Professional Documents
Culture Documents
Handwritten
Computer-generated
Constructed
Brody Neuenschwander
PHAIDON
Designed by
Leonard Currie and David Quay
Letterwork
Here for the
first
time
is a
interests of the
enormous
With
is
skills
of their
show how
professionals from
Arabic and Japanese culture, the street, the fine arts and the world
of 'high-tech'.
The book
such as
also gives
at last is
invaluable
Brody Neuenschwander
Designed by
Leonard Currie and David Quay
Letterwork
*.
Letterwork
Creative Letterforms
in
Graphic Design
Brody Neuenschwander
Church
Street
London w8 4BN
First
published
in
hardback 1993
First
published
in
paperback 1993
ISBN
for this
book
is
available
from the
British Library
No
may
be reproduced,
form or by any
Fontshop
1,
114,
page 149
2, 'Runes'
International.
If
Pi
you
to
^
jovt
Jeb
mi
Contents
Introduction
*f ^"
"net i.
Sijfrv
"Wl1 ** ""''' '*>'.>.:
22
Lettering as Image
66
96
>
'
to.
.,
hoi*.
122
New
138
Directions
Directory
150
Further Reading
156
Index
158
^
Experimental Lettering
An image composed
transfer lettering
of dry
and found
typography was
transformed on a Canon
colour copier over
many
^V
^V
was
new artwork
stages
LETTERING
AND DESIGN
*--=****,
f^&M
^v<*
Introduction
Many
and computer-generated
suggest that letters
all letters,
come from
made
letters, as 'typography'.
many
letters
term
and
scope of the book. But modern graphic design also relies heavily on
- is
The theme uniting all the letters found here is that they
were made for specific purposes and applied to particular designs.
The book has two aims. The first is to show the remarkably high
included.
standard being set by the best lettering artists and designers in the
world today. From the classical and elegant calligraphic forms of
Julian Waters to the sculptural purity of the work of Takenobu
Igarashi to the dynamic television sequences of Morgan Sendall,
letterforms of the highest quality are being produced for graphic
design. The strength and variety of the work illustrated here will
provide inspiration for those with a passion for letters and for those
who may not yet realize fully what letters can do. The second aim
of this book is to help create a new partnership between graphic
designers and lettering
artists.
many
talented lettering
Television Title
The
Sequence
sequence for
Horizon, which received
title
Design Awards
in
longest-running science
documentary
Specially
series
commissioned
two
rig.
The sequence
which
finally
resolve
word
Though a
Quantel Harry was used in
themselves
into the
'Horizon'
post-production to
integrate a series of shoots,
the designer
was
at pains to
computer graphics
the
is
final
version.
style in
The
result
an example of letterforms
DESIGN
Liz
Friedman,
London
model making
Alan Kemp.
London
at
the
BBC
Television Studios,
12
London
Introduction
is
which typographic
The
letters
may be
photographs or
and packaging,
illustrations.
in film
They appear on
in a variety
of
And
to the
Hand-lettering
is
a fully
developed
medium of
expression with an
Koichi Sato
is
one of the
leading proponents of
made
to
fill
movement
that
is
alien to type.
It
can be tailor-
Where
legibility is not an
important consideration,
the world
the National
Museum
of
Modern
Tokyo
1990
Art.
in
sophisticated impact by
placing Koichi Sato's
own
elegant brush-made
calligraphy within a
geometrically precise
with far more visual interest than the highly legible forms of type.
communicate only
in
particular image,
typeface.
hand-lettering
in a limited way.
The personal
at
the top
in Latin
characters written
in
the
Recent technological developments have made the use of handlettering in designs for print a very simple matter.
The same
letters are
Mount
Fuji
below,
and West
in
the world
of contemporary graphic
LETTERING
AND DESIGN
client National
Modern
Art.
Museum of
Tokyo
Poster
for the
1988 Olympics
depends
which
entirely
forms of the
on the
letters.
Ahn
Chung-Un's design
advertising the 1988
Olympics in Seoul uses
lettering as a secondary
decorative feature to
in
Korean dress.
roughnesses
in their
outlines suggest a
or sealed quality
stamped
Above
merge
space of the
photograph.
A traditional
world with
its
LETTERING
AND DESIGN
Ahn Chung-Un.
Seoul,
S Korea
client International
Olympic Committee
14
SE0UL1988
JBRKU
EMBfflK
nam
mm
Introduction
a layout. It is
even possible
now
to
it
that
more
basic layout
letters.
Each
in the nineteenth
and
many
designers.
The
detailed study of
many
schools of
graphic design since the 1960s. Until this time the study of
callig-
ZUR
GESCHICHTE
DER STADT
letters.
sound knowledge of
underlying form.
Exhibition Poster
curriculum increas-
ingly crowded with subjects of a technical nature has left less and
less
MARTIN
GROPIUS
BAU
it
and give
it
Stein
produced
refined design
at first;
work further
1987
mam
German
this highly
in
placed
optical centre.
is
at
Both the
and the
through informed
While
study
is
self-criticism.
there are
now
place
is
mindful of the
twentieth-century
in
history.
The
tinted lettering,
and war.
LETTERING
AND DESIGN
GmbH
Reading
Italo Lupi's
design for
Dada Cucma
displays a
If
sophisticated eccentricity.
Suzi Godson's simple
College, Dublin
in
1990
much Irish
Godson was
Both the
contribute to a feeling of
warmth and
LETTERING
Suzi
Dublin
LuNchfcirvie
PDETRT
LOVE
readings by Darragh Welly
16
AND DESIGN
Godson. London
client
IRISH
intimacy.
Trinity College.
Introduction
An
ideal course of
would be
a two-track system,
work using
and drawing.
If
a sort
arts
such as painting
areas,
formal
of running commentary
on the other.
We
The
who
being
many
people
and
is
personal computer
this
should
is
around
DADA. la
particularly as certain
di
sectors of the public are beginning to see that graphic designers, like
architects, are in
ricetta
badando
cucina
-.
f.loa
Catalogue Cover
Is it
Can one be
foundation for
all
is
humorous and
1 978
This fresh,
an excellent
elegant design of
Italo
Lupi has
name
In the first section of the book, letters are considered for their
and
emotional impact. The forms are grouped broadly into eight themes
The
course.
for this section are generally quite legible and play an important role
as excitement, violence,
It
humour,
nostalgia,
might also be
It
of Dadaism
in
century
which argued
that
art,
all is
making
twentieth-
nonsense by
surreal
and
silly
compositions of found
objects.
created
by
a fairly
LETTERING
Italo Lupi,
AND DESICN
Milan
Self-Portrait in
The
Type
eccentricities of Suzi
Italo
complemented by
this
1990
type by the
self-portrait in
produced as
promotional
warning.
a selfprint,
bears the
An Apple Mac
for this
drawing'. Yet
its
and indeed
precision,
certain shapes
Mac
design. Grundy's
is
design that
currently apparent
in
zeal
'S
the
design world
Introduction
non-verbal impact.
detail in order to
losing
ability to
its
and
freely.
it is
addressed through
more
is
magazines, designs for the music industry, and lettering for film and
television. Hand-lettering plays a vital role in all of these areas,
from
The
By analysing
is
considered in the
lettering
shown
is
also
as
is
addressed.
The next
The
shown
minimum
Bicycle Transfers
of formal
Apple Mac
in his self-
machine
three-dimensional objects
Checkland Kindleysides
is
hoped
The
It
lettering.
names and
its
were able
to
roll
out the
Mac
and
in
order to produce
in
camera-ready artwork
Flat
for
knowledge of
would
be Designed in 1991
in
the
full
what the
final effect
LETTERING
AND DESIGN
Checkland Kindleysides.
Rothley. Leicestershire
Sequence
Television Title
The most
sophisticated
and
production of hand-
The 1990
lettering.
and
title
sequence
identity
for the
in point.
BFT2
the
is
lettering
type.
As the sequence
is
letters
his
own
logo or
programme.
number
'2'
and the
of the
Finally,
the
slices into
the
produced by integrating
live-action film and
computer graphics on
Paintbox.
MaylinLeeoftheBBC
Presentation Design Croup,
London
20
Introduction
artists is
special commissions.
work
is
shown
However,
it
art directors
who
seek to place
many whose
was it
whose work merits attention. Any
be welcomed by the publishers.
and lettering
artists
exist.
The
secretaries
who
have
specialist skills.
The
artists
Many
in this
book work
in a
to gather contributions
is
working
available
in the
world today.
designers seem able to take a fresh and highly abstract view of the
Latin alphabet.
culture
forms not only as vehicles for verbal information but also as abstract
shapes with powerful emotional qualities. The example of Japan also
many
show
it is
new
hoped
by
wider public.
Sculpture
best.
realized
An
and production of
occur
in
letters
the work of
magnificently crafted
sculpture of brushed steel
resembles the
Igarashi
letter 'A'.
But
on
between
playing here
is
the relationship
three-dimensional world of
sculpture:
it
is in
the step
intended
letter
F' is
revealed.
LETTERING
Takenobu
AND DESIGN
Igarashi,
Tokyo
22
Experimental Lettering
This piece began as a
in
the
and blue
light
was
cast onto
The
the red
a 35mm
projector with
filter
also contained
transparency of the
was then
photographed using a
hand-held camera
LETTERING
AND DESIGN
They
how
a part in the
is
read;
process and cannot be treated as mechanical operations to be considered in relation to the design
letterforms
must be considered
at
at
must be
The question of
other,
more
intuitive levels.
Legibility
question
with
is,
a client
who may
is
The
clarity
client,
may counter
that, in the
it is
legible
and that
it
its
most
There
is
in
levels
below the
surface. This
magnificent sculpture,
undertaken
in
1990, serves
number
power
and
feelings of awe.
have been
built
The forms
up with
layers of brushed-steel
plates, perfectly
engineered
bank
vault door.
LETTERING
AND DESIGN
Takenobu
Igarashi,
client Nike
26
Tokyo
modern
Latin, Greek,
Hebrew and
is,
they
record sound values. These systems are based on the fewest possible
contrasting shapes, usually geometric in origin,
similar spaces.
The
all
occupying roughly
learned
is
is
fact).
is
The strong
its
As
a parallel
in
legibility can
be achieved
in
typography
is
from contrast
from our
in stroke density
ability to read
which
legibility
depends
are as
much
whole composition of
27
Calendar
Legibility
is
not always a
simple question of
deciphering verbal
information Images too can
built
Ott
Stein,
letters
by
which was
verbal
message
until
one
on
a calendar.
As soon as
word
letters spells
'Oktober'.
The
numbers allows an
leap
in
reading the
LETTERING
intuitive
letters.
AND DESIGN
+ Stem, Berlin
client Nord Landesbank,
Hannover
Ott
28
marks
is itself
a culturally
among
ourselves. Legibility
past and
The vocabulary of
we
all
is
is
/^\
The Labyrinth
of Naze Design
is
in the present.
style
It is
said that
tecture'.
little
'Mere
legibility in
The suggestion
that
Type
type
like
is
mere
shelter in archi-
is
is
is
lies
many
compels us to read
levels.
An
We
all
and
especially prized
may
legal culture
of the
connotations can be
made
clearer
still if
now
may
been with
^
l"^\
signify
tradition, quality
wm
Poster
The design by
Otl
opposite plays a
+ Stem
game
of
and seek. In
1991 poster by John
visual hide
this
'A' is
shadows available
at
the
is
instantly
type to be relegated to a
marginal role at the top of
the poster.
LETTERING
AND DESIGN
London
29
Sequence
Television Title
The
was
sequence
to design a generic
series
on archaeology
in
countries At
first
the
camera pulls
becomes clear that
then, as the
out,
it
each building
is
letter Finally,
we
'Chronicle'
on
actually a
read
a back-
The
title is
a 14-foot-long
35mm
mounted onto
camera
a motion/
computer-controlled
rig
ceiling
lit
with
lit
more
legibility to
softly, to
the logo
at
add
kti't-
the
at
Imagina competition
in
Monte
Carlo
in
the
t*
'
London
30
1991
m.M
may
them
their
refer to the
own
kind
more negative
is
literal
is
intended to reach.
It
may
emotions and associations that the lettering and overall design should
elicit
is
way by
the
market in question.
Examples of lettering
of related emotions
Video Logo
Unlike the Chronicle
artists
clear
reader will observe that the lettering in each broad grouping, though
not
all
is
communicated without
being able to read their verbal content. The wide range of styles
represented in each grouping should demonstrate that no one style
represents exclusively one emotional state.
that the broad groupings given here are
it is
to be
It
by no means
logo design
audience.
all
that could be
hoped
BBC
Presentation Design
Group. London
Poster
The
limits
of legibility are
identity of
is little
LETTERING
flat.
AND DESIGN
Space
June5[Mon.]-17[Sat].1989
12:0C
30RM.
J DESIGNE L
s:
a stimulating exercise to
in this chapter
literal
for
recently introduced by
(see
page 48).
The
advertisement design was intended to be seen by consumers of finequality paper, in particular discriminating designers, through trade
journals for the design industry.
The
context, then,
was
that of
colour imagery
and
special effects
tilt
calligraphic
it is
The
effect
is
which suggests
an
letters that
for a split
is
still
is
1 'ceil graffiti
or doodle, then,
clarity
Another
identity for
As
the
arresting device
BBC
it
efficiency.
television's
viewer's attention
is
immediately
slow ascent,
Exhibition Poster
Illegible calligraphic
information as effectively as
legibly written
letters
this
moment
own
is
assailed
art.
At
by the transformation
marks
can communicate
forms or
1988 poster by
Vaughan Oliver and Chris
type. This
green shape
in particular
Japanese
art,
positioning
modern
in
the
era.
London
design Vaughan Oliver of
V23. London
client Victoria and Albert
Museum. London
An
graphic design.
Amnesty
The cam-
with
a face
ening,
is
ambiguously
that appears
meant
many
years in El Salvador.
way
that
the reader must piece together both the verbal and the visual clues to
understand the message. Key words are emphasized, and where these
are not entirely legible, the reader
must plunge
into a mass of
is
decon-
own
commitment
Calendar Cover
requires a serious
John Stevens
is
equally
brush and
In the
his
centred composition,
undertaken
in
1988,
is
built
up from an enormous
variety of calligraphic
made
though
from
earlier
artwork to
LETTERING
AND DESIGN
34
own
meanings and
mental actions.
information.
information
A good
at
is
He
thinks and
deal of lettering
is
aware of receiving
depends on communicating
unaware of receiving
design, he
it
message that
being manipulated.
is
specifically
encoded
is
in the
It is
make an
are subtly
manipulated by exaggerated or
false claims,
An
throughout
this
book
is
that a
and
this
important theme
The
picture
involving
on page 42
a subtle
illustrates a
kind of manipulation.
