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""™"^ '"'"'*

IMiMii'SlSffi ^ ""^aHse with 200

3 1924 019 514 037

DATE DUE

mt

K

H^H

-

^

^"

"WF miAz

•^^5'

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


lines

is

how

artistic

The whole

effect.

probleni of

however, one of such subtle interrelation and

composition, that

the

the

and second

the letters are spaced close or wide in

order to produce a definite is,

in the first

how

In the advertisement, 123, also by Mr.

managed.

Bridwell, note

spacing

French

spacing of the word

In the

top.

page of capitals, 124, by Mr. Bridwell, see also

can only be satisfactorily solved by

it

Any

sense of the designer.

rules

which might

he here formulated would prove more often a drawback than a help.

Roman

Certain optical illusions of some of the

forms should be caused by the

with determining

tom

serifs against

The

guide lines.

seem

of certain

failure

round

letters to

letter

illusions

are

impinge squarely

the demarking top and botletters c, G,

o and Q^ often

and smaller than the other characters

to be shorter

word unless the

in a

These

mentioned.

briefly

outsides of their curves run both

above and below the guide

lines.

For the same reason

s

should be sometimes slightly increased in height, though in this case the narrowness of the letter

necessary; and

J,

same conditions

come is

s,

closely against

right side of

this

on account

as

D would

save it

.of its

when

at the

makes

kern,

letters

is

less increase

governed by the

with distinct

bottom.

serifs

Theoretically the

require similar treatment, but actually

seldom found necessary.

The

pointed ends of

ROMAN CAPITALS the letters

amount of on eachfirst

should, for similar optical reasons,,

below the bottom guide

slightly

them.

Roman

In the a, the

got over the optical difficulty caused by

than

this letter also higher

its

problem by shaping

later solved the

its

lines,

by the

this extension being determined

side of

by running he

w

v and

be extended

^

its

letterer at

pointed top

neighbors

;

Because of

Some

it

narrowness,

its

1

than the wider

letters.

idea of the proportionate

variations

required to

counteract the optical illusions of the letters above

may be first

named

obtained from the practice of type-founders.

making the designs to

should

more proportionate white space on

generally be allowed either side of

draw each

its

obtaining a sufficient width of top

still

to satisfy the eye.

but

apex as shown

in I, thus apparently getting the letter into line with

companions while

the

letters

for a fount of type, letter at

a,

In

has been customary

it

very large size.

Taking an

arbitrary height of twelve inches as a standard, the points

of A and V were made to extend about three-quarters of an inch above or below the guides, the letter o was ruh over

about half an inch

of the

pen

w were

lettering,

adapt each ings

and

made

at

both top and bottom, and the points

however,

letter

same

to project about the

more

it

is

possible

perfectly to

its

distance.

and preferable

In to-

individual surround-

by judgment of the eye than to rely upon any hard fast rules.

Certain variations between the stone-cut forms o£ the

Roman be

letters

and

their

understood before

forms as drawn or printed should

an intelligent adaptation of stone

forms to drawn forms, or the opposite,

drawn or printed a character

is

is

possible.

When

seen in black against a

ROMAN CAPITALS

10

white ground with no illusory alterations of

In stone-cut

caused by varying shadows.

its

widths

line

letters,

on the

other hand, where the shadows rather than the outlines

themselves reveal the

4.

problem.

govern

the forms, different limitations

The

thin

lines

of a

letter

DRAWING FOR INCISED ROMAN CAPITALS

IN

to

be v-sunk

GRANITE

F.C.B.

should generally be made slightly thicker in proportion to the wide

.lines

especially as

than

is

the case with the pen-drawn letter,

the section

is

sharply cut nowadays than

likely to

workmanship of to-day seems materials used

more

friable.

be

in the ancient

A

less

deeply and

examples, for the

to be less

perfect

and the

slight direct sinkage before

beginning to cut the v-sunk section

is

a useful

method of

ROMAN CAPITALS partially atoning for

more

modern shallow

11

cutting, as

shadows

The

directly, defining the outlines are thus obtained.

student should, however, be warned at the outset that

6.

PHOTOGRAPH .FROM INCISED ROMAN CAPITALS SHOWN IN 4

repiroductitins or. tracings letters are apt to

from rubbings of ancient stone-cut

be more or

less deceptive, as all the acci-

dental variations of the outlines are exaggerated,, and the stone of the original has been chipped or it

all

where

worn away

appears in the reproduction as though the

letter

had

been actually so cut.

The

photograph of a panel of lettering from the upper

part of the

Arch of Constantine, Rome, shown

indicates the effect of letters

;

and the

effect

clearly observed

shadows

in 6, well

in defining the classic

of shadows on an

by comparing 4 and

incised letter 5, the

Roman may be

former show-

ing a drawing for an inscription in which the Serlio-Ross

K

O

M A N CAPITALS

13

^^HF

7.

MODEL FOR INCISED ROMAN CAPITALS.

MCKIM, MEAD & WHITE

ROMAN CAPITALS

14

alphabet was used as a basis for the letter forms, and the latter

being a photograph of the same inscription, as cut in

granite.

8.

lines

will

It

be noted

how much narrower

FROM A RUBBING

ROMAN INCISED CAPITALS appear

drawing.

when

defined only by

The model

shadow than

the

in

used for the lettering on the frieze of

the Boston Public Library, 7, which ing

the thin

modern forms intended

shows some

interest-

for cutting in granite, should be

shadows; while 14, a Harvard Architectural

studied for the effect of the cast

redrawing of inscriptions on

the

Building, Cambridge, Mass., exhibits an excellent type of letter

with widened thin lines for v-cutting in sandstone.

The

special requirements of the stone-cut forms for either

incised or raised inscriptions are, however, quite apart from

the subject of this book, and are too various to be taken up in greater detail here.

It is

important, nevertheless, that

the designer should be reminded always to for the material in

Otherwise,

if

which

a letter

was

make allowance

originally executed.

exactly copied in other -materials, he"

the result annoyingly unsatisfactory.

may

find

i

ROMAN CAPITALS The sance

examples of Italian

letters

taken from

monuments, shown

in

16

Roman the

and Reilais-

pages of this

chapter, will illustrate the variety of individual letter forms

'AtT10-l5K)lt3Ni* ^

PATR'ONO

,

:7\NIilSlNAE '

:

'

>

•

ttTTIVSLLSA LV1V5APOLT-

M'BITR

•

I

JM^i-

!

1

^J

by the

used

1

A ET EI-ATTK I-- 1 B

ROMAN INCISED INSCRIPTION

9.

F

Classic

and

BOLOGNA

Renaissance

designers.

The

shape of the same letter will often be found to vary in the

same

inscription

and

even in apparently analogous

VETER A N:VS-

COHORT

SECV N D A E'PRA ETOR !# 10.

cases.

BOLOGNA

ROMAN INCISED INSCRIPTION

The

designers evidently had

in

mind more than

the directly adjacent words, and sometimes even considered

ROMAN CAPITALS

16

the relation of their lettering to objects outside the panel altogether. Italian in

This

is

especially true

Renaissance, which

is

in

the

work of the

almost invariably admirable

both composition and arrangement.

AB'POIVtaDC 11.

DETAIL FROM A ROMAN INCISED INSCRIPTION

Figures 8 to 22

show examples, drawn from various

sources, which exhibit different

Roman

letter forms.

F.C.B.

The

treatments of the classic

differentiation will be

found to

lAMIVSMfNmO

.

JMitiMKmiuid SffiMlEDfMiIMWiaL 12.

lie

ROMAN CAPITALS OF PEN FORMS CUT

IN

STONE

largely in the widths of the letters themselves,

treatment of the

and in the and varying widths of line. 22 are redrawn from rubbings

serifs, angles,

Figures 11 to 13 and 16 to

F.C.B.

ROMAN CAPITALS of

Roman

Figures i6

incised, inscriptions.

17 and,;

17 show

beautifully proportioned letters cut in marble with unusual

care and refinement, considering the large size of the originals.

A later Roman form of less

refinement but of greater

rfMiM ,5nvsaw

13.

ROMAN CAPITALS FROM INSCRIPTIONS, FROM RUBBINGS., F.C.B.

Strength and carrying

adapted to

In

power, and for that reason

many modern

uses,

this case the original letters

is

shown

in

better

18 and 19.

were cut about seven and

I % O •H iSl

0.

Z •
in

< H

b
o a u u g z OS u:

Q

o S

o

o o S o o

12;

O'

H i-i

20

16.

ROMAN CAPITALS

CLASSIC .CAPITALS CUT IN

MARBLE

ROMAN FORUM.

F.C.B.

17.

CLASSIC CAPITALS CUT IN MARBLE

,

ROMAN FORUM.

F. C.

B

22

\

ROMAN CAPITALS

(=7F=!P

18.

CLASSIC CAPITALS CUT IN

MARBLE

FROM RUBBINGS.

F.C.B.

19.

CLASSIC CAPITALS CUT IN MARBLE

FROM RUBBINGS.

F.C.B.

6 g «

o

A^^U

(4

n S

14

<

o 12!

32rigp^

t=3

WH

ROMAN CAPITALS The

one-half inches high.

modern

shown in 21 shown in 1 8 and

Figure 11 shows a

19.

1

2 depicts a

Roman

letter

letter-

like that

composed

detail

on the other hand

in a quite representative fashion; while

figure

are, curiously

Roman

form very

exhibits the use of a

ing

20

in

letters

Part of the panel of

in character.

27

of quite unusual character,

and of a form evidently adapted from pen work,

in

which

the shapes are narrow and crowded, while the lines are

thickened as though they were of the classical square out-

The

line.

and

in

1

bits

of old

Roman

shown

inscriptions

in 8 to

10

3 are included to exhibit various different forms

and treatments of After the

fall

classic capitals.

of

Rome

and during the Dark Ages the

practice of lettering, at least in so far as the

Roman form

With

was concerned, was distinctly retrograde.

the advent

of the Renaissance, however, the purest classic forms were revived; and indeed the Italian Renaissance seems to have

_been the golden age of lettering.

With

the old

Roman

fragments of the best period constantly before their eyes the Renaissance artists of Italy true spirit of classicism

;

and

seem

their

to

have grasped the

work somehow acquired

a refinement and delicacy lacking in even the best of the

•Roman examples. As much of the Italian Renaissance lettering was intended for use on tombs or monuments, where

it

might be seen

at close range,

marble, the increased refinement

may

and wasi cut in

fine

be due, at least in

part, to different conditions.

The

pdTnel

from Raphael's tomb

in the

Pantheon, Rome,

30, shows a beautiful and pure form of.typipal Renaissance letter; and the compositionof the panel is as well worthy

ROMAN CAPITALS

28

Figure 34, devised letter forms. Santa Croce, portrays a letter not only

of careful study as are the

from a

tomb

in

beautiful in itself, but

one which, with two minor changes

(for the top bar of the

T might advantageously be shortened

SCR STD'PH0R\ > [M/WRVhTitiNCF !'•: I

23.

ITALIAN RENAISSANCE INSCRIPTION

to allow

its

IN

neighbors to set closer, and the

MARBLE

M

might be

finished at the top with a serif, after the usual fashion),

is

exactly applicable to the purposes of the modern draughts-

man. used

This type of

letter

appears to best advantage

when

such panel forms as those shown in the rubbing

in

from the Marsuppini tomb, ^i, and the same church, 32.

Two

in the floor slab

from

very refined examples, 28 and

29, also from slabs in Santa Croce, Florence, date from

about the same period. itself,

The

latter exhibits the

and the former shows .a similar

The

used.

letters in

letter

alphabet

form as actually

33, redraw^n from rubbings from the

Marsuppini tomb, are shown for comparison with the rubbing

itself,

Taken

which

is

reproduced in

smaller size in

31.

together, plates 30, 31 and

32 will fairly represent not only ;he usual fashion of composing Reijaissance panels, but capital forms which illustrate some of the most excellent

work of

this period.

"

ROMAN CAPITALS

30

A very different many of the

and interesting type of

which has been medal designers

recently, in

Although absolutely

much more

letter

was used on

best medals of the Italian Renaissance (see 24),

adapted and employed by modern

France, as plain,

it

is,

exhibited

when

eiFective in the service for

figure

in

25-.

properly composed,

which

it

was intended

WXZ-THI 2G.

than

CAPITALS ADAPTED FROM RENAISSANCE MEDALS a

more

elaborate

and

sometimes adapted with good

fussy

form

results to

;

and

F.C.B.

although

other, uses,

particularly appropriate for casting in metal.

it

is

Similar forms

rendered in pen and ink are shown in 26. Figures 27, and 35 to 41

forms of capital

letters

Renaissance masters.

show

various pen or printed

redrawn from the handiwork of

The

capital letters

shown

unusually beautiful, and their purity of form

is

in

27 are

well dis-

ROMAN CAPITALS played in the outline treatment.

