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CAixrc^p hie lerreRira

with wm'pen an&d&rusfP

FROM THE SY-. 'r-

MSD-CONTIN^ i Pu~uw - «|T

745.61 D747 3RD REV. 2003

Douglass, Ralph.
Calligraphic lettering with
wide pen & brush

MID-CONTINENT PUBLIC LIBRARY

Raytown Branch
6131 Raytown Road
Raytown, MO 64133

rlhltv/.'Edition •>

'Eeviscb er-EnCaracb
with witepcn ^bcush

WATSON-GUPTILL PUBLICATIONS, NEW YORK

 MID-CONTINENT PUBLIC LIBRARY
MID-CONTINENT PUBLIC LIBRARY
Raytown Branch
6131 Raytown Road
Raytown, MO 64133 0001 00995604

First Published in 2003 by

WATSON-GUPTILL PUBLICATIONS
a division of VNU Business Media, Inc.
770 Broadway
New York, NY 10003
www.watsonguptill.com

Copyright © 1949, 1962, 1967, 2003 by Ralph Douglass

All rights reserved. No part of this publication may be

reproduced or used in any form or by any means —graphic,
electronic, or mechanical, including photocopying, recording,
or information storage and retrieval systems—without
the written permission of the publisher.

Library of Congress Control Number: 2002109838

ISBN 0-8230-0551-8

Manufactured in USA

First Printing Concealed Wire-o 2003

1 2 3 4 5 6 7 8 9 10/12 11 10 09 08 07 06 05 04 03
fORewoRb
AS NOT6D mthefhstebitiouof this teat, it was
originally beswneb as a tea cl luupaib. following
\V)orlb War IT, college, classrooms ware bursting'
at the seams wnthan influx ofwteiuus. This
\w>rh\vas publisheb at that tune from a sense of
urgency, Now, afters everal gears of using- it as a
teatlcolt, I wish to revise the manuscript ui the
Ughtof classrcxmtexpernnre.anbto make cei^
taimimprovements anb additions which suggest
diemselws.
HIT IS NOT the purpose of this bcokto make art
Original cotitributioTttD calhgrapliy. The author
boes not profess to be ait art historian. On die
other haruS, neidieris it intendb as a collection^
of alphabet charts to be slavishly copied. Ratherr
die purpose is one ofgeneral education .It repre
seats an effort to provibe xsouub elementary
tntrcbuctioii to an interesting-anb tune-horn-
oreb craft, no t only for the casual letterer butt
for die beginnuur calligrapheras well. There is
a stimulation ui creative letteruurthat comes—
_ O ill
only front a knowledge of principles and back?
ground I hope,dierefore,that this workbooks
will prow ait inspiration as well as a practi¬
cal self-help not only to the artist anb studnt
but also to die layman fasemateb by lettemvg"
who besircs to tnipnow hisjxrunanship.

7
4L GRATefUL ACKnOWlB^OlEtTT tnuscbemai^
to tkefbllowuiy people-for thekyoou services;
without which, this work never could haw been
acconiplislicd: first, to Arnold Bank,, calliyra-
plier; teacherano friencUwho rntraNucecLme'
to a philosophy that makes creative letters
iny possible; to rny colleague, Dn AlcaaricLem
Mas Icy, pro jess or opart cS ucat ion,w ho read the
manuscript and niade valuable subjections; to
my daughter, Manly n,who lightened tiut la?
boropthis lit i de rfcakh up by letteruiy tlic books,
hand text on pages 25,29,33,35,45,47,53,54 and
55; to my wife, who lent encoury ement through-
out and proofread die manuscrtpt,an especial-
ly liazardous task when it is handwritten,;
to the University of New Mexico fbryrant nicy
me a sabbatical leave in which to do most of
this work; and last, to tlie staffat V\)atson-
^uptill,fbr uitt'oducuy-'tliefirst editionto att
art audience, andfor agauiably and courte¬
ously handling- the arouous details of pub¬
lication^.
THIS 1967 EDITION, m expand my d^ie presen¬
tation erf the Ckancetnj hand, takes coym -
2>uice of tlie yreat revival of italic handwrit-

my tn (9reat Britain and the United States

dunny recentjears. Tlie adcktxorv of late
publications to tkc bibliography will serve—
serious students pursuinycally raphy mmore
depth.-=Myii n, nvy hearty thanks to profes¬
sional colleagues e>-odiers mentioned elsewhere
x>jvu
for tlieir oenerous cooperation..
0 BoD

8
 gontcnts
foreword, j, S — Tools and Mxtonals 1 l—AVnti tiy
Positioirii—practice Strokes 13.
The RQMAtl AlphASCT
Simple Roman, ComphteAlphakt H—Smallletters 16,
17—'Capitals 18,19 — Vertical proportions 20—Order
of pen Strokes 21 —Practice Suggestions Exercises
22,23—Spacing 2i —layout 23— Bcokhand 26, 27—
Roman T7i th Sertfz<S, 29 —Manuscript \VHtuuy30,31
Class ic Roman 32,33.
ITALIC SClllpT
forma l Italic 34,35—Chancery Cursive, Complete Alpha
bet 35 —' Practice Suggestions ^Exercises 37-40 —
Bas ic Alpliabet mPenc 1 i3 8—Children’s Hands 4± — Pro -
fessiorul Hands 42 —Pointed Italic 43 -Pnglish Round -
OTherc Historic porms ins-
Black Letter" 46 -4 8 —Versals and Lombardtcs 49 —Span
ish Round 670^11050-51 —Rustic and Irish Uncial 52.

BRush_ LeTTeRinq
Tools 53 — Strokes 54—Lszttennj- jj.
DESIGNED LCTTCRS AtlD TYfP^
home-made Tools 50—Creative Lettering 57-Writing-
and Pesuyun<y58—-]_ettenng-f)r Reproduction 59-
Introduction to Type faces 00—-futum Medium 6i —'
Caslon and Bcdoni 02—f aramorid Italic and Bernhard
Modem 63 — futura Display and XJeulatid 64-.
BlBLIO^RAphy j 65,6b
RLATeS
his to meal Examples 69-75 —Contemporary Lettering"
76-S 3 -—Reproductions of Student WOork Sf-8j.
mdepc LJ 109,110,111
 GDIS AH6 0TAT6UIALS fbr~ pen ietteru1o— Artone Inks(biggins)
----n 'Drawing board O for all purposes
T-soua re e~ triangle including
jvuntainjJtn use
rPuler Jfandy dropper*
Masking tape staffer
^ ink c-penal
ink'
^ iruers p, ^ehkan orHyjms-
/liun with das ti fled
waterfvr small
'Pencil writvwj.
HBe-B

Crocus cloth -
will smooili
the edge of as
rvugn pen. 'Blotter on?
gen wiper for
'Paper; /f"x IJ'1 pa?- I Smooth hnstol board-for large pen worh.
' cleaning pen.
zolb. bond - zs% rag I 36 lb Ledger-f 00% rag-for manuscripts'
—for practice Osmirvld (FngItsh)M3luvtmvTen - OS^nv 0 (

'Pens: broad, medium erfine rubs —

T ISE GGDb cTl ATGUIALS and keep your tails A.SpeedhdCfCScnes ^EstukrooL
i\r 11 ^ #1Sorforafl wiclepcn alphas
\^A^dean . When work is finished, clean ink Sets.!, williamMdcheCC "Cursive"
from the rcservoirAvith the corner ofablot1 ben, 1 n sizes from small stub to i/8,
'{Made in England. US.distributor:
tei; as shown above. Then Axnpe the pen with HM.Storms Co.poRoeblmy Street/
a clotir, especially the underside. When Brooklyn,}{./. 11211. C-Wm.Mitchell
reservoir devices. D. (pit poCtcrpen,
ewr the mk does not flow readily, stop anh sizes i/8 "to l" Uses inker poster*
paint: A. Wvfhanr Mitchell Poster
clean die peruAbu cannot do clean, sharp
pen, 12 s izes. Sharper than the Coitt
lettering-voith a dirty pen . 41 Tcols joi’—7 p. Osmiroid. reservoirpen, Ssiz&s.
(Storms.) (g.Cjittctt-rrijo er'Pnncl*
brusk lettering-are slvown on p>-53- rfo\—'
polity. Seepp. 41 er 58. K Elbow pm
homemade tool? seep.56. sta(f. L Left-handed pm.
Always use a rcscrvocrjgen holder'or PUpporv' rtsen'oir with W/pMctchelCd—pens.

11
 \/\l K-ITing posmoil^ Icliesug$tsturns otv
AiovaSU ▼ * this page, allessential to^jood lettermep-'
canbefoUoaved by airy unskilled person-
take thena seriously. 41 first, s it we Ik
po ised w ltd the lioht source on your left,
uik at die right, or viceavrsa if lefklianoed.
Tile drawundxwro should be. at afairiy steep
slant, eitlier resting on die edge of die table
and in tke lap or hinged to the table and
supportedby an objectr placed behind it. A
pad (n) made of several si nets of paper'
softens the surface of die hoard Aguaro
placedjust below the wiituigTitie (wL) pro¬
vides a res t for die hands and prevents soil?
mjthe manuscript (ms.) or lay out,which is
Wipe* <tff a mwJ)en wttfi saUvcu slipped unbenieaththe guarclaruS ttioveb up.15
to remove the.
tlie writing progresses. A, rubber bancS or tape,
oUyjilm.
(tt) holds die plate ita place. A sc rap of simi¬
lar papenis needed fbrtryuupdiepeii (c).
€1 the lettering plate may be ruowd up or'
oown andfrotnsuSeto side but shoulA not be
canted outlie board (A). Be sure thatyour
paper is five of all dust and eras m os before
be^umlny to letter Do not clutteryour
worku up s pace with unnecessary mate rub-
41 die position of die pen in tiieliani will
vary, of course, with the mo iv i<Sual Howecei;
for sharp, vdioe-pett letters die writing took
dees be tter wlie n hekS at a steep angle witla
tl le plate rather than too slopiturt B). Do 1101
press with pen ltaid enough to spread'
the sfmke . Let the jvn write-P

12
T3^AC^ICE5TI^OK6S. for jour firsv
I workoii any exercise or alphabet, a fS-mdi
*pcn is recommenieAUseboiii paper erdiuv
mk.41 Begin at oncewith penamS mk with
out preliminary penciluur If die pen is new,
moisten a tissue with saliva an 8 wipe the
film front it>. Dip die penuidieml-c (When
iomj fu usheo work,it should befiUei with
x ch'opprr See A.) Note utstruettons uiuSer
$ xno C at die riglit. co s tart the ink flow-
uie, move die pensile wise .If it still re-
fiiscs to write, try it on an o tlier piece of
pa peno r with tlte grain of your drawing-
boari (p. txC). C Set the pen firmly but not
Heavily on die paperso that the entire eige
conies ui contact with thesiirfaee (P). If-
jou lean the pen to the left, die right side-
of thestroke will be raggeo (£) ani vice
versa (f). If the pet ns held correctly, tlie
stroke will be clean-cuton bo dredges (f).
li Brcathing-is important: When about to
5 tart x stroke, ml vale; while die pen is bn
mo Hon,holiyour breadi; when finished ,
exhale. 41 In making-a curve .glide into it-
ano out as a plane wouLS Luu'v and takeoff (Hi
Lift to the siie at the e nd of a straight mark
(I). Don’t "whip "the strokes nor mow die
pen too slowly, but with be liberate freed)in-
4\ Now, keeping the pep. in a consistent ps'r
Uon so that it makes a tluii line at a jo-dt*
gree angle with die horizontal^ j\ try jour
Mte that aCC Strokes 9e<ju\
Irani on die strokes at die iiglitm and end at thc^o°anjCe.

