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68 pages

English

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Description

This easy-to-follow guide is perfect for beginners wishing to learn the forgotten art of ticket-writing and sign-painting.

Featuring accompanying diagrams, this 1916 volume restores life to the once-essential craft of ticket and sign making. Providing a comprehensive overview of the tools and materials you will need, as well as instructions as to how to form the correct letters, shapes, and colour contrasts, this is an essential beginner's guide.

The contents of this volume include:

The Ticket-Writer's Tools and Materials

Using the Brush in Ticket-Writing

Roundhand, Italic, and Script Letters

Shaded Letters

Square-Point Brush and Pen Work on Tickets

Colour Contrasts in Sign-Writing

Raised Ornaments and Letters on Signs

Proudly republished by Old Hand Books, this new edition of Ticket-Writing and Sign-Painting features an introduction to the craft by Frederic W. Goudy.

Type Design - A Homily by Frederic W. Goudy; Preface; The Ticket-Writer's Tools and Materials; Letter Formation; Letter Spacing; Using the Brush in Ticket-Writing; Roundhand, Italic, and Script Letters; Shaded Letters; Square-Point Brush and Pen Work on Tickets; Borders and Pointers for Tickets; Classic Alphabets; Air-Brushed Tickets; Sign-Writing; Colour Contrasts in Sign-Writing; Ribbon Designs for Sign-Writers; Raised Ornaments and Letters on Signs; Preparing Signboards; Gilding; Seasonable Signs, Tickets, and Posters; Some Miscellaneous Matters

Sujets

Techniques

Printmaking

Art

Informations

Publié par	Read Books Ltd.
Date de parution	05 mars 2013
Nombre de lectures	0
EAN13	9781447489191
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

TICKET-WRITING AND SIGN-PAINTING
WITH AN INTRODUCTORY ESSAY BY FREDERIC W. GOUDY

First published in 1916

Copyright © 2023 Old Hand Books
This edition is published by Old Hand Books, an imprint of Read & Co.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
Read & Co. is part of Read Books Ltd. For more information visit www.readandcobooks.co.uk

Contents
TYPE DESIGN
A Homily by Frede ric W. Goudy
PREFACE
CHAPTER I
THE TICKET-WRITER’S TOOLS A ND MATERIALS
CHAPTER II
LETT ER FORMATION
CHAPTER III
LE TTER SPACING
CHAPTER IV
USING THE BRUSH IN TI CKET-WRITING
CHAPTER V
ROUNDHAND, ITALIC, AND SC RIPT LETTERS
CHAPTER VI
SH ADED LETTERS
CHAPTER VII
SQUARE-POINT BRUSH AND PEN WOR K ON TICKETS
CHAPTER VIII
BORDERS AND POINTERS FOR TICKETS
CHAPTER IX
CLASS IC ALPHABETS
CHAPTER X
AIR-BRU SHED TICKETS
CHAPTER XI
SIGN-WRITING
CHAPTER XII
COLOUR CONTRASTS IN SIGN-WRITING
CHAPTER XIII
RIBBON DESIGNS FOR SIGN-WRITERS
CHAPTER XIV
RAISED ORNAMENT AND LETT ERS ON SIGNS
CHAPTER XV
PREPARIN G SIGNBOARDS
CHAPTER XVI
GILDING
CHAPTER XVII
SEASONABLE SIGNS, TICKETS, AND POSTERS
C HAPTER XVIII
SOME MISCELLAN EOUS MATTERS

