

directly perpendicular

except in the n, where these lines seem originally to

have been made with an up stroke of the pen line

(in this

stroke) will be the only one possible

;

and the

first

of the m, where the perpendiculars originally sloped in

towards the top of the

letter (see 2).

On

the round letters

ROMAN CAPITALS

should occur at the sides of the circle, ds

the accents

on the upper

virtually provided in rule ill, or

lower

left

down

and

sloping stroke would naturally occur,

as virtually determined in rule

ends of

right

quarters (see 1-2), where in pen-drawn letters the

accent of the

The

3

"serif" all

—

lines

11.

a cross-stroke or tick -^ finishes the free-

used in making a

Roman

The

capital.

value of the serif in stone-cut letters seems obvious. define the end of a free line a sharp cut

To

was made across

it

with the chisel, and as the chisel was usually wider than

beyond

the thin line this cut extended

were

Serifs

it.

added to the ends of the thick lines either for the sake of

may have been

uniformity, or

marked guide

Roman work

Indeed in

late stone-cut

the scratched guide lines along the top and

bottom of each

of the inscription are distinctly marked

line

and merge into the examples.

earlier

suggested by the chisels

lines themselves.

serifs,

The

which extend

serif

farther than in

was adopted

in

probably from the same reasons that caused to the stone-cut lettd-s, namely, that

it

it

pen

letters

to be added

definitely finished

the free lines and enhanced the general squareness and finish

An

of the

letter's aspect.

excellent model for constructing the

in a standard

form

will be

by Mr. A. R. Ross,

drawn by Sebastian

i

an Italian architect, engraver and

most refined variants of the forms, which

are

it

who devised some of the Roman letter. Serlio's

classic

shown

intended for pen or printed use

scheme of proportions

capitals

and 2, from an alphabet of capitals

Serlio,

painter of the sixteenth century,

original

Roman

found in the beautiful adaptation

will

;

in

39 and_ 40, were

but in altering Serlio's

be observed that Mr. Ross

'

ROMAN CAPITALS

mm ?i

111 ~

ROMAN CAPITALS

ROMAN CAPITALS

6

has partially adapted the letter for use in stone, and has further varied

it

in details, notably in serif treatment.

most modern stone-cut

however, the thin strokes

letters,

would be made even wider than

Mr. Ross's adaptation shows letters

do or do not

Width

fill

example, as in 14.

in this

how

excellently

proportions, which

more modern

Roman

far the classic

out the theoretical square.

may be found

useful in laying

shown

out lettering for lines of a given length, are a

In

of the

Roman

in 3 in

capital.

In the classic

letter the cross-bar is usually in the

exact center of

style

the letter height, but in 3 the center line has been used as the bottom of the cross-bar in b, e, h, p, and R, and as the

top of the cross-bar in

" waist

.

lines are

a

alphabet, although the one most in use,

is

artistically, as the

^lightly raised

difBcuPt

to

compose

into

words

spacing between the letters plays a great

share in the result. is

Y and x the to obtain

unfortunately the most

panel

in letters like K,

effect.

The Roman ,

and

have been

called,

more pleasant

;

meeting points of the sloping

lines," as the

sometimes

a

The

eflect

of even color over a whole

obtained by keeping as nearly as possible the same

area of white between each letter and

its

neighbor ; but the

shape of this area will be determined in every case by the letters

which happen

to be juxtaposed.

Individual letters

may, however, be widened or condensed to help fill an awkward " hole " in a line of lettering the lower lobe ;

—

of the B may be extended, the center bar of the e pulled out (in which case the f should be the lower slant stroke of the tail,

and the r may have

back against the upright

k may

its tail

line,

made

to correspond),

be used as a swash

ex-tended or

and so on.

drawn

closely

Indeed, each and

ROMAN CAPITALS

•PRDPORTIONAL.WIDTHJB\CIN.GOF-

•MODERN-ROMANCAPITAL- IITTEBJ'3.

WIDTH PROPORTIONS OF MODERN ROMAN CAPITALS

F.C.B.

ROMAN CAPITALS

8

icyery letter of the alphabet

for

left

it

by

is

best suit the space

it

Observe, for example, the

neighbors.

its

susceptible, to such similar

may make

modifications in shape as

,^

spacing of the word meritae in 34, and notice how the tail of the r is lengthened to hold off the I because the t •on the other side

away by

perforce held

is

its



abcdefghil: mn o p q^ils t v(T^-.x

Yz x:^^

Letra antigua que efcreuia Fran Lucas

en Madrid. Ano de.m.d.lxxvii.