31

Perhaps the best

known

standard example of a Renaissance pen-drawn letter

that

is

by Tagliente, reproduced in 35 and 36. In spite of their familiarity it has seemed impossible to omit the set of capi-

.albcdefgks mfflopqrfiiixyz 27.

tals,

SPANISH RENAISSANCE ALPHABET

JUAN DeYCIAR, 1550

with variants, by Albrecht Diirer, 37 and 38;

Diirer's letters

were taken ss a

basis

by nearly

all

for

such

Renaissance designers of lettering as Geoffrey Tory, Leonardo da Vinci, etc.

It

should be observed in the Diirer ,

ROMAN CAPITALS

32 alphabet that

among

the variant forms of individual letters

shown, one/ is usually intended

for

monumental

use, w^hile

another exhibits pen treatment in the characteristic sw^elling

of the round

28.

letters

etc.

RENAISSANCE INLAID MEDALLION

FROM A RUBBING.

F.C.B.

39 and 40, should be compared with Mr. Ross's modification of it, reproduced in i and 2. Ther Serlio's alphabet,

alphabet

shown

in

41

is

classic- capital, contrasting

more

typical forms.

a

somewhat expanded form of

markedly

in various respects with

ROMAN CAPITALS

33

ALZONE BCDEFG HIKLMPR

STQVEY FILIPPOX 29.

ITALIAN RENAISSANCE CAPITALS

SANTA CROCE.

F. C. B.

s o a

o w <; Pi

o H

1-1

» < P< ti

%

O Pi 1^ iJ

M 13 •<

P<

U 13 <1

Pi IB -J!

H

o z

o fa

m"

o

s u < to

o o

S5

o Pi

u

IZi

36-

ROMAN CAPITALS

ITALIAN RE

NAISSANCE LETTERING

ABCDEFGH URLMNOP

QE^STUW

VXY POLVS OyE ERAT Z 33.

ITALIAN RENAISSAK CE CAPITALS

MARSUPPINI TOMB.

F.C.B.

ROMAN CAPITALS

37

ITALIAN LETTERS MERIT\E ABCDLFG HlJKLMN

OPQ^TU

VZWXY

34.

ITALIAN RENAISSANCE CAPITALS

FROM RUBBINGS.

F. C. B.

38

35.

ROMAN CAPITALS

ITALIAN RENAISSANCE CAPITALS

G. A.

TAGLIENTE.

1524

ROMAN CAPITALS .f-rH

ITALIAN RENAISSANCE CAPITALS

39

m

G. A.

TAGLIENTE, 1524

^

40

ROMAN CAPITALS

AABBB CCCDD DEETG

GHIKK KLLMM 37.

GERMAN RENAISSANCE CAPITALS

ALBRECHT DURER. 1525

ROMAN CAPITALS

41

NNNO PPPRR

TTTVX 38.

GERMAN RENAISSANCE CAPITALS

ALBRECHT DURER. 1626

42

ROMAN CAPITALS

ABC GHI

TVW ITALIAN RENAISSANCE CAPITALS

SERLIO,

16th

CENTURV-

ROMAN CAPITALS

43

DEF KLM XYZ

40.

ITALIAN RENAISSANCE CAPITALS

SERLIO,

16th

CENTURY

4A

ROMAN CAPITALS

[FySHW 41.

GERMAN RENAISSANCE CAPITALS URBAIN W YSS. 16th CENTURY

ROMAN CAPITALS A

practically unlimited

45

number of other examples might

have been included to show various capital forms of Renaissance letters

but the specimens chosen will adequately

;

more

illustrate all the

distinctive

and refined types of the

individual letters.

movement many

Before, during and after the Renaissance

and extraneous influences temporarily modified the

local

Roman

forms of the

numerous examples of

Romanesque

traits are

There

letters.

lettering in

are,

strongly apparent, such as the free

manipulation of the letter forms in order to .into

for instance,

which Byzantine and

given lines and spaces.

make them

The drawing of the

fit

panel over

the doorway of the Badia, Florence, 42, notable for the characteristic placing

a case in point. it

and composition of the

This example

is

shows how the Uncial form of the

react

and find a use

letter

was beginning

a state of affairs which

ITALIAN RENAISSANCE PANEL, FLORENCE

42.

first

C. F.

to at'

BRAGDON

glance might seem anomalous, for the Uncial letter was

distinctly a its

in stone

—

letters, will serve as

further interesting because

pen-drawn form; but

rounder forms made

it

it

was discovered

that

particularly useful for inscribing

stones which were likely to chip or sliver, in carving-which it

was consequently desirable to avoid too acute angles. letter underwent various salient modifications

The Roman

ROMAN CAPITALS

46

We

hands of the scribes of extra-Italian nations.

at the

find very crude variants of the

dreds of years after the

Roman

Roman form had

I

dating hun-

letter,

reached

its

highest

iJlI

RIC5ARDDOYEY 43.

MODERN TITLE

development

;

(Compare

B.G.GOODHUE

48)

and, on the other hand, some very beautiful

and individual national variants were produced. tinual interchange of manuscripts

among

The

con-

the nations on the

continent of Europe probably explains the more' conventional character

and strong general resemblance of most of

the early Continental

work

;

but the scribes of insular Eng-

land, less influenced by contemporary progress and examples,

produced forms of greater individuality (see

MODERN TITLE

44.

48).

In Ireland,

Roman no

(Compare

letter

ulterior influences,

forms originally derived from

and resulted

47,

WALTER CRANE

48)

models were developed through

distinctive

46',

in

many

early

decades with

some wonderfully

and beautiful variations of the

Roman

letters.

ROMAN CAPITALS though the beauty of these suggested

faintly

Irish

47

examples can only be

by reproductions limited

to

black and

white, and without the decorations of the originals.

Figures 43 and

44

illustrate, respectively,

ments of such strongly characteristic

modern employ-

letters as those

shown

nRcniTecTURe cMeFLY:seLecTeo FRQMBXKMPLeS OF:The:i2rKNo:i3:

ceNTURies:iN: FR;^ce:2d:iT;^LY

^no:orrwn:by weoGNiNesFieLO KRGMTeC1?LONO0ri 45.

in

TITLE IN EARLY ENGLISH CAPITALS

46 and 49.

have evolved

From

W.

E.

NESFIELD

these ancient examples the designers

letters suitable to the character

of their work.

In 44 Mr. Crane has engrafted upon a form quite personal to himself a characteristic detail of treatment borrowed

shown in 49. Figure 45 shows a similar and modernized employment of a standard form of Uncial from the

capital.

letter

ROMAN CAPITALS

48

.flBCCh ^ I

(9t)Gbj

O

LcDJsIJU

PORS

-

PUTV 46.

ANGLO-SAXON CAPITALS

'

6th

CENTURY

ROMAN CAPITALS

49

AfibECO

D>EpGHhh IJllLWmW RxjJriij

YYWXM 47.

ANGLO-SAXON CAPITALS

7th

CENTURV

50

ROMAN CAPITALS

CDOGFE gfptoHIcIK

LCDMNN PQflRST 48.

ANGLO-SAXON CAPITALS

EARLY

10th

CENTURY

ROMAN CAPITALS

EARLY ENGLISH CAPITALS

51

16th

CENTURY

"

CHAPTER

II

MODERN ROMAN LETTERS The

small or " minuscule " letter that

printed books attained

its

modern and

of printing.

after the invention

were made to imitate,

as

we now definitive

The

first

use in

all

form only

printed books

closely as possible, the hand-

work of the scribes of the early fifteenth century, and as pri-nting was first done in Germany, the earliest book types were those modeled upon German scripts, somewhat similar to that shown in 141, and their condensed or blackletter The Italian printers, of a more classical taste, variants. found the German types somewhat black and clumsy; for written

though Gothic characters were also used

become

lighter

and

therefore, evolved a

more

refined

new form of

in Italy, they

there.

The

had

Italians,

type letter, based upon

the Italian pen letters then in use, which though fundamentally

an

Gothic in form had been refined by amalgamation with known as the " Caroline," from its origin

earlier letter

The " Caroline Roman " Half-uncial."

Under the direction of Charlemagne.

was

The

in its turn

an imitation of the

close relationship of the

in Italy

scribes

is

small type letter forms

well indicated by the legend that the

sloped small letter,

of Petrarch. itals

first

with the current writing hand of the best Italian

was taken

The new

directly

"

Italic," or

from the handwriting

Italian types, in

which

classic cap-

were combined with the newly evolved minuscule

MODERN ROMAN LETTERS letters,

were

called

" Roman

53

" from the city of their origin,

and sprang into almost immediate popularity, spreading from Italy into England, France and Spain. In Germany,

on the other hand, the national and

is still

The

blackletter form persisted,

in use to-day.

minuscule "

Roman "

letters

thus

evolved were

developed to their most perfect individual forms by the master-printers of Venice

they produced that

and

;

we must

is

it

to the models

revert to-day

to devise or reproduce an elegant small letter of

servative form. in

The modern

which

when we attempt any con-

pen draughtsman should bear

mind, however, that, perfect as such forms of

letters

may

be for the uses of the printer, the limitations of type have necessarily curtailed the freedom and variety of their serif

and swash

lines,

and that therefore, though accepting their

basic forms, he need not be

cramped by

their restrictions,

nor imitate the unalterable and sometimes awkwardly inartistic relations

of letter to

letter for

which he

finds precedents

Indeed, the same general rules for

in the printed page.

spacing and the same freedom in the treatment of the

serifs,

kerns and swash lines are quite as applicable to pen-drawn small letters as to the capital forms. progress

lies in this

fertile artists

The

freedom of treatment

of the Renaissance

who have

only true path of ;

and

if

the same

bequeathed to us

such beautiful examples of their unfettered use of the capital

had used the minuscule

also,

we

should undoubtedly possess

small letters of far more graceful and adaptable forms than those which

we now have. may be found

In 50 and 51

an attempt to formulate a

scheme

to assist in the reconstrtiction of an alphabet of

Roman

small letters, after

somewhat the same fashion

as

m

d 1^

H H W iJ

CO

< oPS

b

o o H

o Pi tn ^;

o

u w K

H PS

O Pa

w s B

o 10

'

o

H H W J
S

w :zi

.<

a o « lb o :a

o H O 13 P4

H CO O U

w K H o

w s

K

o

.

MODERN ROMAN LETTERS

56

that devised for the

A

Roman

capitals

by Mr. Ross,

in

i

and

2.

small-letter diagram must, for obvious reasons, be less

exact and detailed than one for the more defined capital

form

but the diagram given will serve to determine

;

main outlines and proportions.

ciently the

the letters

shown

best type forms

50 and 51 adhere fairly clc^^ely to the letter; and the drawing will

in

of the small

serve, further, to

show

the

space generally allowed

modern founders between one lower-case

letter

when

is

set into type

w

and y

(in

This spacing

words.

The open

of the fount employed. k,

which the outlines of the

letters

of the

m

in

based on the

letters

all

m

but

themselves

neighbors) and

the

being the space between the upright strokes

an interval represented in the diagram by a

;

square and a half. said

by

and another

space between

hold them further away from their

round

suffi-

In their shapes

The

round

letters, as

has already been

speaking of the capital forms, should be spaced

nearer together; and

it

will

be observed that they are only

separated by one square in the diagram.

Although sugges-

tive, the rules which govern the spacing of types are not

to be blindly followed

instance,

it

by the pen

would be impossible,

allow the kerns of the

of the next

letter,

and y to project

f, j

and

letterer.

in

In type,

for

for mechanical reasons, to far

over the body

these letters the kerns conse-

quently have either to be restrained or the letters spaced farther apart.

In pen lettering, however, the designer

is

not

restrained by such limitations, arid his spacing of letters

should be governed solely

The disposition

ty

the effect.

of the accented lines in the small

letters

follow the same general rules that govern those of the capitals (see

page 2); the only deviation being in the case of

MODERN ROMAN LETTERS

57

the g, in which the shading of the bottom seems to have

been determined largely by the It will

upon the

effect

eye.

be noticed in the diagram that the " ascenders " of

the smaller letters rise about three squares to their extreme top points above the body of the letter; that the body of

each letter is inclosed in a square that is three units high, and that the " descenders " fall but two squares below the letter

These proportions

body.

are

however, and indeed there

invariable,

by any means

not is

no

fixed rule

which the proportions of ascenders and descenders body of the

Roman

some forms of

minuscule

sometimes that length the

letter.

may be

the letter both are of the

In

the

is

general

a

same

better

by

to the

determined.

In

same length, and

as the result

body height of is

making both ascenders and descenders of

obtained less

by

than the

length of the body, and keeping the descenders shorter

than the ascenders in about the proportion of two-fifths to three-fifths. Parallel lines

of small

letters

cannot be spaced closer to

each other than the ascenders and descenders will allow j the projections above

and below the

line are

awkward, and

interrupt the definite lines of demarkation at the top and

bottom of the letter-bodies connection with the small the line

—

all

;

the capitals necessarily used in letters

add to the irregularity of

of which reasons combine to

ment of minuscule

for formal or

the other hand, the small letter form for the printed page, to

limit the

monumental is

employ-

uses.

On

excellently adapted

where the occasional

capitals but tend

break the monotony, while the ascenders and descend-

ers strongly characterize letter

forms.

and increase the

legibility

of the

MODERN ROMAN LETTERS

58

m

Aaabbccddeeffflgghhiijll m nn oo pp qqrr ffflss ft tt a vv uu xxjjryzz.6 ft xaegg 20 & Gcb :->

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
O S :3

_,

^3

'^i?

