Calligraphy

Stroke by Stroke
More than just a method of communication,

calligraphy is a beautiful, intricate art. A new guide to

this ancient art, Calligraphy Stroke by Stroke uses

step-by-step, annotated photographs to demonstrate —_

new ways to create eleven classic alphabets, from

Foundational hand and Italics to Gothic and

unical scripts.

This guide describes materials and equipment,

margins and punctuation, numerals and serifs, and

even tips for left-handers. Clear diagrams highlight

letter formation stroke by stroke, with special

emphasis on the angle and direction of the pen.

A trouble-shooting section for each alphabet

discusses common mistakes and how to correct them.

Photographs show the art’s beauty and versatility

through examples by leading comtemporary

calligraphers, whose innovative methods and materials

are expanding the definition of calligraphy.

Brimming with helpful techniques

and creative suggestions for their application,

Calligraphy Stroke by Stroke is the essential reference

for anyone who wants to develop expertise in the

art of beautiful writing.

L¥299
ee : / 7

wns
Stroke by
stroke
Stroke by
stroke
 Gloucestershire
County Library

991883286 X
Askews |S. 10-99
745.61 £4.99

A QUANTUM BOOK

This edition published in 1999 by Chancellor Press

An imprint of Bounty Books, a division of the
Octopus Publishing Group Ltd
2-4 Heron Quays
London
E14 4JP

Copyright ©1995 Quarto Publishing plc

All rights reserved.

This book is protected by copyright. No part of it may
be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, without the
prior permission in writing of the Publisher, nor be
otherwise circulated in any form of binding or cover
other than that in which it is published and without a
similar condition including this condition being
imposed on the subsequent publisher.

ISBN 0-7537-0128-6

QUMCSS

This book was produced by

Quantum Books Ltd
6 Blundell Street
London N7 9BH

Printed and bound in Singapore by

Star Standard Industries Pte Ltd
 Contents
ABCDEFEAIFR LA
WPORSCTUV —_ oo
RRL OCGUCUOM go. taxa pMAb woken teenies Cave
Foundationalhand ..............12
italigseriph 6, 00... 2ove, Gagolaye 34
Roman ca PCA S sos occas se hres ace cee 58
BINGIALIOLENS secette:. « ¢ olnns alain: 70
Gone script. le. OE 92
PENG CULSIVG 55. «6 5.6 6 edcdk tec eG

ABCDEFGHIJKLM |
NOPQRSTUVWXYZ
6 imtroduc tion

Introduction
Calligraphy has become increasingly researches into traditional book hands, his
popular in recent years, and this book re-introduction of the square-cut pen, and
introduces the beginner to some of the his teaching first at the Central School of
most exciting calligraphic alphabets in Art and then at the Royal College of Art.
both uppercase (majuscule) and lowercase Many of his pupils went on to teach, and a
(minuscule) forms. As your understanding very high proportion of today's
of this art grows, so will your enjoyment. professional calligraphers owe a lot to him.
Since the beginning of civilization, This revival soon spread to the United
writing styles have always evolved with the States and to other parts of Europe, and
tools and materials of the age — from calligraphy is now truly international, with
prehistoric cave paintings when stones and exciting lettering being created all over the
sticks were used, to clay tablets, reed pens world.
on papyrus, quill pens on parchment, to Although there will always be the
the metal pens on paper used today. tradition! work for the scribe such as
Western scripts have developed over 2,000 presentation scrolls, memorial books,
years from the Roman alphabet which, in family trees, invitations, and certificates,
turn, evolved from the Greek. Carved lettering is now being used increasingly in
inscriptions progressed to pen-made letters advertising and graphic design. Creative
with the advent of.manuscript books. The new ideas using decorative and innovative
edged pen would give a thick-and-thin surfaces, including fabrics, ceramics, and
stroke, and the Uncial and Half Uncial glass, and three-dimensional designs now
styles were developed at a time of offer endless possibilities whether for profit
beautiful illumination. Rounder styles were or for pleasure. | have enjoyed this art
followed by the Gothic alphabets, since childhood, and | hope that this book
including Blackletter and Cursive, which gives you the same pleasure.
were more compressed. The classical
Roman letterforms were revived in the
15th and 16th centuries by Italian
Renaissance ees to produce a quicker,
more flowing style known as Italic. An
historical study of lettering gives the
student a sound background, and special
credit is due to Edward Johnston
(1872-1944) for reviving the art of
calligraphy in Britain through his Annie Moring

ABC abc ABC abc

 Beginners’ Guide 7

Beginners’ Guide
Checklist The best way to start is with all the necessary equipment close at hand and
with a well-laid-out writing area. Good organization means fewer interruptions
and more practice time. Make sure you understand the materials and feel
1 Paper
Experiment with different surfaces and comfortable with the equipment. The next stage is to acquire a clear
weights, but avoid highly coated or glossy understanding of historical letter shapes by studying the alphabets and galleries
paper. of finished artwork.
2 Masking tape
Used for taping together pencils and for
securing the writing paper. Tools and Materials
3 Felt-tip pens
The larger sizes are particularly ideal for The increasing popularity of calligraphy has led to the availability of better and
practicing after double pencils.
cheaper materials, including broad-edged felt-tip pens in a choice of colors, dip
4 Rulers
Keep a long metal ruler for drawing lines. nibs, and a variety of calligraphic fountain pens. Most black and colored inks, if
A T-square is also useful. non-waterproof, can be used with a fountain pen, and watercolors, gouache,
5 L-square and even water-based acrylics can be used with dip pens.
Squaring up is easier with a transparent
Calligraphic paper ranges from practice layout and cartridge paper to
plastic L-square.
6 Protractor machine-made, pastel, mold-made, handmade, and parchment papers. Your
Use a clear plastic protractor to check choice will depend on the project in mind, but always check what's available
angles. in your local art store.
7 Double pencils
To get the idea of a calligraphic pen, tape
together two pencils to make ‘double
letters.’ Make sure that the points are
level, unless you are left-handed. If the
pencils move about, carefully shave down
one side of each before joining them.
They will then be easier to manage and
give smaller letterforms.
8 Pencils
Ordinary lead pencils give sharp but
easily erasable lines.

ps

escent
: pro

el
 8 Writing position

Writing position
To begin with, you should sit at a solid
table or desk in a position which is
Preparing the Board
comfortable, with a chair of the correct
height, with supports for the back and Writing paper Blotting paper Masking tape
which allows you to place your feet flat
on the floor. A board is best positioned
at an angle of approximately 45° as this
gives a clear view of the whole working
area and allows the ink to flow more
easily. The board need not be an
expensive piece of equipment; a
drawing board positioned on your lap
and leaning against a table works well.
In time you might consider investing in a
designer's drawing board which can be
altered to different angles.
Good natural daylight is best to see
by, but the next best thing is to work in a pours ne
room with daylight bulbs. If you are
working under artificial light, it should
come from the left if you are right- The drawing board can.now be prepared for writing. First tape several
handed, and vice versa, to ensure that sheets of soft paper, preferably blotting paper, to the board so that it has
there are no shadows on the writing some give. A guard sheet is then put on just below the writing level to
area. prevent any dirt or grease from your hands getting onto the writing paper.
The writing paper is then slipped under the guard, which will hold it firm
while allowing it to be adjusted to maintain a constant writing level.

Seating Position

Board angle
approx. 45°
Drawing board a

Writing paper

Rest the board in your lap

Practice holding double

pencils and making flowing
parallel strokes. Left-handers
= ( 5 should keep one point slightly
Comfortable chair allowing both Supports the back higher.
your feet to be flat on the floor
 Ruling 9

Ruling
The writing paper needs guidelines, and ‘H’ graded
pencils are particularly useful: 2H or 3H kept very Essential Information
sharp will give a clear yet thin line allowing the
measuring to be more accurate. A ruler and L- Make sure you are familiar with all the basic elements of
square will help keep the lines straight. letterforms and with how they differ throughout the individual
The writing height, or x height, which is the size alphabets. Pay particular attention to letter heights, pen angles,
of the lowercase letters without ascenders or letter slopes, and serif forms to ensure consistency in your writing.
descenders, depends on the alphabet and nib size _ Use these basic elements in conjunction with the step-by-step
used. For example, the Foundational lowercase diagrams, checking carefully for any changes to these elements _
letters are 4'2 times the width of the nib. To work and for unusual stroke directions.
this out, rule a line, then holding the pen upright,
make horizontal blocks like steps, one on top of Letter heights Serif form Stroke order
measured in nib and direction
another to make a ‘ladder,’ until 42 is reached.
widths
This is then measured to give you the writing
height for the nib size that you are using. Larger
"Ascender. ne w\
nibs are better to start with as they are easier to
control and the letters can be seen clearly and
mistakes corrected.
Having established the x height, add the Decender {
ascender and descender lines for those parts of the
letters that extend above and below the x height,
like the vertical lines of ‘b’ and ‘p.’ For the
Foundatiorial lowercase these lines are 2/2 nib O form
widths above and below the x height. Pen angle

Ruling up with double pencils With a felt-tip pen

|
|

a 1 I"TPP TTT

i
iS : sn

1. Beginners should first 2. Hold the two pencils 3. Move the pencils from left Begin as before by ruling a
master ruling up using double together with the points level. to right to form horizontal single line 2 inches from the
pencils, following the If you are left-handed, keep lines. Now proceed to the top top of the page. To set up the
technique shown, before the first pencil slightly lower to of the first stroke and, touching letter height using nib widths,
progressing to felt-tip pens. give a left oblique angle. Tape it, add another line. Repeat hold the nib vertically and
Begin by ruling a single line the pencils together at the top this 4’2 times to form a form a ladder or staircase of
approximately 2 inches from and bottom and hold them staircase, giving you the x the required number of nib
the top of your page. This will upright on the pencil base line. height for the Foundational widths, in this case 4/2.
give you plenty of room for the hand.
double pencils.
oO Stroke, order

Stroke order
To construct a letter correctly, follow the
instructions given, using the diagrams and
photographs. The strokes are numbered, and
the direction of the stroke is also indicated,
as it is not always as expected.

1 Begin by ruling your lines for double Double Pencil Strokes

pencils as shown left. Now move from
left to right at a 30° angle from the base
line up to the top line, making sure that Gi we CS a oes ee Pe i
both pencils are touching the paper. This Hage ~ a OS Bas = (\
should give you a single thin line as the a - ;
two pencils follow one another. If a
double line appears, check the angle
with a protractor.

2 Keeping the angle constant, proceed

diagonally to the right and down to the A C Fre Prat my eee
base line; this will give a double line. A 9 iy ( yy te DM i :)
felt-tip pen will produce a single thin : ee ‘te E Ae.
line followed by a thick line the total .
width of the nib. Felt-tip strokes

3 Practice a series of left- and right-hand

curves, joining them later to form the
letter ‘O.’ Added to your thin and thick
pyramid exercises, this helps to keep the :
angle correct. Vertical and horizontal ‘y ‘) j
lines at this 30° angle can now be : C e ed
included. |

—
EL

LEE
 “Oe Veorm ea

‘O’ Form
The shape of the letter ‘o’ is often the Geometric Forms
key to the rest of the alphabet. It is Alphabets which can be related to Roman capitals can be understood
from the ‘o’ that the arch, the slant geometrically and grouped into letter shapes. The letter ‘o’ is
(slope), and the shape of the serifs theoretically a perfect circle within a square, and similar letters can be
derive. Thus you will see the rounded grouped together, making alphabets easier to understand. Other letters
arch of the ‘o’ in the letters ‘m’ and ‘n’ take up three-quarters of the width of a square and some half the
and side curves in letters ‘a’ and ‘b’, width; one or two letters are very narrow or very wide. Geometric
and so on. forms are illustrated for the first five alphabets in the book. The letter
groupings for the remaining scripts, which do not conform easily
geometrically, are described in the information panels.
Letter grouping is most important to all alphabets, as it will help you
to understand how the letters are formed as well as allowing the letters
to be uniform. Letters which contain diagonals, for instance, would be
constructed and grouped together, as would letters which start with a
straight side and then arch.

Slope
The slope of a letter is measured as
the slant of a downstroke to a vertical
line. For example, Foundational hand
is written upright, but an Italic style is
written at a 5° angle. To maintain this
slant throughout your writing in Italic,
| |
rule 5° lines on the writing paper as /

|
guidelines.
Upright 0° slope 5° slope 10° slope

Triangular Hook serif

serif
Serifs
Serifs are the starting and finishing
strokes of letters and are usually
related to the shape of the letters
written. For example, the
Foundational lowercase serifs are
round, the Italic oval, and so on, Flag serif Oval serif Slab serif Round serif
relating to the ‘o’ form. Although
there can be more than one type of
serif used, such as triangular, flag, or
slab, they must be in character with
the alphabet being written. The
following are examples of the
different serif forms used in this book.
Wedge- Circular serif Line serif Oval-hook Hairline
shaped serif serif serif
$2 Hommnicacero:nral Hand

Foun ational Hand

The late 19th century saw the growth of
the Arts and Crafts Movement in Essential Information
England. Its aim was to revive
craftsmanship lost through Triangular serif
industrialization. Two such crafts were
calligraphy and illumination — the
decoration with color and gold leaf of
the calligraphy.
Edward Johnston (1872-1944),
moving from Edinburgh and encouraged
by the Movement, developed a new
style of writing, the Foundational hand,
based on ancient manuscripts seen in 30). angle Upright 0° slope
the British Museum. His book Writing
Letter height The x height is 44 nib widths, and the ascenders and
and Illuminating and Lettering,
descenders are an extra 2% nib widths each.
published in 1906, is still considered to
be the ‘Calligrapher's Bible.’
Basic pen angle The pen angle between the nib and the writing line is 30°.
However, for the diagonal strokes of the ‘v’, ‘w’, and ‘x’, the angle should
Lowercase
be steepened to 45°.
The letterforms of the Foundational hand
lower case are curved bowls based on a
‘O’ form This alphabet has a circular ‘o’.
circle with straight vertical stems. Most
of the stems are topped with triangular
Slope This is an upright alphabet; that is co say that the letters are
serifs and end with small circular serifs,
constructed vertical to the writing line.
allowing the letters to be joined if
required. The roundness and constant
Serif forms Triangular serifs are used, with small circular serifs which echo
30° angle required to write this hand
the circular shape of the letter ‘o’.
make it an obvious choice for the
learning calligrapher.

Geometric Forms
Circular letters Three-quarter Letters with diagonals Straight-sided arched letters
width letters

ae a

dx kwvenr
7 t+t
Pound
ast Moura d-CRhannid 13

O
The letter ‘o’ is the mother of the alphabet
as the other letters take their basic shape
from it. Here it consists of two
overlapping curved strokes. The inner
counter, or white space within the letter, is
oval in shape.

A
Unusually, the right-hand stroke is
constructed first. Form the bowl, like the
‘o’, with a thin stroke from the middle of
the first stroke, stopping short of the base
line. Again, model the lower curve on
the ‘o’.

At the top of the ascender line make a

triangular serif, keeping the pen at 30° for
your vertical downstroke and curving to
the right just before the base line. The
final stroke is like the ‘o’, joining the
bottom curve.

C
The first stroke of the letter ‘c’ beginning
at the x line is very rounded like the letter
‘o’, but the second stroke at the top of the
letter should be a slightly flatter curve.
[<4 Poeun ation ail GHand

Start with the first two strokes of the letter

‘c’. Then, taking the pen to the top of the
ascender line, construct the triangular
serif, then the vertical downstroke ending
with a circular serif.

The letter ‘e’ is based on the letter ‘o’. The

second stroke, however, curves inward,
hitting the first stroke just above halfway.

Keep the vertical downstroke as straight as

you can. Then, when you reach the base
line, reduce the pen angle slightly to 20°
for a horizontal flag serif; a flatter curve
similar to the ‘c’; and the crossbar on the
x line.

