A history of alphabets from around the world
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A history of alphabets from around the world | |
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The Alphabet and Elements of Lettering by Frederic W. Goudy Chapter 10: Some Practical Considerations IN THE construction of a letter the artist should first determine just what the intrinsic shape of his model is - that is, in what degree are the lines, curves, & angles, or the directions the lines take that compose it, fixed or absolutely necessary to that particular letter. His next thought must be for form, which includes proportion and beauty, and the particular form suitable to the place & purpose for which it is intended. His decision here will largely determine the measure of his ability and taste. A letter should possess an esthetic quality that is organic, an essential of the form itself and not the result of mere additions to its fundamental form nor to meaningless variations of it. These points, also, must be kept clearly in mind: First, what is the purpose of the lettering, whether for a title page, a book cover, a line or more for an advertisement, a poster in which probably it must harmonize with a picture [neither overriding nor in turn being robbed of its own value]. Second, what is the right letter to use for a given purpose, not only suitable to that purpose, but also practicable for execution in the material employed. A letter drawn with a broad pen and suitable enough on smooth paper might be entirely out of place if cut in brass and stamped in gold or color on the cloth covering of a book. Third, the selection of letters that will combine well with each other and with the matter with which they are to be used. Some letters, such as "Lombardic" [fig. 25], used generally as initials or as capitals with the Gothic lower case, and entirely pleasing when so used, are yet ordinarily quite incompatible for the formation of words. Even in roman alphabets the power of combination may be lost by careless handling; certain letters coming next to others of the same family may require slight modifications to bring them into harmony with those of less sympathetic form in order that the eye may be carried easily to their neighbors. Fourth, the relative size of the letters. This point may require experiment to determine the limits of variety permissible without sacrificing beauty or effectiveness of arrangement. Pleasing legibility is the great desideratum. Beauty, too, is desirable, but beauty must not be emphasized if it detracts from easy readability. Beauty is an inherent characteristic of simplicity, dignity, harmony, proportion, strength - qualities always found in an easily legible type; yet legibility is seldom achieved by a predetermined effort to produce it. To attempt consciously to give a specific character or beauty to a letter is too frequently, also, to exhibit the intellectual process by which it is sought; its character seems to have been thought in & does not appear to be the outcome of a subtle and indennable taste that makes it delightful & seemingly the obvious and inevitable thing. Continue to page 2 |
The Alphabet and Elements of Lettering by Frederic W. Goudy Introduction What Letters Are Letters in General The Development of the Roman Capital Letters Before Printing The National Hands The Development of Gothic The Beginnings of Types The Qualities of Lettering Some Practical Considerations Notes on the Plates |