CALLIGRAPHY & LETTERING DESIGN ByArthurNewhall
Publishing FOSTER WALTER
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D ESI G N A N D L E TTERING
BY ART NEWHALL Inc. WalterFosterPublishing, 23062La CadenaDrive,LagunaHills,CA92653 @ 1989,WalterFosterPublishing, Inc.All rightsreserved. This book has been publishedto aid the aspiringartist. Reproductionof the work for Any photomechanical reproduction of art from the study or finishedart is permissible. publication for commercialpurposesis prohibitedwithor art drawnfrom the publication out writtenconsentfrom the publisher.
l ntr od u ction....
3
Materials
4
Basiclnstruction
b
BasicSan SerifStyle .
7
ExplodedViewAnd StrokeSequence
B
Nu m e r als.....
I
BasicChanceryCursive
10
ChanceryStrokeSequence
11
ChanceryStyles
12
ChancerySamples
19
U ncia l
20
Flourishes& Swashes
23
The BlackLetter
24
Ro m a n
30
Spencerian Script
36
Aw ar d s-S pencerian..
39
Renaissance. . .
40
Ba tar d e
....42
Ver sa ls
....44
Gr e e ti ngCards l nlin e
... 46 . ..... 49
Lo g o &SymbolDesign
........50
Th e SteelB rush
. . .. . .. . 55
LettersAt Work Co n clu sion
. .. 56 ......
64
Thetremendousinterestand popularityof calligraphyamongthe general the scopeandthe useof thisbeautiful publicin recentyearshasincreased placein the productionof diplomas, from its obvious form. Aside lettering use of calligraphyhas a contemporary and verses; awards,testimonials it in the designof logos, for creatinga new,excitingdemand developed, movie titles, book jackets,album covers,sign design,menus, labels, posters,type designand advertising- to namejust a few. referenceguide and study This book offersthe readera comprehensive to study manual.lt presentsa myriadof alphabetsand their applicat¡ons and to copy. Beginnersshould alwayshave good examplesin front of them while practicing.More advancedcalligrapherscan use the letter stylesamplesfor reference. It is imporantto first learnthe basicsand to becomecomfortablewith and creative.Practicewith different your tools,but try to be adventurous pens, papersand techniques.Developyour own stylesof letteringor letterstylesto makethem your own. changeestablished
PENSAND INK
The BroadPen is availablein varietyof shapesand sizes.
FinePointNibsfor detail lettering.
Ca llig ra p h ic le t t e rin g is d o n e primarilywith a broadpen.There are two types of broad pens: dip pensand fountainpens.Bothhave nibs. There are interchangeable many brandson the market.The main advantageof foqntainpens is t h e ir a b ilit y t o h o ld a la rg e supply of ink, but they have a limit e dn u mb e ro f n ib s iz e sa n d d o n o t u t iliz e p e rma n e n tin k . Dip pens produce a cleaner,crisper line than fountain pens, but are slightly more difficultto master. You will need a jar of black india ink for usewith a dip pen.lt is very importantto keep both types of pens clean.A small jar of water k e p t n e a rb y f o r d ip p in g t h e p e n a n d wip in g it c le a n is recommended.
Extr a - F in e Po ¡ n t
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-e Su p e r - F in ePo in t
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Fine Point
\ ExtraSuper-FinePo¡nt
A wide,smalljar securedto a piece of heavycardor plastickeepsthe ink containerstable.The ink levelshould be just highenoughfor a dippedpen load.
PAPER Thereare manytypesof paperand boardssuitablefor calligraphy. The choicedependson the qualityandtypeof work you aredoing.A 20 lb. ledger bond is good for practice.For all-purposelettering, rag bristol board is favored.Bristol board comes in two 1000/o fi nish e s,kid and plate.The kid finishis t h e b e t t e ro f t h e t wo a s it h a s a slight"tooth."For the final "one of a kind"job, a parchmentpaper Show card boardalso madespecificallyfor calligraphyis available. Giveit a try. takesink beautifully.
