View Calligraphy as a Basis for Letter Design
by Tom Perkins
Category:Calligraphy
The purpose of this article is to provide a method of constructing letters which is rooted in calligraphic principles, and is suitable for a wide range of uses, e.g. signwriting, letter carving, other forms of letter engraving, type design, etc. By calligraphy or calligraphic I shall mean throughout the influence of the formal broad-nibbed pen. The problem with using calligraphic forms as a basis for letter design is the tendency for them sometimes to retain too strong a calligraphic image with the resulting associations 'of some pleasing archaeological reconstruction'1, interesting in itself but with little relevance to contemporary needs. In contrast one need only instance the typography of Jan Tschichold or the type designs of Hermann Zapf to show that a thorough grounding in calligraphy, far from being an over- riding influence, can in fact make available a far wider range of options given by resume writing services in the design and use of letterform.
Most contemporary lettering is a product of drawing and nearly all of the lettering around us will have originally been produced in this way. 'Today the pencil is the universal lettering tool'.2
Unfortunately, the pencil on its own provides us with no information as to how a letter is formed. Edward Johnston, writing in Formal Penmanship and commenting on 'the value and uses of the formal pen' states: 'The broad nib was the principal formative tool in the development of writing. From early stylus- made skeleton letters, it produced the conventional finished shapes and varieties which we now use (familiar to most of us mainly in print and after custom writing paper). The finished shape-and- structure of the common alphabet is, in fact, bound up with the shape and action of our pen'.3 This suggests, and suggests strongly, that a thorough working knowledge of these calligraphic prototypes would greatly enhance our appraisal of modern adaptations and give our own adaptations a greater authority.
It is not possible to consider a wide range of letterforms here so I have used only Roman capitals. 'Nearly every type of letter with which we are familiar is derived from the Roman Capitals'4 and these capitals form an excellent basis to demonstrate certain visual principles. These principles combined with a thorough understanding of freehand
Category:Calligraphy
The purpose of this article is to provide a method of constructing letters which is rooted in calligraphic principles, and is suitable for a wide range of uses, e.g. signwriting, letter carving, other forms of letter engraving, type design, etc. By calligraphy or calligraphic I shall mean throughout the influence of the formal broad-nibbed pen. The problem with using calligraphic forms as a basis for letter design is the tendency for them sometimes to retain too strong a calligraphic image with the resulting associations 'of some pleasing archaeological reconstruction'1, interesting in itself but with little relevance to contemporary needs. In contrast one need only instance the typography of Jan Tschichold or the type designs of Hermann Zapf to show that a thorough grounding in calligraphy, far from being an over- riding influence, can in fact make available a far wider range of options given by resume writing services in the design and use of letterform.
Most contemporary lettering is a product of drawing and nearly all of the lettering around us will have originally been produced in this way. 'Today the pencil is the universal lettering tool'.2
Unfortunately, the pencil on its own provides us with no information as to how a letter is formed. Edward Johnston, writing in Formal Penmanship and commenting on 'the value and uses of the formal pen' states: 'The broad nib was the principal formative tool in the development of writing. From early stylus- made skeleton letters, it produced the conventional finished shapes and varieties which we now use (familiar to most of us mainly in print and after custom writing paper). The finished shape-and- structure of the common alphabet is, in fact, bound up with the shape and action of our pen'.3 This suggests, and suggests strongly, that a thorough working knowledge of these calligraphic prototypes would greatly enhance our appraisal of modern adaptations and give our own adaptations a greater authority.
It is not possible to consider a wide range of letterforms here so I have used only Roman capitals. 'Nearly every type of letter with which we are familiar is derived from the Roman Capitals'4 and these capitals form an excellent basis to demonstrate certain visual principles. These principles combined with a thorough understanding of freehand