13
SIMPLE "vE
ROMAN /4Q
mm 3 pen-width units

rrmopqrstuv
wxyzzaABCDE
ViVJ

14
G ^Kthg opposite paqe, is the
' Roman alphabet in its most basic,
simple form,freely wnttenwith abroad
pen held at ajo* angle with the horizontal
(a). It has been gx>afbr twenty centuries
and today is die most widely used in moderm
printing attesting its excellent desigrn.
41 like any fine alphabet, this one has been
influenced from thefirstby the took and
materials used m its creatio ti, always x
sound basis for design. The letters here-"
re produced are die product of astraight-
ebpedwiattr^ instrument which might be
aquill,stylus,steel pen or other'chisel-"
shaped tool. (-Seer pp. 11 and 56.) Indus case,
when the pen mows at an arwle of gefwith
the horizontal, the
,
stroke ,is thia (B-i);7 U
me teacher can use dsnort piece/
when it mows in a direction perpendicular cfcUCH on its suit to cjettU
to that an^le, the stroke is thick {2). As x ^ncli ^nn
result, A is traditionally shaded on the
right, V on the left (C).Tfie width of other
strokes, obviously is determined by the
direction the pen is trawling', the angle-
of die pen remaining consis tently the amt.
In the curwd strokes, the widthchanges grad
uaUyfumdiinto thick(D). 41 The letters
opposite are furnished as a^guide to thefb mi
and theory of tins alphabet. Do not copy dieir
accidental faults. As you practice diefbl low
ing exercises, compare the capitals with
tire classic Roman on p.jianb observe. Aar ^ M (J cmml,
basic form; the "small letters witlv ivitA claCkdulb, use a vouCv
Caslon, p. 6z Smsfl Mtf c(ear waUr~

15
SIMPLE-ROMAN Small fetters vtv width groups
In terms of 0

iai o p to $ to ft
ben widths —
7 5+ 4
/.V. w

□ t
A

im 4 a t
'
w c
omd
1

a td hese points
arches
z on J-
v l
e v
,0ne
tfroke

(
C t
2> *
on the same

/
rthe static group
-jaft as wide as high J
rDontlet the
branch of r or- f
mlr like this: 1 p'
b i)J

id s fight straightening Symmetrical angle*

cj-thecwrve—* — also W

cA concession/ to those
who find the other-
21 and g too difjuultr
Used in elementary school for the idea of deciding
reading charts. the alphabet into
width ''families','we thand
vj-Arnold fand^'

16
 Oil At) S(nALVl£TT6RS, called also Trouffe makers defow1
J_\^lower case or minuscules, present less (jet tfie "o" ROUND -
difficulty for tlie beginner titan die capitals" J so: O so: O

because thestrokes are shorten therefore To NOTmove

tfie firSt Stroke
we beym with diem.Ifyou haw practiced- aow -swing itdac
the strokes shown on p.ij it should le east
er to handle the pen on the letters. 4lS mall
i
Then dea in m
o can be t aken os a standard of measure^ the wet- -ano fwwsfi tde jod
mentm studying the proportions of^the-
otlier letters. It is static m shape, a perfect
circle on die outside.five tunes the width,
0\ O
Inverse twins.
of the pen both laterally and vertically,
Also twins,
plus enough to let the curvejustcowr the But different:
line. C and e are die same shape. In ther
p yroup, each letter has a wrtical stem vehicle Mote in these four
cuts die arc ular body os a chord, fyvet letters that tfye
would come outside
special attention to the arches of ni n and the Stem if completed.
h to make dientbeautifldly round, 'ther
diagonals of k are made masinglestroke-,
nothftinythepen. Study marginal notes
on g a and e. Base thefbrm erf s,both small
one) capital,on two circles, which keeps it
Tefative size
narrow and harmonious with the round o. of loops
the cross bars of t andf aro asymmetrical,
being-longeron the right. 41 On p.to isadis
cussion of vertical dimensions and suggest Axis
tions on how to ruleyour guide-lines. After" of oval
lower loop~
your paper is prepared, work _ Modem
on the exercises shown on p.22.with the-" { vs, Odd Style
l
7 waus
8
lowercase before takiny up tlie-capitals’
e c both
tb n’t make a whole-1 me of one letter or-"
copy the alphabe t as such‘."3Vl ways use the
letters as m vporbs. )
a a vs
17
SIMPLER0MAN fyitats- in width, cjroujxi
In pen Widths:
J 1,-.+

Jtonzontals
should hey
2/3 as wide

as
verticals.

M is Mdtan inverted Motet

W. Vy Strokes differenced
l and 3 para Che (, between
z and4 art parallel. the capital
Not so in the M: and small
iStn7 kes l and 4 map
or map not he vertical
hut tin pare MOTpar¬
allel With j and
rcdpec Tad cs drawn
ouilhrcucjhter
The wedeje of M cu rved the la It
comes tv the hasc thud of its
[me lenpthLj.

—and is only j ftrohe wide,

if easier Jo r pow,joen the Tiro hies in thus order: m

18
 I be ESSE I) HAL FOROlof the cxpi
| tal letters on the opposite page is hasex)
on the classic Roman of the Trojan Column.
(See p.32J Observethesound desgn logic
R-2DS When too wide,
the shape becomes
that has influenced thescforms.me basic
inharmonious erugly^
shape is diestatic circle or square . yVe
Done get into the rut of making
have shown in gray the relation of some aU Utters the same width :
of the counters to the Q-shape.(The space
within any letter is referred to as die-
counter7) If die double countersof £, B
and S are to be static m form, therethe^
avidth of the lettermustr be only half that
BOOK
^Although uniform Utter w'ufth
vs used in condensed types and
of the big- O. This gives at once a harmonij 1 take, the great eft dignity is
achieved by following the--'
of shapewith a variety of width, both inak classicproportions fvund on
mg for pleasing design. The armies of die- thes efrs tr'vag es:

Ay, N e^Z are approximately45* X and Y,

with their half diagonals mustbe less wide-
m order to use a comparable angle.CChe
capital is eight pen strokes hgh, less dian
BGDIC
<~ff\e Utter $ is kaseef
die lowercase ascenders.Tlus makes for on two circles, wide*

effect of the caps. €CAs widi thesmall let¬

S
x charge in height compatiblewidian even ftroke in the middle J
tone over die page by minimizing the accent
^Jtot hike
I this, which
is made from
ters, the Roman Capitals are also created
"flat"pen position^
widi the pen held consistently at xgo0
rfai(s h ranc fi A(EA1\ the ftem.
argle widi diehorizotital,which shows at
die end of every stroke . Exceptions (shown
on the rght ingr&y) are made in die caseof
N, M e>sometimes Z.when the pen is mani¬
kR
yanationsfvm 3o°pen angle:
pulated to suit thedesired width of stroke
in these cases only. 41 for practice, fol low
the exercises su^ested onjy. 23.

19
V6RT1CAL PROPOKTIOtlS • -AT FIRST, letter-with the Aid of three
Measurements he fun hues, spaced as indicated below. tb tins
^Z!Z^Mrook^,S least unuljougetrwll Acquamtei,
^SpudfxdlC') pens calf forwith the alphabet. Sometimes the old'
4-5-3 Mute that would scribes not alonp without liner—
measure —5/fom,-3/$m. 0
Mod if of st naff fetter-- j Ascen)er-4
AV

,0 'D f seeder- 3

Mote that there is no {paces

[eft between lines.

StDALL t is shorter than the other ascend

_______^_me letters; and descenders.suchas that of g;
MtfMdllilMltn
'Maskwej tape ^
t Could he rule) either
{horizontally or vertically-
maJ ext6n2^ kyond-the f pin stroke^
zone if circumstances permit, points andL
curves of letters must overlap the line abit
to appear to be on it. €1 As a labor saving
device,ruleamastersheetwith black lines
diat will show daroiyhijourpractice paper
Ihenfastenthetwo sheets tooetherwitft
vnaskuy tape so that th^y wi Imotshp* Man
will need a diflerent mas ter sheet fur each
pen width. 4Llhe proportions herehsenbed
an2jbrmediumvveyhtlettenrgre>should be
thoroiyhlyfelt befb rejoin^ uvfbrva nation.
Later a bolder (blacker) or lighter weight
may It used to suit thesub/ect matter by
varying the width oj~die pen ♦ <

EBEDEM 2 BOLD s
20
The UOCHAD ALphABET broken down into p£ll STROKtS
/ „ / —a i -2-—^

NOORRSSTU

aaa
S ^hhijj kkl mill
<i
a
n n o o ppej rf

21
 * kyoxl lettering is more-
a matter of freedom. Beautv
than of frecisiorLJC ^d
PRACTICE^ SUG^ESTIODS * • Truefreedom, howeverexists on|y
Co us is ten F'VPi th the abcnpcstateb where dierc is discipline. Tc is said:
principle^ no precise draftsmanship "Ton too. can be acalli^rapherafyau
is claimed for the widopenalpliabct Ime pereeverance chve lotvrenou^h-
cliarts mthis book: ihe pa^es were The only wpy to acquireskill is thru
designedand freely written-with a tuclesspractice- Do not try to
minimumofpeucil Layout and re- mastertlie /etteissepaiatefy.T^nte
touchuyp The textaoas wn tteu them as in words, usi ne the exercises
direetjy widi pen e> mkas the old below or like ones. Keep the spaces the
scribes wrote dieirbooks andas avidth of a small o. practice direct-
you are expected to ‘‘writer—7 ly with me pen on lend paper W)atch
Ketnember that a. property handled yaucbreathiny. (See p-13 ) TVtake
pen woill not only create die let- dozens of copies. Stop after eaciv
tens but will heljyouspace them, pa^e to chechjjvrm e^ proportion.
i.Using cr </$ 'fen, tokt the small tetters in wielth groups: (Seep. /6-)

mw pdqb nhkuv
xyz sac rtf) i I mw oce
2, .Tim take them across the chart, so:

mopnsri wcdhatl
22
j.JVOW Write, an alphabet sentence, [caving thec moth
math of
ofsmall
smalt o vetwi
between worts:

u ick bro
pj box withjwt dozen laajaer ljuys.
n fo>|d
yodog
Jfanng acoui redsome confidence with the "small letters f
now try the capitals in similar-exercises: (Secp. iS )

M.\ IW OCtGDQ H
MpHpi mcAxe
6. Another alphabet sentence :
etc.

BRAWrWYoGrODSQlU
to QU12J

STtf LQCKE DoUP

( Aow mix the capitals am) smabb letters:
an) vex
(dm, etc.
l Jfthe vertical
J , l cjwes ijoti trouble,
' A t I fT\ | I 'rule an occasional

A b I eoba ke rev^ h as etc.