It
shows
a design for a
made for a 'wet and wild' beach party held in Las Vegas in
1990. The design is simple: a block of eccentric brush-made letters
coloured randomly with red, yellow, brown and purple. A fresh and
t-shirt
childish sun
legible
is
play.
The innocent
style of the
is
is
may have
conveyed only
at
viewer's mind.
levels
The
therefore,
is
reading
not unimpaired
at all levels
literal legibility,
of the elements of
step
may
usefully be to
make
a clear
New York
The
Exhibition Banner
its
down
into
entrance.
intended to
long been
comm-
known
for
its
magnificent large-scale
banners, which grace
its
problems of scale:
works on a
mock-up may
its grace and
lettering that
small-scale
not retain
elegance
when
enlarged to
a width of 12 to 15 feet.
For this design of 1988.
whose
recalls letterforms
captions
in early
and botanical
style
used for
zoological
treatises.
New York
New York
client
Library
Public
direct mail
advertisement for an
apparel manufacturer,
Koichi Sato refers to the
of the
artistic style
Momoyama period
and
such as Hon'ame
clothing
abstract,
almost entirely
is
typographic notes to be
legible.
artists
Where Momoyama
silk.
The Mondrian-esque
fragment
in
1983 to
their
modern counterpart
in
LETTERING
AND DESIGN
Koichi Sato,
Tokyo
36
Elegant
&
sophisticated
it
;:
Television Identity
the 1987
design Awards
uses a combination of
great
This
Monsawatype
economy
relies
of
on
form and
of
the photo-typesetter to
lettering
printed on a
rubber which
was
thin sheet of
supreme sophistication
The type was graduated on
rostrum camera
45
letters are
degrees to the
which produces an
result
is
a sequence that
assumes
controlled
There
a high level of
young audience
is
for
which
intended.
LETERINC
for English
PRODUCTION
Jayne Marshall
38
at
vertical
and
effect of
movement
thus a sense of
restrained
power that
entirely
in
is
AND DESIGN
Simon Martin
it
is
always
LETTERING
AND DESIGN
Monsawa
Elegant
&
sophisticated
AUDUBON
NATURE CALENDAR
Poster for a Charity Run
Letters
need not be
classically
balanced to
produced by
Julian
capitals
Waters
1991 Audubon
sophistication and
calligraphy
produced by
in 1988 for
Georgia Deaver
fim.
Calendar Cover
The drawn Roman
for the
achieve an effect of
1991
this
poster advertising a
power of a
The
confident runner.
light
seeming aggressive or
frenetic.
difficult to
achieve with
found
in
display faces
whereas mechanically
enlarged text type would
show distortions and
irregularities on this scale.
San Francisco
design Bill Cooke, San
Washington DC
design Janet Tingey
client MacMillan
Publishing Inc
Francisco
(
Advertisement for a Sweet
The ability of hand-lettering
to
even
silliness
is
well
combined
*/
in
that
and lower-case
letters to
is
commonplace
in
in
welcome freshness by
making
light of a
very
familiar situation
LETTERING
Kira Josey,
DESIGN
Billy
London
Mawhinnyof J. Walter
Thompson, London
CLIENT
Rowntree Mackintosh
40
**%
Friendly
&
fun
work held
at
the Cinza
Graphic Gallery
in
Tokyo
in
produced
this special
event
THE WORKS OF
SHIN MATSUNAGA
corporate identity
is
very
one
quality
sss
which one
is
is
part
it
LETTERING
AND DESIGN
POSTER CLIENT
Ginza Graphic Gallery
!*&}*&
T-shirt
Design
Margo Chase's
T-shirt
Wet
Ogami's brush-made
letters are
to
intended subtly
public's perceptions. At
at
an underlying decadence
Angeles
client Playboy
42
Friendly
&
fun
Advertisement
Letterforms are not only
capable of conveying
emotional information: they
can communicate
tactile
information as well.
word
Iskra
The
'Koalas', written
Johnson with
by
brush
word
for
it:
'Fingerspitzengefuhl':
%*&>'*.
tell
lettering
Seattle,
us.
Iskra
Johnson,
Washington
DC
Exhibition Poster
Simple, child-like
letterforms
may serve
communicate
to
sophisticated message.
These
letters
Alan Fletcher
executed by
in
directly to the
1974
work
David Hockney,
introduced a
refer
of
who
new
naivete
illustrations are to
lettering
as deliberate primitivism
their spontaneity
graphic qualities of
calculated,
British Fainlim
Monday to Fridaj
H(i
,11
wdGalki
.1
dsysl2lol
toiol
lemsmd
lop
all -!..
Mood
?cn>iencrs isp
,1
is
is
to type: the
three-dimensional
illusion
of the photograph.
In his
LETTERING
AruCounciioTGrcai
Cover for an
Illustration Annual
Hand-drawn and painted
AND DESIGN
Illustration in
London
Great Britain
Japan annual,
disposed over
suggestive of Western
wood-block
prints,
which
modern book
DESIGN
illustrations.
Shin Matsunaga
Exhibition Poster
The
and
sophistication
artistic
zest for
that
life
one
poster announcing an
exhibition of Catalan design
in Hamburg in 1989.
+ Stein have made the
name of the show, the
held
Ott
in
their
composed
of a series
spaced and
all
the same
in
the hot
the effect of a
contemporary heraldic
banner is achieved - an
impression uncompromised
LETTERING
AND DESIGN
client Internationales
jazzy
Book Cover
The cover of this 1985
Television Title
In
the
title
Sequence
sequence of this
publication on the
cosmetics designer
separatist
The colours
movement,
and commissioned a
matador's cape' in raw
in
tense
silk
was made
beads, which
The
around the
in
precision.
with a matador's
flair
scene of the
sequence
changed. As
'halo'
marks. The
rendered
letters
painted
in
as the
the design
realistically
lips,
title
in
the Spanish
flag.
Her
letterforms, originally
ambiguous
spatial
relationship.
The viewer
stiletto
were cut
and
and
silk,
aggressive.
pavement.
LETTERING
LETTERING
AND ART
AND DESIGN
BBC
Tokyo
Croup, London
PROP MAKERS
Presentation Design
Kier Lusby,
client
London
BBC Television
45
Cover
for an
Employee
Benefits Brochure
The
Waters' composition of
1990
is
word 'Benefits',
chunky
the
written
in
the
'f
tail
of
Much
of the impact of
way
in
which
thin
ones. Basically
italic in
form,
confidence and
skill,
and
retouched.
LETTERING
AND DESIGN
Julian Waters,
Washington DC
ART DIRECTION JeSSICa
Wilson, Washington
DC
CLIENT
46
jazzy
Poster
Mosimann's
for a Cultural
dining club
is
in
a top-drawer
central
Mosimann
In
designing the
Evening
excitement of an evening of
Latin
and Alan
Colville
turned to
The
arrangement of
artful
rare foods,
speed, the
tactile
sensation
communicated
to the
pen or brush,
is
especially
in
AND DESIGN
LETTERING
Claude Dieterich
Embassy, Lima
club, the
of frothy cappuccino.
London
DESIGN
Ian Logan,
London
CLIENT Mosimann's
Magazine Advertisement
ad
Pierre Bernard's
Parilux
for
PARIS
Packing Crates
The way
made
their
in
which
letters are
strongly influences
convey quite
sophisticated
message The
IRAK
design magazines
1991,
in
attention
at
the
same
CHINA
reproduction possible on
this
new
art
LETTERING
immediacy of their
production and the simple
shapes allowed by the
process. Stencilling does
some
stencils
wear out
letters
paper
AND DESIGN
at their
improvization
LUZERN
note the
de Creation Graphique,
Montreuil
Paper Ltd
it
STAIN
is
itself
COLLECTED BY
CSSR
4a
Hans-Rudolf
Lutz, Zurich
Crude &
violent
produce this
1983 on the
to
fine print of
to
and export
licences,
which
forms and
has transformed
it
into a
work of considerable
beauty and serenity
through colouring, and
through creating a
composition of classical
balance.
LETTERING
AND DESIGN
Television
All
Sequence
Stalinist
evoked in this
sequence designed by
era
is
action footage,
and,
models
in
awesome
Cyrillic letters
the world
'Stalin'
in
of
are forged
sparks and
smoke
obscure the
hammer
partially
letters as
strikes
the
home with
evoked
all
is
in this
remarkable sequence.
LETTERING
Morgan
AND DESIGN
Sendall,
London
Thames
Television and
Home Box
50
Office
violent
WOHLAN'ME-IN FRBWND'
WlESTEHTESMITDERDlKTATURMSTESNICHTSO'DASS
DEMOKRATIESELBER AVFL0ST DURCH E1NE
SICH DIE
GEWISSEVNERSAHTLICHKEITIH DERFREIHErp
SICH Dl E VA TER DARAN GEW0HNEN-IHRE KINDER
E1NFACH GEWAE HREN VNDLAVFEN ZV LASSEN 'WlESlE
WOLLEN 'VND SICH VORIHREN ERWACHSENEN KINDERN
WENN
F\!/RCHTEN'EIN WORTZUREDEN'ODERWENN
SE1N WOLLEN 'WIE DIEVAETER'
ALSO IHREELTERN WEDERSCHEVEN'NOCH SICH V/M IHRE
GERADEZV
DIES0HNESCHON SO
LASSEN
SELBSTAE NDIG
ZUERSCHEINEN.
New
The
Year's Greeting
piece of
VNDAWCH
985 by Werner
and Roman
inscriptional
forms chosen
give a
presence to
The
in
order to
monumental
letters,
Plato's
words
which are
Cover
for a Type Catalogue
The importance of the
study of historical and
simple geometric
structures, but these are
freely written to
produce
lively
forms.
The
result
Is
modern
calligraphy for
warmth and
for the
emphasized by
a gentle
is
this
design
type catalogue of a
playfulness. Schneider
design.
LETTERING
AND DESIGN
and pressure
Werner Schneider,
Wiesbaden
lettering
client Fachhochschule,
Wiesbaden
client Allkopi
and design
Limited Edition
Screen Print
1988.
in
Jill
CAlciiin
undertaken
In this print,
summarizes the
i]
role of
the design of
history
in
letters
produced
avYorh^ fvhaiv)
Yelland
honour and
to
Weingart.
It
was
printed
1771
enamel
is
inks.
At the centre
Of
our
which gave
letter 'd'.
jolm B(vkiviHc''Cjim)ibnit
(
and
rise to
emerges
as a
Btdohi^VillimiLMinris-L
StanleyZMomM>)j-?rmi'Tul
background
LETTERING
Jill
Australia
52
AND DESIGN
'dridffWvMmtmrmYad
Jredne W. Guudvi \ tmtimv
Nostalgic
&
historical
Exterior Signage
Historical letters
may be
The exuberance
era
spawned
a style of
vitality in
never
lost
American
appeared
Their function
halls
changed today, as
by Mark
Oatis attests
New tech-
made
was constructed
of 1 /8 inch
aluminium panels painted
won
first
place
in
the
in
the
United States
LETTERING
Mark
AND DESIGN
Oatis of Smith,
Denver
client Phenix House
Casino
Logo
Tony Forster has entered
into the spirit of
Ragtime
the style of
in
LETTERING
AND DESIGN
Tony Forster
client Alexander's Ragtime
Band
Blackletter
Blackletter, Fraktur
and
convenience used to
in each case, a
wide variety of lettering
describe,
styles. Julian
Waters'
much
common
in
Yet subtle
mood
of each. 'Mozart'
more
restrained, elegant
and
courtly: the
'o'
is
has
left
stroke of
'e' in
The
Elizabethan Theatre')
The
design
significant
may produce
changes
in
shown by these
letterinc
1 .3
and 4
Waters, Washington
2 John Stevens. East
ymfr
54
Julian
DC
Nostalgic
&
historical
Copperplate
Copperplate,
like
Blackletter,
a broad
stylistic
rare
is
category. While
indeed
for
letters to leave
it
is
copperplate
all
historical
this
label
wine
the literature
of the seventeenth
and
-am
is
clearly
transcription of a
Finally,
words
'Fine Jewellery'.
Each
form
movement and
in a
different way.
LETTERING
Schneider,
Werner
Wiesbaden
1
Rotterdam
3 Axel Bertram. Berlin
Album Cover
Many
of the most
emerged
as leading
symptoms: dream-like
images that can only be
connected by free
mad
association;
writing;
colours floating
in
a sea of
caption to Westenberg's
beautifully bizarre
is
completely
word
manages
the
in
love' barely
to hold
its
place
a nonsensical world.
London
DESIGN Chris Bigg and
Vaughan Oliver
London
at
photography
Kevin
V23.
Westenberg
client
56
4AD
Records
wild
Single Cover
In this
design of 1989 by
Monie Love.
art
but this
is
head
Silhouettes
reminiscent of African
tribal
letters,
the world of
Western urban
blacks,
The
weight
is
and
recall
distribution of
irrational,
the
subculture
is
represented
as a well-established
phenomenon.
lettering Ruth Rowland,
London
design Paul White of Me
Company, London
client Chrysalis Records
Logo
In this 1990 logo Margo
Chase has captured
perfectly the Baroque
decadence of the singer
Prince. The letterforms.
drawn with pen and ink,
remind one of the curly
wire chairs of Parisian cafes
masked by a strange
irony.
art direction
Jeri
Heiden,
Los Angeles
Records
Mm
Poster
for a Cultural Festival
Art Chantry's
monumental
brilliant
produce the
numbers
'1989' while
balancing on a bongo
board. The board's
repeats the poster's
roller
title in
an incongruous Olympic
style.
used
to
even a
bit
slapdash.
The
hand-lettering is as rough
and energetic as the image
Yet the direct and unrefined
approach has yielded an
attention-drawing design
LETTERING
flair.