Form a three-quarter size ‘o.’ Pull the

longer descender to the left before curving
right. Add a curve to the base. Finish with
a small 20° flag serif. The top counter
should be round and the bottom one oval.
Pons nic aut iroun aa. Gland i

Start with the triangular serif ascender

line, add a vertical downstroke and end
on the base line with a small circular serif.
The final stroke arches from within the
stem and ends with a circular serif.

The letter ‘i’ begins at the x line with a

triangular serif, continuing to the base line
with a vertical downstroke and finishing
with an ‘o’ curve. The dot of the ‘i’ should
be a small, vertical curve to the right.

Start ‘j’ at the x line with a triangular serif;

continue vertically downward just short of
the descender line. Add a flattened curve
from left to right joining the downstroke.
The dot of the ‘j’ is identical to the ‘i’.

The letter ‘k’ starts with the downstroke of

the ‘h’. The third stroke should be held at
a flatter angle for the diagonal stroke into
the stem and another diagonal stroke to
the base line.
16 Foundational Hand

Keep the letter ‘I’ as upright as possible;

never allow your writing to slope
backward. After the triangular serif,
continue with the vertical downstroke,
finishing with a generous curve at the
bottom of the letter.

MN
Take a vertical downstroke to the base
line; end with a small circular serif. Add
two identical arches springing from within
the letter stem, again finishing with small
circular serifs. The two halves should
be equal.

nN
The first stroke of the letter ‘n’ is vertical,
ending on the base line with a small
circular serif. The second stroke, the arch
of the letter, should spring from within the
letter stem at the point where the serif and
upright meet.

Form a small circular serif and vertical

stroke to the descender line. Reduce the
angle to about 20° for a horizontal flag
serif. The bowl is similar to the ‘o’, Finish
with a shallow curve.
 Foundational bhaind MZ

Start the letter ‘q’ with the first two strokes

of the letter ‘c’ and continue with a
vertical downstroke to the descender line.
Slightly reduce the pen angle to 20° for a
horizontal flag serif.

1 ee Tv
Start as for ‘n,’ continuing vertically to the
base line and ending with another small
circular serif. The second small stroke
branches from the stem and arches
minimally before ending with an
upward flick.

Ss
The main body of the letter ‘s’ curves first
left, then right, from the x line down to
the base line. The second and third
strokes are flattened curves from left to
right. The bottom counter is the
larger one.

(SST Tene ae 7 | Take a very thin line through the x line,

| | continuing vertically but curving back up
just before the base line with an ‘o’ curve.
Adjust the pen to 20° for the crossbar,
which should run just under the x line.
18 Fowind ation ad teland

v | 1 ( UL

The ‘u’ starts with a small circular serif

with a downstroke curving up like ‘t.’ The
second and third strokes have a triangular
serif, then a vertical downstroke ending
with a circular serif on the base line.
in|
Tr

The pen angle for the letter ‘v’ should be

increased to 45° for the strong diagonal
stroke to the base line. The second stroke
begins with a circular serif and diagonally
joins the body of the letter just before the
base line.

W
Hold the pen at 45° for two parallel
diagonal strokes ending on the base line.
Add the third and fourth strokes, starting
the third with a small curve. Both strokes
join the letter just before the base line.

XN Yo aa x
The pen angle here is 45° for the diagonal
strokes, but at the bottom of the second
stroke, the angle changes to
approximately 20° for a horizontal flag
serif. The fourth stroke is a small
circular serif.
 Foundational teaind 19

The letter ‘y’ is very similar to the letter ‘u’

except the vertical stroke is continued to
the descender line and then a flattened
curve is added from left to right.

= Vi S Z
For the first and third horizontal strokes of
the letter ‘z’, the pen is held at a slightly
reduced angle of 20°. Change to an angle
of 0° for the diagonal second stroke.

Alternatives
Some letters in the Foundational lower-case
alphabet have alternative letter and serif forms.

aabg
Make sure, however, that, if these alternative
forms are used, they are consistent throughout
the piece of work.
20 hound ation ak -Hiauid

Troubleshooting
As this is usually the first alphabet that the beginner copies, special attention
needs to be given to the consistency of family characteristics. This means
checking that curves are the same and not overdoing the serifs, making them
too large. Try to keep the vertical down-strokes upright as there is a tendency to
construct these leaning backward. The inner spaces of letters need to be
balanced as well, such as those of the ‘n’ and ‘u.’ With the letter ‘m,’ both inner
The top diagonal
areas should be equal. stroke of the
letter ‘k’ is too
small and the
second diagonal
is too long.

A The top ‘o’ shape of The second arch of

the letter ‘g’ should be the letter ‘m’ has :
Xx v4 three quarters of the x been constructed too
x height from the top. near the first so that
Here it is too big, the two sides,
The serif at the top of The top curve of giving the letter a top- therefore, are not
the ascender of the the letter ‘e’ joins heavy appearance. equal.
letter ‘b’ is far too large. the body of the
letter too high up,
leaving the
counter space too
small.

The horizontal crossbar of the

letter ‘f’ has been constructed too
x high up the letter. It should be on
the x line.
 Found atiroima 4: elaimd 24

The diagonal strokes

of this ‘x’ cross too
high up the letter.

The top curve of the The top counter space of

letter ‘s’ is too long, & the letter ‘s’ is far too small
which makes the letter and does not balance the
look as if it is falling x X letter.
over.

The bottom serif of the letter ‘p’ The diagonal stroke of the
has been constructed at too letter ‘z’ has been written with
steep an angle, making it too the pen held at too steep an x
heavy. angle, making it too narrow.

The letter ‘n’ has been

constructed with the bottom The vertical elements of this letter
curved serifs over-exaggerated, have been constructed too close
making the letter appear too together, which makes it look too
x narrow. x narrow.
22 Froid
a tiroina lb Aland

Capitals
Foundational hand capitals are based on
the geometric principles of the Roman
capital quadrata, using a circle, square
and proportions of them. Very rounded
shapes and small flag serifs give this
majuscule hand a simple and neat
appearance, which makes it easily
legible and particularly suitable for
headings.

Geometric Forms
Full circle Seven- Three-quarter width Half width letters Extra wide letters Very
eighths narrow
width letters
letters

i. | ‘i :

Q GWA XR K NAL
CDG AHYV NTU BPRS EEKE

For this alphabet, and therefore the first, following the curve around the
‘O,' the pen is held at a 30° angle. top and bringing it down to touch
The left-hand curve is constructed the hairline at the bottom. The outer
first, beginning as a hairline and shape of the ‘O’ is based on a
gradually thickening, curving and circle, but the inner counter should
finishing again with a hairline. Start be an oval.
theeeone hand curve part oe in the
Riowrnrd atsionial: tHiaind 22

Take a diagonal to the base line and add

a small, straight, horizontal flag serif.
Add another at the top of the stroke,
then continue diagonally to the base
line. Finish with a straight crossbar
below halfway.

The Foundational hand capital ‘B’ starts

with a vertical downstroke to the base
line. Next, add the upper bowl with a
curved stroke joining the stem just above
halfway, so allowing the lower bow! to
be larger.

Like the ‘O,’ this begins with a hairline

just below the x line, thickening and
curving around to end with another
hairline. The second stroke comes from
within the first to form the top of the letter
with a slightly flattened curve.

Start with a vertical tapering downstroke.

The second stroke begins just to the left of
the top of the first with a flat curve, which
then arches to the base line. End with a
horizontal stroke.
DA Pownd ationia lk ‘Hand

ey
——>
1 5 3 —_
—_—_—_—_ -—_—_—
m= #

This consists of a vertical downstroke to

the base line and three horizontal bars at
a flatter 20° angle. Note that the bottom
bar is slightly longer and more tapered
and the middle bar slightly above halfway.

EET
>
4 3 _
2 SS
——_—__> ws

Like the letter ‘E’, the letter ‘F’ begins with

a vertical downstroke to the base line, but
then a small flag serif is added. Two
horizontal bars complete the letter, the
middle bar on, or slightly below, the
center of the stem.

The letter ‘G’ follows the same pattern as

the letter ‘C’, but then a horizontal serif is
added, beginning just below halfway with
a vertical downstroke meeting the first
curve at the hairline.

Start with a flag serif, then a vertical

downstroke to another flag serif. Repeat
these strokes for the second vertical, and
add a horizontal crossbar between the
two just above halfway.
Fromind aitromall Oranid 25

The letter ‘I’ starts with a flag serif at the

top of the cap line before dropping
vertically down to the base line where a
further flag serif is added.

Begin ‘J’ with a flag serif, then proceed to

a vertical downstroke to the base line
tapering off to the left. The third stroke is a
flattened curve from left to right, joining
the stem at the hairline.

Start letter ‘K’ just like the letter ‘I’, then

add the two diagonals at right angles to
each other. Note the top of the curve
begins with a small curve and the second
ends with a rounded serif.

A flag serif begins the letter ‘L’, which

then proceeds with a vertical downstroke
to the base line. Then a horizontal leg
completes the letter tapering to a hairline.
This leg should not be too long.
26 hOuUn
dat tonal Hand

With the pen at 45°, take the first stroke

down to the base line and add a flag serif.
The third stroke is also a flag serif. Add a
steep diagonal to the right to be met by a
thinner one and end with a downstroke to
the base line.

Start with a vertical downstroke with a

small flag serif. Add one to the top and
proceed with a strong diagonal stroke to
the base line. End with a small flag serif
and vertical downstroke to meet the
diagonal.

Form a vertical downstroke ending in a

flag serif. The curved stroke of the bowl
starts to the left of the main stem, arching
around to slightly below halfway, to be
met by a small flattened curve taken from
the stem.

Form the letter ‘Q’ in exactly the same

way as the letter ‘O’, adding the tail from
just above the base line on the first curve,
flourishing down and back up to the right.
own
da tiroana kh THiaume DF

Start in the same way as the letter ‘P’.

Then take the bowl stroke round in a
hairline toward the stem. Add the
diagonal tail stroke springing out of the
stem to the base line to finish with a
gentle, tapering upturn.

Curve to the left before straightening out

along the diagonal and curving back to
the base line. Two flattened curves from
left to right form the top and bottom of the
‘S’. The top counter should be slightly
smaller.

Begin the letter ‘T’ with a horizontal

crossbar with the pen held at a slightly
flatter 20° angle. A vertical downstroke is
then dropped from the center completed
by a flag serif.

Start with a flag serif, then proceed

vertically down to the base line where it
curves to the right, tapering to a hairline.
The vertical stroke is like the letter ‘I’,
meeting the first stroke at the end of the
hairline.
26 Reward
a total: teiamnid

The pen angle for the letter “V’ should he

steepened to 45° for the two diagonal
strokes. Start the second stroke with a
small round serif and continue diagonally
down to join the bottom of the first stroke.

Like ‘V’, construct the letter ‘W’ using a

45° angle, with the first two diagonals
parallel. The third stroke starts with a
small round serif and joins the base of the
second stroke. Finally, join the first two
strokes together.

The diagonal strokes of the letter ‘X’ are

written with the pen at 45° crossing
slightly above halfway. A flag serif is
added to the bottom of the second stroke
and a flattened curve to the top.

With the pen at 45°, take a diagonal from

the cap line to the x line. Add the second
diagonal, which starts with a small round
serif. Finish with a vertical stroke to the
base line and a flag serif.
 Fou md ativonall bHaind 29

The letter ‘Z’ consists of a horizontal

stroke followed by a diagonal stroke
where the pen is turned to a 0° angle to
the base line and then turned back again
| to the normal 30° for the second
— | horizontal.

Alternatives
Within this alphabet there are not only alternative
letters, but also various serif forms — triangular, round,
and flag. Numbers and punctuation marks are adapted
to suit the alphabet written. Numbers, however, can be
either ranged, that is the same height as the capitals, or
non-ranged. A third option is the antique style which
has ascenders and descenders to match the lower case. aN

56 7890
1 2 64
12354567890
Old-stylePee:
30 Pound aitiroin ad iHramd

Troubleshooting
When constructing Foundational capitals, make sure that
the serifs are not too large and that they are at the correct
angle. Crossbars often cause problems, too, particularly The top serif and the
with the capital ‘A’ and ‘H’ where they are usually bottom horizontal of the
positioned either too high up or too low down the letter. letter ‘L’ are too wavy
and should be straight.
The capital ‘T’ also looks top-heavy if the crossbar is
constructed at the wrong angle. Another problem concerns
balancing the letter ‘B.’ Make sure that your first curve
enters the stem just above halfway, making the top bowl
smaller than the bottom one.

Take care to set the verticals of

the letter ‘H’ far enough apart.
Here they are too close and the
x crossbar too high, so it appears
out of proportion.

The horizontal crossbar

of the letter/’A’ has been This letter ‘E’ has been
constructed too high up : constructed with the pen
x the letter, giving it an Pe , at too steep an angle,
unbalanced look. - making the horizontals too
heavy and the vertical too
The horizontal narrow.
With the horizontal arms of the letter
crossbar of the letter ‘A’ ‘E’ are wavy and
, too low down, it again should be very
looks unbalanced. straight. '

Here the diagonals are

set too far apart, which The top and bottom flag
x gives the letter a serifs of this letter are waved
collapsed appearance. 4 and should be straight.
 Rou nidat roinall SH amd |

Here the top flattened

curve of the letter ‘S’ is
far too small and the
bottom curve too long,
making the letter
unbalanced. These
should be the same
length.

The horizontal strokes of the

letter ‘Z’ wave too much
instead of being straight.

The top curve of this The second stroke of the

‘R’ is too small and the ‘’X’ crosses too high up the
diagonal leg much too letter, and the serifs are too
long. heavy.

The letter ‘T’ has been

constructed with the pen at
too steep an angle, which
makes the horizontal
strokes too heavy and the
vertical ones too narrow.
32 Boundat ronal heband

Gallery
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ae COeompingand NO soumofwhicets, DUT oy Stas senor car. Foundational hand lettering is most suitable for the text by J. J.
of the aoe tessailsfillantSang sit aeeae s
ses, One Done lay rain-poc i N Webster. The decorative initials representing vegetables are a
Ione like atwin thatthe seahas polished. The tree. that had
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Teas HUSHsea pais AN WAS OW DIACKAS {FO}, AND
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LAKE ISLE OF INNISFREE (ABOVE)

A very pleasing traditional piece of writing using
Foundational hand lower-case letters for the main body of
E DA the text by W. B. Yeats. Here Doreen Howley has used
Ni steel nibs with gouache colors on Fabriano Ingres paper.
et as hs A
“ The top line of each verse has been written in Versal style
eon A theta SO | lettering separated by tiny dots.

Sy
3 Take two ounces bcfeheanum, i > POMANDER (LEFT)
«of Benjamin and Sterax onc ounce ie The combination of well-proportioned Versal letters
eros ‘ ' ae 8 written in a circle and a line of tiny capitals beneath is
oi cal muske enya ee neet ee a a®) complemented by balanced Foundational hand lowercase
* Amber greece sixe graincs.of Calamus + letters in the center of the text. Lindsay Castell has used
Aromaticus and Lignum Aloes, ofcach the & gouache color with quills on mold-made paper.
SS i weight of a groat, beatallthescinahote {
~ mortar, and with a hote pestcll til =
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BY SIR HVGH PLATT
1602

Wj
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34

Italic Script
Renaissance Italy during the 15th Essential Information
century under such writing masters as
Arrighi and Palantino. These humanist
scribes wanted a less harsh minuscule
than the Gothic style, which was
difficult to read and write. They revived
the rounder Carolingian style,
developing a slightly more compressed
and oval script with beautiful elongated
ascenders and descenders. This allowed
greater speed and fluency and, with
fewer pen lifts, speeded up the copying
of large amounts of text. The Italic
ee sora te most Uselul Letter height The x height is 5 nib widths, with the ascenders and descenders
everyday styles of writing used today. extending an extra 3 nib widths each.