Active AtomitrAsh B
etteioBaked BeansiCa,,
23
THEIIUE or page of kanMetteruyp skould be
so spaceo as to present art even tone. Spac¬
I sc
me?-is not a niatterof mechanics but ratker" oamc
p < ' , , mcasun
of feel upy ant) tas to. If trie letters are set-7 between cXotc
mechanically anb spaced ccpidistxitfromeack Jp0int$ crowded
condition
otken the effect is uneven and bad: fore
l
Too
much-
'act
9

f OfEan ewn appearance e~maximum kgibil

ity, tirewlwtespace wntkin anb around tke^
letters must be consiberxa\ and weighed as In cjood dpcucvruj,
dctirmmim the defiance
taarjy odier kinb of all over design. Hoter' irs is
again diat the average space between words cc matter ofjeel
is approximately the width of smalL o:

CORRECTcSPACING
TO implementgooo spacing of letters witk
uvtke words,follow dus "rule of thumb:
lie areateft cluftcunc e us /eft
between two fhnuejfo ftro kes

{A curved fbroke next to a

II a s uv
HILL
dlraujfo one us cu little closer
31 as in
J'O'I N
Two ciMvecfftrok.es art'
ftuCt closer
3C as uv'
BOO 1C
Twopouvts are placed cus
close tojetforaspossible
CALVERT •*« or curve can be
tucke d unde r—

fO fd/decoixative purposes, letters are some tunes spread out—:

L B T T E S P A C I N

24
AYOUT is just another name for orderly
arrangement or design. In typesetting or
lettering the elements of design are the-'
lines of letters, blocks of texts ancl accents
(such as initial letters and spots of blade
or color). Balance maj be formal (see land
2 at the right) or informal (see 5 and 4.)
Subjects suggesting formality, dignity and
such qualities call for formal balance—< 4
Where movement and liveliness are 1 uricated,
use informal balance. 41A layout can be
tied togetherbj the use of vertical and
horizontal or diagonal axes. (Seej,f and
b.)A happv medium should be struck be¬
tween the two trends illustrated m 5 e-b.

On rie one (rand'. On tleot for hand:

Statics 'Dynamics
Verticals el horizontals Movement, diagonals
large areas Srok.cn areas
Even middle tones and edges
Unjpjuuj devices- Op nt rafts
Variety

IN MANUSCRIPT writing, certain tradi¬

tional arrangements, based on sound prin¬
ciples of dosign, p revai l. M a rg 11 is var y
but usually; relate to each other as indi¬
cated here m unit widths. Useonlyg to
& words to
the line. See
pp. 30 and 31.

S'uvciCe
"iijongfit"

25
 BGOKHAND

fen widths 1 Bracketed, serif may ho

used in ajvrmal hand
:;v
H ao pq rss
SSeslwWnc
fiiese Uncials

' 8Jion widths ^

HIJ KLMNQi

26
B COKHAND IS
\
perhaps the most common
1
written variation of the Roman and
'Hecks —sincul or Urge--
^ make
IM/Ibr tfiem 'ROUND
l?ni
-like the aivlics.
also the most beautiful in its simplicity.
It demxs from the basic form which aw
have studied adimo'alicodto most of die
stem enduiqs. On p.i3(.I) it is pointed-
out drat a smeo tliemend may be Qtven
the stroke by lifting the pen to the side-.
This easily develops into a hopk e> exp lams
that fhanux functionallip Ttie wntuy ur f ^
strument in diehand of a skilled penman Mot a,
creates many such happj accidents. Il-How* nverse "S
Ukc tiusM
ever such features as the “hook!! can ber
done beautifully oruthemuse- Entrancey
at the top are, usually small,whereas die
exit hcoks of h,n\,ivt and l can lx quite
broad. But, huge orsmali, make them round. tncmqU
41 It is legitimate to eloncrate tads oi— sm<u(

other strokes for decorative purposes on TuiatcOn-

forfUluurout alme^—J oftflC

A 1 U
aescene .crs
-Ascenders am) oe
Tetter a.i ^pcnmssLPlc

respectively may h: extended on the

ton xno bottonvluies oj~a jwra^jdv^

Study the curve of airy extended stroke aid

avoid weak or awkward linesOWhethcr lone
or short, draw out the tail of K^.fh or Q._
oops nuuf
Straight for two thirds ohits length and
be tvund.^
then curve it. But shun daiiitiess"Me own
flattened on
crowduiy 41 After practicing', try backhand
tfic brrad
on a quotation m manuscript styl Stroke w-
jo 031,

27
28
1 HE SERIF lias had several functions ui the-
| History of writing and printing. The Romans
devised a. serif for use on incised letters
to produce a more satisfactory shadowiA).
Scribes found it a convenient way to ter¬
minate a. stroke and to start tire flow of
ink on the deads. In modern type, various
kinds of serifs still serve as the stem ter¬
minals. Some contemporary popular faces
abandon this feature entirely. See p-6i-
4lOn the opposite page, all serifs are pro¬
duced calligraphically and directly with the
wide pen, including the more formal brack¬
eted style in "RomanMote,at the right,
bunts on manipulation of the pen. The let¬
ter itself is still written with the pen at
die 30° angle but on the serif the angle is
slightly 'flatter" A 35* angle, on tlie con-
train, produces a heavy looking letter See H.
Serifs are kept rather severely straight.
A page of wiggles can get very tiresome.
41 The flow of ink from the pen is promoted
by a slight connecting of one letterwith
the preceding, as in "ornate*. As a space¬
saving device or for a packed effect, o’s
can be looped as in "book/- Curved strokes
may bef rozen together but, itiooingso, own
lap the m completely so that the "frozen"
parts do not make a black spot on the page,
ornate'
if Again, practice this new hand not as an
alphabet but m exercises and sentences. Try
to do it beautifully.

29
 VVrT. te a Cone/ manuscript’ as if mu
woudd a letter concent noting on
In Miuuiscrip t ^litxiyp
•fine Cettemforms and keep og sue
md spaung as cons idle nr as pos-- accenr is achieved hy^
slble, At hen a Cine needs exadfr
placement, made a tnaCrun
and put'it i _ J
5 e veral fat i uUarnuiai is.
just above CENTRAL The most common .perhaps, is by tlie use of
t fat Cure
on your enkiigecLtmtuxls. these cauk embedded ui
■funaipbate, the text or used entirely irttlie margin, as
J as shown Cnee:
Always use a reservoir shown At die left, or av irk d le s tern trailed
with the gen dowtidiemarguias widiponp. 31. h/otothat
A£= traditionally die line proceeds fbornthetop
rather than die bottom op die initial ,wluch-

K NOCKO
often is followed 1 mmediatejy by one or two
words in capitals. As to die style oft! ie^
S Ezm:
initial, one may use theVensal (showmlien?
and on p. 49 and so-cal led because it marked
the beginning-of die wrse), die classic Ro¬
Anting can be beautified by the
rational use of simpledeco ratio m man or ail enlarged capital of the text or'
Use one kind of ornamentfo?r~ Similar letter. Enlarged lines at die bepirr
one man us copter1
rung of a paragraphias above, and color are
♦ ♦ ♦ ♦ ♦♦♦ ♦♦♦ A
❖
♦ ♦ often used. Bear immind?kowexetj that black
*% *u ♦♦♦♦♦♦♦♦♦
/♦ is hcavierthauaruj color, and adjust the—
J\ safe way to devise ornaments is baldness of the letter accordingly, 41 prlrr
to use the same wide gen
employed in -wntincj■ ciples govemug-die use op accent ui arvy
design apply as mTl to manuscript layout
yi'
Accents should liavt a certain cousisteucij
and there must not be too many of thenr
41 the importance of propernlaryuis in mam
usenp t wntuly cannot be owrempliasized.
illumination on initials: (p.2.5.) Legibility is promoted by luies of-4 to
8 words in Uipph .41 Manuscript illununa
tion is a subject too large to be dealt with
adeiyuately 1 icn&rSee die bibliography-

30
B
MAMUSCRIPT \VRITTN^. Tvvo variations
fix>nvth& normal spacing oximes. (Sec J3.20.)

acked or massed writing* where space

is at a premium * ❖ gives richness of"
le* ancf requires bolder weight,shorter
ending and descendingstems * lines of
equal length and no gaps betweenwords.
Margins Icohlarger * the blacker die mass
of text appears * Suited to lon^inserijitioii s

«fc-Amore opertsn

is extnivaganr op spacer,

>id
5l
louvers terns aneS liol itei~hve td itr

hi 10\ s unrests eu^vrice—y

| * C

puierless exp supj ectrnihtterr-

Suitable^ for^s ruorfr

cjiiothaoas anb lines op—^

uiieauxL lenotlu_>

31
32
T: HE CLASSIC ROMAN alphabet. on the
preceding page is freely copiedfront
tke Try an Column inscription and/ adapt¬
If meckanixaffy
drawn, tke serif'
'is <i segment jy-
a curt'tc. M
"
ed for modem use with the pen or bruslt.
W)c introduce it Here to study further the- Jfowtv&r/it'LS nh
beautifuC f-draM
bastc, essential form of tlte Roman letters. free band and
Read again tlte discussion of proportions on f) tended stipfiity
with tke stem.
p. IQ. The outside of tlte O is a. perfect, —Tut
circle. E is one-half the widt.lt of O. The- avoid wippty appearance
by not overdouuj tke
top part of R , p and both parts of7 B are- softness oj- the tines r
exactly tlteshape of D. 41 Tlte weight op
tlte strokes is Important. Tlte height oft lie
capital is about ten tunes the width, op the
titlekstroke, slightly lighter titan the--7
written letter shown on p. is. Ip made heavi¬ r-k-
/ V

er, the letter loses its pine classic peeling.

41 It is also important that thicks arud
V
thins be umpornt in width. 41 In contrast
to preceding alpltabets, this letter is drawn
and pointed up rather than written. A pen
approximating the width optlic thin strokes TJL
led can be used on them ana manipulated to
make the scrips id). Thick strokes are built
'Points and curves
up, blenduig slightly witiv the setups. Largeovertop tke Une a Uttke
letters can be drawn conveniently by fasten¬ ro appear to be on Itr
ing two pencils together with rubber bands
tee). The forms then can be written function¬
ally by keeping pencils at the yo°angle (f)
Tcu ts of%Kand (fskoutt be
except when making the lept strokeof M.,tlie drawn fbnupkt cuvcuf and
terticalstems of N, tltediagonalof Z and curved me tadt
onike Cadi mind
of tke ftroke
forward hcoks opC, G-e-S, where manipula¬ L _ Strona Wea&^j
tion is required. Draw senps with one pencil

33
34
I
HE ITALIC differs from wide-pen Roman
in four essential respects•• 1.The italic 15 con¬
densed inform, the 0 be in a oval instead of
Itaiu vcrsusHcmum —

'four csscntmf differences.