AND DESIGN
Art
Chantry, Seattle
58
wild
Album Cover
Virtually
In this
much
of the lettering
all
1991 design
of
it
is
type,
taken from
title, fff, in
enlarged typewriter
screams
at
letters,
an impressive array of
simple studio techniques to
typographic
letters (see
the
ephemeral objects.
LETTERING
Chris
AND DESIGN
Thomson
for
Stylorouge, London
ART DIRECTION
Rob O'Connor for
Stylorouge, London
PHOTOGRAPHY
Stephane Sedanoui
client Epic Records
presented
it
to
International
Amnesty
1991 as a
in
potential promotional
Salvador The
in El
stories,
enmeshed
confused
in a
web
lines,
of
forms and
must
and
to motivate
him or her
to action.
LETTERING
AND DESIGN
Hills,
International
An
60
Michigan
client Amnesty
122 Eliata A.
Distressed
&
=*
emotional
the
Amnesty Campaign
The purpose
of the series
is
organization and to
increase
its
membership;
it
in
own
Amnesty International.
The series is discussed in
of
-,
<
"r*ft Ao
Of
t:
Exhibition Poster
Fontana,
who
crossed
and
abstract expressionism
conceptual
art
through
canvases with
his
by slashing
Violating the
a knife
tradition of the
window on
space. Fontana
illusionistic
made
canvas as
to an
openings
real
in
the
same time
his slashes
can
be seen as elegant
calligraphic marks, integral
to the structure of the
painting,
Kazumasa Nagai
in
way, to produce
illusionistic slashes in a
The
'cuts'
the
name,
artist's
transcribed
in
the heavens,
as a celebration of the
historical
importance of
Fontana's iconoclastic
methods
LETTERING
AND DESIGN
Theatre Poster
Jacques Koeweiden used
an impressive economy of
form and
up
into a dynamically
The
in
Extended,
is
conceived as
Exhibition Poster
A cool,
high-tech style
typified by
is
Shm
high-gloss finish.
LETTERING
AND DESIGN
Koeweiden/Postma,
Rotterdam
client Frascati Theatre
91 Objects by 91 Designers.
is made up of 91 computergenerated metallic pins
whose form
demands the viewer's
well crafted,
itself
undivided attention.
LETTERING
AND DESIGN
New
York
63
Experimental Lettering
The design
potential of the
new
technology
still
digital
relatively
is
uncharted
territory. In this
computer-
'VOLOW were
word
loaded'
Billboard (detail)
Modelmakmg,
to
produce
computer
in
order
distortions.
itself
The
thus played
have been
produce
this high-tech
1990 The
the product
lettering
and design
David Small
at
the
Media
Laboratory, Massachusetts
Institute of
(MIT)
Technology
lighting,
Vodka
letter! from
name makes
reference to Russian
constructivism as well as to
a style that might be called
'Soviet chic',
which rippled
to
typographic
987
in 1
This
for an
work
its
projected launchpad
exhibition of the
film.
was made
35mm
hand and
Traditional
of
letter to
an element of whimsy.
when
Tanaka Openings
in
the
riveted letterforms to
light)
skyscrapers
lettering
Why
London
back
lit
and photographed
LETTERING
AND DESIGN
client Seibu
Art, Chiba,
64
Museum
Japan
It
of
and design
Not Associates.
Rubican
High-tech
& computer
letter
of the patterns
floating
oil in
produce
this
made by
order to
image
for
tc
960s.
force
it
in
is
also a tour
de
the manipulation
LETTERING
AND DESIGN
photography
Karl E.
Deckart
CLIENT Morisawa
65
Lettering as Image
Experimental Lettering
This complex, layered
made
with
moved
after
each colour
and magenta
The process was
yellow, cyan
printings
each
Finally,
the
used
was
to select rectangular
in
was achieved by
between generations.
LETTERING
AND DESIGN
Lettering as Image
book
it
was established
that letterforms
It was
complex grammar that allows us to
receive and understand the non-verbal significance of a whole range of
communicate
also
shown
lettering styles. In the case of legible letters, the subject of the previous
chapter
information
must be kept in
make powerful compositions, but there
balance.
is
elements in
is
of secondary importance;
gives
way
The dilemma of
and television.
style
concept for
many
nowadays
throw-away
is
in.
This
is
The
become
when
its
it
origins.
some extent
mined
for
public,
guises,
new
arts.
artefacts in
an array of exotic
69
marc
.-
gelder
Theatre Poster
This 1990 poster by
Koeweiden/Postma uses
hand-drawn letters as
important elements
in
the
at
the
left
background,
dancer.
his
letter
are
The backward
head
in
'a'
is
tilt
of
stopped by the
The drawn
letters
a strong contrast to
body of the
dancer holding a
diaphanous veil of wire
the lithe
screen.
They seem
to
they transcend
it
and so
Rotterdam
PHOTOGRAPHY
Hans Verschuuren
client Dansproduktie
Lettering as Image
In this
lost all
same period,
traditional
United States divorced many people from the land and destroyed the
guild structures that nurtured a living tradition of style derived from
necessary craftsmanship.
When
was
an end.
at
By
jumble of
An
development of Modernism
at
Modernism
it
with
a stylistic
language derived from the dominant social and economic force of the
day: industry.
The
ideals
of the
The new
style
new movement
New
by the
lines, a lack
of ornamentation
letterforms
stvle
With hindsight
it is
more
but
diversified.
it
The Modernist
become ever
flourished even
some
art that
influenced
it,
has
Many
by mechanical
people in the
colour,
by
Advertisement for a
Photo Archive
Letterforms can be used on
nrowunam
their
own
to build striking
drawn
letters
and Adrian
Frutiger's Univers
produce
a simple concept.
The
'O's
face, of
graceful 'f
is
both shadow
tight-lipped
like this:
each other
formal
the shapes of
comment on
the letters
way
in a
purely
as well.
The
few
rich
us of the great
artistic
and
white photograph
LETTERING
Ott
AND DESIGN
Stein, Berlin
ARCHIV-VISUM
Hamburg
Lettering as Image
and
all
the
rest.
market: lettering artists cannot generally afford that luxury, and must
be able to work in
broad range of
was
means of communication.
we
is
also information.
We
ist
auch
select the
must
also
as illustrations or
When
produce
thumbnail sketch
or several sketches
it is
-
common
to
suggesting the
established.
a commust be
is
made up
need to be
must be
The
being undertaken by
to indicate
where
a specialist,
his or her
Experimental Typography
Roman and
work
will
italic
'Qs'
from
Ikarus
was
The
first
film
When
was
revealed.
LETTERING
AND DESIGN
73
Poster for a
Hong Kong
Department Store
Pure joy
from
in
calligraphy flows
this poster
by Koichl
department store
Kong
in
in
Hong
and the
new
store.
was used
for
Airbrushing
to achieve the
halation effect
around the
calligraphy to
move
effortlessly in space.
LETTERING
AND DESIGN
client Mitsukoshi
MITSLKOSHI
Lettering as Image
It is
subtracting weight
is
not so easy.
fit,
but adding or
may determine
hierarchy of a composition.
Compositional devices
Visual impact, the most basic device for gaining attention, may be
compared with volume in music. But just as a sound can only be described as loud in comparison with other sounds, so the visual impact
image
It is
is
in
which the
seen.
is
draw the
eloquently to
sophisticated audience.
And
the
grammar of
style
is
Amongst
communicate
a design.
ways
which
in
ments designed
for
lettering can
Smirnoff Vodka by
evoke concepts
a design.
Why Not
movement
The
advertise-
century Russian an. For anyone the letterforms are filled with visual
excitement; but to some, the reference will be
clear.
message of
The
it
to
convey a message by
campaigns
may employ
a series
by BurgerMiillerBauer
Third, letterforms
mav
may
worked
They may
also be
V23
Sculpture
of
and numbers
into
what
might be described as
graphic sculpture'.
In this
'10'
constructed of precision-
cut fibreboard
sculpture
is
The
a three-
dimensional puzzle
composed
of layered
numbers
way that a
comments on
melody
in
the
musical fugue
a central
LETTERING
Takenobu
AND DESIGN
Igarashi,
Tokyo
CLIENT
Richard Saul
76
Wurman
Lettering as Image
effects, though it
done without the aid of digital technology.
Humour and irony, and other responses such as surprise and
nostalgia, are a further means of establishing contact with the viewer.
lettering
is
this
is
engage attention
titth tool to
is
many designs
This technique,
now widely
product identity.
series
Hedges
scattered at
objects.
The design
nevertheless,
letters
letters
random over
thus reinforcing
composed of
a still life
legal restrictions
is
on the content of
Mill Ml
U.iinimi
SMOklM.I
AM
cigarette advertisements.
is,
One
rule of
thumb
in the design
technique
is
considered:
is
which
available to
will be
integrated with the other elements of the design; and finally, the
budget and production schedule. For one job the budget may weigh
heavily in the design process; for another the demands of legibility may
restrict the
forms of the
originally selected
paid
AM
Hc.illh Hr|i.nlnirnls
the
introduction of laws
UK
restricting
in
tobacco
advertisements gave
new generation
rise to
of
advertising techniques.
must take
fifty
.._ .c-_
MINIMI l\K
AKI IHSt
III
Cigarette Advertisement
The
Technical considerations
Any
MSI
irrelevant
it is
posed by
own memory,
for.
to
change
if
it
cannot be produced or
All six factors are balanced against the others in the process.
The product
been
identity has
product name
in
images
smoking. Here
letters join
among the
its
costituent
other letters
'stubble' floating
clean-shaven.
being
The sharp
if
advertisement subtly
assigns a certain intelligence
to the product itself.
LETTERING
AND DESIGN
London
client Gallaher
77
hill
Mnlii
,il
IMIk
OS
influyo a
John Viner
La calligraphic japonaise
lduos
durante
el
desarrollo de
a tres certainement
8|qiX8||A|L(6!M
influence
Sllfl
JO
John Viner
}U8LUdO|9A8p
sin
6uunp
Magazine Advertisement
colour copier was
jauiA
A Canon
durant
la
creation de ce
extremadamente
flextbles.
image
for a
ugop paouanyui
in this
new
advertisement
Letraset typeface.
black (produced
in
colour
copies by overlapping
all
was repeated
E' la scrittura
artwork
giapponese che
polyvalent.
'
ha
paste-up
influenzato
LETTERING
Japanische
beeinfluGte
Kalligrafie
John
AND DESIGN
designer
di
Entwicklung dieser
questo originale e
sehr ungewohnlichen
flessibile
und vanablen
calligrafico.
78
Schrifttype.
Lettering as Image
Logos
The
by the logo
in the field of
logo
is
hand- lettering
composition in miniature
design
is
and lettering
artists.
Logo
Modern
They
The
ability
of present-day
Because
its
a clear
to be
brief,
the message.
In
possibilities in an
depend
for recognition
on their
Reichert began
experimenting with
most cases
They may be
elements of a design is
based on developments in
twentieth-century art. The
German artist Josua
may
characteristic
opt for
illus-
In general, type
letters in
Cyrillic
an
The
book from which this image
is taken, produced in 1967,
contains one composition
for each letter of the
architectonic
still life.
it
is
a fairy-tale of
Cyrillic letters.
letterforms in particular.
sense of authority.
compositions of
a
LETTERING
AND DESIGN
Josua Reichert
Logo
This logo
was designed by
in 1985 to
David Quay
and plate-making
specialists.
ations of electronic
and
creative techniques,
Pentagram have
produced some of the most
effective and elegant logos
for profit
including calligraphy,
computer generated
characters, a bit-mapped
'D', a
laser-scanned
hand-drawn
'H'
and
A', a
LETTERING
AND DESIGN
of the
image and
corporate
style.
Presented
manipulated letterforms.
Each plays with concepts of
space
Their
in
full
a unique way.
force
is
realized
LETTERING
AND DESIGN
date 1977
2 lettering
and design
Colin Forbes.
London
DATE 1962
3 LETTERING
AND DESIGN
date 1987
mm*!
::::::
Lettering as Image
Logos
Exhibition Poster
The building-block
'S'
used
image
on
as the central
this
1989 exhibition
serves
in
various guises as
Japanese designer
based on a
is
Latin rather
Newspaper Banner
Logo
national origins. In
for a Hotel
this
is
mon
used
Massoudi's translation of
Monde banner
computer-drawn logo
closer to the
of Arabic calligraphy
the Le
its
its
character.
into
LETTERING
AND DESIGN
Shin Matsunaga
client Danchishiko
The
DESIGN WO KSOF
circular design
modern
The
Mutres
circular format
a traditional one.
and modern
efficiency.
LETTERING
AND DESIGN
Hassan Massoudi,
client Le
Paris
Monde
2 LETTERING
AND DESIGN
Hassan Massoudi,
Paris
is
The
Co
Ltd
Logo Design
The avant-garde
Parkett rejected
art journal
all
conventional styles of
corporate logo as trendy,
institutional-locking
and
reminiscent of advertising
Enzo Cucchi
grandmother should do an
embroidered rendition
instead, in 1984 Bice
Cunger designed the letters
and her mother. Mama Livia
Cunger, embroidered them
in linen. The embroidery is
a suitable
it
is
metaphor
for art:
process of
its
making and
is
timeless.
EMBROIDERY
Mama
Livia
Curiger
client: Parkett-Verlag.
Logo
for an
International Festival
Julian
Waters' mastery of
The
of corporate style.
flourishes
this
and curves of
International Children's
Festival are vibrant
inhesitating, yet
still
and
impart
a sense of authority.
lettering
Julian
Waters.
Washington DC
ART DIRECTION Celia
Stratton.
Washington
DC
s:
Washington
DC
AC
Lettering as Image
Logos
Book Title
The sense of immediacy
often achieved by
calligraphy can also be
obtained
in
This book
other ways.
title
by Shin
Matsunaga. undertaken
in
Promotion
Self
AND DESIGN
was
drawn by Leonard Currie in
1990 using a scratch pen
dipped in India ink. The
owe their
and
thins
inspiration to
Victorian models.
LETTERING
AND DESIGN
Logo
The original for this 1990
logo was written on rice
paper and unretouched.