M I S CEL L A N E O U S You r e q u ipmentcan be quite simpleo r v e ry e x t e n s iv eA. d ra win g ta b le( a b o ut30" x 40"),achairand a go o ds o u rc eo f lig h ta rea mu s t if you are seriousabout your work. You will also need a t-square, severaltriangles- 30, 45, and 60 degreeangles- and pencils, p e n s,pe n cleaner,erasers,a pencils h a rp e n e r,in k , o p a q u ewh it e paint (forcorrectingmistakes)and a few letteringbrushes'
C allig r a p hic letteringis donewith the b ro a dp e n .T h e a n g let h e p e n is h e ld i s the key to the beautiful"thic k a n d t h in " s t y le .A s imp le ,b a s ic letterstylethat is quiteeasyto executewith the broadpen is shownon page7. The letteris a thick and thin Romanstylewithoutserifs.This style is beautifuland practical.lt is sometimescalled"Stunt Lydian" b e ca u sei t is similarto the Lydiantypef a c e .T h e p e n is h e ldf a irlyrig id , po in ti ngabovethe right shoulder,he ld a t a 3 5 d e g re ea n g le .T h e vertical(down)strokesand the horizontalstrokesare madewith a firm wristaction.The pen is heldat a constantangle- neverrotated. Use quality bond paper for practice.lt takes ink beautifully,and is r ela ti vely inexpensive. Usingyour t-sq u a red, ra wg u id e lin e os n a s h e e t of smoothillustrationboard,then placeit underneatha sheetof bond pa p e r .( This eliminaieshavingto dr a w g u id e lin e so n e a c h p ie c eo f bond paper.)Alwayskeepa smallpieceof card or scrappapernearby to che ckthe ink f low of your pen.A ftere a c hd ip o f t h e p e n ,p u lla s h o rt strokeon the card to removethe excessink. This is very importantas too much ink createsa sloppyline. Try using differentpen anglesto acquaintyourselfwith the results. Constantpracticeis a must,and it is importantto haveEood copy in front of you for reference. Also, be sure to cleanyour pen frequently jar dip it in a of waterand wipe it cleanwith a lint-freerag.At the end of a session,cleanthe nib with pen cleaner- ammoniaworksfine. SPACING - The spacingbetweenlettersis as importantas the letters themselves. Good spacing involvesequalizingthe optical weight or smoothnessof the word. In uppercase lettersthe narrowestspaceis betweenround letterssuch as O and C. A slightly wider space is betweena straightletterand a round letter,like I and O. The widest spaceis betweentwo straight,verticalletterssuchas H and l. Diagonal lettersare spacedopticallyto equalizethe open area;no dark or light sectionsshoulddominate.Properspacingis called"good color."
Basíc
sansffiñStyle
ABCDEFGH JKLMNOPQ RSTUVWXY
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ABOIDIFAFG ,\K'LMNolP llJt z -T
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23
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-INSTRUCTION-
The Chancery letter is a favorite with calligraphersbecause of its beauty, functionand speedof execution.lt is greatfor a largeamountof copy. The ChanceryCursive (italic)letter lends itselfbeautifullyto the broadpen.The shape of the lettersare tall ratherthan fat. The pen angle is 45 degrees,but the pitch of the stroke is 10-'15degreesoff the vertical.The pen does mostof the work and littlepressure is needed.Use one of the larger nibs for practiceas they are much easierto control. Followthe strokesequenceas shown.Use the guidelineboardfor practice.
BODYOF LOWERCASE 5 PENWIDTHS -
CAPITALHEIGHT 7-8 PEN WDTHS
10
Ascenders & Descenders equal to body height
STROKESEQUENCE z,
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UPPER CASE LETTERS
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LOWER CASE LETTERS
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C URSI VE C HANCERY
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CURSIVE CHANCERY
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CURSIVE CHANCERY
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C URSI VE C HANCERY
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Basíc
15
CURSIVE CHANCERY
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CURSIVE CHANCERY
SAMPLES CHANCERY
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-lNsrRUCTloN The name"Uncial"is derivedfrom the Romaninch of height-
"uncia."
Uncial is an upper case alphabet,but its ascendersand descendersgive it an upperand lowercaselook. The Uncialletterform is madewith a pen angleof 35 degrees.The lettersarefull and rounded with considerableopen areas,so be careful not to overspace' The alphabet Uncialshouldfeelthat it can be containedbetweentwo guidelines. can be usedin a varietyof heightsand widths.lt blendswellwith italicalphabets.
20
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21
UNCI AL
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& SWASHES FLOURISHES This "stylishextra"servesa doublepurposeby enhancingthe spaceand adding unexpectedinterest. It is important that these strokes be executed with disciplineand planning.The bold ribbonswashis done with the samebroad pen used for the lettering.A smallerpen is usedfor narrowerswashesand a fine point pen is usedfor hairlineflourishes.
