Good
Lettering—
Some
Methods of
Construction
& Arrange¬
ment

CONSIDER

WHENCE EACH TilNG
IS COME &OF WHAT

IT CONSISTS &ШТО

WHAT IT CHANGES-;

CCNSDER

WHENCE EACH TilNG
IS COME &’OF WHAT
IT CONSISTS Si INTO
WHATIT CHANGES.

CONSIDER

WHENCE EACH TlING
IS COME & OF WHAT
IT CONSISTS INTO
WHAT IT CHANGES

Fig. 155.

230

being a matter of little or no moment—the treatment
of the spacing is adapted to a particular surface ; and,
for example :—

THE LETTERS MAY BE KEPT VERY
CLOSE, FORMING ORNAMENTAL
BANDS, THO’ THE LINES MAY BE
WIDELY SPACED AND LEGIBLE.

OR THE LETTERS
MAY BE FAR APART
& THE LINES CLOSE,
TO COVER SURFACES.

Fig. 156.

THEORY & PRACTICE

The above discussion of theories and “rules” for
the construction and arrangement of good lettering
is intended to suggest some useful methods—not to
provoke excessive fitting or planning, but rather to
avoid it. Straightforwardness is perhaps the greatest
virtue in a craft, and whatever “rules” it may break
through, it is refreshing and charming.

An excellent example for the scribe or inscription
maker is the method of an early printer, who had
only four or five sorts of type—say, “Small-Letters”
and “Capitals” (Roman and Italic) and “Large
Capitals,” and who, without any elaborate “design,”
simply put his types into their proper places, and then

Good
Lettering—
Some
Methods of
Construction
& Arrange¬
ment

231