As anyone who has worked
with ink on rice paper
realize,
there
doubt or
is
will
no room
hesitation:
if
for
the
confidence of the
letterforms. achieved
LETTERING
AND DESIGN
S^
o<l
mrcn onuvv
ll7fij?T/i /N
3ffi**.9-
UCLA*a**ft5SI'
oXP>-e'Ju;rml20C?r AIGA'COLOR
EBU KSSMs4E12B
14B - 10:00-17:00
-13B
SBX#S(S?if-7F-aifS#
srtss
TEL03-283-7790
LIVING
SHOW '91
Fair
CommtssK>n
HARUMI TOKYO
Exhibition Poster
In
Koichi Sato's
ffl-
1982
poster, the
numbers one
ten appear
in
to
both their
number
of three-dimensional
objects.
Thus
a typographic
'8'
overlaid by a
Japanese
is
calligraphic Arabic
'8',
to
numbers
The opalescent
are surrounded by
The
LETTERING
AND DESIGN
Koichi Sato,
Tokyo
client Takeo
91*>K'JK>?i/3-4
Poster
A monogram
'G'
and
of the letters
serves to
'L'
poster
illustrate this
designed by Shin
Matsunaga
Good
for the
Living
1990
Show, held
in
flat
planes
superimposed and
manipulated to suggest
architecture: the two-
LETTERING
dimension.
AND DESIGN
Client
84
Good
Living
Show
Co
Ltd
tt
"*
Lettering as Image
Posters
Calendar
Italo
Egyptian
A' for
August
in
drawn
letter
ntal
appears to be a
form standing
on a rose-coloured ground,
its
edges textured
to
and
Ivo
Waldburger
in
DESIGN
Italo Lupi,
Milan
Agosto
91
The
large letterforms
and
made by
at
Though
used here as
abstract shapes
in
dynamic
message
is
The
clear: alternative
have to be
do not
unintelligible
Germany
design BurgerMullerBauer,
Pfmtztal.
Germany
client Ruhrfestspiele
Recklinghausen
Bt.'H'tfM'fBk
86
Lettering as Image
Nanbu created
Posters
Greetings Card
For this greetings card,
produced
in
1989,
Italo
Lupi turned to an
alphabet composed of
photocopier Typographic
figural silhouettes.
Tokyo
in
letterforms
were
transferred on to acetate to
allow
them
to
be reversed,
eighteenth-century
represent folk
in
These
various
making.
Italo
Lupi has
obscured by overlapping.
of course,
to
DESIGN
Italo Lupi.
Milan
LETTERING
AND DESIGN
.m
spun typefaces
in
an
1987
without losing
LETTERING
legibility.
AND DESIGN
Hans-Joachim Burgert,
Berlin
J7*%
twentieth-century. His
work concentrates on
discovering the essential
produced
in
1964, the
triangles
and
Contrasts of
when stamping
wooden blocks on the
pressure
the
paper.
AND DESIGN
Hans Schmidt, Baden Hard,
LETTERING
Germany
Lettering as Image
Directory
The
abstract qualities of
produce decorative
elements in books and
magazines Medieval
illuminated manuscripts
sometimes covering
initials,
ornament;
is
entirely
reminiscent of
Romanesque
illuminations.
LETTERINC
AND DESIGN
89
Album Cover
Chns Bigg of V23
known
is
widely
The
Magazine Advertisement
An alphabet of sound was
created by Paul Elliman
1991 for
in
The
components of
several words were
vocal
a photo-booth. Thus,
design Paul
London
relies entirely
Elliman,
LETTERING ARTIST
Angela Taylor
client The Cornflake Shop
on
conventional calligraphy
seen elsewhere
book,
ground and
tiny yellow
a series of
sound-systems
1987
is
flanked by
in this
1990 piece
expresses the decadent
aesthetic promoted by
this
symbols
connected by arcing
irrational
CD Cover
The strange and
lines
pairs of
tinted
images
antique
photographs and
squares of organic
dance
inspiration
ship
a mystery that,
'Lush'
it
is
implied,
are linked by
and a photographically
distorted fingertip
London
DESIGN AND ART DIRECTION
Vaughan Oliver at V23.
London
client
4AD
Records
London
DESIGN
Vaughan
Oliver
and Chris
PHOTOGRAPHY
Jim Friedman
client
4AD
Records
Single
Album Cover
Cover
Calligraphic marks
suggest
may
decadent concepts,
The expressive
potential of
irrational or
or.
explored
much
earlier
Western
than
that of
As
Rowland
as they
legibility
that retains
while suggesting
something of
its
vibrant
contents
Latin alphabet
is
concerned.
Ruth Rowland
ional in
calligraphy.
a result, distortions of
is
form and
conventstyle
and
London
design David Crow
London
design David Crow.
London
client Island Records
Album Cover
A globe
is
of glowing plastic
surrounded by Saturn-
like rings
bearing the
letters of the
in this
word 'Pixies'
Vaughan
The design
piece by
Oliver of V23i
Deco
connotations of polished
Television
Morgan
Sequence
multimedia images
in this
Morgan
Sendall has
integrated photographic
elements,
within the
all
The
palette has
sequence
Though the
clearly reveals
high-tech methods of
production, each letter
considered on
its
own
LETTERING
Morgan
AND DESIGN
Sendall,
client David
Thames
London
Television Advertisements
Subtle typographic
way
produce
Using
Freehand on the Mac,
the best
to
a strong identity.
Garamond
an arrow
'E'
in this
to
form
series of
television advertisements
produced
Britain's
in
1991 for
Nuclear
Electric.
Fair for
design David
May and
Television
Jonathan Barnbrook,
London
art direction David May
of J Walter Thompson,
London
animation David Lodge
client Nuclear Electric
92
Lettering as Image
i*!?
TV &
film
1
1
'T'
w^t '1
taHB L
-J
93
-*fcfc
Lettering as Image TV
&
film
Calligraphy runs
like
Greenaway's 1991
Peter
film
Greenaway conceived
his
version of Shakespeare's
play
The Tempest as an
exploration of the
relationships of
man
to
lives.
Calligraphy appears
many forms
with a
quill,
in
written swiftly
manipulated on
Paintbox to resemble
and printed
The
known
was
little is
of Shakespeare's
at
feeling or to
fit
made
dominant
in particular
spaces
LETTERING
Brody Neuenschwander,
Monmouth, England
director Peter Greenaway
95
Experimental Lettering
The number 87
in this
image, observed by
was shot on
slide
using a hand-held
camera,
A second
slide shot
35
mm
from randomly
the
architectural image.
The
latter
showing washed-
floating characters.
The type
historian Beatrice
goblet
fit
...
Ward
human
Most typogra-
mind'.
Ward
claims
it
is
rarely
emotion; but
it is
all, is
generally
a variety
is
is
made
freer
development
contrast in the
ways
legibility largely
on context.
therefore possible.
The
makes them
work
maximum
achieve
potential,
How
and
how
is
sufficient
The formal
character-
letters), serifs
bracketed
serifs
with similarly
and no slope,
it
classical proportions,
texture.
99
Exhibition Poster
The
pairing of hand-
lettering
Stein here
selected Univers to
letters of the
words 'Design/Dasein'
(Design/Presence). The
sans serif and monoline
drawn
of the
lettering,
squarish ellipses of
Frutiger's typeface. This
packed to produce
emphasis. The
vertical
vertical
tilted
square of hand-
LETTERING
Ott+
AND DESIGN
Stein, Berlin
client
Museum
fur
Kunst
An
how
families highlights
produced
should
harmony and
points of
in hand-lettering
when used
contrast can be
in conjuction
with type.
It
facilitate a
with
a steel
article
make
pen, or
on Mozart
to fit
it
a long-established
news weekly.
Guidelines for commissioning tailor-made lettering are given in
the directory at the end of this book. Although the creation of a
it is
may
with
a typeface
easier to
briefing between a
At the very
filled,
final type
movement and
must respond.
Old-style faces such as
classical proportions,
bracketed
serifs
and
are characterized
by
With
and
classical
is
occasional
proportions and
is
The
feeling of elegance
Such
pen.
faces
As products of
transition
from broad-pen
italics to
101
Exhibition Poster
announces an exhibition
on the novelist Natsume
Soseki held in a Tokyo
department store.
Kazumasa Nagai has placed
the four characters of the
novelist's
name at the
filled
in
with
typographic manipulation
would be meaningful
to a
LETTERING
AND DESIGN
102
rational distribution of
work of John
little in
eccentric letterforms,
common
strong dissonance
is
Transitional and
required.
modern
faces
such
Modern
as Baskerville,
to thin
calligraphic.
and
a vertical distribution
Though
of weight that
is
un-
with
a grid-like quality.
There
is
a stronger
make
for
sense of
at its height.
to
way
to the
would need
to
show abrupt
transitions
calligraphic letterforms
from thick to
of weight that does not conform to the logic of the broad pen; hence
work of Chris
occasionally necessary
produce hand-drawn
is
forms of a typographic
nature in order to
Industrial Revolution.
modern
It
Bigg,
modern and
undertaken by Susan
in 1989
Skarsgard
The Romans
have precisely the right
calligraphy.
movement,
a difficult
modern
faces
with slab
as
serifs
makes us
a
formal
critical
Roman
LETTERING
judges of
capitals
AND DESIGN
binding
Julia Miller
103
Poster
The
difficulty of integrating
is
overcome in this
poster of 1990: Werner
neatly
own
own
his
typeface (SchneiderAntiqua).
The two
Schneider's typographic
capitals
have a pronounced
calligraphic basis,
and weighting on
The
calligraphy
is
based on
AND DESIGN
Werner Schneider.
Wiesbaden
art direction Paul Shaw,
New
York
104
New York
chunky, solid
feel.
The
solid,
partners for letters with a strongly geometric style. Letters cut from
Egyptian type, but powerful brush marks also stand up well to their
is all
in
Although there
between sans
serif
and
Promotional Pack
for a
As shown
a slight vertical
grotesque
to the strong
dominance of black
Werner
the
can be useful
in
guiding the
pairing of hand-lettering
Optima
in
the horizontal. Black and white contrasts van' from the classical
balance of
Vineyard
typeface with
calligraphy
in
italic
1991. Old-
Grotesques developed
at
and so
parallel the
them
origins,
The
now
marked
imager}' and type, and for this reason have been tremendously
the technologies
true
combination of an old-style
in the majority of
faces.
is
Anna Ronchi's
calligraphy
may be
formal or informal,
controlled or expressive.
CHARDONNAY
PrEMONTE
<L-
si
i
coming
packed
y^,
t,*~
ff
i f^-i
..y
'
a.
**
#k*
U3?
%*
Bit
&
%0 -im
Magazine Advertisement
This advertisement by Chris
6m
down
head
ami
was produced
1988 devoted
the work of
4AD
LETTERING
AND DESIGN
Chris Bigg,
written by hand-
This piece
edition
C*f
to run
All
drawn or
for
OlflA
the film.
to
London
in
pen calligraphy
is
less appropriate,
would
in
a feeling of discord
when juxtaposed
The preceding
analysis of the
Manipulated type
increasingly important in
new ways
107
Calendar
irradiating
inconsistent illusion of
on the
rich contrasts
developing tradition of
Japanese calligraphy.
LETTERING
AND DESIGN
how
the study of
calligraphy can yield important insights into the design of type. Also,
An
is
an
them
it is
and visually
book. These principles were
in the extravagant
They were
fixed
the broad pen in the design of legible forms. Old-style faces with
their calligraphic basis continue to determine the standard of legibility.
The
harmony and contrast derived from the fine arts. In many cases they
push legibility to the limit, spilling over into the area of codes and
cryptic systems and compelling us to extend our concept of the
alphabet.
As
it is
the
artist's
exploration of
new
forms and meanings that provides the inspiration for the designers
109
Magazine Cover
It
is
GENERATIONS
AN EXHIBITION
NAUGURATING
THE SMITHSONIAN'S
lettering
often
is
added
John Stevens
style.
INTERNATIONAL
GALLERY
issue of
1991
Newsweek in
order
up the musical
splendours of eighteenth-
to conjure
sits
1100 JEFFERSON
WASHINGTON,
entirely comfortable
Exhibition Poster
In
D.C.
lettering
THROUGH
MARCH 31,
28.
1987
made
OPEN DA V
II
10:00 A.M.-5:30
man
interesting way.
curved
these characteristics.
serif
a variety of
points of contrast
lettering
Julian
Waters.
Washington DC
ART DIRECTION Judy
Kirpich,
Washington
DC
client Smithsonian
Institution
Inglis,
New
York
Hans Neleman
client
tilt
Movement and
East
DESIGN
PHOTOGRAPHY
Mark
110
match
letterforms
1988
its
SEPTEMBER
Newsweek
to organize a
complex
photography, graphic
symbol and several weights
is
seen here to
symbol, as compositional
device and as legible
information.
design
Ric Riordon
and
Ontario
ART DIRECTION
RlC Riordon
Architectural Lettering
easier
if
and type
made
is
radical contrast
the goal:
is
it
is
always
possible to produce
^ s*"j*=
smooth typographic
letters. Paintings
behind the
among
seems
to
composition.
LETTERING
AND DESIGN
Museum
111
Book Cover
Combining Eastern
calligraphy and Western
type presents special
In
order to
and
characteristics of a typeface
must be
identified,
enabling
word 'Opulence',
sudden
transitions
from
and
weighting. Set as
the foreground
in
move
into the
foreground
movement,
scale
and
lettering Kakuun
Matsunaga, Tokyo
DESIGN
112
<>>(. ENCE
Cover
1990 piece by Julian
Waters uses computer
Leaflet
This
technology to produce a
relationship
between
calligraphic
and typo-
was not
revolution.
Adobe
Illustrator.
tool.
at
the
The blend
leaflet cover.
option
to
typographic version,
printed
in black,
these were
AIGA
gradually
On
the right
is
order to create
in
In
was
emerge from
only
likely to
an understanding of the
new
potential of digital
design
LETTERING
AND DESIGN
Julian Waters,
Washington
DC
client AICA, Washington
DC Chapter
^1*1
?-..-* .-
Calendar
Type
London and
Interactive Digital
is
Fontworks
in
on occasion a form of
game-playing. Igarashi's
new approach
through interactive
required
in
legibility
calendars as a
of the
numbers
at will.
software.
to type
Shown here
is
Projected as three-
for the
filled
with a collage of
F-
issue of Fuse,
release of experimental
international postage
postscript typefaces F-
legibility
pass by.
by creating an
shape and
interplay of letter
is
AND DESIGN
Fuse
is
seen by
its
creators as a nebulous
AC
design dissolve.
realm
London
client Fuse
114
s$
Manipulated type
Press Pack
sense of high-tech
this
Sebastian
consortium
In
\SJ7l
the centre of
is
photographic image
overlaid with a computer-
l;
OCR-B
is
used on the
flaps
.tkivkiklk
"link
L\
present legible
texts and
is
pierced by seemingly
meaningful openings.