SPANISH ROMAN LETTERS FRANCISCO LUCAS,

TE D EV !Tius:te

PEN DRAWN 1577

M LAVDA

Dominum

confltemur.Tca;-

ternum patrem omnis terra vcneratur.Tlbi omnes angcli.tibi cd^Sovniucrfic potellates .Tibi Cherubim &Sclaphinv in ceflibili voce prodamant, Sandus, Sanftus, Sandus Dominus Deus Sabaoth. Pleni liint cali&»terra "maielktis gloriac tua: Te. ^on'ofus JBi.

SPANISH ROMAN LETTERS FRANCISCO LUCAS,

PEN DRAWN 1577

MODEIiLN

ROMAN LETTERS

cAaahhccddeeffgghh iijllmmnnoop

GOf H Hr^aCcMM^

ArOOTP^QJ(JLSS'

TT'VVXXyYZZ Letra

54.

delQn^

(jueefcreuia

Tran,

SPANISH ITALIC LETTERS FRANCISCO LUCAS,

IjVT

HiN CI

&So

Lmms rEn-

PEN DRAWN 1577

P

1

O

E-

raf^erbum, Cfyefhum cratapidT)eum,&

IDcm crat verbum Hoc emt inpijicipio d-

pud Deum: Omm'dperipfumja^tajunt, ^Jinejyfojaihime^ nihil. Quodfactum eit int^o'vitaerat.

&'viiaeratliahomi-

num. &lux intmebris biat. &tenebre eam non com^rehmderunt. Tuithomo mijfusa Teo cut nomen emt Joannes.^ i

65.

SPANISH ITALIC LETTERS \ FRANCISCO LUCAS, •

PEN DRAWN 1677

59

60

MODERN ROMAN LETTERS

Aabcd efgbijk

Imnop vxyz

MODERN ROMAN LETTERS

61

ABCDEFG hfijKLMNM

NpPQQRIl SVTN)C'XYZ

57.

ENGLISH

17th

CENTURY INCISED LETTERS

FROM TOMBSTONES

62

MODERN ROMAN LETTERS

abcdef

m nopqst ruvxwy ZJ23456 08.

MODERN SMALL LETTERS

AFTER HRACHOWINA

MODERN ROMAN LETTERS

63

Venetian Alphabet abcde^hi

jklmnopq rstuvwxyz MODERN SMALL LETTERS

CLAUDE FAYETTE BRAGDON

J

MODERN ROMAN LETTERS

64

show

Figures 52 to 59 those

alphabets;

shown

in

several

forms of. small

52

56 being taken from

to

" Writing books " by Spanish and

Italian writing masters.

often chose to

These writing masters

letter

show

their skill

by imi-

tating type forms of letters with the pen, but though similar

forms of the

in the individual

exhibit a freedom and for type to equal,

interesting to the

letters the written

harmony

examples

composition impossible

in

and therefore are immeasurably more

modern penman.

type form of minuscule which

Figure 61

illustrates a

may be commended

for

Other examples of small

study.

by modern designers

will

no, 118

and

Body of Elizabet&y ^ife oFmhaid

le«e''s

tf^So^ told Anno DoiniJ 6

^31, where they are used

Here

^efk^tfie

C)

INSCRIPTION FROM ENGLISH SLATE TOMBSTONES, 1691: F.c.B.

be found in 105,

connection with their

in

capital

forms.

60.

Thc

minusculc alphabet by

Mr. Claude Fayette Bragdon, 59,

a carefully

is

worked-out form which

in its lines closely

follows a type face devised by Jenson, the celebrated Venetian printer

century.

who

flourished toward the

end of the sixteenth

This example together with those shown

in 50, 51

and 56 exhibits some conservative variations of the standard models for minuscule the

modern type

faces

letters

shown

;

and the same may be

in 62,

63 and 64.

said of

The various

other examples of the small-letter forms illustrated evidence

how

original

shapes

may

and interesting modifications of conservative

be evolved without appreciable loss of

Figure 61 shows the capital, small

letter

and

legibility.

italic

forms

of a type based on old Venetian models, cut by William Caslon in the early part of the eighteenth century, and ever

• •-(

r3

:^

"^

C!

13

^

c^

»

r-i

O

'^..

cv..

•»-«

.^.

o

.55

CO

4-1

'rt

c«

G S p -M «

o G § i a ^ ^ a -^ ;^

^

5 G

'^

,i^ ^WyZ 70.

MODERN GHRMAN CAPITALS

AFTER ALOIS LUDWIG

MODERN ROMAN LETTERS

76

Moreover modern designers tion to minuscule letters,

before long

some small

of the pen

tively

may be

showing a welcome atten-

are

and

letter

it

even seems possible that

forms that

shall

be distinc-

developed, and that the use of type

models for minuscule pen

letters will

no longer be found

necessary or commendable.

i_

GCRmanbec reRinGHBCD

CFGGHDKbm nOPQRSUUDX VV9Z MODERN GERMAN CAPITALS

71.