1 {pndmsed form:

round as in the Roman. All letters are the

same width except ijA,m and w, aticL_
in the last two, the parts are equal in width
to the 0 or n. This simplifies the problemof
z. Letter slope. A guide line or two
spacing, as shown in the exercise at the bot¬ 1 mice) on the master sheet will
tom of p. 37, the space within die letters I help fix and
^ maintain
approximating the space between the let-
io°slate
ters. 2.The Italic letter slopes at an angle7
of to )0°. Tltis slope should be consistent
and should not be exaggerated. g.The pen
angle is increased to 4S'0, i. Ascenders and 3 Lpen anyIr A5"mfteadof 5o°
as in the Leonean
descenders are somewhat longer in the--7
Italic. Rule pour master sheet S~S~51pen- A-
!■ p-ascenders
stroke units) instead of 4'5'5 as heretofore^
rlonqerp^
4lThese differences can only be mastered •r Cf ^ descenders
by conscious effort at first but eventual hj
one should be able to think Roman as
vertical and round and italic as sloped or
tfow Capitals
condensed. Other features remain much
dZomawfvrms:
the same, such as weight, height of the—
capitals (7"Spenstrokes), roundness of hooks
and tails, use of bracketed serifs and the^7
pulling of all strokes. dlNote at the right
afgk wy
Italic:
simplified forms of certain letters that are
traditional with the Italic. Originally verti¬
cal Roman caps were used with this hand,
but later they were sloped and sometimes afskwd
flourished (swashes). When capitals are used
alone, however, employ a simple form. SIMPLECAPS
—when used exclusive lu.

35
 Unless otherwise indicated: write better's
[hmcenj Cursive— with one stroked

iev descenders m [math— .

36
Q HANCERY CURSIVE found Its name
and its first popularity in the mid-
"formalItafchersus *Qtrsm'

Sixteenth century, when itwas adoptedts

the official liandfbrpapal briefs. Ludovico
Arryhi wrote tire fust handwriting man¬
ual oa Chancery 1111522. Onpaye 71 isafac
simile plate. Todays revival of tins hand at¬
tests its usefulness e-lxauty. The Cursive is r. fcd
simply a rapidly written Italic, and will be Has io Strokes:
individual to a decree with each pen man.Hove Clockwise -
ever; to be fixe and soundly crcatux demands
lory discipline e-practice uv the essential
fb rm. €LUnlike thefbrmal Italic, mwhichall
Strokes arepulled, lathe cursive the pen is Counter
putted andpushed. Any hi forms the Lady of die clockwise
a, c, d erp in an oblorvpparal lelo <?ram as shown Combinations -
at die upper rylvt. The pen will round the con
tiers sufficiently. Though the Chancery is not
a"current ’’hand, certain letters may lejoined
as specifiedonp.^o. Vertical proportions, Ac cord nj toAmgkv,
con&nsed character; slop e-pa aryle are^ Zfsltktt*3"'
the same as f^r die formal Italic. <1 Study 1.- Thick and monnj m reverse,
Amolu's onoitiai liand, checlunr the fb rm of „ L _ fr L C
every letter. Tpy die basic strokes indicated as m ^ rlfoU iJS
mdie margin. Thenpracticc lory and faith* zY/lhin and diaaonal, as in

Hjmnprtwwxyz
Vacinqttractice: llfite an n ora/j 7hen Write the alphabet sentence over it
ijom~/ matter-1 she et^l
chain exercise on uoin~A on the top sheet as belcW:

Give andtake fpac ecus necessary, dies is onhj arc exercise,

pour eye ls always thepnaCjudgi p spacing.

37
Tr HAS BeeN ASSUOlEd that to write. It is mconsis tent to teach,
JLt he s tu dent w i tk a^eneral t nter childrenfirst a “print script"er then
cst in calligraphy will lecpiat the a current hand, some letters of^
first of thi5 booRand proceed in which bearli ttle resemblance to
sequence. However; this pajeis in¬ print. (See below.) We 5 ubrmt tint
serted here for those who chooser the child learnirijChaiiceryJtorutiie
to begin with, tlie cursiw tcitn- beginning avoids this confusion er
prow their handwriting; as \wll in the e nd possess es a beautiful as
as for die ve jjjo uugj us t learning well as practical and legible hand.

jy
HGRB then is the elementally essentialfbrm.) Use these letters
Chancery? Cursiw Italic al phabetr in the following exercises with/
for beginners. (It would no t hurt pencil er ballpoint pen until ready
anyone to ause andstudy this for die widepe n.Tiieu retumtojz}6.

.j
/ \
__ _

r r
-s- _
' 8 f
■
_ \ LJ v J _

_ _ _ —
w I/ _

"VCARDID G l If taking tip Italic fir# and'tvman subsequently,pay close attention tv

the yen anyle, ^y°for Italic, 30 °jvr Ho man. tfns is very important.
- 1 / *

en m wo heavy
for Rdnwi, 30",, v “^TooUht

38
K£(^AROlirSS of the age of the scribe, tuneer work seem. to be the impon
tantfactors in xcquiruxqpx^oodi leuii), Itfol lows that persewnm- prac-
ticepay^ The exercises below can be done witlijancil orwidejxn.
Sjood riiijtfym dnlTs: l.^fochwise, n chain.

rrrrrmi

1. Counter-chockwise, u chain.

VJJUJJJJu

Dherywithtx: / J J

cuogucwdudtuciiii

In Italic also, sjoace between words = width yj-small o' ^

'Don’t Cct rapid writinjyetyowinto bad habits: Hound the arches.

Not this — /\A/ViAd44/V\4A^ bur this

Now, usinp the matter sheet mtbiebachof-your boob
for Osmirvid Dread "pen, write an alphabet sentence over and overt (This is reduced 1/3.)

39
exercises connnueA - cApiTAis
AiifUn usinq the i/gpew, practice tin Capitals through the alphabet in names, so:
■j J ' J j J Ort..r.r;J rCisr.G cl
* '

r x

M~ ^ . m^ t
1 £ j £f v M F W Wml i
mr* m mm 1
/'m / S3 ■ W
w F m r LC

Capitals are of fewer help fit to made Cess ,accent

r / r Etc. aqameraqain.
Then with the J J

o>mirctd srcajm y| efi JeoAto m icoAs,f nontBa keel

%ans (apnedts apish (ufhmfdouhle Duty Doe
Ifi/ou have ttvubii witf / r. , r _ \Jr, ttc:
Tm^uuntZrP’ Mnnmnnik, PepperXimukinm
Certain fetters can be lowed f h t C ,v
with thosejvCComnj: fle CvLl CP tf] wf* v ' tYVC TKl tip

— Others sometimes: tfowever

whether to or not tvjam vs ♦ ♦ ♦ ♦ ♦

hhfow, using a "medium orfene'nib, as youprefer, write a letter or

address a Cotgfe (fenfhnas cards. Speed upjmduaCj errfJttirnicaVj

40
CHAHC6RY CURSIVE as written by sixth graders

A "NacimA Strength ©
q * On nuj hmr I uiill de truj

mpefd, but trig mew twn make
<Ajeevplc fltmt wtid stj'cnq''
Aden wfu>,Jbr truth.andherwr’stake, ^
Standfast andsuffer (mg.
Brave men who work while others sleep,
wtu Are M ,<her>fly~
ThybmManm*rhp,lUrs Ay
Amh lift them ty xhf sku
J nc bit an any U - worm un haivc5
The (jaUratj ~Pijoer
r*(Upul ^ *> ^ *nd my mmnj,
tv obtg the Scour law'
fseeple at all tune)',
to kttp myself fhysmily sxrtng,mtn>
mlLj awake, cmi morally straight,
0
A M cam< limvn tUw*lk:
He did turt krurw I taw;
a Lr*. i * i i
and atc. the ftlltrw, raw.

©
person m the rwtvon.
Or of a rent or humble stvUrbcn,
J-CoCdd m hu^heit erotirnatvoYi
Xuputrpg TCm of (jctUarcuj.

Vfften the rtedddntj helU are rwfjvnfj f

® Xu the breath, ve Cend tfu s'mfjiita ,
Tlun W jiffs tfu fdCfujJO swwpjhyp}
What a sfCenduh jnper1
l .(farlotte Banian. z.S.frazp.Acje 11.3.Robert "McCombs, Age rt. 4. Ptyjy Parnck,, (Left*
fiamicd). j. Qhnstwe Hayward. Pupils of 'Jred Paver, (aucionia, 'New IjorfLs.
Reproducedactualsizg^, U O 4

41
CHARGERS CURSlV6^as 'written informally by professionals

aw Ixyi liifi- - VJtiM tfulYris eOaU^JMii WV&UA jjrY Ijjtt

0 >. Oj- Cmrsc owri jvrMn

4isi nnj WYifi+uj 4+t trntj nm

'1

Hrv umfbc# r\ .

/ - „ CMmtitfidAiMtddt.r^Z/.

JfOyUTS/ ®

UtfiJifkllf Y*ft fr4ojiihd*n. 2L *9^^

Ma frrPtrUJij It to ^err W) c fifw i^canT^

c Jtii tercAj

dh^/HxcA—rl\yJA

rccm^lnf -UScolliu^ - jU[K/

<i^kn\i v^ isJxnA k^kMi «

® \Zt4-J •

l.farms Hams. z.lfo^dRe^nofds.j.'Jhi/rnonABaBofa. 'Non. the fnakfu personal cfmn&e.

Preach hand.

42
 tcrna^fc/umt
„ / cffaact wtiveMt- Ariof
-y/Jemdera—-z- /<f

aJ to %{ Jma/2AtteAJ
(J/ -■ tfixdc&ncteAJ

a j) // /

a cutU/if Turna nmm mm an

tx/Uv/K sAm/ 1 / Jc a -4o° met oondcJtMz/O

am/ri

44
 MGLI5H ROUNDHAKID or Copperplate—
Vj rs the perfect example of x letter—
form dictated by the tool with wluch it
is made,followup a principle enunciated
repeatedly m this booh. A graver used on a
copper plate makes the free-flowing curves
of Roiindiiand guite naturally; hence its long
popularity in formal e ngraved announce -
ments. It is also a "natural’ for the flexi¬
[Keep foan) eh pen at moderate
ble, pointed pen which we use here. *1 Un¬ dfoj^e.
like preceding alphabets created by the wide
pen, tire thicks and thins of Roundhaud
are die result of varied pressure. A heavy rDmW
heavy/stroke
hand can only be applied while the pen is sir cup (hr
brawn straight away; to push the pen or move away.

it sidewise under pressure may produce x lie kardeft trick is

to square the end of a
splatter and bread it. Therefore, in order stroke Jn th e case of o,
to accomodate the extreme letter slant, set down ike pen with ay
sort of I ah, spreading they
an "elbow "pet i staff is used by the r ight point to the Cefr.
Handed pet'son (not required for the south¬
paw"). Mote suggestions at the right on pen
and board position.*! Tills formal,calligra¬
phic, current hand is not the rapid, commer¬
%n
points
toward
n
should e r
cy
do square the
bottom end, [ft
cial, secretarial longhand described m some I sudden Ut to
penmanship manuals and executed entirely ly the lejtr.
arm movement. It is rather more deliberately
'Pra.tdice in
brawn by a combined arm-wrist-fitiger mani¬ these three
weujhts—
pulation, with a relaxed freedom to be sure,
but not too swiftly. H Practice the small let¬ y/L
ters m the cl lain exercises with u and n and
/ - with
in al phabet sentences. Write the capitals
small letters together m proper names. M a iyp **sam'
jpemu