.s

+^

c/5

?^

'-'-H

P C ^

"^

Hh


"^ C^

^

cd

jj>

C5

t

13

s

*^

iJh •^§.1'

^ e^

(U

fl

a>

4-1

'rt

c«

G S p -M «

o G § i a ^ ^ a -^ ;^

^

5 G

'^

,i^
-aflT -.=3

a o g

"Sop

O o o n i?

w S

o H K

^^

^ 'r^

5, Sj

^ ^

5

I

^

s o <;

o

o ;3 o.. .53 rG c^ 3 o ^ CJ r5 _S r« 4 g c/5

< s o Pi

/

MODERN ROMAN LETTERS

66

DANTE IS WELCOMED BY HIS ANCESTOR.CACCIAGUIDA. CAO CIAGUIDA TELLS OF HIS FAM. ILY AND OF THE SIMPLE LIFE OF FLORENCE IN OLD DAYS.

CANTO XV. BENIGN wm, wherein the which righteously

love spires

in^

always manifests itself,

as cupidity does in the evil will,

sweet

lyre,

the right

imposed

silence

on

that

& quieted the holy strings which

hand of heaven

slackens

& draws

How

unto just petitions shall those substances be deaf, who, in order to give me wish to pray unto them, were concordant in silence? Well is it that he endlessly should grieve who, for the love of thing which en^ dures not eternally, despoils him of that love. As, through the tranquil and pure evening skies, a sudden fire shoots from time to time, moving the eyes which were at rest SC with tight.

62. \

MODERN ROMAN TYPE "MONTAIGNE"

BRUCE ROGERS

MODERN ROMAN LETTERS

67

ENGLISH PREFACE TO ROBERT STEPHENS

APOLOGIE FOR HERODOTUS ToTHE RIGHT HONORABLE LORDS WILLIAM, EARLE OF PEMBROKE PHILIP,EARLEOFMONTGOMERIE Our^atrons of Learning & Patterns of Honor 1

I^ht noble Lords Laertiustelleth vs, that in old time there :

were but feuen wife men to be found in the world but now it feemes there are hardly feuen ignorant. For a man can no fooner fet faire marke, but euery bungler will out with a bolt (as though he could cornicum oculos configere), and like Roman Cenfor will ^iue his cenfure, though often no more to the :

purpofe than Magnificat for Matins, as it is in are now fallen into the French prouerb. that criticall a^e wherein Cenfores liherorum arebecome|3ENSORES LIBRORUM Lectores,

We

;

LICTORES and euery man's works and writings, (both prime inuentions and fecond-hand :

tranflations) are arraigned at the tribunall of

each pedantical Ariftarchus vndcrftandin^. The World 63.

of

Wonders, Imprinted for John Norton,

MODERN ROMAN TYPE "RENNER"

THEO.

L.

1607.

De VINNE

MODERN ROMAN LETTERS

68

CORNELII TACITI DE VITA ET INCIPIT FELICITER ^? »^^^ Larorum virorum fadta .^^

1

tum^nenostrisquidem aetas omisit^ quotiens

gressaestvitium

tiam recfti et invidiam,

pronum magisque in adprodendSn^virtutis tantum conscientiae pretio ducebatur. potius morum quam adrogantiam

aut obtredlationi fiiit: adeo virtutes facillime gignuntur. at nunc narraturo quam non petissem incusaturus. tam cum Aruleno Rustico Paetus Thrasea^ dati essent^ capitale fiiisse^ neque in ipsos

saevitum^ delegate triumviris ministerio in comitio ac foro urerentur . scilicet illo senatus et conscientiam generis humani pientiae professoribus atque

omni bona

tum occurreret dedimus profedlo 64.

MODERN ROMAN TYPE "MERRYMOUNT"

BY

B. G.

GOODHUE

MODERN ROMAN LETTERS since

known by

his

modern type-founders

;

and though

provided us w^ith a text letter far superior to

this revival has

the

This face has comparatively

name.

recently been revived by

69

forms previously in

modern

use, the

imitation

may be

short of the beauty of Caslon's original, as

comparing the

shown

letters

falls

seen by

which are reproduced

in 6 1,

from Caslon's specimen-book, issued by him about the middle of the eighteenth century, with the type used

in

modern " Caslon." Figures 62 to 67 show some newly devised type faces, all designed by artists of reputation. Figure 62 illustrates a fount called the " Montaigne " which has been recently completed by Mr. Bruce Rogers for the Riverside Press, printing this volume,

which

is

a good

'

Cambridge, Mass., and cut under

immediate direction,

his

with especial insistance upon an unmechanical treatment of serifs, etc. As a result the " Montaigne " is, for type,

remarkable in

freedom, and

its artistic

worthy the study of the designer. letters suggest the purity

The

letters

Both

forms are well

capitals

and small

of the Italian Renaissance shapes.

space rather farther apart than in most types,

makes

and the

result

modern

faces of type have been designed

lines,

its

its

for legibility.

notably one for

The Dove's

Although several other

" Montaigne " seems the best of them freedom, and

its

on much the same

Press in England, the all,

because of

its

absolute divorce from the overdone, exag-

gerated, heavy-faced effects of the Morris styles of type.

Mr. De Vinne of the De Vinne has

introduced

which was publications.

selected

a

new

type called the

originally cut for

The

Press,

letters

some of

were

first

New York

City,

"Renner",

63,

the Grolier Club's

photographed from a

page of Renner's " Quadrigesimale," then care-

MODERN ROMAN LETTERS

70

MARCVS TVLLIVS CICERO DE SENECTUTE CATO MAJOR CAP. XXII APVDXENOPHONTEM AVTEM MO RIENS CYRVS MAJOR HAEC DICIT: |OLITE arbitrari, O mei carissimi me, cum a vobis

filii,

discessei'o,

nusquam aut nullum fore. Nee enim dum eram vobiscum ani-

mum meum

videbatis, sed

eum

esse in hoc corpore ex iis rebus quas gerebam intellegebatis. Eundem igitur esse creditote.etiam si nullum videbitis. 80. Nee vero clarorum virorum post mortem honores permanerent, si nihil eorum ipsorum animi efficerent, quo diutius memoriam sui teneremus. Mihi quidem persuaderi numquam potuit animos dum in corporibus essent mortalibus vivere, cessissent

ex

eis

esse insipientem sisset

;

sed

emori; nee vero tum

cum ex

cum omni

cum

ex-

animum

insipienti corpore eva-

admixtione corporis

libera-''

tus purus et integer esse coepisset, tum esse

sapientem.

Atque

etiam,

eum

hominis natura

morte dissolvitur, ceterarum rerum perspicuum est quo quaeque discedat, abeunt enim illue omnia^ unde orta sunt; animus autem solus nee eum 65.

MODERN ROMAN TYPE "CHELTENHAM"

BY

B. G.

GOODHUE

MODERN ROMAN LETTERS Mr.

redrawn before the punches were

studied and

fully

De Vinne

71

has added small capitals and

cut.

italics to

the

fount, as well as dotted letters to serve as substitutes for the italic

for those

who

commercial usefulness

employ

effective

generally

is

it

on a larger body

notes, in this connection, that

were

tant types of the early printers

designed to-day with regard only to

type

but for

;

deemed expedient

body as the face of a type

as small a

Mr. De Vinne

The " Renner "

prefer them.

would have been more

large,

all

to

will allow.

the impor-

and that a fount

its artistic

effectiveness

would be cast upon a large body and be of good

size.

Mr. Bertram G. Goodhue has designed two founts of Roman type, and is now at work on a Blackletter face. His first fount, cut for Mr. D. B. Updike, of the Merrymount Press, Boston, and known as the " Merrymount," is shown in 64. sarily

Intended for large pages and rough paper

shows to disadvantage

in the

it

neces-

example given, where

the blackness and weight of the letters

makes them seem

clumsy, despite the refinement of their forms.

The " Cheltenham Old

Style," 65,

face recently designed by the

Cheltenham Press of present form

many

of that press.

same

New York

is

artist.

the other It

was cut

Roman for the

City; and embodies in

ideas suggested

its

by Mr. Ingalls Kimball

Observe especially the excess in length of the

ascenders over the descenders, and that the serifs have been

reduced to the minimum. type cutting, the

round

the guide lines.

The

Contrary to the usual custom in

letters

capitals

do not run above or below

compose

excellently

;

but the

small letters are too closely spaced and seem too square for the best effect, and weight has been obtained by so thicken-

ing the lines that

much

delicacy and variety has been lost.

MODERN ROMANLETTERS

72

The "Cheltenham Old Style" when composed into words, and

is,

however, very

effective

is

legible

on the page.

Any attempt to get the effect of Blackletter with the Roman form is likely to result clumsily. The celebrated Roman faces designed by William Morris (too familiar to here) are, despite their real beauty,

require reproduction

ABrAEZH©IKAMNHOnPCTT«t>XYQ

&

'Opu ucN napoNTa

exoNTQ Kai TapaxHN,

noWHN our

Ta ducKoXioN

'AeHNaToi

oNdpec

nporiuiTa

juonon

tw noXXa

npoeicecn Koi jUHdeN eTnoi npouprou nepi

cG \ereiN, aXXa xai nepl tun unoXoincoN Kara Taina UHde Koe' en to qOtcon

-

cuJUfepoN noNTac HreTceoi, oXXa toTc jugn udi, ToTc d' ^epooc doKeiN.

66.

MODERN GREEK TYPE

SELWYN IMAGE

awkward when examined in stimulus Morris's work gave to typog-

over-black on the page, and detail.

While the

raphy was

much needed

at that time, the present reaction

toward more refined faces

is

most

gratifying.

By

precept

and example Mr. Morris produced a salutary revolt against the too thin and light and mechanical type faces before in use, but he

are

now

went too

far in

certainly falling

Mr. Herbert

P.

we

back upon a more desirable mean.

Home

fount of type for the

the opposite direction, and

is

at

present designing a

Merrymount

new

Press, Boston, to be

MODERN ROMAN LETTERS Known

as the

73

" Mont' Allegro," which seems, from the

designs so far as at present completed, likely to prove in

some

respects the

most scholarly and severe of modern

faces.

t9 Up, Lord, ai^d let Qot n)at) bave tbe upper bai^d : let the heaHyei) be judged ii> tt)y sisbt.

2o Put then) ix) fear, O Lord tbatfliie l^eatBex) xpay kQow thei^selres to be but roet). :

PSALME

X.

UTQUID,DOMINE? ]HY stai^dest tbou so 1 Sr off, O Lord: ai)d bidest tby fsice ix) the i^eedful tiir^e of trou^

ble? 2 Tbeuijgod^yffirbis ovit) lust dotb persc'o cuteftvepoor: lettbeiQ

be

takei)

tbe craf-~

ii?

ty wilirjess tbat

tb^

baveiixjagii^ed.

3 For ibe uijgodly batb «)ade boast of biS owij beart's desire : aijd spcaketb goodof ftie covetotis^wboip God abborretb* 4 Tbe uijgodl)^ isso proud, tbat bccaretbijot for God : ijcitber is God it) all bis tbougbts. 67.

MODERN ROMAN TYPE

The Greek

C. R.

type designed for the Macmillan

England, by Mr. Selwyn Image, 66, to be

shown

is

subject.

Company

oi

of sufficient interest

here, despite the fact that

germane to our

ASHBEE

In this face

it

is

not strictly

Mr. Image has

;

MODERN ROMAN LETTERS'

74

returned to the more classic Greek form, although the result

may

at first

the more

The

glance seem illegible to the reader familiar with

common

cursive letters.

shown in 67 is by Mr. C. R. Ashbee for type

Interesting as

seems

it is, it

a

new

in

many ways

eccentric to be wholly satisfactory

would seem

Engli^'^fSce designed

to postulate a less

"

:

King.

for the

a .prayerbook

too extreme and

the very metal of type

tricky " treatment.

/^RGHlTE'CTv'R^L

LETTERyCER^^K)

ABCPCFGHllKL y7»A5"mA^-^Pie. 68.

MODERN GERMAN CAPITALS

AFTER

J.

M.

OLBRICH

attempt a discrimination between the

It is interesting to

various national styles of pen letters which the recently revived interest in the art of lettering is

especially

even

in

is

producing

worth while to note that the

Germany,

;

and

it

activity seems,

to be devoted almost exclusively to the

development and variation of the

Roman

forms.

It

is

noteworthy, too, after so long a period of the dull copying

of bad forms, and

particularly

the modern trend

distinctly in the direction

though

this

is

freedom

is

of bad type forms, that

more marked

in

of freedom

French and German

MODERN ROMAN LETTERS than in English or American work. this increased

Hand

in

75

hand with

freedom of treatment has naturally come a

CMLISAriOIS-jPRIX-

X«ffiIArURE^MORTJAR€ON
COLLE ^PASTORALE ;*\n?i^\iDorf'pzELiA 69.

