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Opposite page, Dean's Analytical Guide to the Art of
Penmanship, 1808, was printed from copper engrav¬
ings. One needed to know calculus to follow Henry
Dean's instructions. Above, pencil sketch and inking by
Clarence Hornung for an obviously unfinished set of ini¬
tial caps. Hornung favored the flexible Gillot 290 pen
point. Right, a logo by Tony DiSpigna, who says 80 per¬
cent of the job is the tight pencil sketch because "You
don't want to have to draw and ink at the same time."
He inks fairly rapidly, "like those quick figure sketches
in life class," using a Gillot 291 point. He works at 200
percent so the pen lines will reduce cleanly and always
uses reference for his Spencerian work but expresses
wonderment at how the old guys did it: "What did they
have to look at?" Below, F.G. Cooper used a Gillot 850
pen to ink the built-up lettering job. Built-up means, of
course, that instead of using a thick pen or brush and
making a single stroke to accomplish a letter, many
strokes are used, or the shape may be outlined and
filled in—whatever it takes. Hey, guess what: All the
pen points mentioned above are still available!

♦

simple adjustment

special adjusting knob available