23
la INSTRUCTIONThe Black Letter,also called"Old English,"is a handsome,strong,condensed style.lt is a greatform for creatinga feelingof times past.Today, it is often used for diplomas,awardsand other certificates. The Black Letteralphabethas many stylesand weights.The basicsolid weight letteris not as difficult as it appears because the letters are quite uniform.The pen is held at a 30 degree angle.The very ornateOld Englishwith hairline flourishesmust be drawn carefullywith a sharp, hard pencil,then inkedin with a pointedpen.
24 \-
BLACKLETTER
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BLACKLETTER
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CM SSIC INSTRUCTION The Romanletteris the foundationof many of the letterforms usedtoday.Roman stonecuttersand scribesdevelopedthe classicform. Thereare manyvariationsof the Romanletter,but the basicsremainunchanged. The Romancapitalsare made with a pen angle of 30 degrees.The serifson the lettersare executedby first makingan almosthorizontalstrokeacrossthe top and the bottom of the letter.Then the pen is arcedto the right and to the left to finish the serif.A shortverticalstrokeis madeto finish lettersC, E, F, G, L, T, and S, then filledin. The detailed,preciseclassiclettersarecarefullydrawnand inkedin with a fine pen.
'l{'B= 30
$CDE
FGH[IK OP
BSTU
VWXY Z &w
ABCDEF GHI NOPBS TUVWX Y
ABQDE'
FGHTIK
LMNOP STU VWXY 33
ROMAN
STYLIZED
ab ghUKm
nopqrs VWX
-tNSTRUcrloN iS idealfOr Or "ROundhand," ThiS claSsyScript,alSOknOwnaS "COpperplate"
awards,diplomas,testimonials,greeting cards or whenevera sophisticated feelingis desired. COppERpLATE- The intricatesinglestrokeletteris written at a slant of 54 degreeswith a flexible,pointed,oblique pen. Copperplateis developedwith pressureon the nib. The pressureis graduallyincreasedfrom a hairlineto a swell,then decreasedbackto a hairline. SPENCERIAN- Used for captions,logos and nameplates,Spencerianis practicaland beautiful. The copy is carefullylaidout on tracingpaperwith pencil, somewhatoversize.When the letteringis accurate,it is transferredto illustration boardand inked in carefullywith a pointedpen.Correctany slipswith opaque white paint and it's readyfor photo reduction.
FinePoint
SPENC ERI AN
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S PENC ERI AN
The weightof the swell shouldbe well abovethe g u id e lin e .
AWARDS SPENCERIAN
INSTRUCTION whenthe capitals This decorativeletterstyleadds much classand effectiveness are usedfor the leadinitialin a paragraphor a verse. Beingvery ornateand detailed,the lettermust be carefullylaid out on tracing paper,then transferred to the finalstockfor inking. lf usingthe broadpen,usethe smallestnib and buildthe letterup with care. Transferit to the tracingshouldbe slightlyoversize. lf the art is for reproduction, b o ardand do the finalinkingw it h a f in ep o in tp e n .S h a rp e nu p t h e a rt i l l ustr ati on with opaquewhitepaintand it is readyfor photo reduction.
40
RENAISSANCE
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INSTRUCTION This beautifulangularalphabetwas developedin Francein the fifteenthcentury. Batardeis a naturalfor the broadpen.lt is a veryangularform and the strokesare madewith litiledifficulty.lt is bestto useone of the largernib sizesto createthe sharpribboneffect.The pen is held at a 45 degreeangle.The uppercaseletters lowercaseletters' are quitewide and contrastwell with the tightly-packed Batardecombinesbeautifullywith ChanceryCursiveand otheritalics'
Wwe
Fq6WE oV Q13TTTL 07 z-
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-tNSTRUcrloN "Versals" The name
comesfrom its originaluse as the initialletterof a verse.
of this letter Versalsaretall letterswith an angulargrace.The maincharacteristic styleis the gentletaperedflaircurvingin at the middleof the stroke.lt is bestto pencilin the lettershape,then use a pen width that will giveyou one sideof the stroke,then a differentpen widthto createthe other.Afterthis,the spaceis filled in to completethe stroke.Then thin serifsare madewith a flat pen angle.The lettersB, D, G, P, R and U haveraisedand loweredloopsaboveand belowthe g u id e lin e s.
Loopsriseaboveand fall b e lo wt h e g u id e lin e s .