Another noticeable tendency

AFTER OTTO ECKMANN in

modern

lettering

seems

to be the gradual promotion of small letter forms to the dignity of capitals, (see

same way tives

79 and 98 for examples) in much the and its immediate deriva-

as the Uncial letter

produced the present small

hoped that

this

letter.

movement may not

lose vitality before

has had time to enrich us with some forms.

It is surely to

new and

be it

excellent

«

m K 9P

OP

5 CU cu

i I nn X «

•

•

•

« •

^

•

«

a

•

I

•

•

•

•

78

MODERN ROMAN LETTERS

CARITAS d

CESANC BERT ACVLTi^T

iYCHE COTT •PALMETTE

73.

MODERN GERMAN CAPITALS

fVX

JOSEPH PLfiCNIK

MODERN ROMAN LETTERS

79

BEND JI

NOTYU CAOFH LASTZ KRXWR OyiPEM 74.

MODERN GERMAN CAPITALS

AFTER FRANZ STUCK

80

MODERN ROMAN LETTERS

coopenn fMSCPFTDl

JKLLHOPp

R5GUVCJ 23

OO bob b b

000 Bo

^ 00 ^^ A

OOP

O

zi:7

ot^

^17/1

^ V

b

/I

OtK>

b b bp OVOi^OP/=

b 144.

GERMAN BLACKLETTER CONSTRUCTION

ALBRECHT DURER

GOTHIC LETTERS

134

however, serve to show the construction of an excellent Blackletter,

The that

shall

it

which may

first essential

fairly

be considered as typical.

of a good Blackletter line or page

be of a uniform color.

Blackletter form does not permit that one

spaced than others in the same panel.

white

left

between the several

is

Unlike the Roman, the

letters

word be wider

The amount

of

should be as nearly as

mmmUU GERMAN BLACKLETTERS

145.

possible the

FROM MANUSCRIPTS

same throughout, approximately the same

as the

space between the perpendicular strokes of the minuscule letters

themselves.

.better will

depends let it

Usually, the less the white space the

be the general effect of the page, for

much upon

be noted in passing that, for this reason,

difficult to

its

a general blackness of aspect;

judge of the

final effect

from any outlined pencil sketch.

it

is

beauty

—

and

doubly

of a Blackletter page

Even

in the cases of

those capital letters that extend both above and below the

guide lines

it

will be

found possible to so adjust the spaces

GOTHIC LETTERS

135

and blacks as not to interrupt the general uniformity of

and

color,

by

it is

flourishes;

sometimes advisable to although

flourishing,

fill

awkward blanks

even in

Blackletter,

an amusement that should be indulged in cautiously.

is

As

a general rule the

letter

is

more

solidly black a panel

of Black-

the better (a principle too often disregaided in

modern use of the form); though on the other hand,

the

mnoi)qr2f5ttt GERMAN BLACKLETTERS

146.

WITH ROUNDED ANGLES

the less legible the individual letters will become.

The

designer should therefore endeavor to steer a middle course,

making

his panel as black as

he can without rendering the

individual letters illegible.

No

style permits

more of

liberty in the treatment

may than

its

letter

require a different outline at the beginning of a

word

in

the

descenders ii.he

of

The same

separate letter forms than the Blackletter.

middle or at the end.

may

The

ascenders and

be drawn so short as hardly to transcend

guide lines of the minuscules, or

may grow

into flour-

GOTHIC LETTERS

136 ishes

up and down, to the

awkward in

blanks.

ancient examples

or to the

to

left,

fill

often difficult to recognize an

is

it

individual letter apart from

The two

right

Indeed so variable are these forms that

its

context.

pages drawn by Mr. Goodhue, i88 and 189,

deserve careful study as examples of modern use of the Blackletter.

It will

be observed that almost as

many

vari-

ants of each letter are employed as the number used would permit, thus giving the panel variety and preventing any

appearance of monotony or

and

variety of the

each version .

of

its

is

swash

Notice the freedom

rigidity.

lines in the capitals,

and yet

that

quite as graceful, logical and original as any

variants.

The

examples of old lettering reproduced in figures 147,

148 and 149, together with the drawings by Mr. Goodhue, will indicate the proper spacing of Blackletter; but in

of the pages here devoted

most

to illustrating the individual forms

the letters have been spaced too wide for their proper effect that each separate shape might be -style

appears at

more or

its

reproduced

in

its

and refreshing

In

?

fill

a panel of

Could anything be more

147.

delightful to the eye than virility

The

distinctly.

which

form, as, for example, the beautiful

less geometrical

title-page

shown

best in compositions

rich blackness, energetic lines, th'is

design surely

we

have a

specimen that, from the proportion and balance of blacks,

is

more

effective than anything

been accomplished by the use of the more letter;

but despite

its

many

beauties

it

rigid

suffers

effective than readable

—

it

is

!

