CALLIGRAPHY

& LETTERING
DESIGN
By Arthur Newhall
WALTER FOSTER Publishing
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AND LETTERI NG DESI GN
BY ART NEWHALL
Wal ter Foster Publ i shi ng, Inc.
23062 La Cadena Dri ve, Laguna Hi l l s, CA92653
@ 1989, Wal ter Foster Publ i shi ng, Inc. Al l ri ghts reserved.
This book has been published to aid the aspiring artist. Reproduction of the work for
study or fi ni shed art i s permi ssi bl e. Any photomechani cal reproducti on of art from the
publ i cati on or art drawn from the publ i cati on for commerci al purposes i s prohi bi ted wi th-
out wri tten consent from the publ i sher.
Basi c Chancery Cursi ve
Chancery St roke Sequence
Chancery Styles
Chancery Sampl es
Unci al
Fl ouri shes & Swashes
The Bl ack Let t er
Roman
Spenceri an Scri pt
Awar ds- Spencer i an. .
Renai ssance . . .
l nt r oduct i on. . . .
Mat eri al s
Basi c l nst ruct i on
Basi c San Seri f St yl e .
Expl oded Vi ew And St roke Sequence
Numer al s. . . . .
Bat ar de
. . . . 42
Ver sal s
. . . . 44
Gr eet i ng Car ds
. . . 46
l nl i ne
. . . . . . 49
Logo&Symbol Desi gn
. . . . . . . . 50
The St eel Br ush
. . . . . . . . 55
Letters At Work
. .. 56
Concl usi on
. . . . . . 64
3
4
b
7
B
I
10
11
12
19
20
23
24
30
36
39
40
The t remendous i nt erest and
popul ari t y of cal l i graphy among t he
general
publ i c i n recent
years has i ncreased t he scope and t he use of t hi s beaut i f ul
l et t eri ng f orm. Asi de f rom i t s obvi ous
pl ace i n t he
product i on of di pl omas,
awards, t est i moni al s and verses; a cont emporary use of cal l i graphy has
devel oped, creat i ng a new, exci t i ng demand f or i t i n t he desi gn of l ogos,
movi e t i t l es, book
j acket s,
al bum covers, si gn desi gn, menus, l abel s,
posters, type design and advertising - to name
just
a few.
Thi s book of f ers t he reader a comprehensi ve
ref erence
gui de and st udy
manual . l t
present s a myri ad of al phabet s and t hei r appl i cat ons t o st udy
and t o copy. Begi nners shoul d al ways have
good exampl es i n f ront of
t hem whi l e
pract i ci ng. More advanced cal l i graphers
can use t he l et t er
style samples for reference.
I t i s i mporant t o f i rst l earn t he basi cs and t o become comf ort abl e wi t h
your t ool s, but t ry t o be advent urous and creat i ve. Pract i ce wi t h di f f erent
pens, papers and t echni ques. Devel op
your own st yl es of l et t eri ng or
change est abl i shed l et t er st yl es t o make t hem
your own.
F
The Broad Pen i s avai l abl e i n
vari et y of shapes and si zes.
Fi ne Poi nt Ni bs f or det ai l
l et t eri ng.
PENS AND I NK
Cal l i gr aphi c l et t er i ng i s done
pri mari l y wi t h a broad
pen. There
are two types of broad
pens: dip
pens and f ount ai n pens. Bot h have
i nt erchangeabl e ni bs. There are
many brands on t he market . The
mai n advant age of f oqnt ai n pens
i s t hei r abi l i t y t o hol d a l ar ge
suppl y of i nk, but t hey have a
l i mi t ed number of ni b si zes and do
not ut i l i ze
per manent i nk. Di p
pens produce a cl eaner, cri sper
l i ne t han f ount ai n
pens,
but are
sl i ght l y more di f f i cul t t o mast er.
You wi l l need a
j ar
of bl ack i ndi a
i nk f or use wi t h a di p
pen. l t i s very
i mport ant t o keep bot h t ypes of
pens cl ean. A smal l
j ar
of wat er
kept near by f or di ppi ng t he
pen and wi pi ng i t cl ean i s
recommended.
