I was recently contacted by a guy seeking some initial tuition in learning how to letter-carve. As I was nearby I called in to see him and ran through a few basics. As I was there I realised how important it is to master the following:
- Proper preparation of the letters – spacing and shape. Need to draw on paper first and then transfer to the surface of the stone.
- Need to keep stem widths even throughout
- Attention to terminals
- Close attention to characteristics of each letterform.
- Build/make yourself a frame so can cut standing – not hunched over a bench.
Happy to answer questions – and also browse the blog for other entries on letter-carving.
Adrian Frutiger passed this life on 10 September 2015. Read here for an obituary.
I previously wrote about Frutiger here.
In his Signs and Symbols he writes of the value of ‘interior and intermediary space’. Designers take especial note. ‘The beauty of a sign,’ he writes, ‘is often the result of a struggle between the resistance of the material and its conquest by the instrument…By contrast, the Oriental way of thought and expression…puts the creative act more into the mastery of a gesture with which the brush lays the sign on paper’. [Studio Editions, London, 1989, p.101.)
I did not know of Frutiger’s personal life so as a mental health social worker I find he lost two daughters to suicide prompting him and his partner to establish a foundation
Looking through my collection of typography today I came across these images, included in Portfolio Three by The Rampant Lions Press, Cambridge, England, dated 1982. I have written about Will and Sebastian Carter many times throughout the life of this blog so please hit the search key to find out more, or send me an email. Enjoy your weekend. (This was a regular feature of the blog – the last entry can be found here.)
Graham Greene (1904-1991) was a novelist, critic and Catholic. I read much of his work when I was younger, though not now.
I came across this volume The Lost Childhood and other essays (Eyre & Spottiswoode, London, 1951, 2nd impression) at a bookshop the other week. Pulling it from among its companions I flicked through quickly and was astonished to find an essay Greene had written on Gill. The essay is not dated or sourced (though I guess it may have first appeared in The Tablet as this is one of the periodicals noted in Acknowledgements).
You can read the entire essay (it covers but two and a bit pages) for yourself as I am reproducing it below.
Greene is dismissive of Gill, calling him ‘an artist not of the first rank’ and refers to his ‘fervent little articles on sex’. Greene may have had no idea of Gill’s perversities though he writes: ‘Eric Gill, with his beard and his biretta, his enormous outspokenness, his amorous gusto, trailing his family across the breadth of England with his chickens, cats, dogs, goats, ducks, and geese, belonged only distantly to this untraditional tradition [‘a carefully arranged disregard of conformity to national ways of thought and behaviour’]; he was an intruder – a disturbing intruder among the eccentrics’.
Maybe, after all, Greene had a whiff of the real Gill.
[This is my 401st post.]
Images from my week. These were taken in Brisbane, Australia. The first at a train station – a nice display of cast letters (heavily covered in paint – be great to see that taken away and the true letters revealed once more) representing Queensland Rail and used as a brace for a seat; the second a metal plate in the road covering services – lovely use of the cross bar in the capital A as a functional element for inserting the rod that will remove the cover for inspection; the third some quirky figures (‘biffo man’) at pedestrian crossing. Great to see such inventiveness.