Another excellent example of the old use of is

Roman

from the

inherent weakness of the individual letter forms,

more

its

which could have

the page from the prayerbook of the

Blackletter

Emperor Maximilian,

GOTHIC LETTERS

147

ITALIAN BLACKLETTER TITLE-PAGE

137

JACOPUS FORESTI,

1497

GOTHIC LETTERS

138

shown

in

148, in which observe again the variety of the

individual letter forms.

Figure 149 shows the use of a

Blackletter on an admirable

monumental

brass,

which

is

tmemmmMtvm5^e6<

182.

ITALIAN BLACKLETTERS

C. A.

TAGLIENTE,

16th

CENTURY

GOTHIC LETTERS

183.

GERMAN BLACKLETTERS

ALBRECHT DURER

173

16th

CENTURY

GOTHIC LETTERS'

174

©arrra lifdrfirlitjk

?(l|itialirt 184.

GERMAN BLACKLETTERS ALBRECHT DURER,

16th

CENTURV

GOTHIC LETTER S

185.

175

GERMAN GOTHIC CAPITALS ALBRECHT DURER, 16th CENTURA

176

GOTHIC LETTERS

tramim a htmiu

mnopats tUtHBJPUa 186.

ENGLISH GOTHIC BLACKLETTERS

15th

CENTURY.

F. C. B.

GOTHIC LETTERS

177

nmmm tmmm mmmm mnmv 187.

ITALIAN INLAID BLACKLETTERS

FROM A RUBBING.

F.C.B.

178

188.

GOTHIC LETTERS

MODERN AMERICAN BLACKLETTERS

B. G.

GOODHUE

GOTHIC LETTERS

189.

MODERN AMERICAN BLACKLETTERS

179

B. G.

GOODHUE

I

180

190.

GOTHIC LETTERS

MODERN GERMAN BLACKLETTERS

AFTER JULIUS DIEZ

GOTHIC LETTERS

191.

MODERN GERMAN BLACKLETTERS, FLOURISHED \

181

F. C.

B

CHAPTER

ly

ITALIC AND SCRIPT The

modern neglect of those

regrettable

interesting forms of the

Roman

and very

free

and

letter, Italic

seem to authorize consideration of them

Script,-

in a separate

chapter, even at the risk of appearing to give

them undue

importance.

The

first Italic

type letter was derived,

it

is

said,

from

the handwriting of Petrarch, and several admirable examples

of the far

have come down to us.

style, variously treated,

as construction goes Italic

Roman form

exact

sloped,

is,

and with such changes

necessitated by the sloping of the letters. ever,

will

it

of the

Roman

juxtaposition

letters

;

must be made

them

to their

letters, certain variations

as accenting the

The

Roman

them

a slope

requirements of inter-

when words

in Italic

same panel with upright Roman must be made

O in

in the latter,

such

the same fashion as the Italic

detail.

Script

form of

letter

running or writing hand, and the linking together of

forms

how-

accented, an altered treatment of serifs, and other

changes in

in

after giving

new

and, by a reflex action,

capitals are used in the

is

as are

Practically,

be found that certain alterations in the outlines

in order to adapt

O

As

theoretically, only the

it

was developed out

still

its

retains a cursive

letters

;

of the

tendency

although in some

so closely approximates to Italic as to be almost

ITALIC AND SCRIPT from

indistinguishable greatest at the

Script

it.

lettering

vogue during the Georgian period

same time

in

183

came

in

into

its

England and

France; and was extensively employed,

usually in conjunction with the upright

Roman,

in carved

The

panels of stone or wood, and in engraving..

Script

:xz GERMAN

192.

GOTTLIEB MUNCH,

ITALIC

1744

forms are well worthy of the attention of modern designers since

they offer

unusual opportunities

individuality of treatment

and

adaptility to

;

for

freedom and

and because of

this

modern uses the present chapter

vitality

will

be

devoted largely to the illustration of Script examples.

The

old Spanish' and Italian writing-books (referred to in

a previous chapter), which in a measure took the place filled so

much

less artistically to-day

books, contain capitals

by our modern school copy-

many specimens of

and small

letters.

from such books published

beautiful Script, both

Figures 193 to 196 in Spain.

show pages

184

193.