MODERN GERMAN CAPITALS

mediums employed and indeed in mo.dern work the designer has so far lent

clearer disclosure of the

much of

the best

GUSTAVE LEMMEN ;

himself to his tools that the tools themselves have, in great

measure, become responsible for the resulting

letter

forms.

(?10DCnM

Mur^Li^inoPQ

R3TUV>^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
MODERN GERMAN CAPITALS

F. C. B.

MODERN ROMAN LETTERS

81

MARCHM TCD GUX W\^6 JO: KLfNF BR

QVYZAD S'€Ra23 76.

MODERN GERMAN CAPITALS

AFTER BERNHARD PANKOK

;

MODERN ROMAN LETTERS

82

The influence of nationality is

strongly

shown

ern lettering of

and

it

is

mod-

in the

countries

all

generally as easy to

recognize a specimen as the

work of

a

German, French,

English, or American

artist,

respectively,

no matter how

individual he

may

be, as

it

is

to tell the difference

between

the work

different

of two

designers. 77.

The modern German seems

MODERN FRENCH POSTER THEO. VAN RYSSELBERGHE

to have an undeniable fresh-

ness of outlook on the alphabet.

He

treats

Roman

with a freedom and variety and a

it

certain disregard of precedent

—

by

induced, perhaps,

schooling in Blackletter

produces

often

results.

that

delightful,

though sometimes, be direful

his

—

it

But

added, if

the

extreme and bizarre forms be

thrown aside the designer may suggestions of great

obtain benefit

more

and value from the

restrained

examples of

German work. Many eminent German draughtsmen, whose work

known ,

m

is

all

too

little 78.

.

this

country, are

MODERNFRENCHCOVEK m.

r.

verneuil

MODERN ROMAN LETTERS

83

ABCDEF

GHUKLm NOPQEST UVXZYDn ^abcde^i klnpcjilStuyE 79.

MODERN FRENCH LETTERS

AFTER M.P.VERNEUIL

MODERN ROMAN LETTERS

S4

using letters with the same distinction that has of late years

marked work, in

68

their purely decorative

as the

to

specimens shown

76

will

Figures 68 and 75

show forms

which are perhaps representative

evidence.

especially

of the general

modern tendency in German work and many German artists are using letters of very similar

MODERN FRENCH POSTER P.

general forms to these although,

of course, with individual

BONNARD

ations.

Figures

vari-

70 and

73

show two very original and pleasing styles, also markedly German. In spite of the national drift toward the Roman, much modern German lettering

takes the Gothic and

still

forms

Blackletter

specimen

;

and

reproduced

in

the

71

LIMAGE

shows a curious combination Gothic, Uncial

of the

and

Roman forms pervaded by the German spirit. The beautiful lettering in

72 seems to have

been inspired from a stone-cut Figure 74 shows an

Uncial.

almost

strictly

Roman

and yet

is

German

in handling

as

letter,

unmistakably as

any 81.

of the other examples shown.

MODERN FRENCH COVER GEORGE AURIOL

M

u

o J <


<

u o

3(

Pi!

O

O S

MODERN ROMAN LETTERS

86

Among the examples of modern French lettering, those shown in 78 and 79 are perhaps the most typical of the modern school. This style of letter was given its most

—

——

—~

"

jf V|^^\ ommenT (

ISv^J

^liUtlol

(^S 'viC »

c-^chet^

.

cumme

JL

ntfti»

dtuxAnT', 1% RCcheRclie

l>i«o|TiMre({

sibnii ek

l*humisi4R

mono-

I'

a

tute

.

pAR^Ilele du. OecOK

(iSk^Monni: j

fiutua tA

^xtis^iU

dep<^"^ com(>teR,t!nt7rod>aue

y wna

RlM^ouRclU

l(M

dvs

^^ nou«R unu intRieniome Qitinze An-

6ue,

(\iiRi6l

"^J

(^.tun-r

Ictttwit.Oe

d
d'avCrCncuR

»

Ix fois tut i«u D'ArfTeT d'usbKiT-on

roa^i )'>^ ^i^^^Rti^

eT Ou

"

'.

OuRobu

j!eR^l^iI

d'akuembteR

ob$
taLtiuw;

CvmbineK t>o

z

M

cclAtent

leistflc OcCtftu

A

Svin.

ima&inACion ^CRtitc.

en

cc rccmbiI

AnteiiR

s'^^

;

iw Tni-

pvr $urcro1T

pnitii^.^^^

^iU•^m"^
K

^le ti'aOailJait a-OccJuie dit» Con.)imtiori> OiitiUitfy

tibRC f>i:.

83.

ttp^nouisscment

lout pRVclMnc

eTmoi^o^iM'.JuecddA le

O'un ch^Rme (:m»nc>>

r'ttnt)«Mn

de 1^ RCchvRthf

MODERN FRENCH LETTERED PAGE

GEORGE AURIOL

consistent form by the joint efforts of

M.

some of the

after

was this

pupils of

Eugene Grasset,

originally modeled.

form

P. Verneuil and

whose

letter

it

Grasset freely varies his use of

in his different designs, as in 85, but

founds many

of his best specimens upon the earlier French models.

MODERN ROMAN LETTERS

8T

GEORGE AURIOL his usual hlhrx.

i

2 3

4^illii\m the pilof Dublin flovOering ^<\Iel .

zebna^ holiO^-^ i^ne(\s \?<\n

dej

D-^ck qu(\mt

j(*o>:.

567890. B CD Er GH joe

A

IJKLMNO PQRSTU

84.

MODERN FRENCH LETTERS "CURSIVE"

GEORGE AURIOL

;

MODERN ROMAN LETTERS

88

M. George Auriol has extended

letters

by

number of

publishing a

's^gl^Hfe iM Am.

modern

the

drawn

use of

4 Uecorivtioii

small books which he has handwritten throughout, although the

form pose

and not

at all

like the

the

medieval

of

texts

MAD. 5, 1897

M.

scribes. is

pur-

for this

purely modern

is

letter

he gener-

of. letter

ally uses

Auriol's

beautifully clear,

readable

"brushy"

and in

LIBRHUJIE '

its

He

BEflUX JIRTi PARli

tech-

nique, yet suitable rapid writing.

CENTRHLE DES

IS.RUE liaj-ayETTE

original

for calls

85.

MODERN FRENCH COVER DESIGN EUGENE GRASSET

ARTHORIZONSTTLEWAX FAVORJVLIVS- C?£SARI

BOLINGBROKEDEFEAT COASTLATITVDE-miGHT SVCCESSPATRIOT- gVEEM

DOVBTPYGAT 86.

MODERN ENGLISH CAPITALS

^-

WALTER CRANE

MODERN ROMAN LETTERS

COMEDTTHEATRE SHAKESPEAREAN-SEASON n^Fft-BENSON'SCaiPAfll

DECEMBEB19190OT0aPiaL91901l 87.

MODERN ENGLISH POSTER

WALTER CRANE

89

90

MODERN ROMAN LETTERS

^BGD KhMNQ UWKTZ SS.

MODERN ENGLISH CAPITALS

WALTER CRANE

MODERN ROMAN LETTERS / 11

V

1

«i

it

X,

a "Cursive" letter, and has

recently

i^Tu\Ui*fC !¥>.f,:\r.axiow- Symbol QeauK' Joy-acxD' ccsi2i3yr^

made

in

a

designs for

83 is from the preface to book of his well-known

designs for

monograms, and

the entire text this cursive

is

form.

written in

The

vidual letters of this

sive"

MODERN ENGLISH LETTERS

same

designer's use of a

The

poster by

exhibits

two

may

be

studied in 84.

WALTER CRANE

its

The page shown

use in type.

<^*akie TTotb. ^hest)

91

indi-

"Cur-

more

easily

The cover for

"L'Image", 81, shows the more conventional Roman form.

M. Theo.

van Rysselberghe shown in 77 French small letters that

interesting forms of

are worthy of study and sug-

gestive for development.

M. Alphons Mucha employs a distinctive fitted to his

letter, especially

technique, which

he uses almost invariably, 82.

Much

recent French letter-

ing inclines toward a certain formlessness,

sometimes

that,

although

admirable

when

regarded merely from the point

TEB(n)K

©OF BOOK<3 PIATES Q o

e

cpvBLISHED

QVARTERIYAT

of view of harmony with the

2o FREDERICKS

design, has

IN

wise.

A

little

value other-

typical

specimen of

such formless

shown

in

letterine: is that " • ""•

6

the very charming

EDINBVRGH

™ „„ 90. MODERN

ENGLISH TITLE

joseph w. simpson

MODERN ROMAN LETTERS "Revue Blanche" poster, 80. WmH/at^9yin 92

Excellent

when considered

with the design, the lettering alone makes but an indifferent

showing.

The letters

any very forms.

In

distinctive

has

of

national

many ways

less

Italian

German. originality, but

work resembles It

designers

Italian

have not yet evolved

the

greater subtlety and refinement.

The

strongest

among modern is

<^PrenchCicancrs ILcitiiWalkEMlllBlliiClH 91.

MODERN ENGLISH POSTER

personality

JOSEPH W. SIMPSON

British letterers

Mr. Walter Crane. Characteristic examples of his work shown in 86, 87, 88 and 89. Although sometimes

are

apparently careless and too often rough, his lettering has the

charm of

merit and

invariably

disclosing the instrument and

the material employed.

Crane

is

Mr.

especially fond of an

pen form, which he

Uncial

varies with masterful freedom. It

may be mentioned

ing that he designer

Londoniypes ByWmiamNichoIsoa. 92.

MODERN ENGLISH COVER WILLIAM NICHOLSON

make

in pass-

is

perhaps the only

who

has been able to

the wrongly accented q^

seem consistent (compare 86), or who has conquered its ^wash

tail

whett the letter

is

accented in this unusual way.

MODERN ROMAN LETTERS

93

Mr. Lewis F. Day has become a recognized authority on

lettering,

both through his

and his handiwork.

writings

His great

makes

versatility

to

difficult

select a

which may be taken acteristic

it

specimen as char-

of his work; but per-

haps the lettering shown in 95 is

as representative as

could be chosen.

any that

Among

his

designs the magazine cover, 93, is an unusually free and effec93.

MODERN ENGLISH COVER LEWIS

F.

tive composition,

DAY

and

its letter

forms possess the variety required to satisfy the eye

when

so

much of

the whole effect

of the design depends upon them.

The

of lettering ordinarily employed by Mr. Selwyn

style

—

Image

a style of

marked

originality

well exhibited in the design for a

The name of Mr.

Charles Ricketts

the Vale

detail

of the title-page reproin

Mr.

Press.

100 shows a char-

J. VV.

is

is

intimately associated

THE PAGE Obristmas

of his work.

acteristic bit

—

The

with

duced

and distinction

book cover, 98.

1900

Simpson, one of

the younger British draughts-

men, uses

a

graceful and

interestingly linked

form shown

Roman

in the panel

from 94.

a title-page, 90.

The

bizarre

MODERN ENGLISH TITLE GORDON CRAIG

94

MODERN ROMAN LETTERS

ABCDE FGHIK LMNOP QRSTU VWXYZ 96.

MODERN ENGLISH CAPITALS

LEWIS F.DAY

MODERN ROMAN LETTERS letter

by the same

artist,

91,

style recently

come

among

younger British

the

into

draughtsmen, which to a

POEMS

representative of a

fairly

is

form of

is

letter

vogue

related

brought

into fashion

by the new Eng-

lish "school

of designers

wood, among

whom may

95

BY

JOHN KEATS

ILLVSTR.ATIONS BY ROBERT ANNING BELL AND INTRODVCTICnsr

BY WALTER RALEIGH

on be

mentioned Mr. William Nich-

LONDON GEORGE BELL ^SONS YORK STREET COVENT GARDEN:NEW :

olson and

Mr. Gordon Craig,

both o!f whom have ddne lettering distinguished by tion of the

its

YORK 66FIFTH/6/ENVE

MDCCCXCVn

indica-

medium employed. 96.

Figure 92 shows Mr. Nichol-

MODERK ENGLISH TITLE ROBERT ANNING BELL

son's favorite type of letter

JD JD £f Bspreseodamve -

THE OFSELBORNEBY

NATURAL- HISTORY

-painuers'^

GILBERT-^HITE

ojune

Edited by Grani Allen Illustrated

xixceojury.

by

Edmund HNev

97.

MODERN ENGLISH COVER EDMUND

H.

NEW

98.

MODERN ENGLISH COVER SELWVN IMAGE

MODERN ROMAN LETTERS

96 fairly, title

and the

for a

style

of Mr. Craig's work

book cover

The book

is

suggested by the

in 94.

cover, 97, by

Mr. Edmund H. New, shows

ORIGINALITY- OF

DEJIGNGCDD CRAFUMAN-JHIPMODERATECHARGEy

CATALOGUEJFREE MODERN ENGLISH CAPITALS variants of the

Roman

capital

ANONYMOUS

and minuscule forms, which

closely adhere to classic models.

Mr. Rqbert Anning

Bell has done

much

tering in intimate association with design. fairly representative

distinctive let-

Figure 96

is

of his style of work.

NI IWrH€M\^€S 100.