Hairstyling
is
presented as
part of an intelligent
and
LETTERING
Why
AND DESIGN
Not Associates,
London
client Sebastian
Exhibition Poster
Manipulated type
hereto
theme
used
1988 the
is
illustrate in
of the seventeenth
del
Mondo
il
Futuro delle
dense cluster of
LETTERING
Italo Lupi,
AND DESIGN
Milan
client Tnennale
di
Milano
115
Typographic Experiments
Complex typographic
manipulations may be
in a few simple
and by retaining a
sense of play. In 1986
Hans-Rudolf Lutz made
achieved
steps,
and
play).
The
'Zufall'
(chance and
'Spiel'
rings that
lettering Hans-Rudolf
Lutz. Zurich
GRID
Typographic Experiments
Leonard Currie's piece was
transfer letters
films,
dynamic quality
to the
composition.
LETTERING
AND DESIGN
Manipulated type
techniques to produce
this
The large
letterforms were drawn
with compass and set-
1987
print.
employed
Sans was
to set
and
and
LETTERING
AND DESIGN
Phil Baines,
London
117
<TI?e
variety of
The study
to the
scripts
of historical
and of calligraphy
On
<TI?e
this
world's leading
makes
Hermann
typographers:
it
men
noted calligraphers
are
who
type. Frutiger's
That's a
Type before
Gutenberg'
series, is based
on the informal capitals
found in ancient Roman
papyrii
The
and
inscriptions.
horizontal extension of
make
dramatic breaks
the
texture of the
and
in
line.
serifs are
r
i
Entasis
regular.
giving a spontaneous
San
its
twelfth-
a cl)
cd
cfe"
o e rfffgg *C Q h ij k
San Marco is
frankly based on fifteenthorigins, while
^.
century
Italian
Gothic
Rotunda
^ABCDEFGHIJKLMNO
Hermann
Zapf's
inn
PQRST UVWX YZ X
//
These can be
/E CE
in
the
eighteenth-century
fi
if
vast
number
of ligatures
genuine
calligraphy.
aTi<,
fytH^feasH^^Ue QO
Karlgeorg Hoefer:
iy^z/TTZotHUcutu
San Marco
Michael Harvey: Ellington
Adrian Frutiger:
Herculanum
118
Herman
Zapf: Renaissance
Francois Boltana:
Champion
Calligraphic alphabets
Typefaces occasionally
attempt to reproduce the
eccentricities
and
hand-made
irregularities of
letterforms. In an effort to
immediacy of hand-made
AnemOMvtwfufesdf
images, lettering
artists are
do not seek
that
to
convey
expected of type.
\\M(ftM Gad
it)
\t\reMnder\
own
use that
hand-made marks.
Illustrated here are two:
published by Professor
Burgert. Animata
\ms1e1t\remesct\w0fet\
edged monoline
is
a sharp-
face with
UNDSPRICHTZUIHM:WAHRL1CH/
wahrlich/ichsageeuch: IHR
WERDETDENHIMMELOFFENSEHEN
UNDDlEENGELGOTTESHINAUF
UNDHERABFAHRENAUFDESMEN-
when
rhythmic textures
close-set,
simplest technology.
photo-comp face
designed
is
originally
A4
itt.3t4>
Arackne! fc
available. Visigoth
is
both
*m tk* fkr*&f
Magnus Astrom
of
Sweden
designed by
t<r
Tom
letters
Perkins of
The
digitized
letterforms retain a
good
Perkins
is
Tom
widely known.
Hans-Joachim Burgert:
Animata
Hans-Joachim Burgert:
Forma
Arthur Baker: Visigoth
Tom
Perkins: Inscriptional
letters
unusual place
in
the type
far,
the forms
will
if
go too
their eccentricities
quickly
become
a cliche.
Modern
interest in exotic
were used
books and on
in
FGHTJKL
NOPQRSTUVWXV
occasionally handcoloured, as
shown
the example
in
here. Illustrations,
geometry were
used to produce
ornamental letters. These
all
in
:efahliklm
Middle Ages.
Modern typographers
continue to experiment
with exotic letterforms.
Grundy of
London designed Circuits
in 1982 Though never
catalogues. Peter
published,
the UK.
in
it
It
is
well-known
makes
humorous use
of the
symbols employed
describe electrical
to
circuitry.
doodles,
graffiti
or
maybe
coaches to describe
elaborate playing-field
strategies
F-Newida
(left,
designed
by Just
new approach
to digital
type design.
Commissioned
for
Fuse
new parameters
account our
intuitive
faculties.
Victorian block
book
Mark
Erik
Allen:
Alphabet
van Blockland
F-Newida
Just
120
Exotic alphabets
Man and
new
nature produce
happy
letterforms by
eyes to discover a
limitless
supply of strange
and wonderful
11
(I
;f
fi
t(
il
X ff it X
ar
11
'I
II
ft ft
ft
tf
'I
ft
ff
?f
ii
i< *f
H;3
l-Q
ilJOCLMM
jr
iQi'STu
A/
ft
rt
ft
If
ii
ff
*
ft
IT
If
ft
ft
Ii
ft
'
II
?<-
produced
in
unconventional
configurations of bird
the
in
"
'
II
il
n ft x
c f
ft S"
X ff
II
s? ft tf
": X5fu^X|
" " *r
ft
ii
jk
|l
If
<e
ji
of
which are
recognized as
easily
letters.
plug
T and the
'q'
key-ring
Once
the
game
is
begun, however,
tX
II
legibility in his
context.
ft
II
XUft#
ar ft tf it h x
explored
many
I X
|
ft
of
j? tf
c If
eft *
<*"
Mervyn Kurlansky
\\ x
ft
If ft
c
*
* V I
ii
tf tf
'I
If
ft tf
If
'
But to a Chinese or a
tf ft
ft
;ft
it
ft X
If }k
n x
ft
&
If
IM
tf
t
n If
x n
Western readers
accustomed to the simple
ii
ft x a-
k tf
Jl
ft
fl?
? c
fi"
<? jr
<"?
i|
ft
<? ji
!l
If
ii?
ii
ft
ftji
*
If
ii
examples of alphabets
differences
If
II
f k
ft
*****
If
ii
ffft tf
#3
if
f d
n*
I!
*
x
ft
ft
arrangements of bones to
ii
II
letters in
it
If*
II
il
if
tf it
ft
*M<
If
#r-
*f
11
<r
Jk
II
-**K*tjl*'ftc*tff*ff'****t.
f ft Z If V g Jl * Jk n *
tf ft j? ? >>
flr*/tt!fe*a'l 5'#Ji*f j?Jf
ft
ft
f C
!l'l
X *
ft
it
all
the eighteenth
century, silhouettes of
human form
alphabets.
to
produce
the poster by
In
The gestures
and
the
natural.
letter
hands
:!>i*i*iB*w.w ztnamtct⁢
A'
are serene
At the centre,
is
composed of
in prayer.
bone alphabet
Mervyn
Kerlansky/Pentagram:
Studio objects
121
%
*4;
%%
123
Experimental Lettering
Minolta black-and-white
copier
late
was used
to
manipu-
this recent
in
experimental
The
first
A3 copy was
put
changed altogether
LETTERING
AND DESIGN
any context. But these very qualities limit the visual impact of
visual impact
type. Legibility
of hand-made
is
letters.
is
than to the theories that govern the design of type. The regular
variations.
letters,
merely enliven typographic forms. All those who work with letters
must build up compositions of form, line and colour with the
appropriate emotional content.
Although
a great deal
arts,
made
to all
letters) is
its
may be reduced
These are the themes. Certain of
and
circles.
The
made
Colours and
Catalogue
Jean Evans used a broad
pen with
edge
a right-oblique
to write these
energetic
italic letters
for
and made
it
possible to give
counter-spaces. The
calligraphy
was reversed
tint
It
shine
brilliantly
it
to
from the
LETTERING
Jean Evans, Boston
As the work
in this
of objects, studio
Owing
(refuse, graffiti,
chance configurations
tools).
making of most
it is
rarely possible to
Nynex
and
life
all
the freedom
Architectural Lettering
Architectural lettering
makes
particular
successfully solved by
David Harris
inscription of
page. This
cover. Jean
same
title
design
is
title
painted
in his
1984
for
demands
on the designer,
The
scale
lending
lines
end of a string.
was done in
Sikken emulsions over two
weeks. These show little
chalk on the
The
painting
several years,
and
highlight
make to the
spaces.
LETTERING
David
AND DESIGN
Harris. Exeter
and Design
127
architectural setting.
windows
separated by pan
much modern
tiles.
Wide
grid-like arrangement
architecture.
The
surface
is
as
relationship
is
as light figures
reversed:
on
most of the
a dark ground.
linear letterforms
The
first letters
come forward
and 'Design' are enlarged to form a kind of logo that moves across
the three bands and ties them together. David Harris has thus given
considerable aesthetic interest to a mediocre facade that at the same
time can serve as an identity for the college.
The design of letters on the computer presents special problems
to the lettering artist. Unlike such tools as pencils, brushes and
chisels, the
It
mouse
is
can, of course, be
a different quality.
hand
moved more
is
and
all
Paper
The
Company
transition
from photo-
typesetting to computer-
generated
letters
presents
certain challenges.
The
technology reduces
all
represented by step
patterns; the smaller the
other
Advertisement for a
in as
But
it
intellectual decisions.
resolution printers to
The
sharpness of phototypesetting,
if
represents a possible
solution to the problem.
LETTERING
April
AND DESIGN
VIDEOGRAPHY
April
Company
128
The operations
Mac linked by
Here they have been used to produce a
multi-layered image with vibrant colours and intricate texture. The
letterforms are fully integrated into the image. They overlap and
recede in space like the planes of texture and colour. Their bitmap
quality is in harmony with the grid on which the whole design is
placed. As with the experimental typefaces of Neville Brody and Jon
Wozencroft discussed in the final chapter, these frankly digital
making) are
modem
all
to a video camera.
forms demonstrate
new technology.
The three examples of tailor-made lettering considered above
show successful responses to specific design problems. In each case
the letterforms were designed to take full advantage of particular
is
wide range of
presented.
The
mm
;'.
effective letterforms.
.v.-'
129
Film Cutting
Film cutting
is an important
source of precise and sharp
edged
letterforms. These
by Freda Sack of
London were cut from two
letters
Pen-made Letters
The simpler the markmaking tool, the more
versatile
versatile
tools.
it is.
Brush-made
Pens, pencils,
will
never be exhausted as
sources of
letterforms.
quill
is
producing inky
letters,
can also
refined
ideal for
historical
make
it
sharp,
ruling
felt tips,
ballpoint
VI
URI CALEND
IVildflcnver
photocomp typefaces
alcru
technique
would
IWAxaiiiirriwn
WHO AX
MAI
i.
All \
resulted
in
Brushes
come
sharper edges.
Drawn
Letters
cutting. Stencils
tactile
and
is
product
of experimentation with
spontaneity.
will differ
distribution of weight,
letters
between drawn
and those written
particular to create
of the
complex shapes of
is needed to
draw them with a pointed
these letters
tool.
in
and
very
foil
Johns, to incorporate
much rougher
The
is
flexible
can be
used to trace down, paint or
spray letters on virtually any
letters,
Experimentation
130
stencil
are generally
deliberate
quality
is
than film-cut
more
The
and
photocopying, layering,
related area
tools.
An
photolithography.
Chinese
letters.
to a point, to
forms of enlarged
typographic
crumpling, and so on
pasting torn
collage technique
fine sable
is
useful for
hundreds
made by
fragments of newspapers
in
Collage
into the
experimental approach to
the use of rubylith films
generally
dipped
(.
is still
In
as artwork for
I
some
wood
artwork for
on textured water
final
easily
ideal for
producing
technique
made
WitJ'tUrJudaiJiir
mark-making
The goose
Letters
letterforms
and whole
texts
Hand techniques
Hand techniques
Found
Letters
Letter Painted
letters
discovered
sign-writers created
exhuberant letterforms on
glass using paint, acid
in
on Class
leaf.
The
developed by these
have
Hand-manipulated Type
More
continued
drastic transform-
ations of typographic
letters are also possible.
To produce
this
Pentagram
design
Rob
O'Connor of Stylorouge
in London enlarged a
Christine Buttner of
designed
in
on the photocopier,
up with
a
his
hands, spread
it
it
unique hand-lettering.
Stylorouge rejoice
in
Wire Letters
Happy Massee of
New York
such
title
for a
magazine
article
One
Cut
in
Brick
of Britain's leading
silk
trial
for a large
through superimposed
to
produce a moiree
tints
effect
in
television identity
sequence. Embroidery,
letterforms.
The
chisel-cut letters.
machine embroidered
on sweatshirts
and t-shirts. These same
forms and techniques are
possible.
adhesive
plastic
sheets with
and holographic
from which letters
can be cut. Such materials
are often used to produce
These
in
screen-printing, painting
own
fabric has
and
responds to the paints and
dyes in a different way. The
its
modern
characteristics
textile industry
As with
stone and
print.
in
air
fibres
embedded
work
paper. Finally, of
is
architects
history:
is
of
course, there
this
where
in
techniques such as
letters
art,
varnishes,
These can be
used straight from the
source or transformed by
hand or on the computer to
produce new shapes.
letterforms.
IC
has
produced an astonishing
array of
can be included as
photographic images
manuscripts, works of
designs for
art.
wood
metallic
equivalent of folk
in
made
letterforms
finishes,
retail
fashion
in
particular relevance to
bought
crushed
pebbles,
wood,
limestone, granite,
comes
mother-of-pearl to the
Ploughing patterns
wire
and
river
as opalescent paints
have found
configurations of branches.
centuries to produce
electrical
in
by
materials such
the veining of
lettering artists
alphabets
new
letters
photocopied
applying
in
alphabet
around
in
architectural inscription.
