Letters & Lettering: A Treatise With 200 Examples (page 4/8)

[picture: Letter Y from ``Alphabet after Serlio'']

Letter Y from “Alphabet after Serlio”

The letter Y taken from Fig. 2. [$]

[picture: Letter Z from ``Alphabet after Serlio'']

Letter Z from “Alphabet after Serlio”

The letter Z taken from Fig. 2. [$]

[picture: 3.---Width Proportions of Modern Roman Capitals.]

3.—Width Proportions of Modern Roman Capitals.

“Width proportions, which may be found useful in laying out lettering for lines of a given length, are shown in [Fig. 3] in a more modern style of the Roman capital. In the classic Roman letter the cross-bar is usually in the exact center of the letter height, but in 3 the center [...]b, e, h, p, and r, and as the top of the cross-bar in a; and in letters like k, y and x the “waist lines,” as the meeting-points of the sloping lines are sometimes called, have been slightly raised to obtain a more pleasant effect.” (p. 6) [more...] [$]

[picture: 66.---Modern Greek Type.  Selwyn Image.]

66.—Modern Greek Type. Selwyn Image.

“The Greek type designed for the Macmillan Company of England, by Mr. Selwyn Image, [Fig. 66], is of sufficient interest to be shown here, despite the fact that it is not strictly [...] returned to the more classic Greek form, although the result may at first glance seem illegible to the reader familiar with the more common cursive letters.” (p. 73) [more...] [$]

[picture: 67.---Modern Roman Type.]

67.—Modern Roman Type.

Modern Roman Type; C. R. Ashbee. [more...] [$]

[picture: Initial letter W]

Initial letter W

The drop capital (drop cap) “W” from Fig. 67 shows a naked man in a forest. He plays a flute. His bare feet protrude from the boundary of the initial. You [...]Figure; note in particular the baseline alginment of the lasst indented line of text, and the closer setting of the rest of the word on the first line. [more...] [$]

[picture: 140.  Modern American Letters.  Maxfield Parrish.]

140. Modern American Letters. Maxfield Parrish.

“The pages of letters shown in 138, 139 and 140 are intended to suggest forms which, while suitable for rapid use, yet possess some individuality and character. The so-called “Cursive” letter by Mr. Maxfield Parrish, 140, is particularly effective for such informal use—in fact, its very charm lies in its informality—and is quite as distinctively [...] [more...] [$]

[picture: Modern American Letters/Maxfield Parrish (upper case)]

Modern American Letters/Maxfield Parrish (upper case)

The majiscule letters (also called upper case, or capital letters) from Maxfield Parrish’s (incomplete) alphabet given in Fig. 140. The largest file here is at the original scan resolution of 2400dpi. [more...] [$]

[picture: Modern American Letters/Maxfield Parrish (lower case)]

Modern American Letters/Maxfield Parrish (lower case)

The miniscule letters (also called lower case, or small letters) from Maxfield Parrish’s (incomplete) alphabet given in Fig. 140. The largest file here is at the original scan resolution of 2400dpi. [more...] [$]

[picture: 141.---Italian Round Gothic Small Letters.  16th Century.]

141.—Italian Round Gothic Small Letters. 16th Century.

Example of 16th century Italian gothic letters, or blackletter. [more...] [$]

[picture: 142.---Italian Round Gothic Small Letters.  16th Century.]

142.—Italian Round Gothic Small Letters. 16th Century.

Example of 16th century Italian gothic letters, or blackletter. [more...] [$]

[picture: 143.---Spanish Round Gothic Letters.  Francisco Lucas, 1577]

143.—Spanish Round Gothic Letters. Francisco Lucas, 1577

Example of 16th century Spanish gothic letters, or blackletter, calligraphy. [more...] [$]


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