Scripts, Hand Lettering and Calligraphy Ebook
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Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Faux Hands for Calligraphy Imitating Non-European Script
Faux Hands for Calligraphy Imitating Non-European Script THL Helena Sibylla – [email protected] As scribes in the SCA, we’re all familiar with a variety of European scripts from the Middle Ages. We’ve probably all dabbled at least a bit with calligraphic hands like Uncial, Carolingian Minuscule, Early Gothic, or Batarde. While many people in the SCA choose to portray European personas, there are an increasing number of people exploring non-European areas such as Islam and China. Beyond that, there are other scripts that exist around the main core of European writing that fit other personas such as Greek or Norse. If you have a scroll assignment for a person where a medieval European hand just won’t be suitable, there are a couple of options. One is to plug your text into a translation program and then writing in the original language. However, this runs the risk of someone who actually knows the language finding unintentional errors created by the translation software, which doesn’t always understand the quirks and idioms found in non-English languages. Creating a script with the look of a foreign hand that fits the culture of the recipient’s persona has the advantage of allowing the scribe to still write in English while creating a visual effect that is dramatically different from the typical SCA scroll. In addition to the examples provided here, I strongly recommend that you spend some time researching the script of the culture you’re planning to emulate. You will want to consider issues of punctuation and accent marks, as well as decorative letters, and upper and lower cases (if they are used). -
Calligraphy, Typography & Lettering Logotypes
CALLIGRAPHY, TYPOGRAPHY & LETTERING LOGOTYPES TypeJUST MY Thank you so much for downloading this mini logo guide, I hope you find inspiration and enjoyment while looking through these magnificent logos. Jonathan Rudolph Founder of LogoInspirations Email: [email protected] logoinspirations.co | Instagram | Facebook | Pinterest | YouTube | Twitter All logos are © Copyright of their respective owners. All rights reserved. Credits for each individual logo can be found on the bottom of each page. Collection curated by Jonathan Rudolph of http://logoinspirations.co This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. logoinspirations.co Lettering & Calligraphy What’s the Difference? Lettering is the art of drawing letters where each letter acts as its own mini illustration. Rather than simply writing letters in a print or cursive style with a continuous stroke, the thing that sets “lettering” apart is the individual attention paid to each letter and its role within a composition. Calligraphy is the art of writing letters and is related to the idea of penmanship. It traditionally uses specific tools like a nib and ink, and it is marked by a variation in width for the upstrokes and downstrokes of each letter (which is what separates it a bit from cursive writing.) Calligraphy is more likely than lettering to be used in longer written pieces. Via handletteringforbeginners.com 4 | Just My Type Online Logo Masterclass logoinspirations.co Contents 6. Caffio Espresso Bar by Monomyth Studio 8. Foiegwa French Diner by Coppers and Brasses 10. The Supreme Roastering Co. by Marka Network 12. Ik Mexbox by Menta Picante 14. -
Bold Cursive Tattoo Lettering
Bold Cursive Tattoo Lettering Noduled Haskel iodate stragglingly or switch little when Derby is unlogical. Unsifted and ceilinged Trevar gold-plates while uterine Spense close-ups her Malawi sprucely and hazards vexingly. Unmechanised Clifton convince centesimally, he trivialises his parity very florally. There is an extensive lingual support the most common types of text with personal look as part in cursive lettering influence in finding might need another font Two weights Bold but Regular software only a limited set of glyphs uppercase letters. A 100 picture compilation of quote tattoos to transcend the atrocity and style of your. Please email address to these cookies and also something of uppercase letter and compositional fluency: a reading and display and correctly for your subscription and also? Thick Cursive Tattoo Font Elegantes fuentes cursivas para descargar gratis Frogx Three 20 Bold & Free Script Fonts Design Shack Western font WESTERN. It bold letter writing letters to lettering and compositional fluency: please try again later closed alternate between using an easy romantic hairstyles perfect if navigator. Abc Fonts Styles. Tattoo fonts calligraphy fonts web script fonts cursive fonts handwriting fonts. You have your next project when it allows you do that begin to. Tattoo Font Bible Zensa Skin Care. It embraces use for crafting vintage typeface. Early childhood education. You can choose from including script handwritten bold typewriterbook old. Tattoo Ideas Innovative Shaman Font Tattoo Designs lettering for tattoos different lettering for. 49 Epic Tattoo Fonts Design & Illustration Envato Tuts. This newsletter today with a great as evidenced by email address will show off for bold cursive tattoo involves the frequencies of written faster writer! Premium fonts without the price tag Download our fonts free for commercial license included. -
National Diploma in Calligraphy Helpful Hints for FOUNDATION Diploma Module A