45
46
~Q LACK LETTER so called because op its Ascenders H&rcUj touch

jU condensed character, is die product

the Gothic period and ui its extreme ver-
ticality is kindred to the architecture of~'
that time. Just as tlie classic Roman is
essentially round, tins style of lettering^
is tall and narrow m the small letters,
like a Gothic arch. 41 Black Letter is more-
dccorative than legible. Associated as it
is with cathedrals and sacred writings, it
retains an ecclesiastical connotation. Sum
pie black letter caps, created functionally 3 ‘Descenders
likewise touch
with a wide pen, are shown on p.gx. A d
slightly wider pen may It used on the wide dvr practice in spacing, ftart to
'write "Sowing ''this wcuj:_
and open capitals, especially wlienmcolor,
to give them the same weight as the com
deused small letters. Decorative Lombardic
capitals C p. 49) arc also used- with small
black letters. 4LTlic stroke employed in
writing this hand-goes abruptly from thick and thenfinisfv it:

rm
—

to tlun,most thick strokes taking the form

of a black parallelogram. Rule jour guide¬
lines as before ^p.20) with spaces ofg, g
and 3 pen-w idths. Then placegaur strokes
so that guide lines b and c go through the-'
DOll v
Shown above Is the essential form
extreme corners of your black parallelo¬ of'blach Letter Delow art two
derivations more freely written but
grams. Tiius, the letters are easily formed. based on hilt one -forms
To space diem, leave about 1 fa pen widths
between vertical strokes, whether the space
be within or bet ween the letters (see “bow^ Bdtar c 6

mg") except with c, e, f, r, x and g, when

the eye becomes thejudge of spacing. (Jyctnan
47
48
lOCQBaKDIQ * *
OHPITHIB !• port
jRmoymxyz
s- v< ^?S‘Y
fin- VL
J4
•

@1:
1 V 9• ^ ' •.
-» -» ♦ » » mm —

H\
VttcuCJnrnv an ItaUan jvitrteentf^centuru antepkonaru. Oruj maC m tfic
CjaCleru, TlaCtunore. Used by / emission.
possession of the Walters Art CjaCCertp
r yr

49
Sjxjmeh ‘iRound **£3othic

50
S PAN IS R TvO UN D GOTHIQsimilar- to
‘'ROTUNDA'', is apparently a Southern,
European/ relative^ of Black Letter Jr is
andle—
found m colonial manuvcriptfof theAmcnr
can Southwest-m die same form used ue
Spain, ar that time-o CfRound Gothic should
$Tnrt dnjfe-;
lnteresr the contemporary calligrapher be¬ then Uj-f ami. cnutuje
cause iris more legible than Black Letterr pen tv fum zontriC
Lposition.
while retaining- much die same ecclesiastic
cal connotation. Its simplicity m tbesrnall tAiahr- the S this Wi

letters contributes to legibility,as doe5 also

its variety of formanb stroke. 'Tfounck
Gothic is the first hand introduced mthis
bcofo which cal Is fora manipulation of-'
the pen from die horizontal, or fiat'posi¬
tion I to the diagonal position X used
m preceding alphabets. As shown at the
top right, some letters such as 1 and l are
created from the ''flat'position; o, c, s, etc.
from the diagonal position; while ire f-
a sham cemerr
rod and Ujt the pen
writing b, p, n, etc. both positions arc met). aut~crf the -fines n
By dus ad) ustment of pen angle to the dme of a/Strcuqkfr strvk#—^
M4
txon of stroke, the page takes on a remark cn-kl
One -stroke-
ably even tone when well spaced. AVhen thuckn ess

#freezmgf curved letters together avoicLa

black spot by overlappingstrokes complete
ly. C In the capitals, the same claim to
ca\\ vo
yv corner-vp

\ \ rn' V
legibility can hardly be made. Perhaps for
this reason many scribes used classic
Roman orbombardic uncials fonmtial let¬ &

ters. Some old mss. showati illuminated^

Roman capital & a Baroque initial on the
OptLoruif i nitial stjCcs
same page-'.

51
IRlsh ORIjJSUtaL
h alpu pa acL+ 6de-
yn np qfbj w^i)^
52
 TGD1S fOELBttUSf) liETTCRINE?
Good ret)sa£U [rushes in sizes to suit
Size of fetters

[See p.54-. [See p.55-

^

^CaijvrruUjvr ‘JumctumaC"'strokes ^Tomtcd brushjvr infvrmaCStyle

deeper: Jl/euspnnt pabfvrpmctue;
Showcard Board '(beaus bnStol) in white, blaefee- color
'full sheet 22" *28" .
-Half-shut i4-"x 22I' Water container-^
Quarter? sheet 11 vx /4" Showcard tempera paint-
[curd orglass palette black,whiteo-cofor

F I l4e FI RST NECESSITY of f ine brush letter- ^

| w is a good brush. A red sable of the best
equality Is recommended. Although certain,
brush lettering used- in modern advertising
is executed with a pointed brush use tlie-7 Cfearwrp
the (mis ft:
sejuare ended brush (clusel-shaped) for the
wide-pen alphabets m this booh. Generally;
the student will find tire 1/4-inch brushC#lo)
with round ferrule most useful. 41 Such a
brush is expensive, but if properly cared
for will last for years. If not cleaned well,
it will soon be worthless. Immediately
after use, clean the brush as follows:
Washout as much paint as possible under the
faucet, Tiien, clean thoroughly with mild
soap, boring the brush into the palm of the
hand so as to spread the ham Rinse, Repeat pm/c ^
this until absolutely no pigment shows* unties form to dry

53
Stroluny the finis (v— traJemirh ujp I It’ATA GOOD BRUSH as if it had
| personality and it will respond accord'
inglj' First; work the paint into it tkoroug-
by by stroking for a minute or two on the-
palette. The paint must be mixed tojust
tKe right consistency; tbm enough to make
a solid stroke>thichenough to hold the brush
Too wet Too dry Juft nyht
At a sharp chisel edge of normal w id tin
tl There are two kinds of brush strokes to
be mastered. The first; which we arbitrarily
call "functional'; is the result of holding
die brush At a fixed angle and letting it
create the letters in thick o- thin strokes;
as does the pen in most of the preceding al¬
phabets. Here it is even more important with
brush than with pen to glide into the stroke
and out as a plane lands and takes off. The
second kind of stroke; which we call 'inauipu-
n rr ,r // lated; is peculiar to the brush; which is
Cecuslenallu dip the / , . r
brush in water- twirled between thumb and forefinger while
vo p rev mb peg the hand is in motion; resulting m a stroke
uniform in width w ith no thicks or thins.
TUAICTIONALSTROKES TmTtict these and then inj thenvon wide-pm
*

'Tonum and Italic alphabets.

Trush^
a t fixed
angle

CT^ccCg-—r'
MANIPULATED STROKES Used in sans-senf Cfotfio alphabet (p. 61) or built-up Meal and
*

- (p. 6i)
B RUSH LETTERIWG- is the natural me¬
dium op the poster. The principles of
CuJic ^yynj-’kvnu'
1-* lCONCERT
layout, outlined on p. 2.5, will be useful ''Directed
Jofa.nn
here. It is well to list the various items of JttuHictoaL -4 i<ilcix< rxt-c m )
3* FRIDAY * APR-3 • 8 PM
the copj in an order of emphasis ami deter¬
mine their position, size, color or weight f Striping
in the design accordingly. However, these&■ Ordercr)-
empfasis
other attention-gett ing devices or forms of
variety must not be overdone, lest the design POSTER
TCWftdM
disintegrate or become spotty. For this TVCCCtQL

reason, limit sizes, colors and styles of

lettering to two each or at most three-H
H Striping can be used effectively In a
poster. Hold a ruler as shown at the right
and let the ferrule of the brush slide along
its edge. H Although the scope of this
bark is concerned primarily with calligraphic
writing with the wide pen and wide brush,
the student should be made aware of other
calligraphic means-hence, the introduction
of Rounohand with the pressure pen on p.
and here,mention in passing of the point¬
ed brush and its characteristic forms. In
contemporary painting there is consider¬
able interest tnthe calligraphic, concerned
with freely moving lines c-the spacesthey
enclose:-'' A very popular form of brush
lettering used today in advertising is based
on the same principles, using a pointed
brush, placing accents and spaces as they
are felt but always respecting the essential
form of the letters.

55
whether qwlCC or sty bis, HO REAL CRApTSMAa can inake his
it h as the same s h a rp,
awn tools. On this pa\?e are shown a few

writing iris tru mends which can be Revised out

of the mos1 commonnuterals. All haw the

An ordinary meat skew cm same chisel edje. Those shown here are cur
makes a very dumCCe sty (us for the right^handei scribe^ the opposite^

rfdese cuts ^ anjle lemjretjuuxdfbrlejhhaniWs. The

mufl be stylus, reed or quail is so made that the
absolutely
true. wJ sharp edge does tire wrrtiny Make die—'

last cut with asharp knife ona smooth block

orglass slab, for the writing- edge must be

'lire debtors
tongue depressor- absolutely true. for quills, gcose or turkey
e,
is us eful fo r Carg wuij feathers are recommended.
widt'stroke Utters
^ r~tf\e reed or QudCyen has two cuts:

A short spfit in ike nil is flatted

with a knife blade ^ —and finished
- * this way:

Jor ordinary Athinpiece of sprung steel

use Is formed Into an ink reservoir
A cross section )

nib — of the reed or qucCC

as it is cutr—^
~HaCf ofabobby pin flattened onthe
Jor very sharp yuC end makes a perfedlone^
ef fine strokes

A Wedge shaped piece of

hard felt held iw a spllr A res ervo ur device
flick serves as a poster "pen!' f>/ the styles,.
^ J -thanks tc
®L
Herb (golcUnam.

