Concerning the G and D – also can be used for the C.
Just came across this article regarding carvings made by Gill in Bognor. Is an extensive piece written for the parish magazine of St Wilfrid in Bognor. It contains some highly interesting notes and comments. Definitely worth a look.
In the meantime be content with this link, although I am determined to find out more about this individual.
The problem with relying on research with Google is that it is dependent on what has been uploaded. It is far too easy.
In my time as a student one went to the actual library and requested the librarian to access the book or file, the physical thing. I will need to contact the LNER people to find out more. There must be more about Cecil. And what does G.G stand for?
The next is a simple stone bench. It was made from limestone with slate insets. The text is from TS Eliot. The channel was filed with copper leaf and patinated, something which became a signature item for pieces I make.
Here we start with the O – the most basic of the capitals, and probably the hardest both to draw and carve. Symmetry is the key here – although there are many other ways to draw an O, some of which will be recorded in future blogs. Anyhow, to get started with the classic Trajan O please refer to the illustration. (Click to enlarge).
I have been giving some thought today on this man, the person who, it is only fair to say, introduced a revolution into the British commercial scene in 1933.
He was genuinely a Revolutionary, despite his bowler hat.
He seems, individually, to have started the concept of Brand.
I quote from the article published in the Monotype Recorder.
‘The London and North Eastern Railway, in 1929, had become what it had taken nearly a century to become, namely a centralized system of transportation. The green livery on locomotives leaving King’s Cross reminded passengers in Edinburgh that there was such a thing as the L.N.E.R. not such separate things as the Great Northern, North British, and the rest. A series of renowned posters brought out under the direction of Mr. W.M. Teasdale, had brought this group personality of the line into the public conscience to some extent. Mr Teasdale was called to Westminster [my note – why?], and Mr. C.G.G. Dandridge took his place as advertising manager, after a brilliant success in Manchester which made effective use of direct mail….Mr Dandridge turned his attention to a field for improvement, namely, typographic reform…
‘Mr Dandridge realized what not every advertising manager had the wit to realize, namely that the choice of a good type face is the very heart and soul of typographic reform…’
The article fails to mention how Mr Dandridge came across Gill.
I will publish the full article in a separate post.
If anyone has information about Mr Dandridge please come forward now or forever hold your peace.
Elements of lettering – 2
The alphabet can be divided into three elements corresponding of the width of each letter.
The three elements are:
- FULL BOX: O, Q, C, G, D
- 3/4 BOX: A,V,T,H,N,U,Y,X,Z,R
- 1/2 BOX: P,K,B,L,S,J,F,I
Note: The letters M and W fall slightly outside these parameters.
This comes from my copy of The Monotype Recorder, a magazine published by the Monotype Corporation, of Winter 1933. It is sub-titled ‘Modern Typography Number’
It shows Gill standing in front of the Flying Scotsman steam train. Enjoy.
(I would love to know whatever happened to Mr C.G.G. Dandridge, the advertising manager, seen right, who ‘initiated the reform’ [of the typefaces] – how did he know Gill? Was he a visionary in his own right?)