London
in
use to the
discovered an entire
design studio. Other
lettercutters, Richard
was executed
London
this television
prop, which
composition of dry-transfer
letters
Letter
Cloth Letters
in
IIJ
131
Mechanical techniques
Typewritten Letters
Lettering can be created
and manipulated on many
of the machines present in
Letters
produced by
Manipulated by Photocopier
immediacy of journalism,
example. By typing and
overtyping, complex images
typographic
experimental piece By
for
stretch
Dobkin of Bloomfield
Michigan
for
Hills,
Amnesty
International uses
typewritten letters to
and
distort
letters in this
Letters
Letters
Manipulated by Fax
These letterforms were
Manipulated by Fax
Paul Elliman has
used the
Letters
Manipulated by Photocopier
A Canon
convey a sense of
reportage. Extreme
photocopier to produce
enlargements of type-
monumental image of
photocopying By copying
while
print yellow,
sense of urgency.
machine, the
magenta. Black
Typographic
errors,
it
copy
were
fax
machine and
several
this
A4 sheets, which
corrections suggest a
human presence
circle of friends,
image.
made.
dropped
letters
and manual
largely
producing a three-
is
who were
built
also
copy
is
being
cyan and
is
*mmE3F-
'm
|2
created
^MM'ig.*'
'*'
Tttrll
recommended by the
colours.
manufacturers.
B ^r
Where the
^P^*^^
primary
H*
^fl
colours overlapped
^^nBH
a^l^B&
"^*r
Mk^B^RCk. li\*-
new
^^s./Vbr.gtirrj,
and so on
for several
generations.
Finally,
the
used to
was
isolate large
Omnichrom Letters
Omnichrom films are
generally used to produce
experimental piece by
made
If
photocopy
is
with no artwork on
A used
omnichrom sheet
(ie
with
on a coloured
rephotocopied and
re-
this
Mechanical techniques
Airbrushed Letters
Letters
Sand-blasted
in
Class
Boudens of Bruges
combined inscriptional
Pieter
letters in
Cement
Cast
cast
design.
produce
commercial
In this
piece. Koichi
calligraphy. This
on
letters
to
glass in this
all
be
modern
Letters
cement
in
decades
lettering for
sand-blasted
These
for
glass.
These techniques,
is
application of a
by Richard Kindersley of
which require
Film-cut Letters
artists
for architectural
applications.
equipped
are not
produce
Perspex Letter
is
fairly
This
was
assembled
effect
on
cut and
in
perspex by
attempted, on a smaller
artist
of course, by
anyone with
basic do-it-yourself
skills.
Takenobu
Igarashi
is
known
pieces,
high-tech engineering.
Plastic
and perspex
supports for
them
fasciasand
When the
cast
and
GEOPEND
which bring
normally done by
standard of design
in
these
steel,
used
Igarashi has
bronze, aluminium
letters
as negative shapes
the
letterforms displaying
inexpensive materials
perfect craftsmanship.
has
set,
cement
the form
surface.
spheres
is
in
is
monumental scale by
dividing them into sections
SCHAPS-
Metal Letter
and
be
and aggressive
letterforms.
however. Sheet
corrugated
iron,
steel,
scrap
welded
to
produce
architectural lettering
and
photographic images
designs for
print.
in
letters to
be produced on a
CEMEEN
Takenobu
technique allows
DEHEI
HUGO
on shop
public
using a computer-
guided
DOOR
WECKX.
are. of
common
letters
in
solid plane.
WERD DEZE
impeccable technical
precision of his sculptural
is
on a
DACKLINIEK
This
lettering
'nostalgic' styles.
film
for the
reverse casting,
especially
by placing
lettering
Igarashi.
Here Boudens
to
letters in cast
for art
specialist
MINISTER
VAN
VOLK5
GEZOf
HEID
film section
by section
as
Airbrush
graffiti.
Metallic,
and translucent
such
marbled
effects are
airbrush.
upon
Letters Projected
on a Model
Leonard Curne began
this
number 9 seen
maze
in this
Light
or an architectural
A 35mm
model
number from
white card and moved in
This elaborate
constructed by Alan
model using
it
front of a black
background
projector.
Constructed Letters
a slide
Owing to
the
way
being
the
recognized
becomes
In
others
it
a blur of lines
resembling neon.
shadows and
by
Friedman
Kemp
for the
BBC
distortions of
the letterforms
Liz
model was
Beginning
were
at
'ground' level,
created
groups of architectural
ruins,
the camera
upwards
until
moved
the ruins
could be seen to
spell out
technology.
Constructed Letter
This letter
'I'
forms a part of
model
word Smirnoff
a three-dimensional
of the
Why Not
constructed by
Associates of London.
slide projector
was used
to
cast a computer-generated
image
in
white
light
little
across
toy
was added
impulse and
no
is
said to bear
134
^ $W
Neon
April
Light
Lettering
Greiman designed
this
China Club,
restaurant
executed
in
neon can
moving parts and
Architectural
include
sequences of flashing
letters.
It
is
now being
in
Back-lit Characters
Matsunaga of Tokyo
is
not restricted to
architectural applications.
is
often included
in
It
designs
computer-generated.
In fact
first
Mechanised
JaneWyattoftheBBCm
London designed these
festive three-dimensional
male torso
plastic.
lit.
coloured
light to blur.
Letters
letters
Cast-light Letters
letters cut
poster
in this
theatre
serve as a Christmas
sequence. A small
motor moved the cross bar
of the
and the sweets on
up and
down; the O' started to
spin; and the arms of the
"W moved in and out,
identity
'
movement and
colour.
image
The
clearly refers to
police line-ups
and conveys
Placed around a
make
nostalgic reference to
1920s
was
designed by Toshiyasu
Nanbu
of Tokyo.
The
patina
of the steel
domain of the
is
the result of
Metals such as
steel,
aluminium can be
such as
light refracting
chemically patinated to
plastics
and
optical fibres
new
Unprotected metals
will
to the elements.
artist.
Die-cut Letters
Foil-blocked Letters
Foil
The
letterforms
in this
designed by
by
Julian
Waters was
specially
now come
in
an
When
Italo
made
card
Lupi of
metal dies.
Hand-printed Letters
Screen printing
is
on
word
When folded,
poster by Lorenzo
Homar
wooden
simple
large
blocks to
unfolded, the
openings
Screen-printed Letters
frequently used to achieve
of
'AUCURI'.
including marbled,
the overlapping
colours
multi-coloured metallic
foils.
foil
As with embossing,
blocking
is
available only
piece
is
a fine
area that
usually
from a
print-
finisher.
windows
example of an
printed
in
four colours.
sharpness on even
fairly
in
blocks
in
in
some
areas and
others. Virtually
any
medium does
as a printing block,
is
increasingly
is
But
does
and
flat
loss of detail
give far
structures.
include opalescent,
more
it
solid
rollers
potatoes. Old
wooden
,'l
dayglow and
glitter inks.
Printing techniques
for photo-lithography.
><
Letterpress Letters
These
letters
were printed
K Nengelken
of
Cologne
fW3T-'
in
others, thus
In
times letterpress
printing
was used
to
still
Today
is
it
cannot match
often used on
significance of the
technique
136
is
inverted
Computer techniques
Computer-blended
Letters
Julian
Waters fused
calligraphic
and drawn
design by
letters in this
Computer-generated
Letters
all
grid-like
the elements
of this poster.
The
background texture,
produced by importing a
close-up video image of a
textile,
is
echoed
in
the
designed
letterforms.
Many
Mac
of the
with
Adobe Fontographer
31
99
Digital
Letters
Tom
Cambridgeshire and
calendar designed by
another on the
corresponding drawn
letter.
Takenobu
Igarashi of Tokyo.
four-colour printing
integrate a typographic
disc.
letter '0'
floating
are computer-generated.
from the
using a high
h&>
digitally
plate-making,
it
is
Language Workshop
celebrate the
produced
Media
1
*" ""
Lab.
MIT
simulation software
Machine.
Many software
now coming
packages are
now
highly
complex
digital
technology to simulate
full
from the
postcard to
fifth
for
straight
this
Before
in
anniversary of the
print.
enhanced to
committing resources
Number
Jacqueline Casey and David
Cambridge, Massachusetts,
f&il
prepared for
Computer-generated
were
light,
in
was
font
on water. The
scanned
oil
digitalized alphabet
with a photograph
made by
an
graduated
of the patterns
into
directly
pencil
made
in
three-dimensional
was
on paper.
Perkins
remaining
standard
Film for
digital
original
All
The
numbers
Letter
Katsui of
production of this
typeface.
Computer-integrated
textures,
Type Design
Perkins of
disc.
come full
where
>;}#;
it
circle to end
began thousands
of years ago.
137
138
New
Directions
H A
cr
CD
139
Experimental Lettering
Leonard Currie used dry
transfer lettering
and a
times,
enlarged, reduced,
or
changed
Finally,
moved
altogether.
in
one
slide frame.
When
in this
of glass
in this
double
slide
of
focus.
LETTERING
AND DESIGN
v^i
New
The computer
is
having
of
letters,
it is
Directions
it is
observers
it is
its
present
self.
The
Books, has
said,
'The Paintbox, as
its
name
artist's
pen, palette and brush, with the same essential ability to permit a
personal signature.
believe
its possibilities
else)
may be
to)
the
is
under-
who
new technology
have
that they
It
would seem
that a
chasm
is
last
remaining manual
styles
skills
Surely
tools
an integrator.
It
art.
is
above
skills.
op- Hot$
rop<cy\~ja thl mArvr5 CHtew*J<3
THt roi
IOYIP4 Of f.
VY-pu<t HIAVIN5 VrtAW.^
?f nt'P
or
ntn Avp;rttj
ivWttttp M-te-l
BLUt - Pt VT7NC AVp HO
-OTVs!lCiHIf5nil- H/CHIP-.
H'mi ptLltp f/TU AWPT7ir
moth s?rr vulkw^jv. -- SKfc.
WHAT rVVcnm. VltA-SURt l>THT >VMM
jDf PtSlRJ^,
^,, v ,
JHt .Hyt-ASLAfXt AJTVTrR. JEA-TSFtyMT t/OT.
S"0.
im
'
Experimental Calligraphy
Illustrated
here
is
part of
produce
In
order to
this piece, a
new
lino inks
rubber
applied with
rollers. Traditional
Chinese scroll-mounting
burnished to prepare
for writing.
The
it
calligraphy
AND DESIGN
Brody Neuenschwander,
Monmouth, England
142
7I1LUPNV
-mr vrrrAtiSt a
en ir ^ .tVSr^Ti iv
4>-pru
ta^ic^-'
.Ik."
vi
is -t
UtvIiiiLr Mi A.
Mivp>
or r^'PrLwcvrp yt\^-
New
Directions
And
The
first
generation of computer
its
style
succeed the
initial
new
it.
elaborate style.
What
for long.
As
it is
that
way
in
is
human
developments of
it is
developing
perception and
new forms
of expression.
is
being
who
was not
until the
in Zurich
143
Bin
~=r*-
*=*
-~^
Poetic Inscription
Woodblock
Many of this
fascinating
the
century's most
developments
field of lettering
taken place
in
in
have
the German-
modern
lettering artists to
achieve widespread
finality
This
of lettering and
field
of the Jewish
faith.
979 wood-block
plastic inscription,
undertaken
in
1970,
and
meaning characteristic of
Hans Schmidt's work. The
taken from Nietzsche,
text,
joy'.
referential.
It is
impossible
to conceive of the
complete
and eternal
has used a
Schmidt
and
literal
AND DESIGN
Hans Schmidt. Baden Hard.
Germany
representation of these
shadow
dimension without
power.
AND DESIGN
Hans Schmidt, Baden Hard,
LETTERING
Germany
144
LETTERING
New
Directions
down
barriers
between different
accessible to
alphabet
is
all
through education
in order to
machine
visual potency.
Language, then,
artists
is
an area of intense
Cy Twombly, Anselm
artistic speculation.
Kiefer, Jasper
The
developments such
reality will also
up
new
as interactive television,
way
in
As
work
the
in this
communicates on many
levels: literal,
to play in building a
artists are
its
viewer in an
new approach
a vital role
in increasing
numbers.
New
development of letterforms
is evident in the word of the
Berliner Hans-Joachim
typefaces Contrasts of
shape,
size,
density and
the
full.
Burgert has
developed
his ideas
by
LETTERING
AND DESIGN
Hans-Joachim Burgert,
Berlin
145
Experimental Calligraphy
they do in Arabic
and Asian cultures. The
arts that
work
of Arthur Baker
in his
concentration
in
recognized as
The
the
flat
images.
large composition to
left
appears to be a
sculpture of patinated
bronze.
with an
It is
even provided
illusionistic
base.
146
New
Directions
technologies and
way
letters are
shows the
grow out of a
is to be hoped that
artists. It also
letters. It
Sculpture
artistic
Takenobu
Igarashi gives
actual sculptural
letter
'R\ There
irony
in this
The
form to the
is
a certain
1983 piece.
incredible precision
engineered
lifts
the
piece
and
in
is
a sense flattened.
LETTERING
Takenobu
AND DESIGN
Igarashi,
client Ricoh
Tokyo
EXECcniT
Ik
Greetings Poster
Fax Magazine
in
PMENH
is
herself
artist,
is
same
making a
Lupi
is.
for
creators as
-
sixties
modern technology.
observed
"B
its
a publication that
fragments of
bHS. who
?u HAD
>od
item ^s EN
1990
Nature
seen here to be an
time
described by
Italo
in
Lupi an alphabet
|E
.Mr*-
1991 piece by
fCr|NHEC
nctnr-A
In this
Lll HiEC
M/>rjG|MN"ECINHEC
the
iNFBS GtGUW
in
political graffiti
Portugal with
an enlarged ping-pong
ONP
word
Italo
for
is
pebbles
there,
is
'pedrini'.
of the magazine.