Minuscule Basic pen angle The pen angle between the nib and the writing line is 45°.
A shallower 20° angle is used for crossbars.
Italic lower case, or minuscule, where
the pen is held at a steeper 45° angle, _ 40’ form An oval-shaped ‘o’ is used here.
allows the calligrapher to write at a
Slope Letters may slant forward between 5° and 10° from the vertical, but a
. This alphabet i d
Bicaiey opece ae he Oa 5° slant is enough for a more formal Italic.
of oval shapes and serifs, and springing
arches and is written at a gentle forward _ Serif forms Small oval-hook serifs echoing the oval ‘o’ are most suitable for
slope. It can be easily adjusted to this alphabet.
different weights and sizes and has great
flexibility in the length of the ascenders
and descenders, allowing them to be
flourished.

Geometric Forms ,
Oval letters Clockwise arched letters Anticlockwise Related Triangular Diagonal letters
fitting ina arched letters curves letters
rectangle

oce bkp hmoar iltuy fsj adgq VWXZ

m Ww

Wider than a rectangle Wider than a rectangle

 itahire Sicrmpt “3H

0
The Italic lower-case ‘o’ is elliptical in
shape and is made up from two shallow
curved strokes beginning and ending with
hairlines. The width of the ‘o’ should be
approximately two-thirds of the x height.

dl
The letter ‘a’ starts off the same way as the
‘o’. The second stroke at the top is a
flattened curve, with the final stroke taken
down to the base line ending in a small
oval-hook serif to complete the letter.

The lower-case Italic letter ‘b’ starts with a

small oval- hook serif at the top of the
ascender line moving down toward the
base line, but curving upward just before
reaching it. The second stroke is the same
as the right-hand curve of the letter ‘o’,
but this time touches the stem of the letter
at the hairline.

C_
The letter ‘c’, like the letter ‘o’, is oval in
shape, curving gently down to the base
line and finishing with a small upward
serif. The second stroke is a small
flattened curve at the top.
SO. trahta Serko

Start the letter ‘d’ like the ‘a’, taking the

third stroke from the ascender line with a
tiny serif before continuing down,
touching the first two strokes on the way,
to the base line, ending with a small oval
curve upward.

} | | || | }

The letter ‘e,’ like the ‘o’, begins with an

El} =e oval curve to the base line and then
continues with a second stroke, a small
tight curve into the body of the letter just
above halfway.

Start with a thin serif at the top of the

ascender line. Move toward the descender
line and again end with a thin serif. Add a
flattened curve to the bottom and top,
with a crossbar at 20° running just below
the x line.

Form the first two strokes of the ‘a’. The

third stroke springs from the second, but
travels down to the descender line ending
with a thin serif or hairline. End with a
backward curve to join the hairline.
 Ktatier Scrnpiti” Bez

The letter ‘h’ starts with a small oval- the stem, leaving it just above
hook serif at the ascender line before halfway before arching over and
proceeding downward at a 5° slant to. down to the base line. Add a curved
the base line, again ending with a serif to complete the letter.
small serif. The second stroke, like
the letter ‘n,’ springs from the base of

This begins with a small oval-hook serif

before a downstroke to the base line,
where another oval serif is added. The
second serif is slightly longer to allow
other letters to be joined on. The dot is a
small oval curve.

y; 3

Begin the letter ‘j’ like the ‘i’, but continue

the downstroke to the descender line with
a slight tick to the left. The second stroke
has a sheared terminal like letters ‘f’ and
‘g’. A dot is again added over the letter.

Start and finish the first stroke with a small

oval-hook serif from the top of the
ascender line to the base line. The second
stroke curves diagonally into the stem,
with a longer diagonal continuing to the
base line.
bow
Sia
hi,
‘i,
=
38 eae =S-eyiipit

This has only one stroke, which starts at

the ascender line with a small oval-hook
serif descending at 5° to the vertical down
to the base line. From here curve upward,
oe
Se
but be careful not to curve too much or
too soon.

The downstroke starts and ends with a

small oval-hook serif. From the base of
their stems, arch two strokes from just
above halfway to return to the base line.
Add oval serifs, slightly longer on the third
stroke.

Start and finish the first stroke with a small

oval-hook serif. The second stroke springs
from the base of the letter body, leaving it
just above halfway, arching and then
moving to the base line before curving up
gently.

Form a small oval-hook serif and drop to

the descender line to finish with a small
serif. Arch from the stem just below the
top of the letter gently to the base line.
Then connect the stem and bow! with a
flattened curve.
 faktecSeriipt: 399

Start the letter ‘q’ with the first two strokes

of the letter ‘a’. Then take the third stroke
from where the second touches the
ascender line down to the descender line
to end with a small oval curve upward.

td
The lower-case ‘r’ starts on the x line with
a small oval serif and goes down to the
base line to finish with another small serif.
The second stroke branches like the ‘n’
out of the stem, but then gently curves
upward.

Curve gently left and right to stop above

the base line with a hairline. Add shallow
curves joining the letter top and bottom.
Make the top counter slightly smaller; the
letter should align at the right with
a 5° slant.

Run a thin diagonal through the x line to

form the serif. Then go from the top of the
x line to the base line and gently curve
upward. Finish with a lilting crossbar, with
the pen at 20° to the horizontal, below
the x line.
ae italiiier Seni pet

The letter ‘u’ mirrors the letter ‘n’: two

strokes starting with small oval-hook serifs
proceeding down to the base line before
curving up at the end. The second stroke
connects to the first at the end of the
curve.

Two diagonal strokes make up the letter

‘v,’ the second stroke beginning with a
small inward-turning oval-hook serif. The
central axis of this letter has the same 5°
slant to the vertical as the rest
of the script.

Run the first two strokes parallel and

diagonally down to the base line. A stroke
starting with a small oval-hook serif forms
the opposite diagonal meeting the second
stroke. Now join strokes one and two.

Two diagonal strokes form the letter ‘x’,

crossing each other just above the center.
The second diagonal starts and ends with
a very small oval-hook serif.
 tanlies Soro 4d

The first stroke of the letter ‘y’ begins like

the letter ‘u’, but the second continues
down to a hairline just above the
descender line. The third stroke is a
flattened curve joining the letter at the
hairline.

zg
First form the top horizontal line. The
second stroke is a diagonal line which
tapers at both ends from and into the
horizontal strokes. The lower horizontal
has a more exaggerated tapering serif.

Alternatives
There are a number of alternative lower-case letters with various serifs, allowing
greater flexibility within this alphabet, particularly with the flourishing of letters.

as bf ohh
3
Ve

VGQr ry y
Am 6 ttadliice S ecriipit

Troubleshooting
As this alphabet can be written at greater speed, special attention should be given
to the consistency of the slope. So make sure all the letters are at the same angle
and not some upright and some slanting. Watch out for the inner bowl of the letter
‘e’, which should not be too small or it will look as if it is closing up and might
even resemble the letter ‘c’, making the script difficult to read. Try to keep
characteristics of the alphabet consistent, such as springing arches on letters ‘n’,
‘m’, and ‘u’, and the crossbars of ‘f’ and ‘t’, which should not be too heavy.

The crossbar of the letter ‘f’ has

been formed at too flat an
angle, making it too heavy.

The top curve of the letter

‘k’ is far too small and the
diagonal tail too long.
x

The top curve of this

The first oval The top of the example of the letter
curve of the letter letter ‘c’ is too The top curve into the ‘k’ is too large and the
‘a’ does not curved down, a body of the letter ‘e’ is far diagonal leg,
continue high mistake which too small, closing up the therefore, far too
enough up, gives the letter a counter space. short.
making it too hooked x
rounded. appearance. The top curve into the
body of this ‘e’ is too big,
creating too much counter
space.
 htaliceSenipt 43

The top curve of the The pen angle has been held
letter ‘s’ has been too flat, making this letter
constructed too heavier than usual.
small and the
bottom curve too
big; the letter looks
as if it is falling
over.

The top of the letter ‘t’

is too tall and the
crossbar too heavy.

x
The pen has been held
The crossbar of at too steep an angle for
The joint where the bottom this ‘t’ is too the diagonal stroke, so
of the oval joins the stem has heavy. it is too thin.
been constructed too high up
the letter, which makes it
look heavy.
44 Italic Script

Capitals
Italic capitals are based on compressed
Roman capitals which appear oval in
shape. They have small oval serifs and,
like the lower case letters, have great
flexibility in height and weight, making
them suitable for headings or entire
pieces of text. This alphabet also lends
itself to flourishes, adding great grace
and beauty to the letters.

Geometric Forms

Oval letters Three-quarter width letters Half width letters Narrow

| letters

[
a va fs eae | |
OQ EDiG AHVYV NTU DOeZ BPRS ERK 1}

The Italic capital ‘O’ is elliptical in shape.

Form two slightly flattened oval curves,
the left-hand side first and then the right-
hand side, meeting at hairlines formed at
the start and finish of each curve.
 ltarkice Storiipit 45

Start with a diagonal to the base line

ending with a tiny hook serif. The second
diagonal goes from the top of the first to
the base line, this time ending with an
oval serif. Add the crossbar slightly below
halfway.

Begin with a vertical stroke to the base

line. From just beyond the top of the
letter, arch around to just above mid-stem.
| Add a similar larger curve with a hairline
on the base line, connected to the stem by
a horizontal.

The first stroke of the letter ‘C’ is the same

as that for the letter ‘O’: an oval curve
from the top of the cap line to the base
line ending with an upward curve. The
second stroke, a flattened curve, forms the
head of the letter.

The letter ‘D’ consists of a vertical

downstroke to the base line, a curve from
the left of the top of the stem curving
around to finish on the base line, and
finally a horizontal line connecting the
two strokes.
26 itralice Script

———y
>
f, ES
pe
4

> 4
ba

Start the letter ‘E’ with a vertical

downstroke to the base line, then add
three horizontal bars with the bottom one
slightly longer, curving up at the end and
tapering to a point.

Pd
——$—
1 Z nn atl

Like the ‘E’, the ‘F’ starts with a vertical

downstroke to the base line, ending with a
tiny oval-hook serif. Add horizontal bars
to the top and middle of the stem. The
middle arm should be halfway or slightly
below.

The first two strokes of the letter ‘G’ are

like those of ‘C’. Then add a small
horizontal line on the right and continue
with a vertical stroke joining the hairline
ending of the first stroke.

For the capital ‘H’, first form the two

vertical strokes beginning and ending with
small oval-hook serifs and making sure
they are parallel. A horizontal crossbar is
then added slightly above halfway.
 alice Scrat _4y

Make a small oval serif at the top of the

‘I’, continuing the vertical downstroke
down to the base line. Finish the stroke
with another small oval serif.

The letter ‘J’ begins with a small oval-hook

serif and proceeds vertically to the base
line, curving slightly to the left and
tapering to a point. The second stroke is a
left to right curve, joining the stem at the
tapered point.

The beginning of ‘K’ is the same as the

letter ‘I’, Now form the diagonals at right
angles to each other, meeting at the center
of the main stem. The second diagonal is
longer and curves back up in a gentle
hook serif.

Pa taie tea” oirel tal bi eecasiie <li tent vei, The letter ‘L’ starts on the cap line with a
| by small oval-hook serif dropping vertically
down to the base line. The second stroke
is a horizontal line running along the top
of the base line. Take care not to make it
too long.
“Oo slbtakic Script

Form a slight and steep diagonal to the

base line ending with a tiny oval serif.
From the top of this stroke, drop
diagonally; the third stroke is similar to
the first. The final stroke ends on the base
line with a hook serif.

The letter ‘N’ starts with a vertical

downstroke with the pen at 60° and ends
with a tiny oval-hook serif. The second
stroke from the top of the first proceeds
diagonally to the hase line to be joined by
a final vertical stroke.

Take a vertical stroke to the base line

ending with a tiny oval serif. The second
stroke begins just to the left of the top of
the stem, curving down back toward it. A
shallow curve joins the stem in the bowl.

The first two strokes of the letter ‘Q’ are

the same as the letter ‘O’, but then a third
stroke is added: a tail flowing in a flourish
from the base of the counter.
 ltalie® Seript 49

Start with a vertical downstroke to the

base line ending with a tiny oval serif. The
second stroke arches like the ‘P’, rejoining
the stem about halfway down before
dropping diagonally to the base line.

First curve gently to the left and then to

the right to end on the base line. The
second and third strokes are flattened
curves joining the main body of the letter
at the top and bottom. The top counter
should be smaller.

Begin the letter ‘T’ with a horizontal line

on the cap line, then drop a vertical
downstroke from the center ending with a
small oval-hook serif. Both sides should
be equal.

The letter ‘U’ starts with a small oval serif

and proceeds vertically to the base line
before turning back up in a gentle oval
curve. The second stroke, identical to the
first joins them together at the point.
BO) thuathhe? Siotigo't

The letter ‘V’ is made from two diagonal

strokes joining at the base line. The
second diagonal begins with a small
oval serif.

4s°

The first two diagonal strokes of the letter

‘W’ are parallel. The third stroke begins
with a small oval serif continuing
diagonally to the base of the second
stroke. The final stroke joins strokes one
45° and two together.

The two diagonals of letter ‘X’ cross just

above the center. The second diagonal
starts and ends with a small
oval-hook serif.

The letter ‘Y’ starts with two diagonal

strokes which join in the middle of the
capital height. The third stroke then
continues vertically down to the base
line, ending with a tiny oval serif.
 trathic Sorkot ~ 34

After the first horizontal stroke of the letter

‘Z,' turn the pen to a 0° angle for the
diagonal. Then return to a 30° angle for
the final horizontal, tapering the stroke to
a hairline.

Alternatives
With the rhythm of this capital alphabet, there are many
possibilities for alternative letters and flourishes. The
punctuation and numbers follow the shape and angle of the oval
form, and the numbers can either align with the capital height or
with the smaller lower case.

{ Wh

— >
3

1 4
pmece are ———
~

; yV

+ | I- Ni
1 uy 2 1 jz 4

5
carci
2
Bits.
3
5
Ampersands Punctuation

oy ¢ wy I (66 x
3

« é* a © é g J+ ») eo.

Numerals
S22 beahkice Script

Troubleshooting
As Italic capitals are based on an oval shape, special care should
be taken to keep this oval consistent. Pay special attention to
letters such as the ‘A’ and ‘H’, which should not be too wide.
Take care, too, with horizontal strokes in letters such as ‘E’, ‘F’,
‘L’, ‘T’ and ‘Z’, making sure that they are not too heavy, too long
The vertical stems of the letter ‘H’
or too wavy.
have been constructed too far apart,
and the crossbar is too high.
x

jh

The horizontal line at

the bottom of the
letter ‘L’ is far too
long. x

Pe The middle horizontal

arm of this ‘E’ is too small
and too high up the stem.
x x x *

The letter ‘A’ is splayed out The top horizontal The first diagonal curve of
too wide, giving it a arm of the letter ‘E’ is the letter ‘K’ is too long,
collapsed appearance; the far too long and the therefore making the
crossbar is also too high. middle arm too bottom diagonal much
short, making the too short.
letter look as if it is
falling over.
 Falitces erin ° 52

The diagonal
strokes of the letter
’X’ cross each other
too high up the
letter, making the
lower part too wide
and the top too
small.

The curve at the top of the

letter ‘R’ is too small, making
the diagonal tail much too
long.

The diagonal stroke of

the letter ‘Z’ is far too
The letter ‘O’ is much thin as the pen has been
too narrow and is not held at too steep an
consistent with this angle.
x x alphabet.