ITALIC AND SCRIPT

SPANISH SCRIPT

TORQUATO TORIO,

1S02

ITALIC AND SCRIPT

185

n encorejeum aimt aue sonpere fio luiAai/SKrott rien oJq)

avwttenr;

194.

SPANISH SCRIPTS

d amiim

on

TOKQUATO TORIO,

1802

ITALIC AND SCRIPT

186

Q)ifecrot( iominajancta

SUam mate/r Dcivktatc dmipimaJummi msp

m

,

maceraforiosifjima, m^-

wr onhmorum, codola^ tio

moiatormyia crratp

jrm Jucas foefcmia m Madrufm/cMD ixx 19S.

SPANISH SCRIPT

FRANCISCO LUCAS.

1677

ITALIC AND SCRIPT

(^ '.

JCeoon^illa

Oseiioi con

187

liana*.-'

Summa^euocion, con

aoiasaso amoi, con roao miapctp

de 3cssco\)orece6ii:como muuos Sanrosvoeuotas pcisonas ion en la coniunion:que ion mui "viou

mucno en la

V aiuicion

re

reocssca

aaiaw,

Sanrioaooesu'-

iieuocion oAOentissi

ma. Oaios mio.anaoi-^ /-rte^no'ir;

^

n^~ ^ucaS(^;^|oo

of enlarging the proportions of a panel, in which, by the use of two diagonals, both perpendicular and horizontal center lines are retained.

When

it is

necessary to lay out a border of a predeter-

mined width within the required panel, the foregoing method can only be used to determine the border, and

it

outside lines

of such

a.

becomes necessary to make the drawing some

numerical proportion, say, one-half as large again, or twice

The

as large as the finished panel. will then be of the

The

beginner will find

it

always wise to base his lettering

on penciled top and bottom guide

lines,

add "waist" guide

lines, as in

even accomplished

letterers dispense

These guide

lines

width of the border

same proportionate width.

193.

and occasionally to

Indeed,

it is

rare that

with these simple

aids.

should invariably be laid-in with the

TO THE BEGINNER

205

;;

TO THE BEGINNER

206 treatment of etc., its

height

serifs, angles,

may

width and outlines

of

waist and cross lines,

be varied and arranged to

help out the spacing without interfering, to any noticeable extent, with the uniform appearance of the line.

In

Roman

special

may be

emphasis

lettering

word by spacing

its

Much

This has

letters farther apart.

something of the same emphasizing Italic,

obtained for any

as the use of

effect

without so greatly breaking the harmony of the

line.

of the lettering of the Italian Renaissance shows

and

a very subtle appreciation of this use,

some of the

in

most beautiful inscriptions the important words are often so differentiated, while others are emphasized by slightly larger characters.

As

a general rule, and within certain limits, the wider a

letter the

more

legible

it

is

Width, boldness of

Blackness and

likely to be.

boldness of stem alone will not hair lines

make

and

letter readable.

a

serifs,

and a proper

amount of surrounding white space are more essential. The Roman letter is more legible than the Blackletter mainly because it is black against a roomy white ground while Blackletter, on the contrary, is really defined by small interrupted areas of whites upon a black ground. '

A common

limitation of

become accomplished

many draughtsmen

in the rendering

and find themselves obliged to use

sions,

whether

because they can

that they

of but one style of

letter,

it

is

it

on

all

command no

other.

In the case of

certain designers, of course, the individuality of their is

occa-

be suited to the work in hand or not,

strong enough to bind

both

lettering

closely together that they can never

seem

work

and design so at

dissonance

but, speaking generally, the adherance to the use of but

TO THE BEGINNER one type of is

letter

can be but narrowing.

urged, therefore, to practice the use of

at the

207

The

many

beginner

styles,

even

expense of gaining an immediate mastery over no

one form.

He

will find himself

amply repaid

in the

end

by the increase in freedom and variety.

While the student should possess enough knowledge of the historic styles and examples of lettering to prevent him from using incongruous or anachronous forms

same design,

historic accuracy

in the

need not prevent him from

engrafting the characteristics of dissimilar styles upon one

another, provided that the results prove harmonious and appropriate. Finally, the draughtsman's his lettering readable

:

should strive to give

it

first

aim should be to make

after this has

beauty.

been accomplished he

Art in lettering

is

only to

be attained by solving the problem of legibility in the

most pleasing to the eye.

Good

both to the eye and to the mind. legibility

with beauty can

it

way

lettering should appeal

Only when

be excellent.

it

combines

INDEX 1 3 I ; effect of page 132; with Roman letters, 727-even color of, 134; flour-

A., 6, 9.

of,

Abbey, Edwin A., 97,

of,

132, 140. Accenting, of Blackletters, 132; Capitals, z ; of / of Roman Minuscules, 56; of Round Gothic, Script,

of

132;

Italic

and

182.