The
revolutionary slogans
LETTERING
Italo Lupi,
CLIENT
De
AND DESIGN
observed by the
Milan
artists in
Pedrini
seemed
Fax Magazine
This conceptual piece
was
in
at
an instrument of
leisure or
of violence.
of friends
who then
in
The generic
their studios.
processes of photocopying
humanized
at
the
last stage,
modes
of communication.
expectations by changing
the size of the image and by
monumental
and
silver
medals
at
the
1991
their
Magazine
LETTERING
AND DESIGN
Paul Elliman,
London
New
Directions
The
is
gikicU ukiiuiigu
Hi
tkm
rfju
tfjuiwc*
J'
<
a***M* c
aw sinMc it
digital revolution is
causing
**c)t
umstMtoit
ggSt*n
formal foundations of
iu Wfejita
supremacy of the
alphabet
in
Latin
/tt^ii vjiif
isih ***
Wig % $*4f
fffen
ftetf
**
3ic*/ I t*4f
* #ft**
*? m***
*muww ngkic-
ggiw
t g**t*
fffe-d
*s*f#
*s**#
<z*w
I
* <?*
* #ft*t
sum
#*W
988)
is
a response to our
increasing awareness of
Experimental Typeface
accompanied the
letters of
In
we must
details of
more
observe
form on a
Maze Maze
takes the
far
issue
experimental typeface
letters,
first
is
intuitive realm.
letters.
stark
At
first its
geometric forms
appear to be impenetrable,
LETTERING
AND DESIGN
Joyce Cutler
Shaw
modern Japanese
In
an instant the
all
all
the fonts
Maze
font
an interactive
is
and
its
digital
creators intend
design
Ian Swift
client Fuse
149
Directory
The following
lists
who
are
names of
and
and
it is
to be
artists.
a unified
will be
formed
in
other countries.
The question
of
when
is
It is
tempting
for the
lettering
a
highest quality.
Weak forms
Where
common
it is
to see
Designers
have
many would-be
lettering
who wish
own
as
too
lettering.
offering extensive
programmes
normally
own programmes
typography may be able to
of study in this
area.
Evening
classes in
on
letterforms are very rare indeed. Calligraphy courses abound, but are
usually
at a
calligraphy
hobby
is
level.
take place in
150
to study
interests.
Allen,
Artists
Mark
Bertram, Axel
90291
Buttner, Christine
Erich-Kurz-Strasse
BBC
Wood
Germany
USA,
Tel.
Fax (310)
396 6471
396 8697
Bigg, Chris
Lane
Tel.
(310)
Television Centre
1136 Berlin
Fax (081)
4AD
743 0377
rue de Clichy
Tel
France
Fax (081)
Tel
Fax
(01)45268233
(01) 4526 3932
(081)
Los Angeles,
California
IF
Minneapolis
Tel.
Minnesota 55408
Fax (018)
(612;
825 6520
Astrom, Magnus
Skolgatan 74
90246 Umea
208 2325
Boltana, Francois
Barnes
Phil
Willesden Green
3768
49 30 48
(0533) 3742 82
Tel.
3746 49
Annie
Notenlarendreef 29
Cicale,
303 Barn
Belgium
Monroe
Hill
Road
06468
Connecticut
U.S.A.
San Francisco
(071)
2420966
Bernard, Pierre
Atelier de Creation
Graphique
Tel
(415)3628960
Florida
Italy
U.S.A.
Clough, James
Via Cezanne
11
(02)8373915
Hauptstrasse 93
7507 Pfinztal 2
Dickenson,
Pearce and Partners Ltd
no Euston Road
London NW1 2DQ
Germany
England
(07240) 1067
Fax (07240) 5103
Tel.
(081)
886 7484
Moderne
Dieterich, Claude
23
94110 Arcueil
Ville
France
33134
Burgert, Hans-Joachim
The Creative
Dobkin, Joan
Cranbrook Academy of Art
500 Lone Pine Road
Fax
(071)3882424
(071) 380 1217
Bloomfield
S.A.
Fax (313)
Lassenstrasse 22
Partnership
1000 Berlin 33
Germany
19 Greek Street
(030)
826 4348
London WIV5LF
Tel.
(071)
439 7762
437 1467
Offices also
in
Hills
Michigan 48303
Tel. (313)
Callacher, Ethna
9 Jamieson Avenue
Fairlight
Sydney.
Box 801
Tel.
2094
Tel
N.S.W
Australia
(02)
Fax (02)
645 3336
645 3327
949 4121
949 4121
Garrett,
Malcolm
Assorted Images
47 Lion Mills
392-396 Hackney Road
London E2 7AP
Great Britain
Tel.
(071)7298044
Fax (071)
739 1973
Great Britain
Tel.
Fax (01)
Tel.
France
4858 1353
4870 9822
Southgate
Frutiger.Adrian
0470
Fax (071)
(01)
Friedman, Liz
96 Selborne Road
London N14 7DC
20143 Milano
(203) 261
7 rue de la Revolution
93100 Montreuil
Tel
(312)2780677
Great Britain
Great Britain
Tel.
60647
USA.
USA.
Tel.
Illinois
California 94111
Great Britain
Tel
Ezell,
Flat
Road
London wcix 8aa
287 1489
Deaver, Georgia
1045 Sansome Street
Brody, Neville
Neville Brody Studios
65-69 East Road
London ni 6ah
Collett,
Inn
Archer Street
Suite 311
Burgermullerbauer,
Cestalter
90 Grays
10-11
Tel.
Tel
Barnbrook, Jonathan
924 6050
923 0857
Top
(617)
Fax (617)
Studio 12
U.S.A.
Tel
Chicago
8200 Brugge
(050)384791
456 6871
Great Britain
Woods Road
Tel.
Massachusetts 02138
(617)
Tel. (071)
Tel.
USA
USA
Kindleysides Design
Fowke Street
Baker, Arthur
Germantown,
Massachusetts 01451
Road
Checkland
Boudens, Pieter
Tel
287 1155
439 4203
Reggie
2643 North Kimball
668 2470
Fax (0533)
(071)
England
10 Cornwall Gardens
Tel.
(213)6681055
Rothley
Sweden
Tel
Great Britain
Tel.
Evans, Jean
142 Garden Street
Cambridge
Pinnacle
Currie, Leonard
Fax (213)
France
(061)
609 6069
Harvard
90039
U.S.A.
Tel
Tel.
(071)6076733
Fax (071)
Tel.
USA.
Tel
Tel
up
Culmone, Nancy
Chase, Margo
Margo Chase Design
2255 Bancroft Avenue
870 9724
874 6600
36 Bridle Lane
London W1R 3HJ
London N1
49
Great Britain
75009 Pans
Fax (071)
Alma Road
London SW18 iaa
15-19
Arab Consultants
Crescent Lodge
Design Ltd
0378
436 7165
(071) 613
Fax (071)
151
Godson, Suzi
Horlbeck-Kappler,
Irmgard
17 Fournier Street
Kindersley, Richard
40 Cardigan
Spitalfields
Dittnchring 14
London
London El6 QE
7010 Leipzig
Germany
Great Britain
Great Britain
Fax
(071)3776704
(071) 377 6704
Creiman
Hochschule
Postfach
11
90031
o - 7010 Leipzig
Germany
Tel.
2271222
(041) 31 24 01
Fax (041) 41 91 32
New York
NY 10128
Tel.
Fax
3344
Hesselberggatan 3
n 0555 Oslo
(03)34983621
(03) 3498 3669
USA
354123
Tel.
Fax
David
Kshirsagar,
Matsunaga, Shin
(206)3238256
(206) 323 6863
8th Floor
Girgaum
Ishibashi-Kogyo Building
Kalman, Tibor
M&Co
408
Bombay
7-3-1
Minami-Aoyama
400 004
Minato-Ku
India
Tokyo
107 Japan
Tel.
(03)
Fax (03)
3499 0291
3499 3309
Harvey, Michael
4 Valley Road
17th Street
New York
NY 10011
USA
Tel.
Cergy-Pontoise
(01)30 38 47 57
13 place Emile
Atelier
dt6 4JR
Tel.
(212)
Fax (212)
New
New
(0308)22777
548
via
6050 Offenbach-am-Main
Japan
Tel.
Coudeau
Tel.
Homar, Lorenzo
Calle Estado
656
(03)
Fax (03)
3407 0801
3407 0845
00907
Bundesplatz 17
1000 Berlin
Germany
31
Achyut
Talkies
Vigevano
(022)4140562
Pao, Derick
23 Becca Hall
Scarborough
Ontario
Tokyo
Trail
Miv 2T7
Canada
Fax
Tel
89 40 39 50
(02) 89 40 40 42
Lutz, Hans-Rudolf
Lessmgstrasse
(03)
Nanbu, Toshiyasu
Co Ltd
(416)321 1907
wn
London
Ikkyu Building 5F
Great Britain
Tel
Osaka
Japan 540
Tel
(06)
947 5816
947 5815
1908
Taste
11
Zurich
Switzerland
Tel.
3567 3231
Fax (03) 3535 3569
Tel.
Fax (06)
152
and
Bernard Stein
Ott + Stem Cestaltung
opp Ganesh
(212)4770198
Miramar
Puerto Rico
Ott, Nicolaus
India
(02)
8002
Germany
(303)4335985
477 8604
Japan
5-1-10-907 Minami-Aoyama
107 Tokyo
USA
Tel
Lalbaug
Tel.
Chuo-Daiwa Building
1-13-13 Cinza Chuo-Ku
20144 Milan
Minato-Ku
25 Rajkotwala Building
Lupi, Italo
39
Hoefer, Karlgeorg
Weilburgerweg 7
Mark
Palav,
Nagai, Kazumasa
Nippon Design Centre
2430082
Oatis,
York 10010
France
463 0523
Katsui, Mitsuo
(01)8332982
2982
York
Italy
Tel
Tel
Morentz, Barry
320 East 23rd Street, No 4P
75018 Pans
Bridport
Great Britain
Dietlikon
Switzerland
France
Bateau-Lavoir
50 West
Gerenstrasse 25
Fax (303)
U.S.A.
Great Britain
Nyffeler, Roland
Denver
Santosh Bhaskar
16
(0600)716816
Colorado 80211
Lewandowski, T A
George
Devon EX3 ore
Dorset
France
95000
Clyst St
(0392) 874
Massoudy, Hassan
75019 Pans
Church House
Tel.
Massee, Happy
605 Hudson Street, No 5N
i8Quai de laMarne
Larcher, Jean
Washington 98122
(02) 354123
Harris,
253 4416
258 6264
(020)612 1975
Fax (020) 616 9798
Tel
Johnson, Iskra
1605 Twelfth Avenue
Suite 26
Seattle
Norway
Fax (02)
(617)
New York
NY 10014
Koeweiden Postma Ontwerpers
USA
WGPIein5i6/AOC
Netherlands
Igarashi Studio
107 Japan
Haanes, Christopher
Tel.
Great Britain
CH 8305
Takenobu
Igarashi,
USA
Minato-Ku, Tokyo
w6 9HA
Street
Koeweiden, Jacques
11
6-6-22 Mmarni-Aoyama
Road
Great Britain
Tel.
20 Ames
and Sciences,
Neuenschwander, Brody
The Cwm
Welsh Newton
Monmouth NP5 3RW
Cambridge
Fax (617)
1054 Amsterdam
Grundy, Peter
Grundy and Northedge
Thames Wharf Studios
London
Language Workshop
Tel
(212)8314456
Tel
Rainville
Arts
USA.
211
U S.A
Tel. (213)
68
Dimitroffstrasse
Los Angeles
California
Media
Visible
Massachusetts 02139
Koeth, Alice
fur Grafik
Inc
Massachusetts Institute
of Technology
Tel
Hunger, Kirsten
Creiman, April
April
SE11 5PF
(071)7359374
Tel
Tel
Street
Lettering Artists
2RP
(071)2293477
727 9932
Fax (071)
Directory
Tom
Ronchi, Anna
ViadePredis2
Schumann, Heinz
Thompson,
Johannes-Schneider- Strasse 13
Sutton
20155 Milan
9091 Karl-Marx-Stradt
22 Rosebery Road
London nio 2lh
Ely
Italy
Cerman y
Tel
Perkins,
40 High
Street
Great Britain
Tel
Fax (02)
3932 3878
Rousselot, Ricardo
Tel.
(0221)3889 29
Fax (0221) 38
56 65
Rousselot. S
Gran
via
III.
97-J
1oB
USA
Yugoslavia
Barcelona
08028
Veljovic, Jovica
92037
California
Design
de Carlos
(081)8830602
Planungsteam
Lindenallee 9B
5000 Cologne 51
Germany
Philip
Shaw, Paul
Spain
Tel
Tel
(06703) 2922
New York
NY 10025
U.S.A.
Rowland, Ruth
Pott. Cottried
Im Weingarten 21A
Wiesbaden 6200
Germany
Tel
428360
(0611)
10 Abbeville
Pronenko, Leonid
Mews
(071)6226219
627 1325
Fax (071)
350065 Krasndar
Tel.
(212)
Fax (212)
40
Sack, Freda
Tel
Tel. (313)
761 3192
Waters, Julian
9509 Aspenwood
Fax (313)
665 7487
Gaithersburg
Common
Quay, David
Surrey
Studio 12
Great Britain
Archer Street
Great Britain
734 6925
Fax (071) 734 6925
Tel.
(071)
Tel
Place
Maryland 20879
Oxted
(071)4994040
493 8432
Fax (071)
Inglenook
Merle
10-11
Berkeley Square
U.S.A.
of
Independent States
Walter Thompson
Co., Ltd.
Skarsgard, Susan
Nevkipelova Street 15 67
Commonwealth
666 3738
666 2163
Rh8 ORP
Skogh, Cecilia
Skarmarbringksveien 21
Tel
Stockholm
Fax (301)
Sweden
Tel.
(301)9775314
Why
869 5559
Not Associates
10 Archer Street
Sato, Koichi
Koichi Sato Design Studio
1-35-28-504
Hongo Bunkyo-Ku
(071)
Fax (071)
Netherlands
Tokyo 113
Great Britain
Tel
494 0762
494 0678
Japan
Spieker, Ewald
Raw, Stephen
1
Hartington Road
Tel
(03)38156630
6630
Tel.
Fax (061)
862 9497
Schenk, Andreas
Reichert, Josua
Tel.
Pirschweg39
Tel.
(08036)593
Rohrs, Carl
4051 Basel
California
95062
USA
Tel.
(408)4298849
(061) 261
Tel.
Stylorouge
18A-20 Brook
London W2
Mews
(09)3676679
North
3900
Tel.