National Diploma in Calligraphy Helpful hints for FOUNDATION Diploma Module A THE LETTERFORM ANALYSIS “In A4 format make an analysis of the letter-forms of an historical manuscript which reflects your chosen basic hand. Your analysis should include x-height, letter formation and construction, heights of ascenders and descenders, etc. This can be in the form of notes added to enlarged photocopies of a relevant historical manuscript, together with your own lettering studies” At this first level, you will be working with one basic hand only and its associated capitals. This will be either Foundational (Roundhand) in which case study the Ramsey Psalter, or Formal Italic, where you can study a hand by Arrighi or Francisco Lucas, or other fine Italian scribe. Find enlarged detailed illustrations from ‘Historical Scripts by Stan Knight, or A Book of Scripts, by A Fairbank, or search the internet. Stan Knight’s book is the ‘bible’ because the enlargements are clear and at least 5mm or larger body height – this is the ideal. Show by pencil lines & measurements on the enlargement how you have worked out the pen angle, nib-widths, ascender & descender heights and shape of O, arch formations etc, use a separate sheet to write down this information, perhaps as numbered or bullet points, such as: 1. Pen angle 2. 'x'height 3. 'o'form 4, 5,6 Number of strokes to each letter, their order, direction: - make a general observation, and then refer the reader to the alphabet (s) you will have written (see below), on which you will have added the stroke order and directions to each letter by numbered pencil arrows. -
Portland-Area Calligraphy Classes by LOCATION
Winter 2019 Portland-Area Calligraphy Classes BY LOCATION NW PORTLAND SW PORTLAND Pacific Northwest College of Art Lakewood Center for the Arts, Lake Oswego Calligraphy: Blackletter Intermediate/Advanced Calligraphy taught by Marilyn Zornado taught by Carol DuBosch January 23–April 3 Wednesdays, January 9–March 6 We focus on various historic forms of medieval writing Register with instructor: [email protected] collectively known as Blackletter. The Blackletter family of letterforms was used for most manuscripts Multnomah Arts Center from the 6th to the 17th century. We will also look at contemporary applications of this adaptable lettering style as it is used in cultures around the world and by Blackletter graffiti and tattoo artists. taught by Christine Colasurdo Cost: $375 + $20 lab fee Mondays, January 7–March 18 Registration: https://cereg.pnca.edu/p/adult/s/1724 1:30–4:30 pm (deadline: January 12) or email [email protected] Developed in the 1300s in Northern Europe, Blackletter is a popular style of writing that can be used in many Portland Community College, Rock Creek ways. It’s also easier than you think. We will study variations of Blackletter and learn about its history. You will learn how to use a broad-edged pen with Italic Calligraphy ink on paper and work on a final project of your own Taught by Cora Pearl choosing. Mondays and Wednesdays, January 7–mid-March For all levels; ages 18 and up 9:00–11:50 am Cost: $242 (9 classes) This in-depth class will help you pay more attention to Registration: www.multnomahartscenter.org details and immerse yourself in a meditative focus. -
John De Santis | Type Book 1 Classifications
TypeTYPE AND MEDIA COMD1127 Type by John BookBook De Santis ANATOMY Vocabulary Capline Arm Bowl Ascender Baseline Bracket Meanline Capline x-height Uppercase Arm Ascender Counter Counter Crossbar Stem Bracket Descender Shoulder baseline Stress Serif Stem Serif Serif San serif Stress Terminal Tail Work Uppercase Lowercase JOHN DE SANTIS | TYPE BOOK 1 CLASSIFICATIONS Oldstyle San Serif Modern Slab Serfif Transitional JOHN DE SANTIS | TYPE BOOK 2 KERNING Good Typography Good Typography JOHN DE SANTIS | TYPE BOOK 3 VARIATIONS WEIGHT a a a light regula bold WIDTH a a a condensed regular extended POSTURE a a regular italic CONTRAST a a a low meduim hign JOHN DE SANTIS | TYPE BOOK 4 HELVETICA 12/8 HELVETICA 12/12 LEGIBILITY What is the right amount of In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not In typography and lettering, a sans-serif, sans space between lines? have extending features called “serifs” at the end of serif, gothic, or simply sans letterform is one that strokes. Sans Serif type forms made their first ap- pearances around 1815-1817 and are marked by does not have extending features called “serifs” simpler letterforms with (usually) relatively uniform at the end of strokes. Sans Serif type forms made stroke weight, lacking significant contrast, often geometric in their underlying design. In most print, their first appearances around 1815-1817 and are they are often used for headings rather than for marked by simpler letterforms with (usually) relative- body text. They are often used to convey simplicity and modernity or minimalism. -
Use Hand Lettering Techniques to Make Calligraphy