Buildup the letterwith two strokes,then fill it in with pen or"brush.
44
ABdnE
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illNl Lll lNl -INSTRUCTION-
The Inlinestyle can be strikinglyeffectivewhen used as a title or as the initial capitalof a word. lt hasgreat"posterpunch." The Inlinetechniquerequiressome planningbeforeits executionas the letters must be wide enoughto containthe stripecomfortably.Each lettershould be carefullylaid out with the centerline in place.One approachis to use a small broadpen and lettereachsideof the stroke,leavingthe stripein between.But the besttechniqueis to letterthe form completelyand then carefullypaintthe inline with opaquewhitepaintand a smallbrush.This requiresprecisebrushcontrol.
s
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BOLs A good logo Logo designis a vital part of promotionaladvertising. and recognition. can provideinstantindentification Th e b e st logosare usuallyquitesi mp lea n d s y mb o lic .Ma n yt ime s the graphicsymbolalonecreatesthe companysignature. A powerfuleffectis often achievedby groupingstylizedinitials.
50
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LETTERING WITHTHE
Brwh RUCTION The SteelBrush is an interestingand helpfultool. lt is greatfor largelettering becauseof itsextrawidth,and you can usethinnedposterpainton it as well as ink. Steel Brushesrange from 1/4 inch to 3/4 inch wide.They make it possibleto fashionletters7 to 8 incheshigh. The SteelBrushis a fine tool for sign or posterwork' Try supportingyour hand with a sign painter'smahlstick.The flexibletip providesmore control than a try dippingthe pen intotwo or morecolorsat a time. results, brush.Forinteresting
55
tut OF EXAMPLES LETTERING USEDIN ADVERTISING
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ín It has been my pleasureto share my life-longobsessionwith the letterform with you. I hope you don't restrictyour letteringto the broad pen. Try the fine point flexible nibs and the steel brush. Experimentwith a show card brushand a sign painter'squill.These will all contributeto your total calligraphicskills.I have demonstrated many alphabetsand styles;they are here for the taking. Remember,every minute you spend exploringthis excitingart is yours to keep.Don't be afraidto be creative!
ACKNOWLEDGEMENTS To RossSarracino-forhis kindnessand understanding. To SydneySprague-for her professionalhelp and editing. and patience. To my wife,Emma-for her encouragement
for riousInstruction Artists Serious 'll'h¿:>nhat the Artist's Library Seriesis all lürr-'il The booksin this serieswill help you ,us:¿n.Jr-ourcreativity,overcometechnical nrr:r;-;ies.and explorenew media.Each 64-page p"*rerhackfocuseson the materialsand methqrrs ,trra specificmedium and providesstep-byw':: demonstrations,helpful tips,and plenty of üÍi:tlr.Iragement.
Thequalityof instructionin this seriesis Eachbookis writtenandillustratu;ns-irpassed. in the artistwhospecializes r; :r a professional pr:ir"-ularmediumandis uniquelyqualifiedto s;;e thereaderto a newlevelof expertise. AL13
Perspective by Wm. F. Poweil AL14
Cartooning
. -'
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R..Lighr
by Hal Tollison AL15
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& Lenenr.:D¿:.:. Calligraphy by Arthur Nerhall AL16
'q l. l:::lordJohnson
Wih lfi.r¿¿1l¿;;; Watercolor R.Light byDuane ALl7
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1..i HowToUseIt)
Materials Oil Painting
: Pcrsell
by Wm. F. Powell AL18
,"'ur :: lll¡l¡ Pen& Ink
& AcrylicMateriak Watercolor
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by Wm. F. Powell
r- l.¡ssfo¡d
AL19
- ; r:': ?¿ncils -
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TheArt Of Framing by Charlene Brom AL2O
¡,lf i", -
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l.Dellille
FeltPen&Watercolor byDuaneR.Light AL21
Sculpturing by DomenicoMazzone
& Uses) ,;ir-;{.', ,Techniques ¡
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,. : ;-. :r. ! : I mpressionism 3
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tui;,,-::. ,; DnbrushTechnique - -r:. ¡::rks
AL22 EggTemperaPainting by Kirk Miller AL23 Knife Painting by Wm.F.Powell AL24 Marker Rendering by ToddMurrison
WalterFosterPublishingprovides art instructionproductsfor all ages andskill levels.For moreinformation,sendfor a free catalog. Walter FosterPublishing,Inc 23062LaCadenaDrive LagunaHills, CA92653
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