The first curve of this

‘O’ continues too far
around at the base of
the letter, which
makes the letter
appear as if it is falling The horizontal line of the
over. letter ‘T’ is far too heavy and
thick and does not tie in with
the rest of the alphabet.
4. lita ce? Sicritipit

Gallery PVFRY VERTUOUS PLANT AWD EALT NG HE RD

5 oyBe
The lettering shown in this gallery introduces
the use of capital letters in a formal design,
and continues with a very well-controlled use
of color and creativity. For calligraphers at Agriniien) Bonige: Cilmi “Devils Bit Elecenai pviie

all levels of expertise, capital letters need a

great deal of practice, but the result is well
worth working for. Letterforms including
beverpered Greater Plantar FHys = tris: )orussalem Suge
decoration and color can enhance a piece of
text in a variety of ways. Exploring new My
ae
ideas and mastering pen control increases
confidence, allowing you to experiment and Rritboue ~hayencder: Marjeravel Ba no Pemiy royal

create beautiful artwork.

LEAP TO TH MORIN IAG MAY

SPREADS WER VERDANT

HERBAL ALPHABET (ABOVE)

This excellent example of very well-written Italic capital letters
using the whole alphabet shows calligrapher Lindsay Castell to
have great skill and control. The capital letters are complemented
by the very small Italic Cursive lower-case letters with the names of
herbs using all letters of the alphabet. The decoration used around
the capitals has been made with a rubber stamp design and brush.
This work, written on mold-made paper using metal nibs and
gouache colors, was inspired by the healing properties of herbs
and herb gardens.

ALPHABET DESIGN (LEFT)

This beautifully designed calligraphic alphabet using capital letters
with superb flourishes shows that Jean Larcher has achieved
tremendous control and flexibility of design and layout. Multicolors
have been used throughout, with a red heart positioned perfectly
against the letter ‘L’. Colored lowercase letters make up the word
‘Letters’.
 fCaliees eraips ee)

ae »

K 2 Se
— ES C

| ——; a NI f

ie 4 f rye Wt Wey aN
/' i AU Ay Ale Ss

ae / =
+ fa ¥ 4 a } ig ¥

RP reas
of rte i i oes

( &. J He INDESCRIBABLE |INNOCENCE. * /

— ve Wd BENEFI CENCE
“OF NATURE

gfsy sand ryindand ran ofsupper

andwinter
“such health such Heer
they qfordfore!
_ndsuch sympathy
have they everwithour rate . ie
that
allNATURE Would beaffect
and thesuns bnghiness
fade
and the wun rvoitld sighhumanely
and the woods shed their leaves
7 and put on mourning irnnusurnmer
ifanyone shouldforajustaauseqneve
; Shall Tot
have wntelligence with the earth?
An not
| partly leaves
aw vegetable mould
Mee
MPYSCL]

oo HACN EI
Yo posvp
a THOREAW

Junldey Pond

ia:
ye
“

WALDEN POND (ABOVE)

Jenny Hunter Groat has written the main text of this poem by Henry David Thoreau in
flowing Italic lower-case letters with extremely well-controlled flourishes, particularly in
the last word which incorporates the very well-positioned name of the author and title.
The butterfly at the top of the page has been drawn very freely to give the feeling of
great movement across the page, leading perfectly into the top three lines of well-
balanced capital letters.
Be bhalierSeri pt

THE FISH (RIGHT)

A well-designed piece of Italic lettering has been used
by Janet Mehigan for Rupert Brooke's The Fish using : a)

gouache in tones of blue on India handmade paper. ©

The gold bubbles that appear on the left-hand side of s oe
the work have been painted with gum ammoniac size oe
and then transfer leaf applied. ee Le ISA)

= Iiacool curving world

“And rip)yee dark mg ele
Hein luxurious Laae
Shapes All his universe tofeel
oe ge ee ee Sd

And knoiv a be. the aoeaneeia

Closes his memory, ql JHU dream
ay
abe oouseiia
ttheVictoreniedithegloviousPriseismine !
Who lips the ee Thes hoe qi tele
whileFish’inStreams,ips Air, Superbon unrecurning tides
“Those silen& wares weave for him.
AA fluctuate nutable world and dim
aver NB ae ReOe ant ya
pres ie sh shihea
nomently throughwhorl and hollow
And forny and line and solic alloy
eg
) nidi
Ms ne Mt orca,
re WO)rid,fshiied ond :
a rts Abe
ay |)pes af s
ee

uilbous, or pulled to chin or curled

J Ls AP a ee

THE RAPE OF THE LOCK (ABOVE)

kesSerpentine or priving arrows
Designing a manuscript book is quite different from is _ a a
slidiags or March n narrows
pI ig wa hore are one
working on individual sheets, as balancing the layout Bs ae And Med ane ited
of the text, margins and illustrations all need to be a : ~ But glow to glow fades
taken into account. The comic epic poem by a! OF as are
tam to i
Alexander Pope is reflected in the choice of Italic gre ‘anslu
lettering, together with the illustration in the form of
images of a card game. Polly Morris has used metal iy
pens, watercolor, gouache and shell gold on Zerkall i . ; FOWNEE 7 es i + black ro} Tuts
paper. : Ae G, decomposes Z
aan darkness of tht heart
ofroses -
“Bluc brilliant from dead starless skies
“And gold that lies behind the cues:
The unknown unnameablesightless white
nat is the essential Flame of might.
) ~Lustreless purple, hooded grécn
_ the myriad hues that lie between
wa Darkness and darkness!... And alls one.
Gentle jembracng quict, dun.
“The world he rests insthesvorld he knows
6 “Perperial curving. Only — grows
An edly in that ordered falling
A knowlédge from the gloom, a calling
9 Weed in wave, glean. in the mud —
The darkfire leaps along his blood
—Datcless and deathless, bllind and still
“They atricate impulse wor . its will
aeise 1 world auy back and he
AO: pro Age
yaiven
FROM THE PISMODY RURERE MASINE
 WalicwScimian B7,

»
ur hillside was so steep that the small deck
, outside ourliving-room window was high in
the trees. The area is a breeding and migratory canyon for
birds and many different kinds visited us each year
; One autumnymornine Jawoke to see the air
trees aie k filled with thousands of cedar waxwings
feeding on fruit from the masses ofgrape ivy hanging from
the redwoods, oaks and bays. There were so many birds
that not only did they crowd the rim of the large flower pot
saucer which held their drinking water, but stood on each
others backs in the water, itself. Their flutter and chatter
were incessant. As 4 tried to photograph them J realized
thatJwas able to approach very near them at the sliding door.
(T=, Suddenly a California Brush Jay screeched into the
heédin¢ area and the deck was temporarily cleared. On a hunch,
J crept out onto the deck, pulled the water dish very close to me,and
sat down in meditation posture, extending my hands to rest on
my knees, fingers made into perches’ With eyes nearly closed and
breathing imperceptible J waited. Before lone a bold Mountain
Chickadce looked me over. then came to drink only inches away.
Seeing him, the Waxwin s,tvo, began toreturnand,
“=,
>

CEDAR WAXWINGS (ABOVE)

This piece of calligraphy has been written with both a metal pen and a
quill pen and was designed to be printed. A good contrast of Italic styles
has been utilized by Jenny Hunter Groat, beginning with a very formal
style proceeding to freely written capitals and continuing with a very tall
compressed Italic cursive style.

WOLKEN (ABOVE LEFT)

Here Mary White has used a quill and white watercolor to recreate
Margot Brust's modern German poem Clouds. This approach gives the
Italic lower-case lettering a pointed feel balanced by the more rounded
~_f
capitals and very fine hairlines.

emahitdithnidht =
DAS BROT (LEFT)
Mary White has used a very individual style of Italic lettering for this

wasaich imBrote speist.

German quotation Bread. Written in pen, ink and watercolor, it shows
great confidence and pen control. The large, freely written heading
balances the work perfectly.

iEGoutes owigsWort.
st Leben und istGeist
MARY WHITE SCRIPSIT
1990
So. oman Capitals

Roman Capitals

O B
The Roman letterform was based on the
Essential Information
Greek and evolved over hundreds of
years. Classical examples of Roman
capitals are mostly found incised in stone
or marble, recording important events.
Scribes painted these large beautiful letters
with reed brushes onto the stone, and
then the stonecutters would chisel (or cut)
the capitals into the stone. Such
inscriptions reached a height of perfection

Ma
with the Trajan column inscription toward
the end of the first century.
The pen was also used to write such
capitals or ‘majuscules’: first came reed
pens, followed by quills. Today a metal Letter height The height here is 7 nib widths.
broad-edged or square-ended pen is
used which, when held at various Basic pen angle The pen angle for most letters is 30°. However, for
angles, can achieve the thick and thin diagonal strokes the angle is steeper at 45° and steeper still for thin
strokes of this elegant letterform. diagonals, at 60°. For horizontal crossbars a flatter angle of 20° is used.
Roman square capitals or quadrata
are constructed according to geometric Slope This is an upright alphabet with the letters constructed vertical to
principles, using a circle, square and the writing line.
proportions of them. Careful control of
the pen will allow the calligrapher to Serif forms Small hook serifs are added at the top of the letters, and slab
achieve the basic 30° pen angle with serifs at the bottom of the letters. If gaps appear, fill them in with the edge
small hook serifs beginning the letters. A of the nib.
more difficult, very flat 0° angle slab
serif is required for the lower serifs.
Well-proportioned letters and even
spacing will lead to an understanding of
all other letterforms.

Geometric Forms

Round Rectangular letters Narrow letters Wide letters

letters

| es
DGG FL BPRS EFKL lj | MW

HX
OCDIGO AHV NTU
 Roman Capitals 59

In theory this is a perfect circle; this shape

is vital. The pen is held at a constant 30°
angle, with the left curve formed first. The
letter should just ‘cut’ the cap and base
lines; otherwise, it can look too small.

The pen angle for the first diagonal stroke

is 60° to the base line, changing to a
vertical 0° for the slab serif. The fourth
stroke is diagonal at 45°, changing to 20°
for the crossbar, slightly below halfway.

The vertical downstroke stops just short

of the base line; add the first bowl
joining the stem just above halfway. The
second curve is slightly larger, ending
with a flatter 20° stroke joining the stem
and curve.

The first stroke of the capital ‘C’ is the

same as the beginning of the capital ‘O’,
but the second stroke is a slightly flatter
curve ending with a small serif.
6 0 Roman Capitals

The ‘D’ starts with a vertical downstroke.

The second stroke begins fairly flat, then
curves like the ‘O’ to the base line. Then
the pen angle is altered to 20° for the
horizontal stroke joining the stem and
curve.

This is half the width of the ‘O’. After the

vertical downstroke, change to 20° for the
three horizontal strokes, with the bottom
stroke slightly longer to balance the letter.
The middle bar should be a little above
halfway.

Form the vertical, then reduce the pen

angle to 0° for a slab serif; fill in any gap
with the edge of the nib. Form the two
horizontal strokes with the pen at 20° to
the base line. Add the middle bar slightly
below halfway.

For the capital ‘G’, the first two strokes are

the same as the letter ‘C’, with a
horizontal serif below halfway and a
vertical downstroke joining the bottom tip
of the first curve.
 Ronan. €aioutals Gd

A Roman capital ‘H’ is three-quarters the

size of the capital ‘O’. Starting with hook
serifs, the two vertical downstrokes end
with 0° slab serifs. The crossbar should be
slightly above halfway and at a 20° angle.

The very narrow ‘I’ has a hook serif at the

top, a vertical downstroke, and a slab serif
where the pen angle changes to 0° at the
bottom of the letter. If a gap appears, it
can be filled in with the edge of the nib.

Like the capital ‘I,’ the ‘J’ starts with a

hook serif, a vertical downstroke stopping
just short of the hase line where a
flattened curve is added, left to right.

A Roman capital ‘K’ is a narrow letter

beginning with a hook serif, a vertical
downstroke, and a slab serif where the
pen angle is 0°. The two diagonal strokes
form a right angle touching the stem just
above center.
62 Riomamn ‘Capital's

Another narrow letter, the capital ‘L’ is

similar to the ‘I’. Start with a hook serif
and a vertical downstroke. For the second
stroke, the pen angle is altered to 20° for
the horizontal leg.

Start with the pen at a much steeper 60°

angle to the base line, but change to 0° for
the slab serif at the end of the stroke. The
third and fourth strokes are the same as
the ‘V’. Finish with a 45° downstroke.

The ‘N’ consists of a vertical downstroke

where the pen angle is steepened to 60°
with a O° slab serif. The second
downstroke is diagonal to the base line,
and the third another 60° vertical stroke
and 0° slab serif.

| | } | i

The ‘P’ is a narrow letter half the width of

the capital ‘O’. First, complete the vertical
ot
ee
eS
downstroke and 0° slab serif, then add the
rounded bowl, starting from the top and
=|a
ending just short of halfway.
) | |
=| \|4
-}=iS

(“4
 Roman Capitals 63

Construct the capital ‘Q’ in the same way

as the capital ‘O’, adding a downward
flourishing tail at the bottom.

Here the vertical downstroke and the slab

serif are the same as the ‘P’, except the
curve of the bowl meets the stem halfway
down. Then add the tail springing from it
to the base line.

Think of the double curve of the capital

‘S’ as two circles on top of each other, the
top circle being slightly smaller to balance
the letter. The second and third strokes are
constructed from left to right and are
flattened curves.

} | ||| |
Run the crossbar just under the cap line
with the pen held at 20° to the base line.
Then drop the vertical downstroke from
the center of the crossbar at 30° to the
base line, adding a final 0° slab serif.
|! ae.
fe |
64 Reiman, ‘C arpiiitiaslis

\\>
Start with a hook serif to the vertical
downstroke curving like the ‘O’ just
before the base line. The second stroke is

tee
a hook serif, a vertical downstroke, and a
0° slab serif.

Steepen the pen angle for the ‘V’ to 45°

for both diagonal strokes. The first stroke
stops at the base line, and the second,
which starts with a small curve, joins the
body of the first stroke just before the base
line.

The capital ‘W’ is the widest letter — wider

than the ‘M.’ It is made up of two capital
‘V's which join at the apex. Remember
that the pen angle is steeper at 45°.

The pen is held at a steeper 45° angle for

the diagonal strokes of the capital ‘Xx’, The
strokes cross just above halfway, which
will balance the letter.
 Romain Capitals: "es

Hold the pen at a 45° angle and cross the

two diagonal strokes halfway down,
continuing the stronger vertical stroke to
the base line. The final stroke is a slab
serif with the pen held at 0°.

For the two horizontal strokes of the

Roman capital ‘Z’, the pen angle is
reduced to 20°. Turn the pen to 0° for the
diagonal stroke.

Alternatives
The Roman capital alphabet includes alternative letters with
alternative serifs, such as the tops of the ‘V’ and ‘W’. Punctuation
and numbers that match this alphabet are shown with the Versal
alphabet (see page 122), constructed in the Roman style.

PQ V\
GG Roman, Capitals

Troubleshooting
Most beginners have problems with the horizontal crossbars of
letters in the Roman capital alphabet, either making them too
heavy or placing them in the wrong position. Another problem
to watch for concerns the flat pen angle needed to form slab
serifs. With a steeper pen angle, these serifs become too heavy.
Remember to check that proportions are consistent between
similar letters, such as diagonal letters like the ‘V’ and ‘W’.

The crossbar to
this letter ‘H’ has
been constructed
too high up so
that the letter
does not appear
balanced.

Here the crossbar has

been constructed too
low down, making the
x x letter look bottom-
heavy.