A wi de, smal l
j ar
secured t o a pi ece
of heavy card or
pl ast i c keeps t he i nk
cont ai ner st abl e. The i nk l evel shoul d
be
j ust
hi gh enough f or a di pped
pen
l oad.
Ext r a- Fi ne Po nt
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Super - Fi ne Poi nt
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PAPER
There are many t ypes of
paper and boards sui t abl e f or cal l i graphy.
The choi ce depends on t he
qual i t y and t ype of work you are doi ng. A
20 l b. l edger bond i s good f or pract i ce. For al l -purpose l et t eri ng,
1000/ o rag bri st ol board i s f avored. Bri st ol board comes i n t wo
f i ni shes, ki d and
pl at e. The ki d f i ni sh i s t he bet t er of t he t wo as i t has
a sl i ght
"t oot h. "
For t he f i nal
"one
of a ki nd"
j ob,
a parchment paper
made speci f i cal l y f or cal l i graphy i s avai l abl e. Show card board al so
t akes i nk beaut i f ul l y. Gi ve i t a t ry.
MI SCELLANEOUS
Your equi pment can be
qui t e si mpl e or ver y ext ensi ve. A dr awi ng
t abl e
( about 30" x 40") , achai r and a good sour ce of l i ght ar e a must
i f you are seri ous about
your work. You wi l l al so need a t -square,
several t ri angl es
- 30, 45, and 60 degree angl es
- and penci l s,
pens, pen cl eaner , er aser s, a penci l shar pener ,
i nk, opaque whi t e
pai nt (f or correct i ng mi st akes) and a f ew l et t eri ng brushes'
Cal l i gr aphi c l et t er i ng i s done wi t h t he br oad
pen. The angl e t he pen i s
hel d i s t he key t o t he beaut i f ul
"t hi ck
and t hi n" st yl e. A si mpl e, basi c
l et t er st yl e t hat i s qui t e easy t o execut e wi t h t he broad pen i s shown on
page 7. The l et t er i s a t hi ck and t hi n Roman st yl e wi t hout seri f s. Thi s
st yl e i s beaut i f ul and pract i cal . l t i s somet i mes cal l ed
"St unt
Lydi an"
because i t i s si mi l ar t o t he Lydi an t ype f ace. The pen i s hel d f ai r l y r i gi d,
poi nt i ng above t he r i ght shoul der , hel d at a 35 degr ee angl e. The
vert i cal (down) st rokes and t he hori zont al st rokes are made wi t h a f i rm
wri st act i on. The pen i s hel d at a const ant angl e - never rot at ed.
Use qual i t y
bond
paper f or
pract i ce. l t t akes i nk beaut i f ul l y, and i s
r el at i vel y i nexpensi ve. Usi ng your t - squar e, dr aw gui del i nes on a sheet
of smoot h i l l ust rat i on board, t hen pl ace i t underneat h a sheet of bond
paper . ( Thi s
el i mi nai es havi ng t o dr aw gui del i nes on each pi ece of
bond paper. )
Al ways keep a smal l pi ece of card or scrap
paper nearby
t o check t he i nk f l ow of
your pen. Af t er each di p of t he pen, pul l a shor t
st roke on t he card t o remove t he excess i nk. Thi s i s very i mport ant as
t oo much i nk creat es a sl oppy l i ne.
Try usi ng di f f erent pen angl es t o acquai nt
yoursel f wi t h t he resul t s.
Const ant pract i ce i s a must , and i t i s i mport ant t o have
Eood
copy i n
f ront of you f or ref erence. Al so, be sure t o cl ean your pen f requent l y
di p i t i n a
j ar
of wat er and wi pe i t cl ean wi t h a l i nt -f ree rag. At t he end
of a sessi on, cl ean t he ni b wi t h
pen
cl eaner
-
ammoni a works f i ne.
SPACI NG
- The spaci ng bet ween l et t ers i s as i mport ant as t he l et t ers
t hemsel ves. Good spaci ng i nvol ves equal i zi ng t he opt i cal wei ght or
smoot hness of t he word. I n upper case l et t ers t he narrowest space i s
bet ween round l et t ers such as O and C. A sl i ght l y wi der space i s
bet ween a st rai ght l et t er and a round l et t er, l i ke I and O. The wi dest
space i s bet ween t wo st rai ght , vert i cal l et t ers such as H and l . Di agonal
l et t ers are spaced opt i cal l y t o equal i ze t he open area; no dark or l i ght
sect i ons shoul d domi nat e. Proper spaci ng i s cal l ed
"good
col or. "
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-I NSTRUCTI ON-
The Chancery letter is a favorite with calligraphers because of its beauty,
f unct i on and speed of execut i on. l t i s great f or a l arge amount of copy.