MODERN

Such other

British

known

artists

as

Messrs. Alfred Parsons,

Hugh Thompson,

James Shaw, H. Granville F. Sullivan.

better

CHARLES RICKETTS

ENGLISH. CAPITALS

Fell

Herbert Railton, Byam

and A. Garth Jones, although much

for their designs than for their letters, occa-

MODERN ROMAN LETTERS

97

sionally give us bits of letter-

j-eiecuoorfroj

ing which are both unusual

and excellent; but these

'oeiry o/

are

commonly

bits

so subordinated

to the designs in

which they

are used and so involved with

them

as to be

beyond the scope

of the present book. In illustrating the lettering

of American EDWIN

102.

to

artists

it

has been

MODERN AMERICAN TITLE

101.

A.

unfortunately found necessary

ABBEY

ANONYMOUS

MODERN AMERICAN TITLE

omit the work of

many

well-known designers, either because their usual lettering

is

style

of

too similar in fund-

HARPER'S

WEEKLY A Journal of Civilization

Nhy^QKE. NOVEMatSii* 1900

amental forms to the work of

some other draughtsman, or because the letters they commonly employ are not

distinc-

tive or individual.

Mr. Edwin A. Abbey

is

a

notable example of an artist

who

has not disdained to

expend both time and practice 103.

on such

a

minor art as

lettering

MODERN AMERICAN COVER EDWARD PENFIELD

'

98

MODERN ROMAN LETTERS

ABCDE FGHIJ

KLMN OPQR STUV WXYZ 104.

MODERN AMERICAN CAPITALS

EDWARD PENFIELD

MODERN ROMAN LETTERS

105.

MODERN AMERICAN SMALL LETTERS

99

EDWARD PENFIELD

MODERN ROMAN LETTERS

100

that he might be able to

CKCKEMNG

own

letter his

designs, as

shown

the beautifur page,

in ,153 in the succeedi'ng.

chapter, will sufficiently

The

prove.

the

lettering of

title-page

Her-

for

rick's

poems, loi, by the

sanie

draughtsman,

is

likewise excellent, being

both original and appro-

The

priate.

letters

in

both these examples are

modeled

work,

after old

and both display an unusually

MODERN AMERICAN COVER DESIGN

106.

H.

VAN

B.

ties

form words

is

and

possibili-

of the forms

former, 153, where the

ployed, especially- in the capitals to

keen grasp of the

limitations

MAGONIGLE

em-

lise

of

particularly noteworthy, while in

general composition and spacing the spirit or the letter used

(compare 179) has been perfectly preserved.

Mr. Edward through the er's

Magazine

several years.

which exactly design

shown

actual use

;

Penfield's

series '

with unfailing

During fitted

in

work

first

attracte^l.

attention

of posters. which he designed for

this

fertility

'

Harp-

of invention for

time he evolved a style of letter

the character of his work.

103 displays

The

his characteristic

cover

letter in

while the two interesting pages of large and

small letter alphabets by him, 104 and 105,

and best development of these

letter forms.

show

the latest

The

heading

MODERN ROMAN LETTERS

101

PEDGEAM. 'MCMIABCDEFG

HUKLMN OPQF^IV

WKYZ

107.

MODERN AMERICAN CAPITALS

H.V^N

B.

MAGONIGLE

MODERN ROMAN

102

VANDYCK

LETTER-S

shown in 102 exhibits different

slightly

a

bvi-

letter,

TITIAN

dently based upon that used

VELASQYEZ

by Mf. Penfield. The capitals by Mr. H.Vaii

HOLBEINYX BOTTICELLI

REMBRANDT REYNOLDS MILLET GiSi^BELLINI

MVRILLO HALS

RAPHAEL 108.

MODERN AMERICAN CAPITALS ^ B. G. GOODHUE

B. Magonigle, v^re derived

shown

from classic

in 107,

Roman

forms' but treated with a

mod-

ern freedom that makes them

unusually appear,

attractive.

They

however, to better

advantage

in

actual

use

106, than

when shown

in thp

necessarily restricted form of

an alphabeticalpage panel.

Mr. Bertr'am G. Goodhue, whose designs

for type

have

already been mentioned,

^oddtS^Keaet &-'Oo

HOLIDAY

IIjLUSTI(AT£D "

BOOK/S 109.

in

conjunction with a design,

MODERN AMERICAN TITLE

WILL BRADLEY

is

a

HS

m

im m

i

WM iffl

HH

;:<'

IH mttn

fffl+ffl ir

[4Bm

i

MODERN ROMAN LETTERS

104

most

srvDio

and careful

Although

his

let-

name

is-

more intimately associated

An Illustrated Monthly Maga zine of FINEga.APPLlEb

with Blackletter (examples of

work in that style are shown in the following chapter), he has devised some very

ARJ "Edited b^ Gharjubs

his

MoLMB Tublishedbi>iovm LANBTheBodlev-nead at i4
facile

terer.

NewYorkj

7*riceJ)^ctr
interesting variations of the

Roman

forms, such as that

used in io8, as an example.

CHICKERING

O^ ^ L

{§» Opening Concerj on 'Fridtiy '^Veninj

MODERN AMERICAN COVER

111.

WILL BRADLEY

Tubruavy tt}e. S^l^Ol tXjfa^ Past Eight

Mr. Will Bradley

liar

often

O'tHoch.

uses a very

individual style .of the •capital,

L

Admit One to the Balcony

Roman

marked by a pecu-

exaggeration in the width .

of the round

letters,

with narrow

tall

letters

as

e,

contrasted

forms in such

and

r

Mr.

l.

Bradley has become more

and unconventional work, but always

his

been

free

in his later

specimens have

CHICKE,RJNG

noteworthy for

beauty of line and spacing; see

OPENING CONCERT Triday rEVenin^

Figure 109 shows his

Te-bruavy 8 i^1901

III.

employment of

a

brush-made 112.

variant of the

Roman

form;

MODERN AMERICAN TICKET A.

J.

lORIO

T MODERN ROMAN LETTERS

I^O

105

MAN

LETTER^

ABCD E G H J K L M N O F aP^^ TV I

WXCt-YZ .113.

MODERN AMERICAN CAPITALS

AFTER WILL BRADLEY

106

MODERN ROMAN LETTERS

ODES OF P

IN D A R

LONDON A B C D E F K L M G H NOP Q^R S T V X Y Z I

114.

MODERN AMERICAN CAPITALS

MAXFIELD PARRISH

MODERN ROMAN LETTERS and

no

earlier

shows both

and

capitals

and small

letters

drawn

107 in his

less distinctive style.

RNICRERBOCRER'S

HISTORY OF NEW YORK BY 115.

The

WASHINGTON

MODERN AMERICAN TITLE

tickets

IRVING

MAXFIELD PARRISH

by Mr. A.

suggests J. lorib,

might be made.

In spacing and

ticket, 112, designed

what our theatre

-^

BIGELOW. KENNARD AND CQ WILL HOLD, IN THEIR ART ROOMS. MARCH 2J TO APRIL6 INCLUSIVE. A SPECL\L EXHIBl' TION AND SALE OF GRUEBY

POTTERY INCLUDING THE COLLECTION SELECTED FOR THE BUFFALO EXPOSITION

MDCCCCi 116.

MODERN AMERICAN CAPITALS

A.B.

LeBOUTILLIER

general arrangement of the letters and the freedom of treat-

ment, Mr.

lorio's

work may be compared with much of

the

108

MODERN ROMAN LETTERS

MODIFIED ITALIAN CAPITALS

ABCDEFG HIJKLMN OPC^STU

VZWXY

1134567S00 117.

MODERN AMERICAN CAPITALS

A. B.

Le BOUTILLIEK

MODERN ROMAN LETTERS

109

Lower

hyklmn opqrstu

vwxvz^ 118.

MODERN AMERICAN SMALL LETTERS

A. B.

Lk BOUTILLIER

no

MODERN ROMAN LETTERS work of Mr. Bradley. Figure 113 shows a modern Roman capital form modeled upon the

GRUEBY

work of Mr. Bradley. Mr. Maxfield Parrish commonly employs a widely spaced

POTTERY

letter,

fashioned

closely after

German

models, beau-

the old

tiful in its

forms, arid displaying

the individuality of the artist in its

composition.

The form

and use of Mr. Parrish's usual letter

well

is

shown

in

114;

and the

title

from a book cover

GOLD MEDALS PARIS 1900

design,

1

shows yet another

ST. PETERSBURG

example of the. letter

I9OI

The

15,

lettering of

in service.

Mr. A. B.

GRUEBY FAIENCE

CaBOSTON MASS libris 119.

MODERN AMERICAN POSTER A. B.

Le

LE BOUTILLIER

Boutillier

for spacing

is

always notable

and composition.

Figures 117 and

118 exhibit

excellent

and small-

capital

ERNEST IKSESSa

WHTIE,

letter forms (which, by the

way, were drawn

at the

same

AMERICAN BOOK-PLATE CLAUDE KAYETTE BRAGDON

120.

size as the reproductions);

and

MODERN ROMAN LETTERS the

two other specimens of Mr. Le

Boutillier's

and 119, which are reproduced to show

work,

111 1

16

his letters in use,

be found exemplars for spacing, composition, balance

will

LITERATURE An GAZETTE

(^

International

CmTlClSM^^s^ Issuei/WeeA/y Price 10 cents a 121.

copy /4.0b ayear

MODERN AMERICAN TITLE

BRAGDON

C. F.

of weight and color, and, in the latter drawing, for harmony

between the lettering and the treatment of the design.

The form

of letter preferred by Mr. Claude Fayette

represented by the page of small letters, 59, which, as we have already said, are closely modeled on the

Bragdon

is

type alphabet designed by Jenson.

In Mr. Bragdon's ver-

GRUEBY FAIENCE COMPANY

MAKERS OF ENAMELED TERRA COTTA. TILES. GRUEBY POTTERY K AND HRST ST'S. BOSTON. MASS 122.

MODERN AMERICAN LETTER-HEAD

BRAGDON

C. F.

sion they represent an excellently useful and conservative style

of small

letter.

nious capitals and

121.

They

italics, in

are

the

shown '

in use,

Litemture

'

with harmo-

cover design,

In the small book-plate, reproduced in 120,

Mr.

MODERN ROMAN LETTERS

112

Bragdon has used a very graceful variant, especially noteworthy

for

its

freedom of

letter-heading, 122, he has

serif

of

and

treatment;

employed an still

in the

attractive capital

different character.

Mr. H. L.

Bridwfell

has originated the singularly excellent letter in

124, which

is

shown

founded

upon some of the modern French architectural forms.

He

uses

dom and

with great free-

it

variety in spacing

according to the effect that

he desires to produce.

one instance he

will

In

jam

the letters together in an

oddly crowded line, while in

we

another

find

them

spread far apart, but always

with excellent results as the

whole.

Something of this

MODERN AMtRICAN COVER H. L.

shown ers

designed

— and which

work

lettering.

is

clients; but often the letter style

and distinction of

123.

restricted

as

is

In the

theatrical post-

which Mr. Bridwell has

too seldom bear his signature

employs a great variety of the freedom of his

in

numerous

BRIDWELL

design

of spacing

variation 123.

a

regards

— he

Sometimes^ of course,

by the conservatism of

forms here illustrated add to thd

his designs.

MODERN ROMAN LETTERS

113

FUENCH FR,ENCH

2

ABCDEFG H J KLMNO PQHSTUW I

VXYZ 154 56769 & I'M.

MODERN AMERICAN CAPITALS

H. L.

BRIDWELL

114

MODERN ROMAN LETTERS

ROMAN LETTERS

ABCDEF GHIJRL MNOPQR STUVZW XY&. J2B.

MODERN AMERICAN CAPITALS

FRANK HAZENPLUG

MODERN ROMAN LETTERS

116

ABCD EFCHI JKLM NORQ STUV

WXY

120.

MODERN AMERICAN CAPITALS

FRANK HAZENPLUG

MODERN ROMAN LETTERS

116

Mr. Frank Hazenplug, the author of

much

i

clever deco-

rative lettering, has evolved a

very black and striking style

of capital that P'igures

grace.

show two

sets

still

^

ckerj'- a nn. er girlj'dK)

o t'h to

oys

p

e a

1

1

e

1

Ha

VK

e

retains

125 and 126

of Mr. Hazen-

A book cover on which he has used small plug's capitals.

in

letters

an original way

reproduced in

127.

is

Figure

129 shows the employment of a heavy-faced letter similar to that exhibited in alphabet 126,

but suggestive in

ment of Mr.

serif treat-

its

127.

Penfield's letter.

MODERN AMERICAN COVER FRANK HAZENPLUG

Mr. Edward Edwards employs a letter, 128, which, though rather conventional in lines, is

noteworthy for

its

Mr. Guernsey Moore's

treatment of serifs and letters

shown

better both in intrinsic form, spacing

the widely used " Post

upon them.

The

Old

large

show

PICTORIAL HISTORY

OF THE VS5\RwrraSPAIN

1

MODERN AMERICAN TITLE EDWARD EDWARDS

its

spacing.

are naturally

which were based

letters displayed in

133

a form that, at the pres-

ent writing, seems to be in is, howextreme, and its

considerable favor. It ever, too

peculiarities are too exagger-

ated to allow 128.