American Lettering,

Modern

Roman, 53, 64, 75, 82, 97; Classic Roman, 3,14; Gothic, 132, 136, 140, 142;

Italic,

194, 198; Script, 194, 198.

Anglo-Saxon

Letters,

46, 47 ; 46. Ascenders, height above body,

modern use

128,

ishes,

1

3S

;

individual letter

forms, 132,

136; illegibility of, 135, 136, 206; apartRoman form, 84; a narrow form, 132; old examples of, 136; in panel forms, 136; used solidly, 134, 135; spacing of, 134, 136; variety of, 82, 132, 135, 136. Bonnard, Pierre, 91, 92. Border, to lay out a, 204.

"Cheltenham Old

Boston Public Library, 14. Bragdon, Claude Payette, 64, III, 194.

Style" type, 71; in Gothic,

Brasses, Blackletters from, 138,

57;

in

of,

131; in Blackletters, 135. Ashbee, C. R., 74. Auriol, George, 88.

140. Bridwell,

H. L.,

8, iiz.

Bristol-board, 201.

Byzantine influence on B., 6.

lettering,

Italian

45.

Badia, Florence, lettering from,

45Robert Anning, 96. Blacked-in letters, 202. Bell,

127,131,132,140,. 141, 142; accents of, 1312;

Blackletters,

ascenders and descenders of^

135;

capitals

for use with,

C,

8.

Capitals, used with uscules,

57;

Roman min-

with Round

Gothic, 132; with Blacklet136, 13,9; (see also under Blackletter, Roman, ters,

Gothic,Italic,

Modem Roman Round

134, 136, 139; a condensed form of Gothic, 128; construc-

Capitals, Script,

141; definition

"Caroline" Text, 52.

tion of, 132,

Gothic, Uncial).

'

;

.

INDEX

210

Caslon, William, 64; his type,

E., 6, 104.

69. Centering lines of lettering, zoz.

Early Gothic, (see Round

Charlemagne, 52.

Early Printing, 52, 64, 71. Edwards^ Edward B., 116.

"Cheltenham Old Style"

type,

Edwards, George Wharton, 194. Emphasis in lettering, placing of,

7'.

Cheltenham

Press,

The, 71.

206

Chisel-cut guide lines, 3. Classic Capitals, see

Roman

Classic forms of letters, to draw,

zo

Italian

I ;

composition

Renaissance,

of,

6

15, 27,

3°-

"Colonial"

lettering,

Constantine,

Arch

from,

(see also Accenting).

English

Brasses

of,

117. lettering

from

English Gothic,

1 40, 141. English lettering, modern,

75,

8i, 92. English, Letters, 47; Script, 188, (see also, Anglo-Saxon).

Engraved Title-pages,

French,

188.

1 1

Construction,

of

Blackletters,

13Z; of Roman Capitals, 3, 6 ; of Roman Minuscules, 53. 56. Craig, Gordon, 95, 96.

Crane,Walter, 47,92,20o,zo5. .Cross-bar in Roman Capitals, 6. "Cursive" Letters, 91, izz. Cursive tendency in Script lettering, 182.

D., 8. ' Dance of Death,' Holbein's, 117.

Enlarging Drawings, 203, 204. F., 6, 104.

H.

Fell,

Granville, 96.

Flanders, Brasses from, 141. Flourishing, of Blackletters, 135;

of Script, 194, 198. Free-hand lines, zoz. French, modern lettering, 74, 82, 86; Script, 188, 194. Freedom, in lettering, 53, 74, 82, 92, 102, 118, 122, 20 1; in Blackletters,

Day, Lewis F., 93.

ic,

Descenders, (see Ascenders).

kerns, serifs

De

etc.

Vinne, Theo. L., 69. Dove's Press, The, 69. Drawing of letters, zoi, 202, for reproduction, 203, ; 204. Durer, Albrecht, 31, 132, 138, 141.

205

derived

Flanders, 141.

Capitals.

3, 6,

Gothic).

82

G.,

127; ,

;

53;

136;

in Italic,

Goth198; in

in

and swash-lines,

in

Roman

letters,

in Script, 183.

8.

g., 57-

Georgian English

lettering,

183, 194, 198.

117,

. ;

'

INDEX German

lettering, modern, 74, 82, 84, 92 ; early, 1 10, I 17; Script, 52, 188; types, 52. Goodhue, Bertram Grosvenor,

71, 102, 136, 142. Gothic Capitals, for use with

139; pen drawn, not to be used to form

Blackletters, 1

40

;

words, 132. Gothic, English, (see English Gothic). Gothic lettering, 127, 131,134,

205

;

cut in stone, 140; (see

also Blackletters

and Uncial).

