Lida's recent work appears later in the book (pp.
100-104), but she has kindly lent two pages of her
early sketches that are relevant to this section. This
design for a church magazine was the first job she was
set at David Kindersley's workshop. She says that it
demonstrates clearly that she was straight out of art
school. 'It shows all the possibilities spreading over the
whole surface rather than the deep digging you will do
* 1 У
/ ^-ú J.
CIP ~ Z2
■~ ■ ■
• -Л . '."-■-
These monograms for a slate paperweight show that
she is still thinking the same way. Lida says that at art
school you design in a hypothetical situation where
you cannot exclude any possibilities, but in the
professional world work is aimed. 'You should develop
the initial idea and not allow yourself to wander or
you will see two ideas in one stone.'
In listing the qualities she looks for in an aspiring
letter cutter, Lida rates very highly an ability to
concentrate. With an inscription, the commitment and
therefore the concentration can be counted in weeks,
not days or hours as other lettering might demand.