30

and composition than

Style " types

and small

HARPERS

in

its

it

the extravagant

to

become

a

But like German forms

permanent styk.

MODERN ROMAN LETTERS

H

IE

alrezdy referred to,

AGATALOGUE OF THE THIRD EXHIBITIONOF

more conservative

few of

its

has also

it

apparent advantages

117

;

and a

characteristics are

not unlikely to survive in some adaptation.

by Mr. Harry THE CHICAGO The Everett Townsend shown AKES&CRAmS most SOCIETY — more form of letter

in

1

3

distinctive in effect

1 is

refined

a

rapidly

the

drawn character shown

in 138.

Mr. Howard Pyle often charming bits of letter-

gives us

ing in connection with his illus-

The

trations.

shows a 129.

MODERN AMERICAN COVER FRANK HAZENPLUG

Most of Mr. is

it

German woodcuts, some-

what

similar to Holbein's init-

One

the "

Dance of Death."

of the most original of

American

though the

initials

in

he

are generally rendered in the fashions of the

early

ials for

line.

Pyle's lettering

"Colonial" or Georgian

style,

uses with

heading, 132,

characteristic

letterers is

son Lowell.

Mr. Or-

Usually closely

conjoined with design, his

let-

MIDWINTER

ROMANCE

NUMBER

An Illus't rated Weelsly Magazine

tering does not

Founded A? 1^1728

value

6y Benj. Franklin

show to its full when reproduced apart from its surroundings, for much of its charm depends

130.

MODERN AMERICAN- TITIjr GUERNSEY MOORE

MODERN ROMAN LETTERS

11«

harmony

in line and color with the accompanying Mr. Lowell has talsen the same basic forms as those used by Mr. Penfield, and has played with them until

upon

its

drawing

tlio

be-ne-atli

lline»s

dC 5IR-

R.1CHARD LOyLIACE/ 'vT

POEM on

caH&d

^ofng"

—

The

inadequately

series

wars"

:

MODERN AMERICAN TITLE

he has developed a letters.

'

xhs^

to

vvKioK 5attK 131.

lb Luoafta

1

HARRY

i

E.

TOWNSEND

of most ingenious and fanciful

examples reproduced

show

a

in 136 and 137 but few of the many' forms that Mr.

Lowell employs with remarkable delightfully decorative effect

shown opposite

1

his capitals,

of invention and

fertility

The small letters,

of line.

135, 134, are not by Mr. Lowell,

Colonies and Nation. AShttrtHiftary cf^jpPeojde of the\ltxAe.A Stales.

132.

MODERN AMERICAN HEADING

nor are they

in

any \yay equal to

which regrettably few appear

in

his

HOWARD PYLE own

sAiall letters, of.

his published

work

;

but

may serve to exhibit a similar method of treating a much more conventional form of minuscule than Mr.

they

MODERN ROMAN LETTERS

11»

abcde^l^m. flopqKsto^zx \

\

IJKLMNOP

GRSTVdW XYZARGET 133

MODERN AMERICAN LETTERS

F. C.

B.

120

MODERN ROMAN LETTERS

QC^qiFMEJib

Wl^W^^f^

^^cc?.^ to 134.

MODERN AMERICAN CAPITALS

AFTER ORSON LOWELL

MODERN ROMAN LETTERS

135.

MODERN AMERICAN SMALL LETTERS

121

F. C.

B

MODERN ROMAN LETTERS

122

Lowell would himself use for the same purpose. Despite unconventionality, however, an examination of Mr. its Lowell's to

work will show

that each letter has been developed

the space between

fit

OF

neighbors and to balance and

its

BO^ m>m^

OFFICE

A'K>

Q/immte^G 130.

MODERN AMERICAN TITLES

relieve their forms

may

;

and

ORSON LOWELL

that, fanciful as

some of the

shapes"

appear, they have invariably been knowingly worked

out, and always appear harmonious and

The

fit.

pages of letters shown in 138, 139 and 140 are

intended to suggest forms which, while suitable for rapid

some individuality and character. The so"Cursive" letter by Mr. Maxfield Parrish, 140, is

use, yet possess

called

iparticularly effective for

very charm

lies in its

ively *'pen-ny " as

A glance

such informal use

informality

— and

—

in

fact, its

quite as distinct-

any of Mr. Crane's work of the same

over the

field

of modern examples will

£rst, a general tendency to break

models in pen-drawn forms for the small letter,

capital

is

and

;

away from the

second, a growing

kind.

disclose,

older type partiality

third, a sporadic disposition to use

and minuscule forms interchangeably.

The

first

MODERN ROMAN LETTERS trend

may

be noticed by

paring the letter

which

€f J3^ ©IFME

closely

is

|yp«' ^''^ in

123

'^^'

shown

com-

in

132,

modeled

after

^^own

in

136,

which an opposite method

is

followed, and the letters are so treated

in

handling

form and

M'^O^^^EILE.

color as to best harmonize with

^Tf^Mf i^lM M ^ ^&

*^ "^^^'Sn

k^3S3F

TrInlJEi

indicated by such interesting uses

HCMlSIHIT OW (SOIL© TME " "^ EK* MlfMSar 3^£Ei3S^o^C?

^* '^°*^ *''°^" '" ^Sures 77, 89,

ft?:^

137.

\f

TRfTTTUT ii

''self.

ties latent in

The

possibili-

the small letter are

98,101,1x1,112,121,127,130 American designers seem to be especially interested

and 131. in the

MODERN AMERICAN TITLE ORSON LOWELL

development of the small

letter.

Of the

intermingling ° of

°

^^^ Capital and small letter shapes

examples

may be found

in figures

In 71, 75,. 77i 78, 79, 82, 83, 84, 98, 127 and 134. it will be noted that the minuscules seem to

these examples

be more easily transformed into capitals than do the capitals into minuscules

;

only a few of the

latter

appearing to lend

themselvfes harmoniously to the small letter guise.

Such tendencies

as these, if allowed to develop slowly

and naturally, are certain to evolve new forms of modification which

it

—

a process

should be fully as instructive and

entertaining to observe as any of the historical changes that

have already become incorporated into our present

letter shapes.

124

MODERN ROMAN LETTERS

ARCniTECTlRAL •LETTEL5«'-DETAIL5 iJinallLetLerj'

dbcdc^

hjjklmnopqriTtuvwxyz Free. ancTyet QdJiric in

effect dJid feelinO olso

•

ABCDEFGHI

JKLMNOPQ^ LJTUVXWYZ Alwayj* to

J38.

be ijure/d

MODERN AMERICAN LETTERS. FOR RAPID USE

.

in

F.C.B.

MODERN ROMAN LETTERS

125

AKALPhABEZ £r AJ^HITECTS abcJeGbijUmnopii rstuvwxyz izj4^6j Plan- ofSecondBoDr II

A5CDEF<7H1JKLM

NOPQ^TUVWYZ A qoal a/pham (or Jetteriiy 139.

MODERN AMERICAN

plans ^ic

ITALIC.

FOR PLANS, ETC.

C. F.

BRAGDON

126

MODERN ROMAN LETTERS

CHA PT E

III

R

GOTHIC LETTERS The name

" Gothic " applies rather to the

The same

exact letter forms of the style.

spirit spirit

than to the

of freedom

and restlessness characterises the architecture of the period wherein

this

letters are

in

of

style

was developed; and Gothic

letter

many ways

akin to the fundamental forms

Their

of Gothic architecture.

effect

is

often tiring and

confusing to the eye because of the constant recurrence

of very similar forms with different this

very similarity

of a page of Gothic Unlike the

and

final

itative

definitive

letters,

which attained a complete letters

forms, any

never reached author-

more than

Every individual Gothic

architecture.

meanings; yet

lettering.

Roman

development, Gothic

and

letter

the main cause of the pleasing aspect

is

letter

Gothic

did

has several -

quasi-authoritative shapes, and all of these variants

may

be

accepted, as long as they display an intelligent conception

of the

of

spirit

finality,

letter

of the style as a whole.

however,

forms as

it

we were

is

Because of

able to do with the

Roman

Chapter

at

once the peculiar beauty of Gothic and the great

;

of so drawing

alphabet

yet this very variability and variety constituti?

in

I

this lack

impossible to analyze each of the

it

as to preserve

Any letter of Gothic form is

its

difficulty

distinctive character.

usually called either "Gothic

or "Blackletter" indiscriminately, but this use

is

"

inexact

GOTHIC LETTERS

128

The term " Blackletter "

and confusing.

be applied only to

should,

strictly,

which the amount of black

letters in

in

the line overbalances the white; and the proper application

of the

title

should be determined rather by this balance or

weight of the

letter

than by

form.

its

Rlmnopqnf ntroime pzittitegiot 141.

The

ROUND GOTHIC SMALL LETTERS

ITALIAN

originar Gothic letter

the round

Roman

roundness of

its

Uncial.

was

condensed form of

a gradual outgrowth from

Its early

Uncial parent

;

forms retained

all

the

but as the advantages of a

letter for the

manifest, (parchment

1500

saving of space became

was expensive and bulky) and

the

GOTHIC LETTERS

129

abct)d

cfjby klmno pqrst 142.

ITALIAN

ROUND GOTHIC SMALL LETTERS

16th

CENTURY

GO THIC LETTER

130

S

"©OlllineiX)!!!!!!'

nofrerqiiamad^ miiabileerrnoni tiiLimmvniucil^

IranXucaslp'^ D2icl.fGnotx:if7o 143.

SPANISH ROUND GOTHIC LETTERS

FRANCISCO LUCAS,

1S77

GOTHIC LETTERS

131

beauty of the resulting blacker page was noticed, the round

Gothic forms were written closer and narrower, the ascenders

and descenders were shortened, with marked

form was evolved

until a

the white

—

may

letter

is

it

survives

still

Thus, though

text of to-day.

not be a

Gothic, because

of legibilty,

which the black overbalanced

in

the Blackletter which

common German

loss

might be brought closer together,

that the lines of lettering

in

the

a Gothic

Blackletter, a Blackletter

is

always

Constructed upon Gothic lines.

On

Roman Blackletter would be an obvious The very essential and fundamental quality

the other hand, a impossibility.

Roman

of a its

letter lies in the

squareness or circularity of

skeleton form.

For clearness

and

convenience, then,

following

the

discrimination between the terms Gothic and Blackletter will

be adopted in

but not a Blackletter

when

it is

it

will be called

primarily a Blackletter

letter," the latter

When

this treatise:

name being

it

Gothic

termed " Black-

restricted to such compressed, letters

The name "Round Gothic"

only to the earlier forms, such as those 142.

is

"Round Gothic";

will be

narrow or angular forms as the small 147 and 148.

a letter

Such a distinction has not,

shown

in 144,

will be applied

shown

in

141 and

I believe, hitherto

been

attempted ; but the confusion which otherwise results makes the discrimination

The exhibit

of the

seem

advisable.

three pages of examples, figures 141, 142 and 143,

the

forms and

characteristic

Round Gothic.

these letter shapes,

it

In

lieu

standard

variations

of any detailed analysis of

may perhaps be

sufficient to say that

they were wholly and exactly determined by the position of the quill, which

was held

rigidly upright, after the fashion

GOTHIC LETTERS

132

already described in speaking of

the letters

Roman

lettering;

and that

were always formed with a round swinging

motion of hand and arm, as their forms and accented clearly evidence; for the medieval scribes used the

Gothic as an easy and

many of

legible handwritten form,

lines

Round

and linked

the letters.

173 show some capitals use with these Round Gothic letters; but the

Figures 158, 170, 172 and

adapted for

beginner should be extremely wary of attempting to use

any Gothic

capitals alone to

form words, as

may

their outlines

Occasionally they

are not suited for inter-juxtaposition.

thus be used, and used effectively, as

instance, in the beautiful page of lettering

is

shown,

for

by Mr. Edwin

A. Abbey, 153; but so successful a solution is rare, and implies an intimate knowledge of the historic examples and use of Gothic lettering.

The rowed

late

in

Gothic or Blackletter

No

the extreme.

construction of the small

letters,

generally acute corners.

As

broad lines are made on the

and the narrow

condensed and nar-

is

are

circles

employed

which have angular and

in all

pen-drawn

down

letters, the

right-sloping strokes,

lines are at right angles to these.

of the

letter shapes, like those

in the

Round Gothic,

Black-

cannot, as

has been said, be defined by any set of general rules intrinsic quality

certain

of

all

Gothic

letters

;

the

almost demands a

freedom of treatment that would transgress any

laws that could be formulated.

Indeed the individual forms

should always be subservient to the effect of the line or page.

Observe

in almost every

example shown how the form of

the same letter constantly varies in

The

some minor

drawing by Albrecht Durer, reproduced

detail.

in 144, will.

GOTHIC LETTERS

133

A r K>

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

tmemmmMtvm
ptmtwaaquo^tnptotdg

mmmm m mm mmixtMm nmm


^' (feimrt mttr^g amu

\

148.