Granite, letters cut in, 11, 14, (see also Stone-cut, V-sunk

and Incised). Grasset, Eugene, 86. Greek type, 73. Grolier Club, 69. Guide-lines, 3, 204.

211

Incised letters in stone, Gothic,

139, 14,

1

40 ;

45

;

Classic Roman, 9, (see also Granite,

Marble,

Inlaid,

Sandstone,

V-sunk and Stone-cut). Ink, 201. Inking-in lettering, 200, 202. Inlaid lettering, Gothic, 141.

Interlacement of Script letters^

194. Inter-relation of letters, 6, 135,

20 1. Adrian

lorio,

J., Irish letters, (see

107. Anglo-Saxon).

Italian, Blackletters,

modern

lettering,

139, 141

92

Renais-

;

sance (see Renaissance);

Ro-

man

small letters,

52

writing-books, 64, 183

;

letters,

drawing

64

of,

;

types, ;

201.

52, 182, 188, 194, 198 182, 198; drawing of, 205 ; emphasis of, 206.

Italic,

capitals,

H., 6. "Half-Uncial," 52. Harvard Architectural

Building,

lettering on, 14.

Hazenplug, Frank, 116, 198. Historic styles of lettering, Vnpwledge of, 207. Holbein's « Dance of Death 117. Home, Herbert P., 72. Hrachowina, C, 188. initials,

J., 8.

56. Jenson, Nicholas, 64. Jones, A. Garth, 96.

j.,

K., 6. k., 56.

Kerns, 53, 56. Kimball, H. IngaUs, 71.

Hupp, Otto, 142.

I.',

8,

9

;

Illegibility

space around, 205.

L., 104. Late Gothic, (see Blackletter)

of Blackletters, 135,

Laying out,

136. Imige, Selwyn, 73, 93.

lettering,

203,204, 205;

Le

Boutillier,

200, 201,

a border, 204.

Addison B.,

no.

.

.

;

INDEX

212 Legibility of lettering, zo6,

207; of Round Gothic, 132. Letters, outlines of, 202, zo6 ; widths of, 206 ; to lay out, 205; execution of in various materials, 14; (see also Brasses, Inlaid, Marble, Granite, Pen and Printed forms.

Modern Roman

Capitals,

6

(see Chapter II)

Modern type, (see Type). "Montaigne" type, 69. "Mont' Allegro" type, 73. Moore, Guernsey, 116. Morris, William, 72; types

of,

69.

Mucha, Alphons M., 91.

Sandstone, Type). Lines, heavy, 199; narrow, 199;

200

thin,

200

;

;

in water

freehand,

-

color,

202, 203

;

2.

Netherlands, brasses from, 141.

New, Edmund H.,

ruled, 202.

Linking, of Blackletters,

of

N.,

136;

96. Nicholson, William,. 95.

Round Gothic, '132; of

Roman Capitals, 4.5;

of Script,

l8z. Lowell, Orson, 117.

O., 8, 182. O., 182 Optical Illusions in tals,

M.,

Outline

2, 28.

m., 56. Marble,

letters

cut in, 17, 27,

(see also Incised, Inlaid).

Marsuppini tojnb, Florence, 28. Magonigle, H. Van Buren, 102. McKim, Mead & White, architects, 14.

Medals,

lettering on, 30.

Merrymount Press, The, 71,72. " Merry rnount " type, 71. Minuscule, I ; modern Roman, 52, 53, 56, 57, 64; monumental uses, 57; composition of, 64; growing use of, 76,

122; also,

spacing

of,

57;

Roman, Gothic,

(see Italic,

lettering,

letters,

202.

P., 6.

Pantheon, Rome, tomb, 27. Papers, drawing,

Raphael's

20 1.

Parchment, I 28. Parrish, Maxfield,

no,

122.

Parsons, Alfred, 96. Pens, 199, 201; crowquill, 199; reed, 2 ; ruling, 202 ; stub, .

200; quill, 200. Pen drawn forms of letters, 9, 27. 30. 31.45. 56.64, 74. 76, 12 2, 140, 182, 199, 202. 200, 201.

Pencils,

Penfield,

Edward,

100,

116,

118, 198.

Script).

Modern

Roman Capi-

8.

(see

under

countries, American, English,

French, German, Italian).

Petrarch,

52

;

handwriting

i8z. Pisano, Vittore, 30.

of,

;;

INDEX "Post Old Style"

u6.

type,

Merrymount,Vale, Riverside, Cheltenham, Dove's, and De Vinne). Printed forms of Roman letters, Presses, (see

213

ness of, I, 6, 131; peculiarities of,

Roman

6, 8.