56
I ^Sf owing whatfiappavs when the pm angfe
f)£ ROOT meanuup of "cal Li^-rapliy fw Kiel i
drives front the hjreek, is “beautiful writ
ls varied-A
Study
counters'

uup? In creatiae calligraphy, then,the pen¬

man's first obk^atioinis to make what he
is dauu^hardsome So-for iatius book, at
teatiotvlias been bitecteh to the basic fbrrrt
of the letterr Asjou continue to practice,
y oir \v ill de xxzlopyourown durac tei'istic,
individual IxanAoee tKatjoutmterpreta-
tlOTi is bo til. legible (rcspeo tu up the basic
form) ano beautiful .Vou am ho tins by re=
tumult upnn and ajport to astudy of fine
onoirials, and by apply u up the pruiciples
of Oesupvto details ofyourwmxiupsuck
as stroke enduujs and die placement of'
accents. Atow is shown one me did ofgiv-
uiywanety to die written letter; and onthe r$cgin' with
followuup pxyes, other ways of uuproviup- the wnttcwjvnru
curd develop ted
the form by draw uim—" 0

57
1. ''TP rite "a/ (W
Utters, T€TT<£RS are created in two ways: by
using the me ftsimple furnv
1 , wntitip dienvanh by btawi rup or tvsuj ir
of the Homan alfl bet.
in^dieimMost/ofthealpliabets stubieb up
to this point are written, or callujrapine,

Letter
a, Write the same Cine again
tkc form being bictateb punctionalty bj the
pert. Versals, Lombarbics er tke tyjx fices
tkat follow are examples ofSesipncd letters.
and retouch, or'fo'iwt ftwp'C B o tli ofthesc approac lies mfkienceallcrem
with a;fine pen. tree letteruuj more or lessjust as both emo=
tiortanb mtelkgencer bear on all creative
design.. 4fOn this page is suggested air
exerciser (not o ng u lal w it 11 theau ti io r) in
‘drawu^ ktters^ivuiytKesirtist oppor*
3. Now, using only the fine pen,
tunity to improve dieir design ctvatrely ,
''than11 the Utters from the begin*
•mp yv re part her the witlwut violating-the cssentialjbrm. Read
;ijn tCun serves.
tke directions at tire left carefully and
One wap experiment step by step.Tins requires tune

Letter and care. 41 Note tlie relation betvxenthe

Step'3 letter anb tke Vers al (p. 49) .Versa 1$
are a little less severe, stems teingflared

MN
One way serifs:
i c J\
si i$ktfy towarb tke serfs. Bemkarb Medm
ty pe (p.63) has tlier spirit of die Versal .

bdUmnr vVo serif-* Note tke warnings below on bow to builb up

stems to properwibtk efhow to braw beam

ipA tifiil bows. Tins exercise alsofiimiskes a

timefy opportunity to study tke trabinonaL

cs z esi
VerticaC senfs: directiouoftkeserifmnvanous letters.
t/ j, J 1

'Exceptumi'With VersaCs flomhahucs,

outline the letter—
<_7c> get fieny wuhths imljorm■
DO/V’T outline firfl and then fill in *
—the widths of the outlines wilt fool you.
Heather, start with a
pool of ink. and work owt-^ t^-drawing the
inside jtrftr

58
I
N LGTTGR1NQ fOlUtGPRODUCnON, the Tor (aryef nisfccfwork tv be repro¬
emphasisshifts from tlie ongmaLart to duced, use snwotd (ndloC board
of pood quality, firth, sketch a (me
the printed copy of it. It is possible for^ f fetters free fif letpencil:
a beautifliL original to be ve ry disappoints
tng- when repiwuce^.Tfie artist must un¬
derstand enough of die processes of photo-
engravuigeJ-pruitinj-so tliat hisworkcart
3 q:
rTfien mere carefuCfy,
.

ru iv the gamut of photography etching, pa^ but ftiffjreefumd:

pi; inltetpn nti ng, and look as well in trie'

0-O) EL
end as in the be^lnauiyr H To design a^ b

short tide orfirmsignature for reproduc¬

tion, one takes tame to draw die letters
careful ly, designing and reto uchtng- thewrit? ‘liven apbtij mechanical tools
if the letter permits, inkuuj
ten form. Often letters frorrta^jODiS type over- the, pencil layoutr

alphabet,such as one of thosefound on die

following pages, are freely copied or adapt¬
ed. The artist’s creatxwness finds its ex¬
press lonui die aptness of the letters tyle
selected and its spacuuas well as in tho
linuted designing of single letters to sintr
their use. In reproducuupan alphabet such
as futura Medium- (p. 61) precision is ptrr
nioted by the use of mechanical tools (c). They
Cettermp pen
However;'to avoid a rigid orstiff effect:—y works wed on
and to perfect die spacing; it is important & dheC-edped
ruderr'
to sketch in pencilftvrby (n,b) before ap¬ Some fetter-forms, however-'
ply uug tlie rutuw-pen. Ofcoiuse, letters precise, must he doncfreedumcC:

with soft lines must be done freehand.

41 Tlie work, is finished by retouching—
aVheie necessary widi pene> uikatid white
tempera .Then a flap of bond./ paper-is
ythit e temp era .applied wer
hinged over ther plater to prevent soiling the (hud ink , sharpens the
comers. Use waterproof ink only.

59
r\Vntten with a- 23 hencit: Type fACES are noc oftervs trictjy cal?
| ligraphic, ant' therefore haw no place in,
such a text as tins except irttheir relation5
ship to written-forms and mtheireaemplifi?
cation of lettering desppvprmciples.aPhat
ever thesyyle of type, it can be rendered
calligrapl uculfp w itha soft pencil as shown,
fCipyourpmc'tL' at^ve left. Sharpen the pencil to a chisel,
ovur with every ed^c on ftnesandpaperand keep itrsharp.
stroke, or two to
keep it si Theav Artl ie penc il, tlie softer and simper
it must be to make ablacdmarkpericiltcrr
derupipis QCE>d practicerforthecalhgn^
arid a valuable s killforthe layout mart-
rBe'k>Yv: UoSem (jotfuo,
Mo serfs — 41 The follow imp exemplar pypes rn'ir
}io shaded strokes. selectedeadvfbr aspecial purpose,. futura,
Mediiuuisamodemsms-senpQothic pro¬

VYEZ portioned afrer die classic Roman,asound

nktfbllovwd by several conte mpotary de

er
Stoners xvithdistuictiort.Caslon^Bodont,
(jisCc ft/ every printers old stand-bys,Wie designed
at about tliesame tune, but haw entirely dip
feravtfeeling Bothare Roman derivatives.

er
vs.
(paramcmd ftalic, anodicr^standard, illus=
^tocCoiW
"Modern-' trates with s iruple elegance what arc artist
typo^raphercan do with, the, sloped lette r
Bernhard Mcde m e mhodies much of thefuie,
dignified style, of the VersaL.Altlioiwh mod

G cm, it reminds us that aw can stillte hu?

marue.Neuland is uicluddas another exanr
pie, of letterform dictated by its medium-
NeuCmcC"
With, its sharp) comers, it is obviously a
'b&mkcuri ,Mo)env
cut-out. It makes a ycod poster lettem

60
FUTURA MEDIUM • A Modern Sans-serif Gothic Type.

ABCDEFGH I J
KLMNOPQRS
TUVWXYZ&?
abcdefghijklm
nopqrstuvwxyz
1234567890
61
CASLON (540)

ABCDEFGHIJ
KLMNOPQRS
TUVWXYZ &
abcdefghijklmn
opqrstuvwxyz
BODONI

ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqrs
tuvwxyz1234567890

62
GARAMOND ITALIC

A BCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmnopqrstu-vwxyz
O 4rBCT>£(JJ:JYlrP&-
1234567890$&

BERNHARD MODERN

ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefgliij klmnopqrst
uvwxyz 1234567890

63
FUTURH DISPLDV

ngcisFGHiJKLmno
PQRSTUUUJXVZ&()
23436?190
abidefghi jklmnop
qrstu xuzfiff ftfl
NEULAND

ABCDEFCHIJ
KLMNOPQR
STUVWXYZ
12*4567890

64
 BIBLIOqRAphV,
<ArrighnTaglietiteand palatino, Three [lassies of" Italian Calligraphy, Introduction
by Oscar Ogy; Vbrer publications, Inc., New York,, 1953 [1951
Bank-, Arnold, ArnolSDanh^LetteringDortfolw, private [y printed, Portland, Oregon.
BensonJ.H.andCarey,A.Q.,^femen^ of Lettering, and edition, McQraw -HlU,
Nevo York-/, 19 3o
Benson, John Howard, DhcJxrWt "Writing Book. An EnqliskTranslation and.'
facsimile of Artighi’s "Openna! Yale Untwnsity press, 1953
Bwgoyne; pkikp A., QatsCvc handwriting, Dryad Press, Leicester; England-, 1955
Ckappelt, Warren, Anatomy of Lettering, (^eoige McLeod, Ltd,,Toronto, 1935
fair bank,-Alfred J., H Manual ofHandwriting, Transatlantic Arts, In c.7
Holl^woob-by-tke'Sea^onda, 19 5Y
fair-bank, Alfred J., The Dryzd^Wnting Quods* The Dtyad Press, Leicester J935
pairbank,Alfred Scripts, fenouinBooks,Baldmore,Mar^lanb; 1900
fairbankAlfivdJ.and B erthol 6 TPolpe, Acnacjlance Han d/w ntmg, The Worlds
PubtishinuCompany. Cleveland and NewY0l'k, i960
Fisher; Reginald, Ihewayofthe Cross, A Mew Mexico Version, Sckoolcf Amen^
can Research Fublicatton,Santa Fe, 195#. Hand-written by
Ralph Douglass.
C^oucb^ f. \V., DneAIphadct andTlements of-Lettering, University op Califbn
ma press, Berkeley and Los Angeles, 194.2^
^ourctie, Tom, Italic Handwriting, Studio Publications, London, 1955
Harrison, fredertek, £p^pbarteentk(^ntnn^, Studio
publications, Inc.,New York^, 1937
Holub, Rand, Applied Lettering and Design, \VatsomGuptdl publications.
New York^, 1949 [dVewYork, 1934-
Hcrnnng, Clarence Pearson, Lettering ffvrn A zoZCj, Tlid or Publishing-Gov
Johns ton, Edwarct, Writing and illuminating and Lettering, Pitman Press,
Batkj945. (Reprint of ig06 ed.,original^y published IryJohnBo^)
An excellent and complete reference for ary callwrapkerr^
Johns ton .Edward, Manuscript and Inscription Letters, With 5 plates by A. E.
R, (^ilL, Pitman SrSons,London,i946.(Rcpnntof iqil RevisedEdJ
0<r<r, Oscar; An Alphabet Source Boo/E, Harper <£r Bros*, Mew York, 1940
035; Oscarp The 2d Letters, Thomas V. Crowell Company, NewYbr\i94S
Reynolds, Lloyd J., Italic Lettering and Handwriting Exercise*ood, Revised
Edition, Champoeo-' press, Portland Oregon, 1957
Reynolds, Lloyd J., >’ Italic Writing and Lettering/Art Education in Onego n Eft nun"'
rang Schools, State Department of Education,Salem,Oregon, 193^
Standard, paul. Calligraphy's 'flowering, Decay andDeJlauration with Hints jor
Its Wider UseLoday, The Society 6jFTypographic Arts, Chicago, 1947
ThorrtpSoa.Tommy, How toDender Demon Letter-forms, American StuSio
Books, AewYork, 194-6
Ihompson.Tomnry, ifuiScribt LetUrf Studio publications.Alew York, 1949

65
some COORB tiECEtrr publications cm Catlwra
liyaplnj 1967
r
Child, Heathery (ofUyrapfiy Today, $ttu)to Boohs, London, 1963. American -Distributors:
aOatson-^uptillPubldataons, Nevo YorAand Cincinnati.
Da Boll, h^iic Briyys/Jl^oticciions of the Lyceum e^Chautaucay (frouts, Presented in
Calligraphic format by Raymond f. DaBoll. Tile BondADheclwrujlit
Company, freepoct, Maine, 1967.
layer, fred, fjtuhcw mitu; RundwnUuy with popetais by Cjeorye Midlery ItalCtrtuse, Inc.j
Caledonia, ?£y., 1963.
layer, fred, Write Italic ! Books I,7L eTJTL, ItaUmuse,Inc.,Gde3onia,A/.Y.,i965.
fairbank-,Hooper arid Stone, 'deacon Wntiny Books, ReedCblW-e Co-op, Portland,
Oregon, 1958-9. New inexpensive copy books designed for school
children and teachers.
filby.B VO. (compiler), (fdHyraphy xTdmdwritinj m America, Italunuse, Inc.,
<3riedonta, A£ y, 19 b}.
jnlbip P. "CO., 2000 year's qf (fitly raphy, The Walters Art (galley, Baltimore, Aid.,
HriY , ,
0ouroie,Tom, The 'Pipfin'hookffjTttenny, Puffin-PeiVfiun Books, Inc., Bain more,
Aid., 1901.
Mhd<rren,Trtc, ABC qfletteriny and 'Trwtiny Types, Volumes A, V> and C. Museum
Books, Inc., N.Y., 1964-66.
Reynolds, HoydJ., (ffhamphu: The poidenAye and its Modem'AmcA, Portland Art
Museum, Portland, Oregon, 1)58.
U liman,B.L., Ancient Wntiny md its Influence, Cooper Scpiarc Publishers,Inc.,N.y,.,
tW*
Tfpf Hermann, Typographic Variations, limited ed itwn. Museum Books, Inc., N.Y.,
(J <=>L—^ l)bp.