The Chancery Cursi ve
(i t al i c) l et t er l ends
itself beautifully to the broad
pen. The shape
of the letters are tall rather than fat. The
pen
angl e i s 45 degrees, but t he
pi t ch of t he
stroke is 10-' 15 degrees off the vertical. The
pen does most of the work and little pressure
i s needed. Use one of t he l arger ni bs f or
practice as they are much easier to control.
Fol l ow t he st roke sequence as shown. Use
t he
gui del i ne board f or
pract i ce.
BODY OF LOWER CASE
5 PEN WIDTHS
- Ascenders & Descenders
equal to body hei ght
CAPITAL HEIGHT
7-8 PEN WDTHS
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The name
"Unci al " i s deri ved f rom t he Roman i nch of hei ght
- "unci a. "
Unci al i s an upper case al phabet , but i t s ascenders and descenders
gi ve i t an
upper and l ower case l ook.
The Unci al l et t er f orm i s made wi t h a
pen angl e of 35 degrees. The l et t ers are f ul l
and rounded wi t h consi derabl e open areas, so be caref ul not t o overspace'
Unci al shoul d f eel t hat i t can be cont ai ned bet ween t wo
gui del i nes. The al phabet
can be used i n a vari et y of hei ght s and wi dt hs. l t bl ends wel l wi t h i t al i c al phabet s.
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UNCI AL
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FLOURI SHES & SWASHES
Thi s
"st yl i sh ext ra" serves a doubl e
purpose by enhanci ng t he space and
adding unexpected interest.
I t i s i mport ant t hat t hese st rokes be execut ed wi t h di sci pl i ne and
pl anni ng. The bol d ri bbon swash i s done wi t h t he same broad
pen used
f or t he l et t eri ng. A smal l er
pen i s used f or narrower swashes and a f i ne
poi nt pen i s used f or hai rl i ne f l ouri shes.
23
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I NSTRUCTI ON-
The Bl ack Let t er, al so cal l ed
"Ol d Engl i sh, " i s a handsome, st rong, condensed
style. lt is a great
form for creating a feeling of times past. Today, it is often used
for diplomas, awards and other certificates.
The Bl ack Let t er al phabet has many st yl es and
wei ght s. The basi c sol i d wei ght l et t er i s not as
difficult as it appears because the letters are
qui t e
uni f orm. The pen i s hel d at a 30 degree
angl e. The very ornat e Ol d Engl i sh wi t h hai rl i ne
f l ouri shes must be drawn caref ul l y wi t h a sharp,
hard penci l ,
t hen i nked i n wi t h a poi nt ed pen.
24
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SSIC
I NSTRUCTI ON
The Roman letter is the foundation of many of the letter forms used today. Roman
stone cutters and scribes developed the classic form. There are many variations of
t he Roman l et t er, but t he basi cs remai n unchanged.
The Roman capitals are made with a
pen angle of 30 degrees. The serifs on the
letters are executed by first making an almost horizontal stroke across the top and
the bottom of the letter. Then the
pen is arced to the right and to the left to finish
the serif. A short vertical stroke is made to finish letters C, E, F, G, L, T, and S, then
f i l l ed i n. The det ai l ed,
preci se cl assi c l et t ers are caref ul l y drawn and i nked i n wi t h a
f i ne pen.
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-tNSTRUcrl oN
Thi S cl aSsy Scri pt , al SO knOwn aS
"COpperpl at e" Or
"ROundhand, " i S i deal f Or
awards, di pl omas, t est i moni al s,
greet i ng cards or whenever a sophi st i cat ed
f eel i ng i s desi red.
COppERpLATE - The i nt ri cat e si ngl e st roke l et t er i s wri t t en at a sl ant of 54
degrees wi t h a f l exi bl e,
poi nt ed, obl i que
pen. Copperpl at e i s devel oped wi t h
pressure on t he ni b. The
pressure i s gradual l y i ncreased f rom a hai rl i ne t o a
swel l , t hen decreased back t o a hai rl i ne.