Here the small

horizontal crossbar
| and vertical
wa downstroke have ;
x been constructed far me
too high up the letter.
The top counter space of this The top curve of The horizontal
letter ‘B’ is far too large, which the letter ‘C’ is foot of the letter
makes the letter appear top- too steep and ‘L’ has been
heavy. The lower curve should comes too far written with the
be the larger one to balance the — down, giving it a pen at far too
letter. hooked steep an angle,
appearance. It The letter ‘E’ has been which makes it
should be flatter constructed with the pen look too heavy.
and match that at held at too steep an
the bottom. Xx angle, making the arms
too heavy.
 Rowman: Capitals 672

This letter ‘U’ has been

constructed too narrow.

For the diagonal middle

The second curve of this stroke of this letter ‘Z,’ the
letter ‘O’ is not rounded pen has been held at the
enough. wrong angle. It therefore
looks far too thin.

The first stroke, the

horizontal bar, of
this letter ‘T’ has
been constructed x
with the pen held
at too steep an
angle (over 30°), The two diagonal lines of
making it look ugly this letter ‘Y’ join too low
and top-heavy. down the letter, making it
out of proportion.

The second stroke of the

‘V’ has been added too
near the first, making the
letter too narrow.
68 Roman Capitals

allery
Today's calligraphers have the advantage of
over 2,000 years of the development of the
Roman alphabet, and studying inscriptions
can assist in a greater awareness of
letterforms and designs. The examples
shown here start with a traditional piece of
Roman lettering for a memorial plaque,
continuing to a dramatic and very modern
interpretation of the style. It is appropriate
to include a piece of carved lettering
finishing with an elegant panel.

AN ANFANG (ABOVE)
IN MEMORY OF This highly dramatic interpretation of ‘In the beginning’ from Genesis

~ JOHN DHENIN was written in German by Mary White using a fine pen and brush
with watercolors in a circular format. Small Roman letters make

3rd BARON HAMILTON:

everything fit. The title and the bottom of the circle have been written
in gesso and gold leaf, making the letters look beautifully raised.

of DALZELL DESIGN FOR MEMORIAL IN BRASS (LEFT)

Anthony Wood's traditional piece was commissioned, as the title
GCVO. MC. suggests, for a memorial plaque. Produced in brass by an acid-etched

BORN 1911 DIED 1989

engraving method, it is an excellent example of letterforms in various
sizes, including compressed letters at the bottom. The coat of arms
and the two crosses balance the work perfectly.

LORD IN WAITING toThe QUEEN

 Ronmans Capitals 69

QUOTATION (ABOVE)

| VALUE MY GARDEN MORE FOR

No section on Roman lettering would be
complete without an example of a carved

BEING FULL OF BLACKBIRDS piece. This quotation from John Ruskin

carved onto a found piece of Portland stone
THAN OF CHERRIES, AND VERY was very creatively designed in a spiral
shape by Richard Kindersley. Diamond-
FRANKLY GIVE THEM FRUIT shaped dots separate the words, which end

FOR THEIR SONGS re -e

with a superb flourish to the ‘R’.

QUOTATION (LEFT)
This elegant piece in Roman capitals has
been designed in an asymmetrical layout for
this quotation from Spectator by Joseph
Addison. Erica Daulman used a round-hand
steel nib on Saunders Waterford HP paper.
These letters have very small slab serifs.
70 Winmetat i ettenss

Uncial Letters
A longside the graceful Roman capitals,
another hand called Uncial thrived, Essential Information
descended from an ancient letterform.
Uncial, from uncia, the Latin for ‘inch,’
Round serif
was quick and easy to write, and its
popularity coincided with the use of
parchment as a writing surface. It was
therefore used as the main book script 20° angle
between the 4th and 8th centuries A.D. ed ee —
——
Upright 0° slope
The letters were capital forms using a
Letter height The x height is 3’ nib widths.
flat or slightly angled pen. The Half
Uncial majuscule was developed to
Basic pen angle The pen angle for most letters is 20°, with some horizontal
increase the lettering speed of scribes.
strokes written at a slightly flatter 15° angle.
Rounded in style, it has more ascenders
and descenders and acquired the
_‘O’ form Here the ‘O’ is slightly wider than a circle.
appearance of lower-case letters.

Slope This is an upright alphabet.

Modern Uncial
The main characteristics of the Modern
- Serif forms Smal! round serifs are used here.
Uncial style comprise a bold yet graceful
rounded letterform using a flat pen
Letter groups The following letters are round and slightly wider than a
angle. There are minimal ascenders and
circle: ‘O’, ‘C’, ‘D’, and ‘E’. The letters ‘G’, ‘H’, and ‘M’ are even wider, and
descenders, giving the appearance of an
_the group is completed by ‘N’, ‘P’, ‘Q’, ‘T’, ‘U’, and ‘Y’. The second group
approachable yet formal script. Using a
includes two-tier letters — ‘B’, ‘R’ and ‘S’. The letters ‘A’, ‘K’, “V’, ‘W,’ and ‘Z’
flat pen angle, this hand has a clean,
are grouped together as diagonal letters, leaving ‘I’, ‘F’, ‘J’, and ‘L’ as the
sharp edge. It is written with a small x
straight letters.
height and very simple hook serifs,
making it quite legible.

O
The Uncial ‘O’, again the key to the
alphabet, consists of two generously
rounded strokes which form a silhouette
which is slightly wider than a circle. Note
where the curved strokes touch the cap
and base lines.
 Winicrall Letters Wel

av
Take a thin serif from the top of the cap
line to the base line, finishing with
another thin serif. Curve from just above
halfway, down to the base line, then, with
the edge of the pen, draw the ink up back
into the main stem.

B
Start with a small round serif vertically to
the base line. The curve forming the upper
(smaller) bowl should join the stem
slightly above halfway. The second curve
is joined by a horizontal at a 15° angle
from left to right.

G
The main body of the ‘C’ imitates the
generous curve of the letter ‘O’, but the
second curve should be a little flatter.

o
The first stroke of the ‘D’ is the same as
for ‘C’. Start the second stroke
approximately one nib width above the
top of the cap line with a rounded serif,
curving to join the first stroke.
Zz 2 Uhineiba lt. Letters

Cc | = Se
The letter ‘E’ is made up from the first two
strokes of the letter ‘C’ with a horizontal
crossbar added, with the pen held at 15°,
slightly above halfway.

Start with a very small rounded serif

ending just below the base line. The
second stroke is similar to that of the ‘C’.
Add a horizontal crossbar, with the pen
held at 15°, to the stem just above the
base line.

G
The letter ‘G’ also follows the first two
strokes of the ‘C’, but then continues with
a short vertical tail which flicks to the left
just below the base line.

Form a small rounded serif above the cap

line, continuing vertically to the base line
before tapering off. End with an
exaggerated arch springing from just
above the center of the stem and ending
on the base line.
 Uncial Letters i >

J
The uncial ‘I’ starts from the top of the cap
line with a tiny round serif, dropping
vertically down to the base line where it
tails off. Being a capital, or majuscule,
letter, the ‘I’ does not have a dot.

The ‘J’ is very similar to the letter ‘I,’ but

descends approximately one nib width
below the base line before tapering off to
the left.

k
The vertical downstroke of the letter ‘K’ is
identical to that of the ‘H’. The two
diagonal strokes should be at right angles
to each other.

Start the ascender of the letter ‘L’ one to

two nib widths above the top of the cap
line with a tiny round serif, then drop the
vertical downstroke to the base line. Then
turn the pen slightly to 15° for the
horizontal bar.
74 Lire | Letters

QO)
This is one of the widest letters of the
alphabet. The first stroke curves like the
letter ‘O’. The second starts with a curve,
changing to the vertical to end on the
base line. The third curve imitates the
rounded stroke of the ‘H’.

)
The ‘N’ begins with the first stroke of the
letter ‘I’, followed by the second rounded
curve of the letter ‘H’.

A tiny round serif descends below the

base line by one to two nib widths. The
second stroke is the same as the letters ‘H’
and ‘N’. The bowl is completed by a
flattened curve from the stem to the point
of the curve.

The first two strokes of the Uncial ‘Q’ are

the same as the letter ‘C’. Then a vertical
downstroke joins the first two strokes,
descending below the base line.
20°
 Wimeiall Letters age

J2
Start the Uncial ‘R’ like the letter ‘P’ with a
vertical downstroke ending below the
base line. The second stroke should curve
around into the stem, three-quarters of the
way down, coming out to form a small
diagonal tail.

Ss
Start below the cap line, curving right and
then left to end above the base line. Add
flattened curves joining the letter from left
to right, just breaking through the base
line to make the bottom counter larger.

The angle of the pen for the horizontal

stroke of the letter ‘T’ should be slightly
reduced to 15° so that it does not look too
heavy. The second stroke is the same
rounded curve used in the letter ‘O’.
20°

Y
The letter ‘U’ begins with a thin serif, then
curves around like the letter ‘C’. The
second stroke is identical to the letter ‘I’,
connecting to the curve at the point.
76 Usnie tal Letters

Vv

The Uncial ‘V’ consists of two diagonal

strokes, the second stroke joining the first
just before the base line. Keep this letter
quite wide to match the width of the other
letters.

Start ‘W’ with two diagonal strokes,

making sure that they are wide apart. The
third diagonal starts with a small round
serif joining the base of the second stroke.
Finish with a hairline stroke at 45°.

The two diagonal strokes of the Uncial ‘X’

cross just above halfway. The second
diagonal begins and ends with a small
round serif.

Start the letter ‘Y’ like the letter ‘U’, but

take the second stroke one to two nib
widths below the base line.
 Wirertal betters Fah

ie VA = Jos
The first and third horizontal strokes of the
Uncial ‘Z’ are made with the pen angle
slightly reduced to 15°. For the second,
diagonal stroke, the pen angle should be
altered to 0°.

Alternatives
Alternative Modern Uncial letterforms should be kept
simple and in character with the rest of the alphabet. Care
must be taken to write both numbers and punctuation Iu
amas

marks using the flatter pen angle of this alphabet. N. K D) E

(ON E3 :
We Zz

Ampersands : Punctuation
‘- <P>4 i, ole ey | Peel a ee
&
3
&
2
ai Pelee a
Numerals

j234567890
78 Unetbah Vett-er’s

Troubleshooting
This is a very flat-angled, rounded alphabet, so special attention
should be given to the rounded bowls of letters such as ‘B’ and
‘R.’ There is a tendency when learning to construct this alphabet
too narrow; it needs to be as generously rounded and balanced as
ita

you can make it. The simple hook serifs for this alphabet are
small, and it is most important that they are not over-emphasized.

The horizontal crossbar to

the letter ‘F’ has been :
constructed too high up the
-® stem. It should have been
added just above the base
line.

The top bowl of To maintain the

this letter ‘B’ is Xx x x Characteristic roundness of
too big, making this script, the second
the whole letter The second : stroke of the letter ‘H’
look top-heavy. stroke of the needs to be more
letter ‘D’ should generously curved, going
be more out before coming in.
rounded, similar
to the first. This
makes the letter
look too narrow.

The horizontal bar of the

letter ‘E’ has been written
too high up the curve of
x the letter, making it look as
if it is closing up.
 Upaca al nilke titieris 79

The bowl of the letter ‘R’ here is

far too small. It should curve
around generously to just above
the base line, giving the letter the
rounded look which is
characteristic of this alphabet.

For the diagonal middle stroke

of this letter ‘Z,’ the pen has
been held at too steep an x
angle; this makes it look far
too thin.

x
The first curve of this
letter ‘Q’ is not round
enough, making the
W.
vertical downstroke The two diagonal strokes
too close and the of this ‘W’ have been
counter area too constructed too close
small. together; therefore, the
letter does not balance.

The vertical downstroke has

been added too near the first
curve, which makes the letter
look too narrow.
80 Eliaahitiiwin Gia

Half Uncial
This hand is closely linked to the Celtic
Essential Information
Insular style which achieved a high level
of excellence as practiced by the Irish
and Northumbria scribes from the 6th to
the 8th centuries A.D. It can be seen in Wedge-shaped serif
its most developed form in such superb
examples as the Book of Kells, the
Lindis-farne Gospels, and the Book of
Durrow.
The flatter 5° pen angle of the Half orale hts prySioa 5

Uncial will enable the student to 5° angle 10° slope

achieve these simply constructed letter-
forms which are very rounded in
character — beautiful shapes which look Letter height The x height is 4 nib widths.
so graceful. This hand is very free-
flowing, starting with wedge-shaped Basic pen angle The pen angle for this alphabet is 5°.
serifs and slightly longer ascenders and
descenders than the Modern Uncial, ‘O’ form The letter ‘O’ is slightly wider than a circle.
which allows it to be written with
greater ease. Slope Most letters are written upright with the exception of the letters ‘B’ and
The letter ‘O’ consists of two very ‘L’, which have a forward slant.
rounded strokes slightly wider than a
circle. As in other alphabets, this letter is Serif forms Wedge-shaped serifs are added to these letters.
the key to the shape of all the other
letters, and from it the spacing is worked Letter groups The round letters here are as follows: ‘O’, ‘A’, ‘C’, ‘D’, ‘E’, ‘G’,
out. ‘H’, ‘P’, ‘Q’, ‘T’, ‘U’, ‘W’, and ‘Y’. The two-tier letters are ‘S’ and ‘R’ and the
straight letters ‘F’, ‘I’, ‘J’, ‘M’, and ‘N.’ The letters ‘B’ and ‘L’ have a left slant
and the diagonal letter group includes ‘K’, ‘V’, ‘X’, and ‘Z’.

O
The letter ‘O’ consists of two very rounded
strokes slightly wider than a circle. As in
other alphabets, this letter is the key to the
q as shape of all the other letters, and from it
the spacing is worked out.
 Wimetial Wet ters 81

Start with a rounded curve for the bow!

with a flatter curve at the top. The third
stroke starts with a thin serif at the top of
the x line, drops vertically to the base
line, and finishes with a small rounded
serif.

'@)
The ascender of ‘B’ has a 10° slant toward
the base line, curving to the right just
before it. Add a wedge-shaped serif. The
final stroke is the right-hand curve of the
‘O’, joining the bowl to the main body of
the letter.

The letter ‘C’ starts the same as the letter

‘O’ with a generous curve ending in a
point. The letter is completed with a
flattened curve, balancing the bottom
stroke.

O
The first stroke here is the same as for ‘C’.
Start the second just above the x line and
continue diagonally before curving
dramatically to the right to join the base
of the first curve. Add a wedge-shaped
serif.
82 Lhacivall, betters

C
This ‘E’ starts off the same as the letters
‘O’ and ‘C.’ The second stroke is
approximately a quarter of the right-hand
curve of the ‘O’. A horizontal hairline
completes the letter.

Take a vertical to just below the base line

to form a very short descender; add a
wedge-shaped serif. Curve out gently from
just below the top of the stem and end
with a crossbar at 5° to the horizontal.

Construct the ‘G’ like the letter ‘C’. Form a

small serif at the top of the x line to
proceed as a descender to just below the
base line, ending with a kick to the left.
Finally, a gentle curve from left to right
joins the main stem.

ip

To a fairly short vertical ascender, add a

wedge-shaped serif, continuing right and
down into the body of the letter. Then
form a generous arch springing from just
above mid-stem and ending at the base
line.
 Uinceial Letrers 83

]
The main stem of the letter ‘I’ comes
down in a single stroke from the top of the
x line to the base line. The next stroke is
the wedge-shaped serif, a thin line
continuing right and down into the stem
of the letter.

Like the letter ‘I’, the letter ‘J’ begins with

a vertical downstroke, but it continues on
down below the base line, ending with a
rounded serif to the left. The second
stroke is a wedge-shaped serif.

Start with a short vertical ascender; add a

wedge serif at the top. A third of the way
down and to the right of the stem, curve
around to meet it on the diagonal.
Continue diagonally to just brush the base
line.