Use hand lettering techniques to make Calligraphy What is Calligraphy? Calligraphy has developed as a handwriting art across the globe throughout history. Egyptian heiroglyphics, manuscripts from the Middle Ages and many East Asian writing systems are all examples of calligraphy. Calligraphy is similar to hand lettering but usually describes cursive script where each letter flows into the next, while hand lettering allows for each letter to be created uniquely. You can make your handwriting beautiful and expressive by learning basic calligraphy and hand-lettering techniques. What materials do I need? You will need a calligraphy pen holder with a selection of nibs and ink OR round brushes and watercolor paint, paper towels and water. Smooth, thick paper that is gridded or lined can be helpful to practice the size of your letters. You can make your own lined paper with a pencil and a rolling ruler. If you don’t have calligraphy pens, brush-tipped calligraphy markers are an easy way to learn the basics of calligraphy. What are the benefits? Calligraphy is an inexpensive, meditative and relaxing way to build fine motor skills and memory retention. Expressing yourself through artful handwriting engages critical thinking and confidence building skills that will last a lifetime. Calligraphy can be used in decorative projects, calendars and journals that offer expressive and organizational opportunities. Calligraphy can also be used in the creation of unique gifts for others which strengthens relationships. Prepare your Paper Smooth, thick paper will help your writing tool or brush glide easily and will prevent ink or 1 watercolor paint from bleeding through. -
Calligraphy Specimens Following Writing
Calligraphy Specimens following Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER In German and Latin, manuscript on paper Germany (Nuremberg), c. 1713 20 folios on paper, complete [collation i20], unidentified watermark (bisected with center lacking, crest holding 3? bezants with ornate frame, initials M and F at bottom), foliation in modern pencil in upper recto corners, text written in various calligraphic scripts in black ink on recto only, no visible ruling and varied justification, sketched decorative evergreen boughs on f. 1 and calligraphic scrollwork throughout, minor flecking and staining, some original ink blots. CONTEMPORARY BINDING, brown (once red?) brocade paper with elegant mixed floral design and traces of gold embossing, pasted spine, abrasion and discoloration but wholly intact. Dimensions 150 x 190 mm. Calligraphic sample books from the Renaissance, such as this manuscript, are far less common than their printed exemplars; this charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe’s skill in writing different types of scripts. It is partially copied from writing master Adolph Zunner’s 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE 1. Written in Germany, in Nuremberg, in 1713 or shortly thereafter, with a title page reading Gründliche Unterweisung zu Fraktur – Canzley – und Current Schrifften der lieben Jugend zum Anfang des Schreibens und sondern Nuzen gestellet durch A. <A. or Z.?> in Nürnberg Zufinden bey Johann Christoph Weigel (A Thorough Instruction in Fraktur, Chancery, and Cursive Scripts, prepared for the especial utility of dear Youth in beginning to write by A. -
Embodiment and Language: Alain Kirili’S Calligraphy in the Round
EMBODIMENT AND LANGUAGE: ALAIN KIRILI’S CALLIGRAPHY IN THE ROUND Back in 2004 I organized a pocket-sized retrospective for Alain Kirili at the New York Studio School consisting of a mere dozen works ranged across his then thirty-year career. From the installers point of view, what this selection lacked in volume it made up for in density and mass. Especially irksome to them was Summation, 1981, a squat totem pole in forged iron of a little over four feet high that nonetheless weighed a ton. Strapping tattooed building crew had to heave it onto blankets, an inch at a time, their collective toil accompanied by much cursing. The artist came by the next day to inspect my placement and announced himself delighted. But he did want Summation brought out into the room more. Taking a deep breath I prepared to summon the teamsters, but Alain already had his creation is a bear hug and with a couple of deft twists of his frame, and barely so much as a grunt, had the piece exactly where he wanted it. A short man with the sweetest smile, Kirili is nonetheless, as a friend of mine said about his own father, “built for violence.” This body image tallies readily enough with an artist who, in hands-on collaboration with traditional artisans in Virginia or in Mali, works the ageless craft of smithery, beating into piping hot extensions of metal his desired bends and kinks. And yet the same frame and muscle are equally responsible for the exquisite filament of weightless wire or the almost draped arrangement of rubber hose in the Aria series. -
The Complete Photo Guide to Hand Lettering and Calligraphy
Practice Sheets Swirls and strokes Using a brush marker: Follow along each brush stroke, as marked by the arrows. Take note of the alternate thick and thin stroke variations as you work on your drills. Proof 1 2CT Proof 150 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 150 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 150 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 150 Using a pen: Follow and finish each line of handwriting strokes. 2CT Proof 1 Practice Sheets 151 CPGHC_4C_release_13230_C2.indd 151 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 151 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 150 Text GLP SMJ Page: 151 Alphabet Writing Instructions: Trace along the corresponding alphabet styles Recommended Tools: pencil, fineliner pen Proof 1 2CT Proof 152 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 152 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 152 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 152 2CT Proof 1 Practice Sheets 153 CPGHC_4C_release_13230_C2.indd 153 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 153 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 152 Text GLP SMJ Page: 153 Spencerian Calligraphy Proof 1 2CT