TYPE DESIGN
A Homily by Frederic W. Goudy
I. The Force of Tradition
THE FONTS OF GARAMOND, BODONI, DIDOT, CASLON, BASKERVILLE and other well-known faces [or type founders' imitations of them] have been available for years to printers generally, and, no doubt, practically any piece of printing required can be done adequately and satisfactorily with one or another of them, old as they are. It is no less true, however, that the wearing apparel of the citizen of Shakespeare's time was adequate and suited to his times and might, so far as practicality is concerned, be just as suitable for our own. But there is the matter of "style" to consider, and just as in the matter of clothes, styles in types change c apriciously.
Printers, nevertheless, have been loyal to the masterpieces of those early craftsmen and have hesitated to heed seriously the experiments of modern designers of types. But why carry loyalty to the point of entire disregard of possible equally meritorious newer designs? Is it true, as has been said, that designers are, at the best, mere amateurs and their art comparatively a humble one? I do not hold to this theory.
The type designer is no mere amateur. The amateur is concerned mainly with questions of esthetics, the professional is concerned with the problem of a livelihood;— the type designer must attempt to solve successfully both problems. It is true that type design as a separate vocation is practiced by few independent craftsmen, because hitherto, for such work, there has been offered too little remuneration to attract artists capable of orig inal effort.
While there is just now a greater interest in the design of types than ever, there seems also to be a concerted movement by many printers to use letter forms which plainly show that the designers of them have chosen to disregard or override [unwisely] the best traditions of the type designers' art. For myself I firmly believe that the best types for our use must be newer letter-forms based on the shapes fixed by tradition -fresh expressions in which new life and vigor have been infused, creating new types characterized by severe restraint and which will exhibit a poise and reposeful quality that is ever delightful. But I am asked. just what do we mean by "tradition"—just what is "tradition" that we should bow serv ilely to it?
The need or demand for a new or useful thing brings, first, careful consideration for its construction and its material as determined by its destination, and second, a desire for its ornamentation, both construction and ornament reaching comparative perfection only after slow and gradual evolution. The choice of details exercised by a worker with fine and delicate perceptions will endow with a special beauty any work of utility he touches; a vulgar workman can never decorate because his perceptions are vicious and his choice and selection of details are erroneous. The artist expresses himself in the choi ce he makes.
An ornamental form once found delightful invites repetition; it is handed on from generation to generation, until finally, firmly established by use, it has become a traditional form. Tradition itself, however, is merely the ladder by which we climb, the working hypothesis that saves us from despair, because it is all we have to go upon. If we obey tradition, even though our efforts at first are crude and archaic, our work will rest upon a firm foundation.
Almost always early ornamental forms were symbolic; while their original significance might later be overlooked or forgotten, frequently with loss of much of their interest or character, there still remain of them today the abstract developments whose dignity or simple beauty will enhance the appearance of the th ing adorned.
There was a time when the artist was both artist and craftsman, himself the executor of the things his genius created. His imagination and handicraft were largely occupied with devising and making more beautiful the necessary implements of every day life. His imagination developed with increased and varied experience; the technical difficulties he met and their mastery led to the selection of certain tools and methods which he found best adapted to the work in hand, and inevitably brought about the formation of noble and lasting traditions. I do not mean by this that tradition is a mere collection of cut-and-dried rules or precepts by which we are to work; on the contrary, tradition is a storehouse of delight, a granary of the heaped-up knowledge of tried methods and improved processes that have developed and will go on developing in the future as in the past. Indeed, tradition goes on and on, always progressing, occasionally retrogressing, but never unbroken. Traditions of art and craft are lost only when the traditions of humanity are neglected and the significance of its traditio ns despised.
While rules and precepts show beginners what others have found it wise to do, tradition itself goes more deeply into the very principles of art and life. The aim of art is to make a useful thing beautiful as well as useful; tradition not only teaches the best way that has been found to do it, it shows too, the metes and bounds of man's endeavor reached at the moment, the walled boundaries within which the imagination of the craftsman may have full sway. His work, nevertheless, need not be dull or uninspired because seemingly restrained. A wholesome respect for the thought and effort that has brought about a tradition will go far to prevent the perpetration of eccentri c solecisms.
Tradition invites spontaneous excursions of individual taste and fancy within her established limits, yet leaves the artist free to attempt consistent, reasoned and dignified essays to enlarge her borders. Since no one man can possibly exploit the whole of the treasures brought to light, others who follow his footsteps will find ample room to exercise all the originality of which they are capable. It is in the fire of research and study, link by link, that the chain of traditio n is forged.
Just as "a language," said Bishop Trench, "will often be wiser, not merely than the vulgar, but even than the wisest of those who speak it," so a tradition which has embalmed and preserved the thoughts and experiments of generations of workers, must be superior to the efforts of beginners in a craft or of those ignorant or disdainful of he r knowledge.
The beginnings of any handicraft took note at first, only of pleasing utility; advancing, however, from simple to more complex requirements, more ideas to express, greater subtle, ties of design and invention appear, until finally the tradition of that craft has reached us adorned and enriched for our use. Yet tradition is not to be followed solely for its own sake; the logical framework of a craft, the general rules that control it, these with all the acquisitions of thought, feeling and experience, are ours to carry forward by new essays, and the additions we make will enlarge the legacy of tradition which we may bequeath to those who follow us, just as we inherit and use the traditions that have come down to us; we benefit by the labor of the skilled artisans who have blazed the way; in our hands is the key with which to unlock those ancient storehouses with their accumulated treasures, the gold of truth dug from the mines of the past. To accept mediaeval tradition, however, without adding something of ourselves to it is mere affectation; "it is no longer tradition if it be servilely copied, without change, the token of life." The dogmas of tradition therefore, are flexible and are to be enforced lightly that they do not wholly imprison us.
Genius is the expression of a strong individuality, and extends the limits of tradition instead of attempting to invent new a one. Genius cultivates old fields in new ways. While a designer of strong artistic personality may modify the laws of tradition more or less according to his strength and ability, he is, nevertheless, seldom free from its influence; and in fact, few great artists have ever become great by deliberately disregarding tradition. Once in a blue moon an individual designer with more taste and feeling than ordinary will rise above the accepted standards of tradition and distinguish himself by his personal choice and unusual treatment of details, by some new thought or