The Half Uncial ‘L’, like the ‘B’, begins

with an ascender which slants
approximately 10° from the vertical down
toward the hase line, curving to the right
and then tapering to a point. A wedge-
shaped serif is then added.
84 Limemal betters

| Ss a Ve 0)2
The first two strokes of the letter ‘M’ are
the same as the letter ‘I’. The third and
fourth strokes spring from just below the
top of the stem to arch and then drop
vertically down to the base line.

The letter ‘N’ consists of two parallel letter

‘I’ strokes vertically positioned the letter
‘O’ apart. The final stroke starts just below
halfway down the first vertical, curving
diagonally to the bottom of the second
vertical.

p
Take a vertical descender to just below
the base line. Add a wedge serif and the
bowl, from just below the top of the stem
curving around to the base line. Starting
from the stem, continue to the right to join
the hairline of the curve.

The first two strokes of the Half Uncial ‘Q’

form a letter ‘C’. The last stroke forms a
vertical descender, ending approximately
one to two nib widths below the base
line.
 Dnteilad) Lasttieirs 85

ay Dy R
Take a vertical downstroke to the base
line, and add a wedge-shaped serif. From
just below the top, curve around to the
stem just above the base line. End with a
diagonal stroke tapering to a hairline
point.

S
The body of the letter ‘S’ begins with a
left-hand curve, flattened in the middle,
then curving again to end just above the
base line. The top and bottom curves are
slightly flattened and connect at the
hairlines.

e
The letter ‘T’ starts with a thin line serif
and then continues with a horizontal
stroke through the top of the x line. The
letter is completed with a rounded curve
the same as the letter ‘C’.

a
Start with a generous curve tapering to a
hairline; add a wedge-shaped serif. The
third and fourth strokes comprise a
vertical downstroke and a wedge-shaped
serif which join the curve at the hairline.
86 lelipnetizauly) esters

\ ~ Ne V
The Half Uncial ‘V’ consists of two
diagonal strokes which meet just above
the base line. The first diagonal has a
wedge-shaped serif added.

Begin like the letter ‘U’, adding an extra

curved stroke with a wedge-shaped serif
before the vertical downstroke to the base
line. Complete the.letter with a wedge
serif joining the curve at the hairline.

This consists of two diagonals crossing

just above halfway. The second, thinner
stroke descends to just below the base
line. Take the third stroke from the top of
the second, forming a small flattened
curve.

The Half Uncial ‘Y’ starts off the same as

the letter ‘U’. Then the third stroke, the
vertical downstroke, descends below the
base line, terminating in a wedgeshaped
serif.
 Whrveiaal Lest tiestes 87

Ef
For the first and third horizontal strokes of
the ‘Z’, the pen is held at a 5° angle. The
second stroke, a diagonal, joins the two
horizontals together.

Alternatives
Half Uncial alternative letters need to be kept legible, with
wedge-shaped serifs to match the rest of the alphabet. The
punctuation marks and numbers need to be written within
the writing height with the same flat, wide characteristic +
shape of the rest of the alphabet. : pra ;
ves | paras
aif Ss
r | aig 4. |

<S ees

tte
RM eC
Ampersands Punctuation

1 + 4 4

(xp: | Ei reo ee | a)
& S&S ey = y* =| py, P|.
= - \« Bp:

Numerals

LWVB4aDSGO FBO O
88 Uimetad ibet tens

Troubleshooting
Like the Uncial alphabet, the Half Uncial is written with a very flat pen angle, and
it takes some practice to get the balance of the letter shapes correct. Take care to
balance the top strokes of the letters ‘C’ and ‘E’ with the bottom curve, as they
have a tendency to be hooked, with the bowls of these letters too spread out.
With the ‘R’ and ‘K’, the opposite problem occurs; the bowls of these letters are
often too constricted. The wedge-shaped serifs are difficult to keep even and need
plenty of practice.

The top diagonal stroke

of the letter ‘K’ is too
small, making the second
diagonal appear much
too long.

will

The horizontal crossbar of the

letter ‘F’ has been constructed
«x too high up the stem. >

The top curve of the letter ‘C’ is The letter ‘M’ needs
too hooked down, making the to be balanced on
letter appear to fall over. both sides.

The counter space of the letter

‘E’ is too large, giving the
letter an unbalanced look.
 Wntcitals iAetteins 89

The left-hand curve of the letter

‘T’ needs to be generous,
which will make the stroke
longer.
The two vertical
downstrokes of the
letter ‘N’ have been
spaced too far apart, The vertical downstroke of this
which makes the ‘Y’ has been constructed too
letter look too wide. close to the first curve, making
the inside bowl too small.

The two vertical downstrokes of

this letter ‘N’ have been spaced
too close together. The letter is
| now too narrow.

The letter ‘Z’ has

been constructed at
the wrong angle, x ed
making the horizontal
strokes too heavy and
The bow! of the letter ‘R’ is the diagonal too thin. The horizontal
too small and the diagonal strokes of this letter
leg far too long, making the are the right
letter look unbalanced. distance apart but
far too long, so they
do not form a
balanced letter.
90 imatat) betters

Gallery
Represented in this gallery section are
various works using Uncial styles of writing,
starting with a Half Uncial traditional work
with its characteristic wedge-shaped serifs,
and including large Celtic capitals which
have been greatly influenced by the Book of THIS NIGHT IS (BELOW)
Kells and the Lindis-farne Gospels. An This work by Paul Shaw is an example of extremely well-written
Half Uncials and Celtic capitals. Although very traditional in layout
interesting way of representing the alphabets and design, it was particularly appropriate for his client, as it was
is combining subtle backgrounds and commissioned for reproduction in ‘Feasts and Seasons’ magazine
in 1984. Metal nibs were used with India ink on plate Bristol
incorporating other styles as a contrast to the board. The author also used technical pens, and the illustrations
are modeled on those in the Book of Kells.
Pitect of the text.

co) cheeveOF ye GreatNGC

~ BoRNIS Me SOU OF Mary MEVIRGIN
The soles of Dis Feet have Reached
che ecard The Sou Of Glory down
from onhigh Deavey anoecarth
bins coDines: AU har
 Wane rals- Letters 9 1

NONEdNOWweITEBUTeD
Arebeurheey
Boeposs Foneippen
ANASH prec this s10€,A bAZEL ON the Then,
x 74| Of :
ANDA CINTeLOPhonevsrickle,
* AROUND ITS CLOSE
“The wood Sheds 115.NuU:
~etIPOoM FATSWINE
Ss
The #1ZE. OF OY but, sale vet wor aul:
APLACE OF FAOILIAIL PATS.
The SHE PID IN ITS DRESS OF BLACK PIRO Coot, —
SINGEA OJELODIOUIS STILAIN FIZO0) ITH ADLE,

FIZOAS IRISH Ot CENTURY

Dgsiesite fsOlelalin axoldte (ao) cs 2

Cee aS BECAUSE (ESOARR,

| HAVE A HUT (ABOVE LEFT)

Doreen Howley's background treatment of the text makes a more
interesting interpretation of this particular poem. A variety of
different sizes of writing has been used with gouache written on
top of a soft pastel background on watercolor paper.

GENESIS (LEFT)
This Latin quotation from Genesis has been written by Jonathan
Bulfin in an Uncial style initially using masking fluid on
watercolor paper. Watercolor inks have then been applied on top
of the lettering in various colors. When the inks are dry, the
masking fluid is removed, revealing the white paper below.

SONG OF THE SOUL (ABOVE)

Mike Kecseg's personalized versions of an Uncial style written in
white gouache combined with a Gothic style in black positioned
between the lines give a perfect arrangement to the text by San
Juan de la Cruz. The Gothic letters reflect the dramatic verse with
a deliberate and well-executed up and down movement.
ae “(Gros hitcd Sieit igott

Gothic Script
This alphabet is sometimes called
‘Blackletter’ or ‘Old English.’ The Gothic Essential Information
hand developed slowly between the 12th
and 15th centuries reflecting the pointed
arches of Gothic architecture. It evolved Diagonal serif |
from the more rounded Carolingian
hand, becoming, by the 13th century,

*a"a"
more condensed and, by the 14th
century, more angular with square feet
and heads. The condensed nature of this
alphabet allowed more words to the
page, therefore fewer pages and cheaper
books. There are many variations of the
Gothic script, such as cursive, which has LERMAN
1 WA, Upright 0° slope
more of a pointed shape, and Rotunda,
40° angle
which is more rounded.
In modern-day use, Gothic lettering
Letter height The x height here is 5 nib widths; the ascenders and
has its limitations, although it can be
descenders are an extra 2 to 2'2 nib widths.
particularly suited to festive occasions
when decorative lettering is required.
Basic pen angle The pen angle between the nib and the writing line is 40°,
and 30° for crossbars. °
Lowercase
The Gothic lower case is a very strong
‘O’ form The letter ‘o’ has a shape approximating a parallelogram.
and angular alphabet made up of
straight vertical lines where the pen is
Slope This is an upright alphabet where the letters are constructed vertical
held at a constant 40° angle, together
to the writing line.
with small diagonal or diamond feet and
shoulders. These repetitive strokes allow
Serif forms Small line serifs and small diagonal serifs are a feature of this
the calligrapher to develop a rhythm
alphabet.
when writing and, with the letters being
spaced close together, it/gives a textured
Letter groups The Gothic lower-case alphabet is unusual, in that all the
or patterned appearance. The
letters relate to the ‘o’ form.
disadvantage of this script is that with
short ascenders and descenders and
because it is compressed, it is sometimes
considered hard to read. However,
Gothic lower case does have the
advantage of being probably the easiest
script to learn.
In addition, because of the consistent
vertical lines, it is a good style to improve
both letter and word spacing, as it has
equal areas of white space (counters)
both inside and between the letters.
 Gothicteript 03

0
The counter of the basic Gothic diagonal ending on the base line.
lower-case ‘o’ is a parallelogram, a The second stroke this time starts
four-sided figure with opposite sides diagonally and proceeds vertically to
parallel and equal. This distinctive, meet up with the first stroke.
angular letter consists of two strokes,
a vertical altering course to a

Form a small vertical downstroke ending

diagonally. Start a longer diagonal, change
to the vertical, and again for a small
diagonal tail. Add a hairline, arched back
into the letter at the first joint.

The letter ‘b’ starts with a line serif edge of the nib on the x line, and
on the ascender line dropping make a diagonal to mirror that on
vertically to one nib width above the _ the opposite side of the bowl. Drop
base line, where the stroke changes down vertically, thus joining the two
to the diagonal. Take the second strokes.
stroke from the stem with the top

C
From just below the x line, move
vertically to just above the base line;
change to a diagonal, ending with a
hairline along the angle of the sheared
terminal. Add a matching diagonal from
the top of the first stroke.
94. ‘Giothic sSeript

This starts like the ‘c’, but the second

stroke is a diagonal beginning on the
ascender line, curving minimally to touch
the first stroke, hut ending on the top of
the x height. Finish with a connecting
vertical.

C
The Gothic ‘e’ also starts like the ‘c’. Take
the second stroke from the top of the first
with a small diagonal to match the lower
one, ending with o hairline back into the
body of the letter.

Form a stem like that of the ‘b’. Return to

the top and form a slightly longer diagonal
for the top of the ‘f’. A crossbar with the
pen at a flatter 30° angle is then added
just under the top of the x line.

Begin like the ‘c’, then add a small curved

horizontal line with the pen at 30°.
Moving from within this stroke to the base
line, curve gently right and left. End with
a flourish joining the first and third
strokes.
 Gothic Script 2%

The letter “h’ begins like the ‘b’ with stem and the right edge the x line,
a line serif on the ascender line and form the second stroke as a small
then continues vertically toward the diagonal before dropping vertically
base line, stopping just short before to finish with a diagonal foot in a
changing to a small diagonal. With diamond shape touching the base
the left edge of the nib touching the line.
be

*
eumat)

Begin the letter ‘i’ with a very short small diagonals, or shoulders and
diagonal stroke to form a diamond feet, are diamond shaped and should
on the top of the x height, then balance each other. The dot is a
continue vertically down to just minimal diagonal stroke forming a
before the base line where the stroke diamond immediately over the letter.
changes back to a diagonal. These

Start again with a short diamond-shaped

shoulder before proceeding vertically to
just below the base line. Finish the stroke
with a small left-hand hairline serif. The
dot is a short diamond over the letter.

The first stroke is like the letter ‘h.’ The

second stroke starts with a small diagonal,
but then returns with a thin line back into
the stem before continuing with a curved
diagonal to the base line.
96 Gioith-ke 3S fii t

Start again like the ‘h’ with a line serif on

the top of the ascender line before
traveling vertically down toward the base
line where the stroke alters direction to a
small diagonal or diamond.

mM
This letter ‘m’ comprises three identical
strokes: a small, diamond diagonal at the
x height continuing vertically to just
before the base line where the stroke
alters to another diamond, slightly smaller
than the top.

Il
The letter ‘n’ follows the ‘m’ for the first
two strokes: a small diagonal proceeding
vertically to another diagonal diamond on
the base line.

Form a small diamond and proceed

vertically to the descender line to finish
with a line serif. From the top angle of the
stem, add a short diagonal before
changing to the vertical. End with a small
connecting curve.
 Goreme Selsiiot »97

The letter ‘q’ starts like the ‘o’. The second

stroke is a small horizontal running from
the top of the first at the x height. Finish
with a vertical stroke to the descender
line, ending with a line serif.

Construct the letter ‘r’ out of one of the

strokes of the ‘m’. Then, returning to the
top, add another small diagonal diamond
to the right of the first stroke.

5
Start with a line serif, then go vertically to
halfway down the x height; add a longer
diagonal hairline. Add a small diagonal
changing to the vertical to the base line.
The third and fourth strokes are curves
from left to right.

Run a diagonal line through the cap line,

vertically toward the base line. Here it
alters direction to a slightly longer
diagonal ending with a line serif. Change
the pen angle to 30° for the crossbar
under the x line.
oo ‘Gothic Sicihipit

u
The ‘u’ has two strokes, the first starting
like the ‘i’, but altering to a slightly longer
diagonal just before the base line. The
second stroke starts like the first, but
finishes with a line serif.

U
The first stroke of the letter ‘v’ is the same
as the letter ‘u’. The second stroke starts
the same, but two-thirds of the way down
the vertical, it meets the hairline of the
first stroke.

The letter ‘w’ consists of three strokes. The

first two are the same as the ‘v’. The third
stroke starts the same with a small
diagonal or diamond shape and then
proceeds vertically to join the second at
the hairline.

Start as with ‘j’, ending just below the

base line. Add a diamond at the top to the
right, and a small curve to the right of the
stem at the base line, tapering to a
hairline. Change to 30° for a horizontal
central crossbar.
 Gioithic “Seip WI9

Begin with the first stroke of the letter ‘u’.

Forming the second stroke of the ‘u,’ on
meeting the first just above the base line,
continue as for the ‘j’. The final stroke is
identical to the ‘g’.

LZ
With the pen at 30°, form the top
horizontal, then change back to 40° for a
diagonal stroke down to the base line; add
another 30° horizontal line. With the pen
at 30°, add a central horizontal crossbar.

Alternatives
Gothic lower-case alternatives should be consistent throughout a
piece of work. So if you use small diagonal serifs at the top of
ascenders of the ‘b’, ‘h’, ‘k’, and ‘I’ and at the bottom of ‘p’ and
‘q’, they should be uniform throughout.

RK lit mil ie Dg. 5 61D) Wy

EQO Gotinne Sicrikpt

Troubleshooting
As the Gothic lower case depends so much on the rhythm and inner textured
appearance of the letters, it is all the more important to keep all verticals as
straight as you can and all inner spaces equal. With the letter ‘m,’ for instance,
both sides must be kept balanced with the angle constant at 40°. Take care with
the top diagonals of the letters ‘f’ and ‘r’, which should not be too long, or they
will not be consistent with the rest of the alphabet.

