Letters and Lettering
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Letters and Lettering A Treatise with 200 Examples by Frank Chouteau Brown...
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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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