SPENCERI AN
-
Used f or capt i ons, l ogos and namepl at es, Spenceri an
i s
pract i cal and beaut i f ul . The copy i s caref ul l y l ai d out on t raci ng
paper wi t h
penci l ,
somewhat oversize. When the lettering is accurate, it is transferred to illustration
board and i nked i n caref ul l y wi t h a
poi nt ed pen. Correct any sl i ps wi t h opaque
white
paint and it' s ready for
photo reduction.
Fi ne Poi nt
SPENCERI AN
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The wei ght of t he swel l
shoul d be wel l above t he
gui del i ne.
AWARDS
SPENCERI AN
I NSTRUCTI ON
Thi s decorat i ve l et t er st yl e adds much cl ass and ef f ect i veness when t he capi t al s
are used f or t he l ead i ni t i al i n a paragraph or a verse.
Bei ng very ornat e and det ai l ed, t he l et t er must be caref ul l y l ai d out on t raci ng
paper, t hen t ransf erred t o t he f i nal st ock f or i nki ng.
l f usi ng t he broad pen, use t he smal l est ni b and bui l d t he l et t er up wi t h care.
l f t he art i s f or reproduct i on, t he t raci ng shoul d be sl i ght l y oversi ze. Transf er i t t o
i l l ust r at i on boar d and do t he f i nal i nki ng wi t h a f i ne
poi nt pen. Shar pen up t he ar t
wi t h opaque whi t e pai nt and i t i s ready f or
phot o reduct i on.
40
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I NSTRUCTI ON
Thi s beaut i f ul angul ar al phabet was devel oped
i n France i n t he f i f t eent h cent ury.
Bat arde i s a nat ural f or t he broad
pen. l t i s a very angul ar f orm and t he st rokes are
made wi t h l i t i l e di f f i cul t y. l t i s best t o use one of t he l arger ni b si zes t o creat e t he
sharp ri bbon ef f ect . The pen i s hel d at a 45 degree angl e. The upper case l et t ers
are
qui t e wi de and cont rast wel l wi t h t he t i ght l y-packed
l ower case l et t ers'
Bat arde combi nes beaut i f ul l y wi t h Chancery Cursi ve and ot her i t al i cs'
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-t NSTRUcrl oN
The name
"Versal s"
comes f rom i t s ori gi nal use as t he i ni t i al l et t er of a verse.
Versal s are t al l l et t ers wi t h an angul ar
grace. The mai n charact eri st i c of t hi s l et t er
st yl e i s t he gent l e t apered f l ai r curvi ng i n at t he mi ddl e of t he st roke. l t i s best t o
penci l i n t he l et t er shape, t hen use a
pen wi dt h t hat wi l l gi ve you one si de of t he
st roke, t hen a di f f erent
pen wi dt h t o creat e t he ot her. Af t er t hi s, t he space i s f i l l ed
i n t o compl et e t he st roke. Then t hi n seri f s are made wi t h a f l at
pen angl e. The
l et t ers B, D, G, P, R and U have rai sed and l owered l oops above and bel ow t he
gui del i nes.
Bui l d up t he l et t er wi t h t wo
st rokes, t hen f i l l i t i n wi t h
pen
or" brush.
Loops ri se above and
bel ow t he
gui del i nes.
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-I NSTRUCTI ON-
The I nl i ne st yl e can be st ri ki ngl y ef f ect i ve when used as a t i t l e or as t he i ni t i al
capi t al of a word. l t has
great "post er punch. "
The I nl i ne t echni que requi res some
pl anni ng bef ore i t s execut i on as t he l et t ers
must be wi de enough t o cont ai n t he st ri pe comf ort abl y.
Each l et t er shoul d be
caref ul l y l ai d out wi t h t he cent er l i ne i n pl ace. One approach i s t o use a smal l
broad
pen and letter each side of the stroke, leaving the stripe in between. But the
best t echni que i s t o l et t er t he f orm compl et el y and t hen caref ul l y
pai nt t he i nl i ne
wi t h opaque whi t e pai nt and a smal l brush. Thi s requi res
preci se brush cont rol .
s
lr,uf
BOLs
Logo desi gn i s a vi t al
part of
promot i onal advert i si ng. A good l ogo
can
provi de i nst ant i ndent i f i cat i on and recogni t i on.