GERMAN BLACKLETTER PAGE

reputed to have similar

ALBRECHT DURER,

1515

been designed by Albrecht Diirer.

Blackletter form, also from a brass,

larger scale in i86.

is

shown

A at

,

GOTHIC LETTERS

139

Any of the minforms

uscule

of

Blackletter which

have been trated

illus-

may be used

with the Gothic capitals 1

of figures

64.-5, 166,

177,

179, 185, 188-9; or with such

Un-

cial capitals as are

illustrated in

155

to 162; care being

taken, of course^ that these capitals

are

made

in style

to agree

and weight

with the small

let-

ters chosen.

Al-

though Uncial capitals are historically

more

ly allied

close-

with the

Round Gothic, we have abundant 140.

GERMAN MEMORIAL BRASS

MEISSEN, 1510

precedent for their use with the min-

uscule Blackletter in

When

many

of the best medieval specimens.

the Gothic Uncial capitals were cut in stone and

marble there was naturally a corresponding change acter, as

is

shown

in the Italian

examples

in char-

illustrated in

160

GOTHIC LETTERS

140 and

1

These examples, which

61.

reproduced from

are

rubbings, exhibit the characteristic stone cut forms very

A

clearly.

man

brass

Gothic ^Uncial alphabet redrawn from a Ger-

The

illustrated in 162.

is

group of specimens

from 154 to 159 exhibit the chronological growth of the Uncial capitals, which were used, as has been

said,

with

the various small Blaclcletter forms, though they were also

used alone to historical

form words,

as

shown

is

interesting;

and,

The

160.

in

progression in these Uncial examples

most

is

allowing for the variations of national

temperament, traces

connectedly enough.

itself

Figures

154 to 159 are pen forms, while 160 to 163 are from stone or metal-cutJletters.

Figures 164 to 166 show alphabets of Gothic pen-drawn

such adaptations as are

capitals that will serve as a basis for

shown

in the modern examples 152 and 153. Figures 167 169 show a more elaborate but an excellent and typical

to

variety of this

beautiful

and

form of

capital,

distinctive of

which

Gothic

fussy small lines the main skeleton

though extremely for

certain

difficult

limited

uses.

and

all

pen

letters.

it

Shorn of virile;

its

and,

cannot be surpassed

170 to 173

Figures

group of Gothic capitals more or

one of the most

eminently

is

to draw,

is

letters.

less allied

Figures 174 to 176

exhibit a

in character

show forms

similar

to those of the previous group, but adapted for use in various

materials.

Figures 177 to 179

show some English Gothic

letters,

the last being that employed so effectively in the pen-drawn

page by Mr. Abbey, 153. various forms of Blackletter:

182

illustrates

Figures 180 to 184

180

is

illustrate

from a German

brass,

an Italian pen form, and 183 and 184 show

GOTHIC LETTERS Blackletters

141

drawn by Albrecht

Diirer, the latter being the simplest

and strongest variant in

this style.

It is

the

same

let-

employed to show

ter that is

construction

Blackletter

in

diagram 144.

Figure 185 well-known and

shows the

atconttngtotgE'S'^ian

unusually

beautiful

186

is

initials

by Diirer.

designed

taSQgfJ&oTpaipto-lraill

Figure

a Blackletter from an

English

although the

brass,

letter^forms in this example,

many other may perhaps

as well as those of cani;i,iIISI|!,

%?6BaiI[toKai|P-»lia

English brasses, „

S(i!tJtDn:S^ii5![ueiml)£mO-(tt£eQ!ta9s

have been derived from Flan-

q^Emirij,-g^i(Bi<-itni-(Sai
ders, as

many of the finest early

Continental brasses were im-

MODERN AMERICAN COVER BLACKLETTER B. G. GOODHUE

150.

IN

ported from the Netherlands.

The Italian Blackletters are generally too fussy and practical value for

modern

suggestive

The

typical

value.

forms of Gothic

finikin to be of

use, though they often possess

shown

letters

in

182 are

of the characteristic Blackletter minuscules of

fairly

Italy.

Figure 187 exhibits an example of beautiful lettering in the Italian style, in Santa

redrawn from a rubbing of an

Croce, Florence.

confined lines

may be

is

typical of

The

inlaid floor-slab

omission of capitals in long,

many

Blackletter inscriptions, as

seen in 149, as well as in the plate just mentioned.

In view of the number of fine specimens of Blackletter

which have been handed down to

us,

it

has been deemed

GOTHIC LETTERS

142

unnecessary to reproduce

by modern draughtsmen.

many examples of its employment

The

pages by Mr. Goodhue,

188-9, ^^^^ already been referred to;

151.

and figure

150

MODERN GERMAN BLACKLETTER WALTER PUTTNER

shows a very consistent and representative use of similar forms by the same designer. Figures igo and 191

letter

illustrate

two modern

varieties

of BJackletter, one very

mmm\ 152.

MODERN GERMAN BLACKLETTER

simple and the other very ornate.

OTTO HUPP

The

small cuts, 151

and 152, show excellent modern Blackletters ; the first, of unusually narrow form, being by Herr Walter Puttner, arid the second, with

its

flourished initials,

by Herr Otto Hupp.

GOTHIC LETTERS

143

•Ot

^m^M€

153.

MODERN BLACKLETTER

EDWIN

A.

ABBEY

144

154.

GOTHIC LETTERS

UNCIAL GOTHIC INITIALS

12th

CENTURY.

F. C. B.

GOTHIC LETTERS

145

3 CD6|

155.

UNCIAL GOTHIC INITIALS

13th

CENTURY.

F. C. B.

146

GOTHIC LETTERS

JKIDIlOp

ctvtrix 156.

UNCIAL' GOTHIC CAPITALS

14th

CENTURY.

F. C. B.

GOTHIC LETTERS

157.

UNCIAt GOTHIC CAPITALS

14th

CENTURY.

147

F. C. B.

148

GOTHIC. LETTERS

nBcx) epeni ji5Lmn

opaB STGV

luxyz 158.

ITALIAN UNCIAL GOTHIC CAPITALS

Uth

CENTURY.

F. C. B.

GOTHIC LETTERS

149

eoao eeon OOQQ neoa 159.

SPANISH UNCIAL GOTHIC CAPITALS

JUAN

I)e

YCIAR, loM

n n

>• Hi

< Pi

<

m z >

GOTHIC LETTERS

15L

iMtmmo PORjSTD161.

VENETIAN GOTHIC CAPITALS

15lh

CENTURY.

F.

C B.

152

GOTHIC LETTERS

0<

MBdM OKSW 162.

German uncial

(;:apitals,

from a brass

'uth

century

GOTHIC LETTERS

fflii;

153

154

164.

GOTHIC LETTERS

ITALIAN GOTHIC INITIALS

G. A.

TAGLIKNTE,

16th

CENTURY

GOTHIC LETTERS

155

(^^ S&S

165.

ITALIAN GOTHIC INITIALS

G. A.

TAGLIENTE,

16th

CENTURY

166

ICC.

GOTHIC LETTERS

ITALIAN GOTHIC INITIALS

GIOV. PALATINO,

16th

CENTURY

K H O o < O

<

O o I?

<

w

160

GOTHIC LETTERS

BBC© IDOPQ 170.

ITALIAN GOTHIC CAPITALS

16th

CENTURY

GOTHIC LETTERS

161

^^€€f 171.

ENGLISH GOTHIC CAPITALS

.

16th

CENTURY

162'

172.

GOTHIC LETTERS

ITALIAN GOTHIC CAPITALS

17th

CENTURV

GOTHIC LETTERS

173.

GERMAN GOTHIC CAPITALS

163

17th

CENTURY

164

GOTHIC LETTERS

flBC2>(E

GOTHIC LETTERS

165

SET

375.

GERMAN GOTHIC CAPITALS

FROM MANUSCRIPTS

166

176.

GOTHIC LETTERS

GERMAN GOTHIC CAPITALS

FROM MANUSCRIPTS

GOTHIC LETTERS

onili

179.

169'

MMi

ENGLISH GOTHIC LETTERS

16th

CENTURY. F.C.B

170

180.

GOTHIC LETTERS

GERMAN BLACKLETTERS FROM A BRASS

F. C. B.

GOTHIC LETTERS

171

(Itmm

nimm 181.

GERMAN BLACKLETTERS

16th

CENTURY.

F.C.B.

172

GOTHIC LETTERS

•—>5^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
uia

196.

em j^aouo ano^^^O

SPANISH CURSIVE

FRANCISCO LUCAS,

1577

ITALIC AND SCRIPT

188

QUISANTE' ^AnmonyJiope

A

simple type of Spanish Script letter

capital in

201, while a corresponding

small letter, redrawn

Spanish in

Oliver Jlohhi>es

shown

is

source,

202.

It

is

from a

illustrated

should be noted in

the latter figure that the three

MODERN AMERICAN TITLES CLAUDE FAYETTE BRAGDON

lower

lines are further

removed

197.

from the ordinary writing hand'

and are more interesting than the lettets in the three upper lines.

The French

artists

and engravers were, as has been

said,

among the first to appreciate the qualities of Script, and used it in many of their engraved title-pages, especially during the reigns of Louis xv. and xvi.

Figure 199 shows a

set

of French Script capitals of the time of Louis xv., highly flourished but

A

more formal than those shown

form of Script very nearly

in 201.

allied to the

Italic

was

frequently used for the lettering on headstones and wall

tombs

in the churches

and churchyards

203, in which the lettering

of' England.

Figure

is

taken from a tomb in Westminster Abbey, illustrates this style

A

of Script. set

of Script small

oJIar

letters

with some unusual characteristics, adapted by Hrachowina

from the German Renaissance form shown is

in outline in 192,

exhibited as a solid letter in

MODERN AMERICAN TITLE GEORGE WHARTON EDWARDS

198.

figure 200.

ITALIC AND SCRIPT

189

orn^ef 109.

FRENCH SCRIPT CAPITALS

18th

CENTURY.

F. C. B.

190

zoo.

ITALIC AND SCRIPT

GERMAN SCRIPT AFTER HRACHOWINA

18th

CENTURY

ITALIC AND SCRIPT

201.

SPANISH SCRIPT CAPITALS

EARLY

18th

CENTURY.

191

F. C. B,

192

202.

ITALIC AND SCRIPT

SPANISH SCRIPT ALPHABETS

LATE

17th

CENTURY.

F. C. B.

ITALIC AND SCRIPT

203.

ENGLISH INCISED SCRIPT

FROM INSCRIPTIONS.

193

F. C. B.

ITALIC AND SCRIPT

194

Among modern American designers, Mr.Bruce JRogers'has

admirably succeeded in catching the French and Georgian spirit in his

treatment of the Script

characters

yet,

;

nevertheless,

his lettering in this style is

still

modern

title

In the

in feeling.

from a book cover, 204, Mr. Rogers has allowed himself just the proper

ment and

amount of

flourishing

which require the

interlace-

—

both of

restraint

of a

subtle taste or the result

may

prove to be over-elaborate.

The

page of lettering by the same

shown

designer,

in

205,

is

a

successful solution of a difficult 204.

MODERN AMERICAN TITLE problem, and,

BRUCE ROGERS

together

with

the book cover, will serve to exhibit the possibilities of this style of Script.

Mr. George Wharton designer

one

who

is

another

has a penchant for the Script form.

distinctive

letters are

Edwards

and personal

style

formed by two black

of

it

in

modern

He

which the

lines separated

uses

larger

by a narrow

white space, as exhibited in 198.

The

lines

from an advertisement, 197, by Mr. Claude

Fayette Bragdon, in which Script, Italic and are combined, are of especial interest

Roman

letters

from the easy man-

ner in which the three different styles have been adapted to each other and

made

to

harmonize

in

one sm^I panel.

JTALIC AND SCRIPT

205.

MODERN AMERICAN

SCPIPT

195

BRUCE ROGERS

196

200.

ITALIC AND SCRIPT

MODERN AMERICAN SCRIPT

AFTER FRANK HAZENPLUG

ITALIC AND SCRIPT

197

ITALIC LEifEKS .mCDEFGHI

JKLMKOPa AjfUWVXY

WJfl ZS 207.

MODERN AMERICAN

ITALIC CAPITALS

F.CT. B.

ITALIC AND SCRIPT

198 while

The

still

preserving

an

appropriate

Georgian

aspect.

interlacement and flourishing, too, are handled with

commendable

restraint.

ANONYMOUS

MODERN AMERICAN TITLE

208.

Few modern

artists

capitals with Script

have so successfully treated

freedom as Mr. Will Bradley.

Italic

Some-

times employing forms of Italic capitals and small letters little

removed from type, he

of his handiwork in which freedom, as logue, 109.

shown in the specimen from a book The modern trick of wide spacing often

modern

originality of

The magazine and the suggest

line

^till

lends

seen in figure 207.

EDWARD PENFIELD

Script letter, adapted

by Mr. Frank Hazenplug,

and

may be

MODERN AMERICAN TITLE

excellent

cata-

swing and freedom of the swashed and

flourished lines of Script, as

209.

an example

used with examplary

is

itself aptly to the

An

will again give us Italic is

is

form make

shown it

in

206.

from a design Its

heavy face

a useful and pleasing variant.

heading, by an

anonymous

designer, 208,

from the pen of Mr. Edward Penfield, 209, other useful varieties of the Script form.