All the elements of this

ad letter have been
constructed with the pen
held at far too steep an
angle (more than 40°),
x
making the letter too thin.

The top of the

letter ‘f’ has been
A constructed with The letter ‘m’ is not
x Vs x toolonga balanced because
diagonal. The the second inner
The letter ‘a’ has been horizontal crossbar area is too wide.
constructed so that An incorrect is also too far
there is too much downstroke has down the stem and
white space inside the been used with needs to come just
letter, making it too this letter ‘d,’ under the x line.
wide compared with giving it a very
the rest of the odd appearance.
alphabet.

The top counter space of

the letter ‘e’ is far too small
and looks as if it is closing
up. In addition, the bottom
diagonal is too long.
 Gothte Scripts 107

This letter ‘z’ has been

constructed with the pen
at the wrong angle, which
The counter space of makes the horizontal
this letter ‘p’ is too strokes far too narrow.
large.

In contrast, the counter space

of this letter is too small.
x x

The counter spaces of the

letter ‘w’ are not equal, the
x xX second space being much
too wide.

The second stroke, the

diagonal arm of the letter
‘r,’ is far too long, and you
can see that the letter does
not look very balanced.
The crossbar of the letter ‘t’ is too
low and too narrow.
102° Gorthhe Script

Gothic Script
CAPITALS
Gothic capitals are impressive yet
decorative letters. They are best used on Essential Information
their own, since when they are written
in a complete word, such as ina Biaeonaliseri)
heading, they can become difficult to
read. There are many variations of these ==
letters with extra added hairlines and
diamond shapes which can add to their
appeal. This alphabet is much more
curved than the lowercase version. It is one Rtn mph rennin
made up of generous curves to letters
Upright 0° slope
such as the ‘O’, ‘E’, and ‘G’ with tapered Are
ends to vertical lines. Distinctive sharp 40° angle
‘teeth’ are added to the main strokes of
some letters. These capitals should not Letter height The x height for this alphabet is 6 nib widths. Basic pen
be constructed too tall, or they lose their angle The pen angle for most letters is 40°. However, the angle is flattened
characteristic roundness. to 30° for the crossbars.
Most of the Gothic capital letters
‘Cy bee
consist of several letter strokes, like the O’ form Circular.
letters ‘M’ and ‘W’, for example, so extra fe
care should be taken during the Slope This is an upright alphabet.
construction sequence. After practicing
the capital letters for a while, the same Serif form Small line serifs, small diagonal serifs, and decorative ‘teeth’
rhythm as with the lowercase Gothic serifs are a feature of this alphabet.
letters can be achieved, which gives
great pleasure to writing a set piece of Letter groups As the letters in this alphabet are so individual, it does not
lettering when the style is mastered. really have letter groups. However, the following letters are related to the
‘Orfornn “C ,2E, GC" and "OQ".

CDEFENIIACM
STUVUIEYZ
 Gothice Saripiws hoe

Start with a full, crescent-shaped

counterclockwise curve. From the top,
drop vertically to meet this stroke three-
quarters of the way down, tapering to a
fine line passing through it. Add a joining
clockwise curve.

Take a diagonal left to the base line and

add a horizontal curve to the right. Add a
shallow diagonal, changing to the vertical.
Just above the base line, add a small
diamond. End with a diagonal crossbar.
and teeth.

Form a small diagonal to the right,

changing vertically to the base line. At the
top, curve into the letter just above
halfway. From here, curve to the base
line. Add a shallow curve from the base of
the stem, and two teeth.

Start with the crescent of the ‘o’ Then add

a vertical from the top, curving back into
it three-quarters of the way down. Finish
with an arc from just below the top of the
second stroke, ending in a sheared
terminal.
EO4 “G ont tire? Sceini prt

Take a vertical stroke from the cap line to

the base line. Start above the cap line and
curve slightly to the left; on the cap line,
straighten before curving to the base line.
Add a shallow curve and teeth.

The first three strokes of the letter ‘E’ are

the same as the ‘C’. The last stroke is a
crossbar from the base of the third stroke
with the pen at an angle of 30°.

Form two parallel vertical stems, the first

slightly longer, joined at the top with a
diagonal line. Curve up from just below
the top of the second vertical, dipping and
tapering off. Add a crossbar with the pen
at 30°.

Form the three strokes of ‘C’ or ‘E’. The

fourth stroke joins the first and third
strokes with a fine line diagonal, followed
by a generous clockwise curve to join the
first stroke.
 Gothie Seni dOs

Take a tapering vertical stroke to the base

line, changing to a horizontal foot with
the pen at 30°. Add a wide arch from just
above mid-stem to end in another foot,
and a short curve to the top of the first
stroke.

A small wave stroke just below the cap

line begins the letter ‘I’. Now form the
main stem with two vertical strokes
ending with slight kicks to the left, the first
slightly longer. One decorative tooth is
then added.

The Gothic capital ‘J’ is very similar to the

‘I’ except with a longer initial wave and
longer vertical strokes. The first stroke is
much longer and ends below the base
line. Finish with two teeth.

Drop from above the cap line toward the

base line to change to a horizontal foot
with the pen at 30°. Add the ‘bowl’ from
within the letter: a thin line upward, a
diagonal, another thin line, and a longer
diagonal foot.
i6. “Giotihine: SicTiipit

Form a vertical downstroke, starting and

ending with a tapered kick from right to
left. Change to 30° for a horizontal,
tapering to a fine line. Curve from the top
of the vertical, ending with a sheared
terminal.

The first vertical tails off just below the

base line. The two arches are diagonals
which drop vertically to the base line,
ending in diagonals, the second one
flicked up. With the pen at 30°, adda
crossbar to the central stem.

Form a short diagonal dropping vertically

to the base line, where the pen is turned
to 30° for a horizontal foot. Add a hairline
from the top of the first stroke, curving left
and right to the base line; add another 30°
foot.

Continue a small diagonal stroke vertically

to below the base line, ending with a line
serif. From the top point, move diagonally
and then vertically to the base line. A
gentle curve crossing the stem joins the
base.
 Got hice Scripts OZ

The Gothic capital ‘Q’ is constructed in

exactly the same way as the capital ‘O’,
but has a fourth stroke, a tail, added to the
bottom of the letter, traveling diagonally
ina lifting curve to below the base line.

Start with the first stroke of the letter ‘N’.

Add a hairline from the top joint, curving
into the body of the letter just below
halfway. From this point, form the
diagonal curve to the base line and add
two teeth.

Make two parallel S-shaped strokes, one

above the other on a slight diagonal. Add
long, shallow, tapered curves, for the top
and base. Then run a thin diagonal from
top to bottom through the middle of the
letter.

Run a crossbar under the cap line with the

pen at 20°. Then add the left crescent of
the ‘O’, followed by a vertical line from
the top of the curve joining it three-
quarters of the way down, tapering left.
TOs Got mic Sori pt

Form a small horizontal line changing to a

flattened crescent. Add a small diamond,
dropping vertically and changing to a
horizontal foot. Curve a vertical back into
the first stroke three-quarters of the way
down.

With the pen at 30°, form a small

horizontal line which then curves to the
base line. Don't make it too deep. Add a
clockwise curve joining this stroke at the
base. Now arch a vertical back into the
first curve halfway down.

Start with two identical horizontal lines

with the pen at 30°, and a crescent. Add a
small diamond, a vertical, and another
diamond with a fine line serif. Then curve
two verticals back into the crescents.

va
_——>
ag
j 4 =

Start with a vertical topped with a small

diamond and ending in a tapered curve.
Add a small wave from the top of the
vertical and a small tapering curve from
the base. End with a central crossbar with
the pen at 30°.
 Gio hic Stelrisont 109

Take a diagonal vertically toward the base

line to change to a longer diagonal ending
with a thin line. Add a small diagonal
changing vertically to taper to the right.
Now join the bases of the first and second
strokes.

The top horizontal begins with the pen at

30°. Add a diagonal stroke with the pen
back to 40° to the base line. Change again
to 30° for the bottom horizontal and the
central crossbar to finish.

3 3 4

Alt ernatives
ti =»
There are probably more alternative Gothic capital letters \| <a. : |: |s ‘/}- = 2
4 Sy
than any other alphabet. However, as with all ra ‘ ‘
alternatives, make sure they are used consistently. If an —_>
3

alternative ‘O’ is chosen, for example, similar letters, like

the ‘C’, ‘E’, ‘G’, and ‘Q’ should match. Punctuation marks
and numbers should be in character with the rest of the ly — ss
alphabet, either ranged, making them all the same height A /
as the capital letters, or non-ranged and used with the 1 ‘/?. *s L «| <2 :
lower-case letters. ey. hy t/a
oy oN >

Ampersands Punctuation

a | EES SPH. oo &

3 ‘ e~ > aE

t\# \o 9

L254: 560F8 90
Numerals

4
od

>
THO Gothic Script

Troubleshooting
As Gothic capitals are so decorative, they look as if they are complicated to
construct. Indeed, it is easy to get confused with pen angles and balancing the
letters, making some too narrow or too heavy. It is important to practise the curves
of letters ‘O’, ‘C’, ‘E’, and ‘Q’, keeping them consistent. Also check that the
vertical downstrokes are parallel. Finally, make sure that the inner spaces of letters
with a repeated shape, such as ‘S’ and ‘M’, are equal.

The two vertical

downstrokes of the
letter ‘J’ are too close
together.

The crossbar of this letter

‘E’ has been added too low
x \ x down, which makes it look
as if it is dropping down
into the curve.
The top counter space of The main elements of this
this letter is too big which, letter have been constructed
as you can see, makes the too close together. It may
letter appear top-heavy. help to map it out in pencil
first until the spacing comes
naturally.
 Gothicce Sica 1

This letter is not

The inside area balanced because
(counter) of this the counter area is
letter ‘N’ is too too small and too The two central
small because the x high up the letter. parallel curves
letter has been of this Gothic
constructed too ‘S’ are far too
close together. close together,
which makes it
look too heavy.

In this second letter ‘S,’ the

central parallel curves are too
x x far apart, making the top
section look as if it is drifting
away.

The vertical downstroke

of this letter is too much
in the center of the letter.
It should be taken down
x © from the top of the
curve, rejoining it with a
The pen has been slow, tapering curve to
held at too steep the left.
an angle for the
horizontal line of
this letter, making
it look top-heavy.

The incorrect angle was

held for the whole of
this letter ‘Q’. This
makes it look out of nm
place and far too thick
and heavy.
TH Gorrie Siciriptt

Gallery
Gothic lettering always gives the impression
of being a very strong and dramatic style.
The examples shown on these pages give
very different approaches to the overall
effect of the work, first through a more
harmonious feel using tones of watercolor,
then with a piece full of life and vitality
incorporating many flourishes. The gallery
includes a bold piece of Shakespeare
featuring a contrast between Gothic lettering
and small Roman capitals.

Tridittonal
Y

TRADITIONAL (ABOVE)
This work by Jenny Hunter Groat may live up to its title, but it is
also a refreshing and energetic work of Gothic lettering written in
black ink in various sizes. The highly decorative capitals have
been combined with the use of free-flowing flourishes, which
include brightly colored embellishments, giving the whole text a
lively feel.

LIGHTHOUSE —-DETAIL (LEFT)

Here Barbara J. Bruene has used many layers of Gothic lower-
case letters inspired by Seascape by Elizabeth Bishop, which are
an important feature of this work. The effect is of a textured and
woven appearance, with lines being written in various directions.
It has been achieved with steel nibs by the use of subtle variations
of watercolor with gouache then added to give more contrast.

HAMLET (RIGHT)
Annie Moring's imaginative interpretation from Shakespeare's
Hamlet has been created on Saunders Waterford HP paper using
acrylic inks for the background effects. The Gothic text has
deliberately been written much taller in black ink using metal
nibs. In between each line and repeating the text are small Roman
capitals written.in red gouache with a quill. The experimental
heading, which is in total contrast to the rest of the text, has been
written with a ruling pen and balances all the techniques
perfectly. :
 <A rona
Sy) ane
HOWTOS watnitcahnainre
pact ha
i? heO T H O M
‘UR; i
tiryarngonofammls
ONO Tr ooMe. . ) a a
<a
Sie qu i e n a a o
aHo,norgWHom nee
a eS mea
14. God hess. pt

foLitara
fina 7
ai ete
ast rcligtot
af

‘iquan ty fea
T A ARICH § STILL LIFE-DETAIL (ABOVE
i Many techniques have been used by Barbara J. Bruene in
th of) igatio He this piece of work, including various Gothic letter sizes
c ll written in gouache colors on an interesting background of
Rexisalatay wax oil crayons and colored pencils. The text has been
chosen from several sources, including The Myth of
hr uae cl Perfectability by Linda paccn and A Natural History of the
Hhicluath Sitlce Senses by Diane Ackerman.

SALVATION (LEFT)
This very balanced piece of Gothic lettering has been
achieved even though the letters have been constructed
irregularly, showing that great thought has been given to
the overall layout. In contrast, the title gives a strong
impact to the work, with the capital ‘S’ drawn freely using a
ruling pen. The rest of the text was written by beryl
a Jacobsen using metal nibs in gouache and watercolor on
Arches HP paper.

ani

BS
 Gotntie Script PID

EVE: HONEY IN A BOX (BELOW)

The calligrapher of this work, Barbara J. Bruene,
has used an ingenious and exciting way of
presenting poetry, using Gothic lettering, from a
poem Eve, Long Afterwards by Linda Pastan, and is
of great inspiration to others. A combination of
handmade and machine-made papers has been
used, including silver mylar, and various gouache
paints. As you can see from the second
photograph, the whole work can be extended to
40 inches, and, when closed, the finished piece is
presented in a recycled plastic box.
EKG Fralieve unsiwe

Italic Cursive
Italic cursive is based on the traditional
italic oval script, but it has been
Essential Information
developed into a modern free-flowing
style of writing much used by
Oval-hook serif
calligraphers today. This is a versatile
hand which can be written at great
speed. Entire words and lines can be
stretched out to dance across the page,
making it ideal for poetry and prose.
Italic cursive is a lower-case alphabet
with oval shapes, springing arches, and
very few pen lifts. Fine diagonal ligatures
join the letters together, giving the alphabet
more rhythm and movement than other
tyles. Small oval serifs and tl
Pi eee Letter height The x height is 5 nib widths, with ascenders and descenders
forward slope add to its grace and beauty. Senne er ib widths
Although the example alphabet
shown in this section is of the lower- Basic pen angle Usually 45°, with 20° used for crossbars.
case letters, the same treatment can be
used for the Italic capital letters. Making ‘O’ form Oval.
them deliberately joined bined with
oe ire : on ee” Slope Letters may have a forward slant of between 5° and 10°.
the increased writing speed allows the
calligrapher greater creativity. Both Serif forms Small oval-hook serifs echoing the oval ‘o’ are used. Letter groups
lower- and upper-case Italic cursive These groups are exactly the same as for the Italic minuscule alphabet.
letters benefit from extended ascenders
and descenders, including the use of Letter groups These groups are exactly the same as for the Italic minuscule
well-constructed flourishes. Poetry and alphabet.
prose look particularly appealing using
several lines of Italic cursive lower case
followed by a section ofjust capital
letters as a contrast, proceeding again
with lower-case letters.

ul
This letter has an oval inner counter.
Curve from the x line to the base line and
back up to a hairline. Starting from the
right of the first curve, continue to the
base line to join it. End with a horizontal
ligature.
 lta lite £6 orsive PiZ

Start as for the letter ‘o’, then add shallow

curve for the top arch. From here, drop
vertically to the base line then curve the
stroke around to form a thin diagonal
ligature so that other letters can be
adjoined.