The best l ogos ar e usual l y
qui t e si mpl e and symbol i c. Many t i mes
t he graphi c symbol al one creat es t he company si gnat ure.
A
powerful
effect is often achieved by
grouping stylized initials.
50
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LETTERI NG
WI TH
THE
Brwh
RUCTI ON
The St eel Brush i s an i nt erest i ng and hel pf ul t ool . l t i s great f or l arge l et t eri ng
because of its extra width, and
you can use thinned
poster paint on it as well as ink.
St eel Brushes range f rom 1/ 4 i nch t o 3/ 4 i nch wi de. They make i t possi bl e t o
f ashi on l et t ers 7 t o 8 i nches hi gh.
The St eel Brush i s a f i ne t ool f or si gn or
post er work' Try support i ng
your hand
wi t h a si gn
pai nt er' s mahl st i ck. The f l exi bl e t i p
provi des more cont rol t han a
brush. For i nt erest i ng resul t s, t ry di ppi ng t he
pen i nt o t wo or more col ors at a t i me.
55
tut
EXAMPLES OF
LETTERI NG
USED
I N
ADVERTI SI NG
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I t has been my pl easure t o share my l i f e-l ong obsessi on wi t h t he
l et t er f orm wi t h you. I hope you don' t rest ri ct your l et t eri ng t o t he
broad
pen. Try t he f i ne poi nt f l exi bl e ni bs and t he st eel brush.
Experi ment wi t h a show card brush and a si gn
pai nt er' s qui l l . These
wi l l al l cont ri but e t o your t ot al cal l i graphi c ski l l s. I have demon-
st rat ed many al phabet s and st yl es; t hey are here f or t he t aki ng.
Remember, every mi nut e you spend expl ori ng t hi s exci t i ng art i s
yours to keep. Don' t be afraid to be creative!
ACKNOWLEDGEMENTS
To Ross Sarraci no-f or hi s ki ndness and underst andi ng.
To Sydney Sprague-for her professional help and editing.
To my wi f e, Emma-f or her encouragement and pat i ence.
rious
Instruction
for
Serious
Artists
'll'h:
>
nhat the Artist's Library Series is all
lrr-'il The books in this series will help
you
,us:n.J r-our creativity, overcome technical
nrr:r;-;ies. and explore new media. Each 64-page
p"*rerhack focuses on the materials and meth-
qrrs
,trr a specific medium and provides step-by-
w':: de monstrations,
helpful tips, and plenty of
i:tlr.Iragement.
The quality of instruction in this series is
u;ns-irpassed.
Each book is written and illustrat-
r; :r a professional artist who specializes in the
pr:ir"-ular medium and is uniquely
qualified to
s;;e
the reader to a new level of expertise.
i *-- .
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l'::: R.. Lighr
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I ETi t:3nks
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. 1..i How To Use It)
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Pen & Ink
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,Techniques
& Uses)

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: I mp r essionism
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,;
DnbrushTechnique
-
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::rks
AL13
Perspective
by Wm. F. Poweil
AL14
Cartooning
by Hal Tollison
AL15
Calligraphy & Lenenr.: D:.:.
by Arthur Nerhall
AL16
Watercolor Wih lfi.r
1l;;;
by Duane R. Light
ALl7
Oil Painting Materials
by Wm. F. Powell
AL18
Watercolor & Acrylic Materiak
by Wm. F. Powell
AL19
The Art Of Framing
by Charlene Brom
AL2O
Felt Pen &Watercolor
by Duane R. Light
AL21
Sculpturing
by Domenico Mazzone
AL22
EggTempera Painting
by Kirk Miller
AL23
Knife Painting
by Wm. F. Powell
AL24
Marker Rendering
by Todd Murrison
Walter Foster Publishing provides
art instruction
products for all ages
and skill levels. For more informa-
tion, send for a free catalog.
Walter Foster Publishing, Inc
23062La Cadena Drive
Laguna Hills, CA92653
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-
Artist's Libr ary Series
r sBN 1- 5h01, 0 - 031, - l ,
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