9. 3°. 52. 53. 56. 64, 69,

136; with 182; combined with Script and Italic, 194; cross bars of, 6 definition of, 1

122.

legibility of,

German,

Printers,

52

;

64 ; American, 69

5 2,

Italian, ;

Eng-

64, 69, 72, 73 ; Venetian, 53, 64. Proportions of a design, 203. Puttner, Walter, 142. lish,

Howard, 117.

Pyle,

Qi.

;

of,

6

Roman cule)

Roman

waist line:

;

.

forms, Gothic Spirit in,

84; Uncial, 128. Romahesque influence on

200; method of

Italian

131.

definition of,

I

3

capitals to

I ;

use with, 132, 139.

Round

;'

letters,

Minuscules,

R., 2, 6,

206

width proportions of, 6. minuscules, (see Minus-

;

45. Ross, Albert R., 3, 11, 32, 56. Roty, O., 30. Round Gothic, analysis of, 1 3 1

z> 8, 92.

holcfing, 2,

Italic,

lettering,

"Quadrigesimale," 69. Quill pens,

lettte, 127,

capitals,

56,

71;

2,

3

stone-

cut, 3, 9-

8.

Rubbings, from inscriptions, 11,

Railton, Herbert, 96.

Raphael's tomb^ lettering from,

16.

Ruling pen, 202.

27.

Reduction ofdrawings, 203, 204. Renaissance, artists

letters,

of the,

the Italian,

53

15, 27, 30; ;

lettering

of

206; medals, 30;

purity of letter shapes, 69. Renner, 69.

Renner type, 6g. Ricketts, Charles, 93. Riverside Press, The, 69.

i,

27;

(see

Modern Roman); thick and thin lines of, 1,6; model also

for, 3

;

rules for, 2

;

14.

from, 28, 141. Script,

182,

183,

188,

194,

i88j cursive tendency in, 182; developed from writing hands, 182; French, drawing of, 20 5 188; German, 188; on English headstones and wall tombs, 188; Spanish, 188; used in engravings, 188 ; used with capitals,

;

Rogers, Bruce, 69, 194. Capitals,

letters cut in,

Santa Croce, Florence, lettering

198;

Reproduction of drawings, 203.

Roman

S., 8.

Sandstone,

square-

,

upright

Roman, 182, 183.

'

.

INDEX

214 Serifs,

8,

6;' definition of,-

1

Minuscule

in

71;

letters,

treatment of, zo6. Serlio, Sebastian,

Shadows

in

letters,

i

o,

II, 14.

Simpson, Joseph W., 93. Small letters, (see Minuscule,

Modern Roman,

Gothic,

and Italic). Spacing, of Classic Roman letters, 6, 8 ; of Blackletters, 128, 134, 136; of MinusScript

cules,

letters,

128;

Shaw, Byam, 96.

also

53, 56, 57; of type, of " Montaigne" type,

188;

64, 183. Stone-cut letters, 1

4

;

( see

(i-anite.

Sullivan,

Swash

Roman

writing-books,

Roman,

3, 9,

also Incised, V-sunk, Marble, Sandstone).

James F., 96.

lines, 2,

53, 136.

8, 28.

G. A., 31. Thompson, Hugh, 96.

Type-founders, 9, 56, 64.

40

M.

;

P., 86.

V-sunk Roman 14; (see

lettering, 9,

10,

also Incised).

9.

Waistlines, letters,

6,,

204; of Roman

6, 204, zo6.

Westminster Abbey, England, 188. Width proportions, of Roman Capital letters, 6.

Writing-books, 64, 183. Writing hand, 188 ; of Petrarch,

182.

Tagliente,

Tory, Geoffrey, 3 1 Townsend, Harry Everett, 1 1 7. Transferring of lettering, fo2. Type, 9, 52. 64, 74.

1

Vinci, Leonardo da, 31.

182 T.,

of,

Verneuil,

w., 56.

64;

45, 76, 84, 92,

Gothic,

v., 9. Vale Press, The, 93. Van Rysselberghe, Theo., 91. Venetian printers, 53, 64.

W.,

Script,

lettering,

Updike, D. Berkeley, 71.

206. letters,

pen

139; metal pen forms of, 140; stone-cut, 140; stone and marble, 139.

forms

56 ; 69; of " Cheltenham " type, 71; of letters and words, 201, 205 ; emphasis obtained by, Spanish,

for

use of, 74, 76, 122.

Uncial

3, 11, 32.

V-sunk

Type models

182;

letters,

Italic

.in

3; 53, 69,

X., 6.

Y.,

6.

y., 56.

Z.,

2.

;

Script developed from,

'

y

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