Start with a small oval-hook serif on the

ascender line, continuing to the base line
to curve back up in a wide oval serif.
Form a right-hand curve to join the
hairline of this serif and add a diagonal
ligature from the base line.

Take a tapered serif from the ascender to

the descender line to end with another
tapered serif. Add flattened curves from
and to the stem for the top and bottom
arcs. Change angle to 20° for a long
horizontal crossbar.

Run a small horizontal stroke along the x

line and add a diagonal from the end of
this stroke to the base line. The final
stroke starts along the base line at 20°, but
then curves up to form the ligature with
the pen at 45°.
CES Mahe <Ginr skve

Troubleshooting
Because Italic cursive letters are joined together almost all
at the same angle, it is important to make sure they are
traveling in the same direction. Horizontal crossbars on
letters ‘t’, ‘f, and ‘z’ should not be too heavy, as this will
alter the appearance of the letters and make them look ugly.
The inner areas of the letters ‘m’ and ‘w’ should be optically
equal and balanced. The first arch of
this example of the
letter ‘m’ is too
large, creating too
much space and
making the letter
unbalanced.
The second arch of this
‘m’ has been
constructed too wide,
making the letter
unbalanced.

x x

The horizontal crossbar of the

letter ‘f’ is too heavy because the
pen-Has been held at too steep an
angle.

The curved diagonal

stroke of the letter ‘k’ is
too large, thus making
the second diagonal leg
The bottom of the letter ‘j’ is too g too short.
large and too hooked.
 ltahietGiursiw eé 119

The horizontal crossbar of this ‘t’

is far too heavy because the pen
has been held at too steep an
angle.

The vertical downstroke

of the letter ‘q’ has been
executed with the pen
held at too flat an angle,
making the letter look
much too heavy.

The first ‘v’ shape of the letter ‘w’ is

too small and therefore does not
balance the second.

The top horizontal stroke

The top curve of here is rather heavy and the
the letter ‘s’ is too diagonal stroke far too thin.
long and the base
too small, which
makes the letter
look as if it is
leaning over.
mao ltakiic Cursive

Gallery
The Italic cursive alphabet lends itself to a
rich variety of approaches to both lower- A YY
Wh
Ong
case letters and capitals. In this gallery UN WON ae
Mii Woy
WyVON
section, you will see individual Wf,
ih Siti VN Ol
MIM) MW
calligraphers' ideas on the use of the pen, TA
exploring various ways of altering the height Wi I HH
and weights of letters. This in turn reflects
MIN Ma
WhUW
Ni
the mood of the poetry and prose, and ieHLLWI
MEY MY TB
creates energetic and lively finished pieces UN Uf ¥
of artwork. Color, too, has been used in a LH Wi)
Wu Ui
very subtle manner, including some delicate MIM may
use of raised gold. Wh WL
WI, Wi WYN
MAU
WWMM iH
: BiLi Up Hd

WLVM
ih yi
Wiisy MMn
E
“
My

SUMMER'S THRONE-DETAIL (ABOVE) THE MEADOW (ABOVE AND TOP)

This free-flowing piece of Italic cursive lettering by Jenny Hunter Here calligrapher Cheryl Jacobsen has chosen a compressed and
Groat is an extract from an ancient Gaelic nature poem, written on very slanted Italic cursive style, written quickly using gouache
rag paper in watercolor using both quill and reed pens. Notice and watercolors, as the detail (left) shows. The layout gives an
how the capitals and lower-case letters intermingle with each other interesting interpretation to the text The Meadow by James
and how vibrant the whole piece of work looks from the effect of Galvin, particularly in contrast to the Italic and the seven lines
using words written on top of each other. toward the end written in Roman capitals.
 hited sive) Clue steve 124

BIRD OF PARADISE (LEFT)

This is an exciting example of the use of Italic cursive lettering
where the calligrapher, Jenny Hunter Groat, has deliberately
incorporated a grass-style feel to the piece using hairline flourishes.
This is an ideal way of interpreting the poem by Robert Graves,
and this extract has been written on Lana laid rag paper in
watercolor using quill pens. Tiny areas of raised and burnished
gold complement the work perfectly.

MY FART IS LIKE A SINGING BIRD,

WHidsSENEST IS IN A WATERED SHOOT
__ MY HICART JISLIREAN APPLE TREC
WITOSE BOUGHS ARC BONT WITH) TIN OKSET FRUIT
MY FIC ART1S URC A RAINBOW SHELL
FIAT PADDLES INA HALCYON SCA
My” HEART 15 GIADDER THANALL THESC
SF yh

POAUSE My LOVE JS COME FO Me

MY HEART IS LIKE A SINGING BIRD (ABOVE)

A perfect choice of beautifully arranged and written free-flowing capital

letters has been used for this piece of text from A Birthday by Christina
Rosetti. The paper used was Saunders Waterford HP with gouache colors,
which have been blended in the nib while Sue Gunn was writing. The
compressed and flourished letters are finished off with very fine hairline
serifs.
122 Versa ke tteins

Versal Letters
Versals are elegant majuscule letters
which were widely used in early
illuminated manuscripts, particularly of Essential Information
the 9th and 10th centuries. Versals
derived from the Roman quadrata, but
the thick part of the letters is built up
with a number of strokes with a very
narrow-edged pen to form the outline,
and then this skeleton letter can be filled
in with color. Beautiful large versal
letters can also be highly decorated,
ATANAMAAYA!
O° angle Up!
incorporating raised gold leaf in the
manner of medieval illuminators. As the Letter height The x height is 24 nib widths.
name implies, Versals were used to give
more emphasis to the beginning of Basic pen angle The pen angle for this alphabet is a flat 0° angle.
verses, Chapters, headings, or even a line
of more importance. ‘O’ form The inside is oval and the outside circular.
Versals can be used in various
weights and sizes, and can also be Slope This is an upright alphabet.
compressed, depending on where the
letter is used and its function. The Serif forms Very fine hairline serifs are used.
narrow-edge pen is usually held straight,
and the letters are drawn rather than Letter groups The letters ‘O’, ‘C’, ‘D’. ‘G’. and ‘Q’ are circular outside and
written. The vertical stems are very oval inside. The three-quarter width letters are ‘A’, ‘H’, ‘N’, ‘T,’‘U’, “,/ “X’,
slightly ‘waisted’ with very fine hairline ‘Y", and ‘Z’. The following are half width letters: ‘I’, ‘J’, ‘K’, ‘B’, ‘P’, ‘R’, ‘S’,
serifs, minimally curved, top and ‘E’, ‘F’, ‘L’. The widest letters are ‘M’ and ‘W’.
bottom. This gives the letter a graceful
and attractive appearance.

ft
a

First establish the oval counter with two

curved inner strokes. The two outer
strokes curve out from just below the top
of the inner strokes and rejoin them just
before the bottom. The letter can now be
filled in.
 Vergalsletters 123

Take a diagonal from the cap line to the

base line; add a curve to splay this stroke,
plus a horizontal hairline serif top and
bottom. Form the inner and then outer
stroke of the diagonal; end with a hairline
serif.

Form the double vertical stem, curving

gently in at the waist. Add the two inner
bowls first, the lower one forming a
perfect arch to the base line and joined to
Sout
eeetyersc=
Sew the stem by a hairline. Finish with the
outer curves.

Construct two waisted vertical

downstrokes and add three horizontal
arms with the pen at 90°. Splay out the
ends of the arms and add hairline serifs.
The middle arm should be slightly above
halfway.

To the stem of the ‘I’, add the inner

diagonal coming into its center; splay the
end and add a hairline serif. Take the
lower diagonal from the first at right
angles, add another diagonal and a
hairline serif.
£24 Vertsalatetters

Troubleshooting
As the letters of the Versal alphabet are built up, there is more versatility in the
size of the letters. However, it is important to keep the stems slightly wasp-waisted
and not too wide and heavy, or they will lose their elegance. Make sure, too, that
all serifs are hairlines, and as thin as you can make them.

The inner spaces of the letter

‘M’ are unequal, as the first
stroke was constructed too
wide.

The top horizontal arm

of this letter ‘E’ is a
x x __ little long and makes x
the letter unbalanced.

The top curves of the The stem of the letter ‘I’ is too
letter ‘B’ are too small, The horizontal crossbar waisted, making the letter
which makes the x of the letter ‘E’ is appear irregular.
counter space appear placed too high.
out of proportion with
the rest of the letter.

The crossbar of the letter

‘A’ has been positioned
* too high up and does
not balance the letter.
 Versad ele tters 25

The top curves of the letter

‘S’ have been constructed too
small and the bottom curves
S too large, making the letter
slant backward.

The whole of this letter ‘N’ has The stem of this letter ‘T’ is too
been constructed too narrow and wide, and the two sides of the
would not fit in with the rest of crossbar are unequal.
«x the alphabet.
p

The curves of the letter ‘P’

have been constructed too
far down into the stem,
x ~ which makes the counter
space too large.

The stem of the

letter ‘P’ has been
formed far too wide;
it should have been
constructed only
three nib widths
wide. The first stem of this ‘U’ is
much too wide and does
not balance the second
x stem.
{26 Versaleletters

Gallery
The gallery examples of artwork on these
two pages show how flexible Versal lettering
can be. A rich variety of approaches has
been explored, starting with bright,
energetic, and very creative lettering in book
form. Background textures can give an
interesting effect, particularly in the
examples shown, in which the calligraphers
have used mixed media such as watercolor,
gouache, acrylic, collage, and gold and
palladium leaf.

NUILIPS a
THEPI LA

SHES
OF, [fe
 Versal Lettense h27

THE BELL IN THE VALLEY-DETAIL (LEFT)

The background effect of Thomas Ingmire's work has been created in
tones of watercolor and gouache which give a very dramatic feel to
the poem by Georg Trakl called The Night. Very finely constructed
Versal letters have been used in the background and then written over
each other. This highly imaginative design is a perfect interpretation.

HEBREWS II (BELOW)
The Bible is a wonderful source of inspiration to calligraphers, and
this extract by Leana Fay from Hebrews II is no exception. Mixed
media have been used to maximum effect. The whole artwork has
been created on canvas using acrylics, collage and palladium leaf
gilding, which gives an interesting contrast within the design. The
detail clearly shows the ingenious way in which lighter lettering has
been painted over much darker letters in the background,
complementing the layers and creating a shadowed effect.

FLOWERS OF FIRE (LEFT)

With experience come opportunities for presenting your work in
different ways, and books are an ideal medium. Here Nancy
Leavitt has chosen three poems by women. The detail (left
above) shows the free construction using a variety of heights,
weights and bright colors to enliven the work. Pastepaper and
dyed papers have been used with gouache and glair for the
lettering. The work was bound using these and handmade
muslin paper and presented in a cotton box lined with dyed
fabric.
23 lode x

Index
A q-t 107 m-q 48 slope 58
Arts & Crafts Movement 12 serif forms 102 o, b 44 troubleshooting 66-67
slope 102 ‘o' form 44 u-x 64
B troubleshooting 110-111 r-u 49 y-z 63
Book of Durrow 80 u-x 108 serif forms 44 rulers 7
Book of Kells 80 y-z 109 slope 44 ruling 9
Bruene, Barbara J. 112 cursive 92 troubleshooting 52-53
d-g 94 v-y 50 S
C gallery 112-115 5 seating position 8
Capital Letters h-k 95 gallery 54-57 serifs 11
foundational hand 22-31 l-p 96 geometric forms 34 slope 11
gothic script 102-109 letter groups 92 letter height 34 stroke order 10
italic script 44-53 letter height 92 lowercase 34—43 T
roman capitals 58-69 lowercase 92-101 alternatives 41
uncial letters 70-79 0, a-c 93 d-g 36 tools and materials
versal letters 122-127 ‘o’ torm 92 h-k 37 checklist 7
Carolingian 92 Old English 92 l-p 38
Celtic Insular style 80 q-t 97 0, a-c 35 U
Rotunda 92 q-t 39 uncial, modern 70
F serif forms 92 troubleshooting 42-43 Uncial Letters 70-79, 91
felt-tip pens 7 slope 92 u-x 40 a-d 71
Foundational Hand 12-33 troubleshooting 100-101 Vez AA alternatives 77
basic pen angle 12 u-r 98 lowercase 0, b 34 basic pen angle 70
capitals 22-31 V-Z99 ‘o’ form 34 e-h 72
a-d 23 Groat, Jenny Hunter 112 serif forms 34 gallery 90-91
alternatives 29 slope 34 hel 73
e-h 24 H letter groups 70
i-1 25 Half Uncial 80-91 J letter height 70
m-q 26 a-d 81 Johnston m-q 74
Op 22 alternatives 87 Edward, 12 ‘o’ form 70
r-u 27 basic pen angle 80 Edward, Writing and ru 75
troubleshooting 30-31 e-h 82 . Illuminating and Lettering 12 serif forms 70
v-y 28 gallery 90-91 slope 70
Teas) i-] 83 fb troubleshooting 78-79
gallery 32-33 letter groups 80 L-square 7 v-y 76
geometric forms 12 letter height 80 Lindis-farne Gospels 80 HH
letter height 12 m-q 84 Lowercase
lowercase 12-22 ‘o’ form 80 foundational hand 12-22 Vv
alternatives 19 r-u 85 gothic script 92-101 Versal Letters 122-127
d-g 14 serif forms 80 half uncial 80-91 a Ome Ks
h-k 15 slope 80 italic cursive 116-121 basic pen angle 122
l-p 16 troubleshooting 88-89 italic script 34-43 gallery 126-127
0, a-c 13 v-y 86 letter groups 122
Gly z 87 M letter height 122
u-x 18 majuscule, see capitals ‘o' form 122
Voz) I masking tape 7 serif forms 122
‘o’ form 12 Af illumination 12 minuscule, see lowercase slope 122
serif forms 12 Italic Cursive 116-121 Moring, Annic 112 troubleshooting 124-125
slope 12 Ay loy Ny 2 VA
troubleshooting 20-21 basic pen angle 116 P Ww
gallery 120-121 paper 7 writing
G letter groups 116 pen angles 10 board 8
geometric forms 11 letter height 116 pencils 7 position 8
gothic 34 ‘o’ form 116 double 7
Gothic Script 92-115 serif forms 116 protractor 7
alternatives 99 slope 116
basic pen angle 92 troubleshooting 118-119 R
Blackletter 92 italic oval script 116 Roman Capitals 58-69
capitals 102-109 Italic Scipt 34-57 alternatives 65
alternatives 109 italic script basic pen angle 58
d-g 104 basic pen angle 34 d-g 60
gallery 112-115 capitals gallery 68-69
h-k 105 a-d 45 geometric forms 58
l-p 106 alternatives 51 h-k 61
letter groups 102 basic pen angle 44 l-p 62
letter height 102 e-h 46 letter height 58
0, a-c 103 geometric forms 44 OpacGog
‘o’ form 102 i-| 47 q-t 63
letter height 44 serii forms 58
 Annie Moring is a calligrapher whose works are

owned by collectors of the art in many countries.

She studied calligraphy, heraldry, and illumination at

the Reigate School of art in England and is a

visiting lecturer at the London College of Printing.

ay
 INSTRUCTIONAL PHOTOGRAPHS AND DIAGRAMS FOR

ELEVEN CLASSIC ALPHABETS

®
TIPS ON MATERIALS, EQUIPMENT, SPACING, AND MARGINS,

WITH SPECIAL HINTS FOR LEFT-HANDERS

Sd
COMPLETE INSTRUCTIONS FOR CREATING NUMERALS,

PUNCTUATION, SERIFS AND UPPER CASE AND

LOWER-CASE DETERS

®
COMMON MISTAKES AND HOW TO CORRECT THEM

¢
A GALLERY OF ART FROM LEADING CONTEMPORARY

CALLIGRAPHERS TO TEACH AND INSPIRE

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