Schmidt, Hans
(071)
Fax (071)
723 3511
262 2598
Schlossstrasse 8
Tel.
Jill
Rheinsprung2
CH
Switzerland
D-8209 Haidholzen
Germany
Yelland
Amsterdam
Netherlands
Chorlton-cum-Hardy
Groenburgwal 63
1011 ht
(06746) 1353
Tanahashi, Kazuaki
1520 Blake Street
Berkeley
Schneider, Werner
Am Langen Land 2
5928 Bad Laasphe
Germany
Tel.
California
94703
USA
Tel.
(415)
649 8844
(02754) 453
153
Directory
INTERNATIONAL
Montreal Calligraphy
ICOCRADA
Society
c/o Ms Marion Zimmer
687 Grosvenor Avenue
International Council of
Graphic Design
Westmount
Quebec H3Y 2T1
Associations
PO Box 398
London
Tel.
603 8494
6040
Society
c/o
Ms Linda Cloutier
42 93 61 07
35 George Street
Sydney
Trade Center
Tel
Eggerstadstrasse 13
Fax (071)
of Toronto
Tel
POBoxii5Willowdale
Station
M2N
4000
DENMARK
Secretary:
80448
(033)156040
Tel.
Frankfurt
(Museum
Communication
Tel
20097
Museum
of the Graphic
Designers
Attention: John Harrison
(071)3814258
8726
Tel.
Fax
(069)80652954
(069) 800 2192
Schreibwerkstatt
Klingspor Offenbach
Road
London SW13 9BL
Tel
Catherine Brelet
of International Calligraphy)
ITALY
27 Rue de I'Universite
Weilburgerweg7
6050 Offenbach-am-Main
Associazione
Paris
Tel
(069)862069
235 8200
7425
Ontario Chapter
260 King
Graphies
Ontario
Canada
44470 Mauves-sur-Loire
Tel.
(01)402554
16
Anneke Linssen
(04499) 397
NORWAY
Grafisk Institutt
Calligrafica Italiana
Secretary:
Anna Ronchi
Gaustadalleen 21
0371 Oslo
Encouragement aux
Metiers d'Art
20 Rue de la Boetie
75008
Paris
Tel. (01)
Tel
42 65 74 50
(02)958550
60 28 18
Fax (02)
GREAT BRITAIN
(02) 39 32 38 78
Fax (02) 39 32 3878
Tel.
Societe
M5AIK3
Tel:
20155 Milan
Street East
Toronto
Scriptores
Secretary:
Via de Predis 2
PG Amsterdam
(020) 6244748
Fax (020) 627 8585
Internationaler Kalligraphie
615854
Designers)
Waterlooplein 219
Heidestraat 5
6114-AA Susteren
(081)7489951
Council
(Dutch Society of
Tel.
54 Boileau
(01)4742 1342
Beroepsvereniging
Nederlandse
Ontwerpers
1011
Arts)
6050 Offenbach-am-Main
PG Amsterdam
(020)3811 20
(081)7489951
Society of Typographic
1
75008 Pans
(01)42
1011
E.V.
(069) 280510
Klingspor
Association des
Agences Conseils en
Tel.
Waterlooplein 211
Bleichst'asse38a
D-6000
7268
Dutch Form
Sue Cavendish
Canadian Crafts
54 Boileau Road
Fdrderkreis fur
(613)
Bunkyo-Ku
Tokyo 113
(071)8398000
925 2130
Association
Internationale du
Tel.
4-8-15 Yushima
Letter Exchange
Bundesverband
Kunsthandwerk
11
1018 Copenhagen
Tel
154
580 2338
Tel.
Organisationer
40 Boulevard Malesherbes
CANADA
CC Centre
Fax (071)
Grafiske
FRANCE
2169484
Japan Typography
Association
Design Council
28 Haymarket
London swi
Tel
3404 2557
3404 2554
THE NETHERLANDS
Dusseldorf
Tel (0211)
Scriptores
2000 Antwerpen
Grafik-
Designer E.V.
Fax (069)
Kloosterstraat 183
9740630
(03)
Fax (03)
Altestadt 8
Tel
Nordic
(0431)97406
Fax (0431)
Tel.
Bund Deutscher
5S7
247 6143
BELGIUM
NTC
837 6891
29 Bedford Square
London WC1
Ontario KIV9.13
Kiel
Road
Design Business
Association
GERMANY
D-2300
JAPAN
2787700
(071)
Secretariat c/o
PO Box 2210
(03)
Tel
Pentonville
ATypI
Landemarket
NSW 2000
Tel
44A
Ottawa
(612)3193311
Fax (02)
London ni 9BY
Paris
181 Huntridge-Pnv
Ontario
Crafts Council of
Australia
Tel.
75008
Ottawa Calligraphy
North York
NSW 2010
Tel.
Crafts Council of
Tel. (01)
AUSTRALIA
Surrey
Fax (071)
wn 4UG
(071)
International Design
London
wo
Assografici
Piazza Conciliazione.
20123 Milan
POLAND
1
Polskich Artystow
Grafikow Projektantow
Tel.
(071)631 1510
Fax (071)
580 2338
Tel
(02)4981051
48 16 947
Fax (02)
Nowy Swiat 7
00496 Warsaw
Tel
(022) 215143
Directory
International Design
SPAIN
72 Spring Street
AA-FAD
New York
(Crafts Council
NY 10012
of Spain)
Brusi
08006
Tel
Tel
45
(03)2091155
Asociacion de
Disehadores Craficos
Brusi
45
08006
Tel.
274 0630
274 0650
(212)
Fax (212)
Barcelona
The Friends of
Calligraphy
PO Box 5194
San Francisco
9410I
California
Barcelona
(03)
209
1155
International Letter
Arts Network
PO Box 26229
Santa
SWEDEN
Tel.
Grafiska
Industrifbreningen
Blasieholmsgatan
4A
11148 Stockholm
Tel
(08)
762 6800
Ana
California
0828
92799
Fax (714)
893 0082
Society of Scribes
PO Box 933
New
York
NY 10150
SWITZERLAND
Arbeitsgemeinschaft
Schweizer Crafiker
Suite 1416
New York.
ny 10165
(212)9836042
983 6043
Limmatstrasse 63
Tel
8005
Fax (212)
Zurich
Tel. (01)
Fax (01)
272 4555
272 5282
(032) 51 63 69
Schweizerische
Kalligraphische
Gesellschaft
Cerenstrasse 25
8305
Dietlikon
Tel. (01)
933 2982
2982
USA
American
Institute of
Graphic Art
1059 3rd Avenue
New York
NY 10021
Tel.
(212)7520813
6749
155
Further Reading
Calligraphy
BENSON, JOHN
carey. The Elements of Lettering. McGrawHill Book Company, New York 1950
A& C Black,
Catich,
edward
Roman
Letters.
Ambrose
2nd
Handbook.
A&C Black,
London 1986
ed.
University,
fairbank, Alfred.
Handwriting Manual,
Dryad
in the.
Graphic
1988
published by
Lettering.
Illuminating,
and
Lettering.
32nd
in
Calligraphy.
Ltd,
London
A&C
Black,
Little
ed.,
Pitman
Now
London
Manual of
Legibility
Letters
Drawn
Lund
Lettering:
Further Reading
Typography
Architectural Lettering
in Architecture.
How
baudin, fernand.
Typography Works
1975
London i960
BOOTH-CLIBBORN,
eds.
New Wave
EDWARD and
RICK POYNOR,
Typography. Internos
Books/Booth-Clibborn Editions,
London
1991
Taplinger) 1981
Design
Typographic Design:
Form and
New
York 1985
Oxford 1990
Architecture Design
& Technology
Press,
London 1990
lutz,
in
karow,
URW, Hamburg
1988
(USA
ed.
On
Biersack
GmbH,
Constance 1989
Hudson, London
1988.
Lund Humphries,
London 1982
Francisco 1991)
his
157
Index
Numbers
bold
in
refer to
Collage
main text
Ahn Chung-Un
14
Collett
Airbrush
74. 133
Colville,
Alien,
13, 45,
Mark
Animation
Commissioning hand-lettering
120
Computer-generated
38
Apple Macintosh
129, 137
Architectural lettering
Astrom, Magnus
119.
14-15.17,65.84,107.113.115,
12
137
Computer-manipulated
Corporate identity 35
119,
143. 146
Crescent Lodge
35
Bernard, Pierre
Bertram, Axel
Bigg, Chris
77
79
130
Currie, Leonard
48
33.
55
Billboards 40,
Boltana, Francois
Book design
140
86,
Deaver, Georgia
39.
Die-cutting
115,
typography
Digital
Display typefaces
129 143
letters 35.
BurgerMiillerBauer
75.
105. 130
Dobkin, Joan
Drawn
86
Burgert, Hans-Joachim
15
105, 120.
121,
143, 149
136
letters
15. 16.
131, 138.
140
54. 56. 71. 74. 80, 81, 82, 88. 90, 91. 95. 103, 104. 105, 106,
111, 113.
Camera techniques
Casey, Jacqueline
137
Catalogue covers
17
Embossed
Cement
Chantry, Art
Chase, Margo
Evans, Jean
103
Checkland Kindleysides
19
145, 148
126,
127
letters 45, 82
Emotional impact
58. 135
42. 57.
131.
letters
Embroidered
letters 133
126.
13
17 25 29 31 48.
Codes
158
99
127
Chinese calligraphy 27
Cloth letters
70
131
103
124.
Calligraphy
105
Dieterich, Claude 47
133
Brody, Neville
Brush-made
116.
136
98
Deconstruction 34 60
Desktop publishing
118
Boudens, Pieter
8, 22.
106
43. 64. 77
Block-printed letters
109, no.
112, 145,
103 107
Curiger, Bice 82
Barnbrook, Jonathan 92
Calendars
letters 49,135
117
Baker, Arthur
Banners
75
141
Copperplate
Baines, Phil
11.
146
137.
111.
letters
Computer graphics
Arabic calligraphy
77
Alan 47
Farina,
Sandro
85
131
145 148
Index
Fibreboard letters
Fiedler, Jane
Katsui, Mitsuo
76
131.
133
Kindersley, Richard
31
Korean calligraphy
14
Kurlansky, Mervyn
121. 131
Fontographer
Found
119,
137
Tony
53
letters
17,
12,
Forster,
Friedman,
Liz
Lee, Maylin 20
Legibility 17 25-29 35 69 77 99 101 109, 120, 125,
127 145
Frutiger, Adrian
Letterpress printing
111,
125
136
117.
Godson, Suzi
104, 110,
118
70,
115
16
Letters as form
125, 127,
128
54. 110
Letters as image 69
129
Letters in motion 77
131,
133
Light
Grundy, Peter
18, 19.
120
Logos
Haanes, Christopher
52
Harris,
Harvey, Michael
110, 112
Martin, Simon 38
130
Homar Lorenzo
Manipulated type
69. 71. 83. 87, 95, no,
52, 55-56.
Hoefer, Karlgeorg
143-145
118
Historical letters
118, 119. 120, 121,
101-107.
128
127,
116
11
and lettering)
(of type
David
115
17.
Hand-lettering, definition
Harmony
79 80-83
Lupi, Italo 16
Massee, Happy
118
Horrocks, Margaret
131
Massoudi, Hassan
136
81
Matsunaga, Kakuun
77. 135
Matsunaga, Shin
112
105,
111,
!33. 135
Igarashi,
M3.
Takenobu
11. 21.
Metal letters
147
Inscriptional letters
Italics
Modern typefaces
Monograms
Monumental
Japanese calligraphy 27
Johnson, Iskra 43
Josey, Kira 40
103
84
lettering
Music industry
111,
Nagai,
14
147
53, 131
Josebury, Simon
Model construction
Ikarus 73
128
Kazumasa
Nanbu, Toshiyasu
62.102,133
32. 87, 121, 135
Narrative techniques 75
159
Index
Neon
Schneider, Werner
letters 135
Neuenschwander, Brody
Nostalgia
31 53 57 71
Screen printing
95, 142
Sculpture
77
Sendall,
Oatis,
Mark
Morgan
Signage
42
Vaughan
33. 56.
1 9. 110
11
92
50.
143-145. 149
121,
53
55
90
Omnichrom
letters 132
Ott + Stein
Stamped
105
Stencilled letters
Stevens, John
Paintbox
48.
136, 144
49
Painted letters 53
Stylorouge
Pao, Derick
111
15 28
Pen-made
80
Television
137
Thomson, Chris
29, 43,
Tom
119,
Perspex letters
Posters
135,
136
119, 125.
29. 32. 33, 34, 38, 39, 41. 43, 44, 47,
127 143
109
selection of 101
144
31,
Typewritten letters
58, 60, 62, 63, 64, 65, 70, 74, 81, 84, 86. 100. 102, 104, 110.
m,
115,
Priest,
148
Visual associations 31 33
Christopher 34
117,
136
Vocabulary of style 29
Quay, Oavid
Visual impact 75
Quantel Harry
31
69
54,
92
80
Waldburger, Ivo 85
Waters, Julian
11, 39.
46
Reading of images 25 28 35 69 73
Reichert, Josua 79
Rohrs, Carl
Ronchi,
130. 131
Anna
Sack, Freda
letters 131
133
105. 117
typefaces
13,
Schmidt, Hans
64. 75,
Wyatt, Jane
Yelland,
52
Jill
73, 130
Sans
serif
Not Associates
Wire
103
Sand-blasted letters
Sato, Koichi
160
57. 91,
Why
105
Rowland, Ruth
145
59
T-shirt 42
Type
Planungsteam K Nengelken
Plastic letters
20, 30.
11, 12,
133
Photocopied letters
131, 132.
131
Pentagram
Perkins,
no
Stylistic revivals 69
Paste-up
136
53
Ogami, Nancy
Oliver,
Zapf,
Hermann
118
89 105,
115,
134
113.
118.
Brody Neuenschwander
is
He
is
a lettering artist,
in
collections.
collaborated on Peter
Leonard Currie
is
typographic designer.
H. Berthold
AG,
He
Letraset and
international
David Quay
is
his
STD
work on
1990 he co-founded
Postscript typefaces.
member of ATYPI,
The Foundry
He
the
to design
New
is a
York, Letter
ISBN 0-7148-2909-9
II
780714"829098
II
PHAIDON