66
pLATGS
 1* *
i

'£
=

69
rJ

5 ^ r? ,
£
K) *£

It

&&&PZ&
id g-r*£
5 tg
V
3 £ £ 4 S ''-a

Detail from the Knight's Tale, ELLESMERE CHAUCER, dated about 1400. Text in Batarde, approximately
original size. Used by permission of the Huntington Library, San Marino, California.
 quttntvfiHhtXi
<FV<IU Vtfirv'\»ttti4in rt;ji;’4»-tna(
tontAg&im&xftrtutC. Ct-.lWfrtmi
I
Jj ^plr*ro6rmz>tnjt«fik,*»n

NjfeS-Mil Kxtni.ftj!|IwrfmftJjftfMu
(Wt| lUpK^KcttcufU^MlnmrJriufVwi
fi<4*n rmrt4ttv».Cj3ru»i«t'.t«9^»rf<
N.fiwmw« famcnnefUif^ntMT
I tCScmm- h t*nt .. ^raCam»«br«-ti*i- MuflrSC
gtfcfiii»i>»l>wwMWm
[iUebrturnnte’fiufbtttmfHjtm* Tngy-jmm^n«,«Ht4?pcgiJt fiatyn.

|trtUuTnCpU. (fetW4l3nlit Ixitfft

llul^tt^»Kw^ftTMeca&tfe«<Wu
kxwMfrfiigtf yio(tt**Utm*rt>dehi

hflwrty f wrty jp ttwwMH

null cr-
wr>>» iHmiirwWii

M ""*k*i**mi thnfcmo^
**>*a*>«»ym6M»r f>iux Ww

Written on yenum with a crow quill before the days of eye glasses! Reproduced actual size from a
Dominican Portable Bible of the thirteenth century. The original shows hairline stroke finishes.

70
 (^T mi dulyrime tratto^roflo ti/yia*
nowrfto terjo c -rrckl
jml^nccmjoi cinydlittrrr'
& £ cjj
CDctecjMlilre’tutti licorjicwtocfe
vo U limjcpm
(ajualSfuJcri
ucrai,
je’fxttmo
(f&
jbrmrr*
m
'Vfu> qtWnrfr oiloyo

mnjuafrojjcrjvf lo/mtaf ntodo

cioc7 a r. r. c. a v. c. £ a :: Q o

A page from "La Operina" by Arrighi, who signs his work Ludovico Vicentino. A manual "for learning
to write the Chancery letter." 1522. Used by permission of the Trustees of the British Museum. Re¬
produced actual size.

71
 &&S5' » *-£

Y’k t ^

rfxwt*
11*
uigt,
KS
of England in
Section from a License of Alienation (permission to sell hereditary lands) granted by Queen Elizabeth
Korber Collection, University of New Mexico library, Albuquerque.

f f\* J
S^43 JLfc g 1 §■
'? * f^i
%:
3l!n>
-S'
I
1585. Reproduced nearly actual size, from the original hand-written parchment in the

»-£ I.
-fVi ¥>'$
« srtvu
S' vr»»; ^ r
r? !rpr|>3 ? I
^ - J 5 <TiO- »0
5 S'**
^ A O')-V 51
r ■jf ?. f ? f-,V iMoit ©
• * *,s\? %>-*A ? i ;f

ao o C "v- 5c
i-L ^ c H 4
frVLU M *
... J
h-M ^
’4 !•«'£ ?'JF,
§ i i p «-jP
FVt* § i 4 & £-~p

72
73
Double page from a Spanish Colonial Choir Book dating from the XVII century. Single page is 33 inches
high by 22 inches wide. Staff lines in red. From the Morley Collection of Ecclesiastical Art, School of
American Research, Museum of New Mexico, Santa Fe.
 fttunttrfl>li certhocdif
fh)ctiiftiiR.i( j,iidtat»cf
i mi6 cbn'r* biidiar nae
vc :cr meant at? ce fines
trc. m/jpA 4114 )kq p«
auqx pilca II mfi idui&jl
u\1uuu1:
ocqtoxorbiio^
r catatc cm tnfdxi
ifjiTDangiiDntorio: bft.
ccti 0110 -i( )iidiatc -iQuc
ceqfijp ccksfftx): bnd
05 mitutcsodl ^iidurf
Rotunda or Round Gothic. Red and blue Lombardic capitals in text. Large illuminated initial in color
and burnished gold. On parchment 14'/2" x 22". Probable date XVII century. Original purchased in
Italy; now in possession of Bob la Plante, Old Albuquerque.

74
that went to the battle were Eliab the first-
bom.anb next unto him Abinadab. anb the
third Shatnmah. AnbT\a\ibwasthejouny
est-.and the three eldest fbUowebbaul."Now
David went to arib fro front Saul to feed his
fathers sheep at Doth dehem. Anbthe philis¬
tine diew near morning and evening, anb
presented himself ftrty days.——v--

ephah of this parchebcorn. and these tea

loaves, anbear^y than quickly to the camp
to tdpy brethren; and bring these ten cheeses
unto the captain of their thousand, and
look how thy brethren fare, anb take their

Page 12 from "The House of David his Inheritance. A Book of Sample Scripts. Victoria and Albert
Museum, London. Crown Copyright. Edward Johnston, 1914.

75
 ■2X AteuyJb

rlfiAn(l \jrw jtnr ijmr (uni tettir Je)i

\l\j hptt
wc i/vHiAi cvfhvi^lu hpj& ti\i lasl Vs vet tf bo
Intt l ctwwfc nnv write m l M (ikjtrrt
ifvc vJnvy.
y m w\mj rj ccwttt rr^ndnu thi

Uttjuvrt sj mj tetter tettU So.

cc iMt the tetter jn jrvmttefn ^wrjflu
vfHvj wfr im Hu letter jin' mvt jj ycrwr
j>\Mu ? itrtjrMzYsfo a, f^tii^ewMurvt
jircv kmk. ym. *wtnkten tU Jcnvntt tn

'?Ute sj ysnij ysrjArwu^! Imt l hwtvsk

written jucte j'ltm svna iy3y.

iwi\£& ■

y&wrt swwrtUj
LAUrd/TiMa^y[<J

A dean of the profession and pioneer in the field of teaching italic handwriting writes informally,
showing how a thoroughly disciplined and knowledgeable hand, acquired early, lasts. Reproduced
actual size. Alfred Fairbank, England. 1966.

76
lUiLv fuvfrv

Mviici; \

)®u })xsr e*f00we0 jVian

^ST and? die wt^®tw. v&li£fa’& iS%~vy&'bt&

dW f?eaim«3 , *m*bx&c&v£r' d-p^-r^'

|?<sw^hg> an^ «co pti€pare-- anb *&® dyiSm

j*uv<r £v€v*y til* Jrt 0^maf prmJt^nC©'

rj^sm. W®^ Jlws>^n me «c© wa^Sx ®v&r dd-
f?<eaWf? <s>|“ pj'ln-y cr*ea<^xtre*»>

m6~ un^th lm*g" jdr~ my arc a-n^ j^r'p^y

jcrm<curei&- * j£V tu?^r aitsm? tSyir&zr f&r- jpr©’|Q'£rv

<skmm*rt©n ^3>r r^rirntm ai^* a^rntrsvctorvy -iire» itttcCv^-

jdre' us *d? ? jp>r «rf) e^e- ar^
mRwe& &£* *ct*ii*Eiy an^ yp tove-1 manfun^
can
d?€y c«n f<s?a^ m- d?e- cyewr

^rssrCy^ftn^ ■s?rsf *%$?<&-tudlfzxt^e- ap 7jt?y'

dd H^d? epnniy*
«*nr€V y*
/I
©►p*" my*
^e^l^ye-r ever be-retx&v**tt> Idp ar*l> ^n.5^yi3-^
t|C9fCS« r'«r“'
rHi
rtdy earth' pts^ry r'j<3’Ss> a.re^> ILa^, ^r&€my a® wet f
jpnifn^ <. Jpt ^aj^rfr-- Idr- me- *€-<r &nly Ac % %tm~

<sm « T j^t m^" n^’(?s'' d^eri^^mtnW^->-=■'

JS^/f^y n& wance*e$^uxj$j*r&^v£y*T' my afv^&wrjcn.
de- fdWt^e- ^dd?^ ^ict. ? &i^£>v&Trurt? my tron^

m tsf®- &d$nftr lethor&t r*i rea^r a«^ <tre dye-

*r$j0uqjfj*rfiil >dJ?o*a«t*©tw f&jtttrS^ «rss j&'f^Vve
d»«r f tve<s> &-nb lyectJ Id? &^~f;rj~i*
^ ^ v creassritrCg? . STSs^te -S

n«r «ro«#r
■d?^ my* jc><x.^t3t^r^ lya.vC' cotvfi&ence m
m^-jr3-*'1*** my a;r*«r a.-n^ f&i'L&w m.y*^trecxT?ort'«j»
J

Prayer. Decorative top line in 12th century Spanish. Text written with a split pen and colored with a
pointed brush. 1514” x 30V2*”• Used by permission of the artist and Portland Art Museum. Arnold Bank.
1956.

77
Decorative Alphabet, illustrative of the point made on page 55. Black ink and brush. 15%" x 20".
Used by permission of the artist and Portland Art Museum. Arnold Bank. 1958.

78
79
One great teacher and calligrapher salutes another. Original 19%" x 13%" on parchment. Lettering
in black with red and blue accents on large Roman initials, guide lines red. Used by permission.
Arnold Bank. 1963.
The History of Writing. Details from a contemporary sculptured mural presenting man's efforts at written
communication from cave wall scratches to the Latin (Roman) alphabet. In the University of New Mexico
Zimmerman Library, Albuquerque. Used by permission of the artist and the University. John Tatschl. 966.

