Spot the difference – futura

These illustrations are from a wonderful book called Lettering for Advertising, by Mortimer Leach, 1956. In those days (think Mad Men) advertising drawings were done by hand. I’ll have more to show from this book in future posts.

Sufficient to show the example from his example of how to draw Futura by hand.

alphabet lettering

Topiary and lettering

An ancient art. These are in Australia not far from where I live. Kept in good condition. Size? A metre at least, probably more. Sorry, I didn’t measure.

Elements of Lettering lettering, typography, alphabets, stonework Thoughts on lettering

The trouble with U – part 3

Hand carved – by me – in limestone, painted.

Elements of Lettering lettering

The trouble with U – part two

Thoughts on lettering

The trouble with U – part one

Teaser. More to come. This illustration from ANNO’S ALPHABET, An Adventure in Imagination, by Mitsumasa Anno, Bodley Head, 1974

Elements of Lettering lettering lettering, typography, alphabets, stonework Thoughts on lettering typography

Ornamented types

These illustrations are taken from the prospectus to a book by the same name published by I.M.Imprimit (run by Ian Mortimer) in 1990/1991. The type was taken from material held at the St Bride Printing Library in London, and attributed to a London typefounder of the 1820s called L.J.Pouchee. I was unable to purchase the volume at the time Рit was priced at £1,080, pre-publication! I wonder what it is worth now.

Thoughts on lettering

Elements of lettering – 5a

Can’t leave the letter R without a couple more illustrations, both from the Catich volume mentioned before – The Origin of the Serif. Both are brush drawn. The first also shows the various elements of the letter, while the second is simply an exercise in brush-manship, of which Catich (and more about him in ¬†another post) was an expert. It is also the cover of the paperback edition I have. Will also have more to write about brush lettering, and its relationship to stone carving. I also touched on this before.

Thoughts on lettering

Eric Gill and Pilgrim typeface

Among the stack of books I bought from the secondhand bookstore that’s closing was a 1953 Penrose album. Penrose are fabulous volumes published yearly as a guide to that year’s graphic arts. They went from the early part of the 20th century through to the 1980s (I think).typeface

They are sumptuously illustrated and have articles by some of the most eminent typographers of the time. In this volume (which I did not have) is an article about Gill’s Pilgrim typeface by Robert Harling. This face was produced, the article says, 12 years after Gill’s death.

Manufactured by Liontype (the rivals to Monotype) it is a traditional roman.

Harling writes: “Here in Pilgrim we have all the recognisable and admirable Gill qualities. His touch is in very curve and line. Here is yet another of his felicitous essays in the unending quest for the perfect alphabet. The ceaseless and never monotonous preoccupation with the curve of the tail to the upper-case R, the distribution of solid and void in the lower case a and g and so on.”

The face was first named Bunyan, and used exclusively by Gill. After his death the design was bought from his widow, Mary, and the punches, patterns and matrices from his son-in-law Rene Hague. Linotype then adapted the face for machine setting, and also added an italic, sketches for which Gill had not completed.

Harling notes that the face was to be used in a limited edition run of Evelyn Waugh’s book, The Holy Places, published by the Queen Anne Press in the winter of 1953.