CHAPTER

V

TO THE BEGINNER The

beginner in any art or craft

eventually learn that tools play a in his

that

work than he

;

human

in

He

his trade.

much

at first thinks

any sudden change

have an undue

likely to

is

mere instruments of

respect for the

will

important part

less

but, as

it

unlikely

is

nature will occur,

it

seems as well to devote here some consideration to the tools

which the student

will

tant part of his equipment.

himself what

Though

always believe to be an impor-

He

will ultimately ascertain for

best adapted to his

is

own

individual needs.

every draughtsman will recommend a pen that

own

he has discovered to be especially suitable for

his

few will be found to agree.

safe

Perhaps

it

is

however, that the best all-round pen for lettering Gillot

No. 303.

in

is

of

little

flexible

use.

coarse pen of

heavy

lines

It

is

and easy. It is

not too sharp, and

The

little flexibility

is

the

when broken

crowquill pen will be found

an advantage to have

of even width.

use,

to say,

at

hand a large

and smooth point for drawing In using water-color in place

of ink such a pen will be found more satisfactory than the Gillot to

303, as the thinness of the

spread whenever pressure

finely pointed pen,

is

fluid

causes the line

applied to a limber and

with the result that the line

is

not only

broadened, but when dry shows darker than was intended, as

more color

is.

deposited than in a narrow line.

When

a

TO THE BEGINNER

200 narrow

line

of even width and sharpness

best to use a

new pen; an

desired

is

older pen will,

it

js

on the other

hand, allow of more ease in swelling and broadening the

under pressure.

line

A

thin dry line

may

be obtained by

turning the pen over and drawing with the back of the nib, although '"

pen so used be worn

if the

is

it

apt to have a

may prevent its working satisnew hard pen is likely to be the

burr " over the point that

A

way.

factorily in this

cause of a " niggling " line

or undesirably broad

a too liniber one of a careless

;

On

line.

rare

obtaining certain effects, a stub pen but

it

occasions, and for

may

be found of value,

cannot be recommended to the beginner, as

difficult

one that has

to find

sufficient

very

it is

flexibility

of nib.

Quill pens are undoubtedly useful in drawing a few types

of

letters (see

some of

the designs by

Mr. Walter Crane

•shown in previous pages, for examples) but, not to allude to the difficulty of properly pointing a quill, which seems to be -a

well-nigh lost art nowadays, the instrument possesses so

many annoying

peculiarities that

use until a satisfactory steel pens has

A

pencil

scheme

is,

command

it

is

as well to avoid

its

over the more dependable

been obtained. of course, a necessity

for lettering.

The

itous will the composition

in laying

out the

softer the pencil the

more

first

felic-

seem; but the beginner should

^uard against being too easily pleased with the effect thus obtained, as

it

is

often due to the deceptive indefiniteness

of line and pleasant gray tone.

When

inked-in, in

uncom-

promising black against the white paper, the draughtsman is

apt to find that his sketch has developed

fection, both in composition

and

many an imper-

in individual letter shapes,

that the vague pencil lines did not reveal.

"

TO THE BEGINNER As

to paper, Bristol-board has the best

The

for lettering.

English board

smooth surface

some ways

in

is

201

better

made with any smooth board k

than the American, but has the disadvantage of being

The

in smaller sheets.

difficulty

that erasures, even of pencil lines, are likely to spoil its

rough " Strathmore " American board has a

The

surface.

may

very grateful surface upon which the pen

almost as

much freedom

as the pencil.

however, while tending to promote interesting suited for careful lettering,

especially require to be surface.

and the

classic

obtained in smooth finish; and, indeed,

The

is

may

also

be

less injured

by

board

most Bristol-boards.

prepared India or carbon inks such as " Higgin's

or " Carter's " are

best

for the

beginner ;

prepared inks have a tendency to get to stand open, easily

not

lines, are

and Italian forms

drawn upon the smoothest possible

The American " Strathmore "

erasures than

be used with

All rough surfaces,

although

muddy

if

all

allowed

and the so-called " waterproof" inks are

smudged.

In devising a panel of lettering, such as a title-page for example, the draughtsman's

first

step

would naturally be to

sketch out the whole design at a very small size, say an

inch and a half high, in pencil. determine,

first,

This small sketch should

the general balance of the page; second,

the inter-relations and spacings of the various lines and

From

this

thumb-nail sketch the design should be drawn out at

full

words and

their relative

size in pencil,

importance and

and much more

carefully.

sizes.

In this redrawing

the separate letter shapes and their harmonious relations to

each other should be determined, and such deviations

from the smaller

sketch as seem to benefit the

made effect.

'

TO THE BEGINNER

202

Some draughtsmen

sketch out each line of lettering sepa-

on thin paper, and then,

rately

this sheet, lay

after blackening the

each line over the place where

of the

in the design, tracing the outlines

is

back of needed

with a hard

and thus transferring them to the design beneath.-

point,

In this line^

letters

it

way

a page of lettering

may be

and accurately placed or centered

tedious, and there

is

studied out line by ;

but the process

is

always danger of losing sight of the

efFect as a whole.

In outlining

letters

which are ultimately intended

solidly blacked-in, the beginner should guard against

to be

making

his outlines too wide, especially as regards the thin lines,

for the eye in judging an outline sketch follows the insides

of the bounding really

lines rather

than the outsides which will

be the outlines of the blacked-in

finished the letter

when

letter, so that

likely to look heavier

is

and more clumsy

than in the sketch.

When every

the entire pencil scheme seems satisfactory in

and each

detail,

line has

been exactly determined, the

whole should be carefully inked-in. the swing of the possible.

arm should be

For the

best result

In inking-in

as free

it

is

letters

and unobstructed as

absolutely necessary to

work at a wide board oh a solid table of convenient height and angle. It is inipossible to letter well in a cramped or unsteady position.

One

upon the beginner.

thing cannot be too strongly urged

Never use a T-square,

ruling pen in inking-in lettering.

mately

much

and true

easier to train

line

is,

be

triangle

be found

hand and eye to make a

or

ulti-

straight

free-hand than to attempt, to satisfactorily

combine a ruled and free-hand method

It will

it

line.

The

free-hand

acknowledged, both more lengthy and

TO THE BEGINNER difficult

gam

at

first,

when

but

203

the draughtsman does finally

a mastery over his line he has achieved something

which he

will find

of the greatest value.

In a drawing to be reproduced by mechanical processes, the proportions of the design are, of course, unalterably

determined by the required panel or page

may be such

the drawing

If the drawing

convenience of the draughtsman. reduced in size (and that general,

is

it

easier to

draughtsman must

is

draw

first

but the size of

;

as best suits the inclination is

and

to be

the usual method, because, in large rather than sm^ll), the

amount of reduction

decide on the

to which his style of rendering and the subject

itself

best adapted, remembering, however, that a drawing

is

are

sure

to suffer from excessive reduction, not only in general effect but in interest, for the quality

measure to disappear. one-third

is

A

trifle

is

sure in a

many of our modern'

the usual amount; but

designers obtain their best effects by

but a

of the line

reduction of height or width by

making

their

drawings

Some

larger than the required reproduction.

even make their drawings of the same size; others only

from a twelfth to a sixth

larger.

As

a rule, the less the

reduction the less the departure from the effect of the original,

and the more certainly satisfactory the

result,

although more careful drawing and greater exactness of line are necessary.

To

keep the outlines of a pan^l in the same proportion

while enlarging

its

area for the purpose of

making a draw-

ing for reproduction, lay out the K(\mTeA finished size of the

panel near the upper

left

hand corner of the paper, and draw

a diagonal line through the upper

hand corner of

this

left

panel, extending

hand and lower it

right

beyond the panel

\

TO THE BEGINNER

204

boundaries.

From any

given

point along this diagonal, lines

\

drawn

and

parallel to the side

top lines of the original panel, I

\

and extended

till

the extended

left side line

they intersect

I

\

and

\

top line of the original panel, will give

V

——————

an outline of the same

\

proportions as the required

By taking various

panel. «

points on the diagonal, panels

\ \

\ %

\

of any height or width but

still

of the proper proportions

may

be obtained (see diagram 210). DIAGRAM TO SHOW METHOD OF ENLARGING A PANEL

210.

Diagram 211

illustrates a vari-

ation of the previous method

>

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

BATES

GUILD CO MP ANT'S PUBLICATIONS

PEN DRAWING By

An

CHARLES

illustrated treatise,

work of

D.

MAGINNIS

with many examples of the

more eminent modern pen draughtsmen. A practical text-book, which aims to put the student in the most direct way of attaining successful all

the

proficiency in the art of drawing.

"The

book

very useful;

is

John

P.

" The -illustrations

all

and the

the features are good.*'

Kuhl

Carlstadt,

N.J.

point.

are excellent,

instructions clear It

and

to the

a guide to the beginner

is

and material help to the experienced. I am very pleased with it." ,

*' I

short

have learned a great deal in a

Mr.

time from

H.

treatise/'

E.

A. E. Buckler Niagara Falls, N. Y.

Maginnis^s

Hunt

Ambridge, Pa. have found it a great help in pen drawing, and consider it a most ' instructive book. ** I

Wm,

Mevins Buffalo, N. Y. E.

* • *

me

Pen Drawing

who many

as I did.*'

£. E, Christopher St. Louis,

Mo.

*' I find it

a most delightful little book, valuable for the student, as -also for those desirous of gaining

some

insight into this art."

Chas.

Feliger

J. Philadtrlphia, Pa.

PRICE, 144

has benefited

it

illustrations,

their descriptive text,

I think it was intended good teacher.**

H.

with

together

make the book

what

** Would recommend it to any one wishing to do pen drawing or to a student wishing to take up the

work

'

would anybody made a proper use of it. Its

a great deal, as

for, a

W. BONNAH

Port Huron, Mich.

** I think it a most excellent little book, well worth careful reading by any artist or draughtsman. Everything seems to me clearly stated and all points aptly illustrated with good examples. I do not see how it could

be

much

better for the price.'* S.

GlFFORD SlOCUM Architect

POSTAGE PREPAID,

New York

City

31.00

CONGRESS STREET, BOSTON, MASS.

'

BATES

GUILD COMPANT'S PUBLICATIONS

£9"

DETAILS OF

Building Construction By

CLARENCE

A.

MARTIN

A

collection oi 33 plates, 10 x 12 J^ inches, giving over 300 separate details covering all the ordinary methods of building, and in many cases showing alternative methods. The plates are models of detail drawing, and the text is in the form of notes lettered

on the drawings. "

think

I

a valuable

it

book

Co

have near one in the draughtingroom." C. A. McGreen Columbus, O.

' and

" Has

A

reference in

Pittsburg, Pa. I I

have studied all the have found them very

details

profit-

able to me.'*

New York "This book and

'

City

Kidder's' are

two that I could hardly get along without." LoaEN O. FCiKK Minneapolis, Minn.

"The

"The work very

Ernest H. Downing

best

book of

its

kind on

hesitate

Fort Collins, Col,

" It is

saves

me

considerable time,

twice worth the price I paid for

and

ber of

also gives

new

me

endless

num-

ideas."

John Schier Milwaukee, Wis.

PRICE, 144

has

proven to

be

me, and I do not recommend i^ highly,

useful

to

to

especially to students."

W.

R. Tkowbbidge Altoona, Pa.

"During

few yeara I have purchased from you at least 25 or 30 copies. .customers are the

last

My

well pleased with it."

Thomas Henry

It is concise, practithe market. ' cal, saves time and gives new ideas. S. R. Qoicic

it,

me time, labor and good book for ready the draughting-room." A. C. Stokch

saved

trouble.

Book Dealer Toronto, Ont.

" The most practical work on subject there

have seen.

is,

the

or at least that I

I have never regretted paid for it, and the book

the money I is always near at hand."

H. A. GonDSPEED Providence, R.

POSTAGE PREPAID,

I.

$2.00

CONGRESS STREET, BOSTON, MASS.

BATES

iff

GUILD COMPANT'S PUBLICATIONS

ARCHITECTURAL

SHADES By

^

HENRY McGOODWIN

The purpose and twofold

:

it

is

SHADOWS

usefulness of this

intended,

.

first,

as

a

book

is

practical

reference hand-book for the architect's office— a " dictionary," as it were, of all the shades and

shadows of those architectural forms and details and which are used in rendering drawings ;

second, as a clear a;nd accurate course of study

methods of determining shadows, for use and ateliers. As a text-book for draughtsmen it is the clearest and most thorough work that has ever been written on the subject. The study is approached from the standpoint and in the

in the

in schools, offices,

language of the architect rather than of the geometrician; and great pains have been taken to demonstrate every problem in the simplest terms and by the simplest methods. The book measures 9^ x I2j^ inches, and is

substantially

bound

in cloth,

PRICE. EXPRESS PAID, 33.00

144

CONGRESS STREET, BOSTON, MASS.