80
 .

O TH€ CjLORY OF QOD + + +

AND THE HONORED MEMORY
OF THE SONS OF THIS CHURCH
who Q/ve Ticir fives in worlp
WARII-1941-45 + THIS TOWCR
IS REVERENTLY DEDICATCD ^

FARLEY ABSHIRC
COR.pOR.AI_x

LIEUTE-NANTWILLIAM M-AQNCW.JR-
COLO N CI CLARCNCE M-BOTTS.JR:
fsr^s HUQH ALBERT COOPEK.I I
F RJ VATE_ DONALD RALPH DOUQLASS
FRANFCEUQENE FURBY
licutcnant HARRY D-QILGS
LieUTCNANT ROBCRT H- QREENWELL
FRANK. QRIMMEFC
DAVID EDQARQRUBBS
licutcnant ArR U R Wi ItlAM N1CORMICICJFV
SS^HV WI L UAM HOWARD MC Y€ FV
SERGEANT WILLIAM FOSTCFC MURPHY
LieureNANr FREDT1CR MERE ARY SCHNCIDefL
MONTC STRONQ
jYTTYTT JAMES W- SYME-
THOMAS WILKE RSON.JFVl
p.,vatL N ORMAN C • WI LLIAMS
LieuTeNANr FRED E‘ WI LSON J FC^
Wor Memorial, First United Presbyterian Church, Albuquerque. Photo-engraved on dull brass, letters
filled with black. Framed in carved oak. 9y2" x '5". Used by permission. Ralph Douglass. 1955.

81
 hath, shewed thee —?<
O man , yp h\V ts cccd;

And^>hatrdottLcHg foRD
requite of thee, bur to dqjustiy,
and to lore mercy, andto^walk^
hurnbty "with thy (cjOD ? Micaf— b: 8.

Micah 6: 8. Bookhand with uncial initials in red. Original 12" x 16". In possession of Edward S.
Brown, Jr., Albuquerque. Ralph Douglass. 1957.
 FORTY' FOURTH

OPEN-DOOR EXHIBITION

AUG. 18 THRU OCT. 2,1957

Exhibition catalog cover. Spanish Round Gothic, printed in blue on yellow stock with Garamond
Roman type in black. Used by permission of the Museum of New Mexico. Ralph Douglass. 1957.

83
 anda, cor'mean), ac. (abia
mca, oronfpotens ^)eas, cjai
labia Jsaioe f)ropbetoe calm l o
mandasti igmto: ita me tua grata
imsera ttone digrra re manclar'e, at
sanctum, ^vangeliam taam digne
valcam nantiare. Ocr Oimstaro
Common) nostrum]

J ube,Nomine, bencdicere
Commas sit in corde men ct
in laJbns mas: at digne ct compe *■
tcnlcmannanticrn (3i/angebum
saam

(This plate and the three following are the work of University of New Mexico art students in a 3-
semester-hour course in calligraphy, prerequisite to which were two introductory courses in pen and
brush lettering.) Early Uncial. Illumination in gold and black. Original 13" x 17". Margaret Faris
Bangston. 1954.

84
 woinded deer leaps highest,
I’ve Heard doe hunter tell;
Tis but the ecstasy of death,
And then the break is still,

he smitten rock that gushes.

The trampled steel that springs:
'A cheek is always redder
Just where the hectic strings!

irth is the mail of aryuish,

Jn which it cautions arm.
Lest anybody spy the bland
And “ You're hurt ” exclaim !

Bookhand with Lombardic initials, on paper parchment. Gold and black. Original 17" x 19V2". (Margins
cropped in reproduction to enlorge lettering.) Work of a football player, Herbert Caudle-Grossman.
1954.

85
 86
o_

\l
O
cp*
in blue, gold and black. Beverly Orr Stringer. 1956.

3'
£
n

X
o

Q
T)
(D

O
3
<
c
 aOre nuestro quc estds en
los cielos, santificaoo sea tu
I nombre.
’W&nga tu rcino. ^ea lxct>a
tu voluntao, como en el ciclo,
aaf tambien cn la tierra.
jDanos frpy nue&tro pan cod"
Oiano.
perconanos nue&tras Oeu'
£ oas, como tambien nosotros
perOonamo& a nuestros Oeu~
Cores.
no noe metaa en
jtentacion, mas
libranos Cel maU porque tu^o
es el rcino, el pober, V la y
gloria, par tocos los siglos.

Spanish Round Gothic with Lombardic initials. Illumination in blue, red and gold. Original 14" x 17".
(Margins cropped.) Myrle Van Atta Redmond. 1957.

87
 chores
('O? demont>b~ate the us e op tkejv Ido iv unj waiter's beets,
we have inserted, heresomejoratticepopes to try pourpin
on. '7ear them out as used. ‘Janadf, teem out the mastei—'
sheet and use it under 16 orid'dh. bondpmdiite
paper with-larger margins.)

88
 D

Da Boll, Raymond, illus. by, 42

Descenders, see Ascenders and descenders
Design, see layout
Douglass, Ralph, illus. by, 81, 82, 83
A Drawing board, 1 2, 1 3

Accent, by enlarged initials, 30; by enlarged

lines, 30
Arrighi, Ludovico, 37; i 11 us. by, 71 E
Artone, 1 1
Ascenders and descenders, 19, 20; of Black Eager, Fred, 41
Letter, 47; of Bookhand, 27; of Chancery Cur¬ Early Uncial, see Uncials
sive, 36; of English Roundhand, 44; of Formal Elbow pen staff, 1 1, 45
Italic, 35; of Spanish Round Gothic, 50 English Roundhand, 44—55
Esterbrook, 20

B
F
Balance, 25
Fairbank, Alfred, illus. by, 42, 76
Bangston, Margaret Faris, illus. by, 84
Flexible pointed pen, 1 1, 45, 58; see also Pen
Bank, Arnold, 8, 16; illus. by, 42, 77, 78, 79
Flourish, 27, 35, 45
Bardeen, Charlotte, illus. by, 41
Formal Italic, 34—35; vs. cursive, 37
Batarde, 43, 69
Frazo, S., illus. by, 41
Bernhard Modern, 58, 60, 63
Freezing curved letters, 29, 51
Bibliography, 65—66
Futura Display, 64
Black Letter, 43, 46—48
Futura Medium, 59, 60, 61
Blotter, 1 1
Bodoni, 60, 62
Bookhand, 26-27, 82, 85
Breathing, 1 3, 22 G
Bristol board, 1 1, 53
Brush, cleaning the, 53; lettering, 53—55; red Garamond, Roman, 83; italic, 60, 63
sable, 53 Goldman, Herb, 56
Gothic, 47
Guide lines, 17, 20, 35, 47

C
H
Caslon, 1 5, 60, 62
Caudle-Grossman, Herbert, illus. by, 85 Hayes, James, illus. by, 42
Chalk, 15 Hayward, Christine, illus. by, 41
Chancery Cursive, 36—43, 86 Hook, 27, 28, 35
Child, Heather, illus. by, 42
Chisel edge, 60
Condensed types, 1 9
Copperplate, see English Roundhand
Counter, 19
Crocus cloth, 1 1 Ink, 11
Crow quill, 70; see also Pen Irish Uncial, 52

109
J Q

Johnston, Edward, i 11 us. by, 75 Quill pen, 1 5, 56; see also Pen
Jung, Theodor, i 11 us. by, 42

L R

Layout, 22, 25 Redmond, Myrle Van Atta, illus. by, 87

Legibility, 30, 47, 5 1 Reed pen, 56; see also Pen
Lombardic capitals, 49, 58, 74; initials, 47, 51, Reproduction, preparing for, 59
85, 87 Reservoir, how to fill, 1 3
Retouching, 22, 59
Reynolds, Lloyd, illus. by, 42
M Roman, Bookhand, 26—27; Classic, 32—33; man¬
uscript writing in, 30—31; simple, 14—15,
McCombs, Robert, i 11 us. by, 41 16-17, 18-19, 20-25; with serif, 28-29
Mallary, Robert, 55 Rotunda, see Round Gothic
Manuscript writing, 25, 30—31 Round Gothic, 74; see also Spanish Round Gothic
Margins, 25, 30 Rubber band, 12, 33
Masking tape, 11,12 Ruler, 1 1
Masley, Dr. Alexander, 8 Rustic, 52
Master sheet, 20, 35, 88
Maurice, Alfred P., illus. by, 42
Miniscule, 17
S
Modern letter, 1 7

Sandpaper, 60
Scripts, Chancery Cursive, 36—43, 86; Formal
N
Italic, 34—35; English Roundhand, 44—45
Serif, 26, 27, 28-29, 33, 35, 58
Neuland, 60, 64
Slope of board, 12, 45
Numerals, modern, 14; old style, 14
Spacing, 22-23, 24, 29, 37, 47
Spanish Round Gothic, 50—51, 83, 87
Speedball, 1 1, 20
o Standard, Paul, illus. by, 42
Steel pen, 1 5; see also Pen
Old style letter, 1 7
Stem, 17, 27, 30, 33, 58
Osmiroid, 1 1, 39, 40
Stringer, Beverly Orr, illus. by, 86
Strokes, angle of, 13, 15, 18, 19, 27, 29, 33,
35, 38, 44, 45, 51; brush, 54, 55; functional,
P 54; manipulated, 54; order of, 21; spacing,
24, 29, 37, 47
Palette, 53 Stylus, 1 5, 56; see also Pen
Paper, 11,12 Swashes, 34, 35; see also Flourish
Patrick, Peggy, illus. by, 41
Pen, 11; crow quill, 70; flexible pointed pen,
1 1, 45, 58; nibs, 1 1; reed, 56; quill, 15, 56;
steel, 1 5; stylus, 1 5, 56 T
Pencils, 1 1,33, 38; rendering, 60
Position for writing, 12 T-square, 1 1
Poster, 55 Tail, 17, 18, 19, 27, 33
Pressure, how much to apply, 13 Tatschl, John, illus. by, 80

no
Tempera, 53, 59 V
Tools, 1 1; homemade, 56
Trajan Column, 19, 33 Versal, 30, 49, 58, 60
T riangle, 1 1 Vertical proportions, 20, 37
Vicentino, Ludovico, see Arrighi, Ludovico

U W

Uncials, 26, 51; initial, 82; Irish, 52; Early, 84 Wedge, 1 8, 28

111
a
 In print for more than half a century this classic text is essential for
any serious calligrapher’s library. Since its original publication in
1949, this essential manual on learning classic letter formations has
become a trusted resource for the serious beginning calligrapher.
This book is full of creative exercises that teach alphabet, brush
lettering, designed letters and type, as well as tools and materials
and a range of modern and classical historical examples from art
history. Good lettering is not only discussed, but demonstrated, in its
design and execution. This book stands out from all its competitors
for its longevity and simplicity.

Ralph Douglass was a distinguished professor of art and applied

lettering for more than 50 years.

* '' ~j : ‘ ' . '

,,, .. I , *!>-■ i * ■'

1
1
/

112 pages
7 7/8x10 inches
90 black and white illustrations

WATSON GUPTILL PUBLICATIONS

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