caligrafia en pasos sencillos.pdf
TRANSCRIPT
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CALLIGRAPHY
&
LETTERING
DESIGN
ByArthurNewhall
WALTER
OSTER
ublishing
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usNsNU,
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ANDLETTERINGESIGN
BY
ARTNEWHALL
WalterFoster
Publishing,nc.
23062La
Cadena
rive,Laguna
il ls,
CA92653
@ 1989,WalterFosterPublishing,nc.All
rights eserved.
This
book
has
been
published
o aid
the aspiringartist.
Reproduction f
the
work for
studyor f inishedart is
permissible.
ny
photomechanical
eproductionf art from the
publicationr art drawn rom hepublicationorcommercial urposess prohibited ith-
outwritten onsent
rom
he
publisher.
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BasicChancery
Cursive
Chancery
troke
Sequence
Chancery
Styles
Chancery
amples
Uncial
Flourishes
Swashes
The
Black
Letter
Roman
Spencerian cript
Awards-Spencer ian. .
Renaissance
. .
lntroduct ion.. . .
Materials
Basic nstruction
BasicSanSerif
Style
.
Exploded
iew
And
Stroke
Sequence
Numerals. . . . .
Batarde
.. . .42
Versals
. . . .44
Greet ing ards
.. .
46
lnl ine
. . . . . .
49
Logo&Symbol
Design
.. . . . . . .50
TheSteelBrush
.
. . . . . .
. 55
LettersAt Work . .. 56
Conclus ion
.. . . . .
64
3
4
b
7
B
I
10
11
12
19
20
23
24
30
36
39
40
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The
remendous
nterest
nd
populari ty
f cal l igraphy
mong
he
general
public
n ecent
ears
has
ncreased
he
scope
and
he
useof
hisbeautiful
lettering
orm.Aside
rom tsobvious
lace
n the
production
f diplomas,
awards,estimonials nd verses; contemporary seof cal l igraphy as
developed,
reating
new,
exciting
emand
or
it in
the designof
logos,
movie
it les,
book
jackets,
album
covers,
sign
design,
menus,
abels,
posters,
ype
design
and
advertising
to
name
ust
a
few.
This
book
offers
he
reader
comprehensive
eference
uide
and study
manual.
t
presents
myriad
of
alphabets
nd
heir
applicatons
o study
and
to copy.
Beginners
hould
always
have
good
examples
n
front of
them
while
practicing.
More
advanced
all igraphers
an use
he
letter
stylesamplesor reference.
It
is
imporant
o
first earn
he
basics
and
to become
comfortable
ith
your
ools,
but
ry
to be
adventurous
nd
creative.
ractice
ith different
pens,
papers
and
techniques.
Develop
our
own
stylesof
lettering
r
change
establ ished
etter
tyles
o
make
hem
your
own.
F
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The Broad
Pen
s available
n
variety
f shapes
ndsizes.
FinePointNibs
or detai l
lettering.
PENS
AND
INK
Call igraphic
let ter ing is done
primari ly
with a
broad
pen.
There
are two types of broad
pens:
dip
pens
and ountain
ens.
Both
have
interchangeable
ibs. There are
many brandson
the market.
The
main advantage f foqntainpens
is their abi l i ty
to hold a
large
supply
of
ink,
but
they
have
a
l imited
umber f n ibsizes nddo
not ut i l ize
permanent
nk. Dip
pens produce
a cleaner,crisper
l ine than fountain
pens,
but
are
slightly
more diff icult
o master.
You wil l needa
jar
of black
ndia
ink or usewitha dip pen. t isvery
important o
keep
both
types of
pens
clean.
A
small
ar
of
water
kept nearby
for dipping the
pen
and
wiping i t c lean
is
recommended.
A
wide,small
ar
secured
o a
piece
of
heavy ardor
plastic
eeps he
nk
container
table.
he
nk evel hould
be
ust
highenough
or a dipped
pen
load.
Extra-Fine ont
|- l.--
-e
Super-Fine
oint
- - -* :
\:Z
Fine Point
,
\
a;-7
ExtraSuper-Fine
ont
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PAPER
There
are
many
ypesof
paper
and
boards
uitable
or
call igraphy.
Thechoice
depends
n
he
quality
nd
ype
of
work
you
aredoing.
A
20
lb.
ledgerbond
is
good
for
practice.
For
all-purpose
ettering,
1000/oag bristol board is favored.Bristol board comes in two
f inishes,
idand
plate.
he
kid
in ish
s he
better
f
the wo
as t
has
a sl ight
tooth."
For
he
final
one
of
a kind"
ob,
a
parchment
aper
made
specif ically
or call igraphy
s available.
how
card board
also
takes
nk beautiful ly.
ive
t a
try.
MISCELLANEOUS
Yourequipment an be quitesimpleor veryextensive. drawing
table
about
0"
x 40"),
achair
and
a
good
source
f
l ightare
a must
if
you
are serious
bout
your
work.
You
wil l also
needa t-square,
several
r iangles
30,
45,
and 60
degree
angles
and
pencils,
pens,pen
cleaner,
rasers,
penci l
sharpener,
nk,
opaque
whi te
paint
for
correcting
mistakes)
nd a
few
ettering
rushes'
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Cal l igraphicet ter ings
done
with he
broad
pen.
The angle he
pen
s
held s the
key o the
beaut i fu l
thick
and hin"style.
A
simple, asic
letter tyle hat squiteeasy o
execute
with he broadpen sshownon
page
7.
The letter
s a thick and thin Romanstyle
without
serifs.
his
style
s
beautiful
nd
practical.
t
is
sometimes al led
Stunt
Lydian"
becauset s
s imi lar o the
Lydian
ype
ace. he
pen
s held ai r ly ig id,
point ing
above
he r ight shoulder , e ld at a 35 degree
angle.The
vert ical
down)
trokes nd
he horizontal trokes remadewith a
firm
wristaction.
he
pen
s heldat a
constant
ngle never
otated.
Use
quality
bond
paper
for
practice.
t takes nk beautiful ly, nd
is
relat ivelynexpensive.
s ing
our
-square, raw
guidel ines
n a sheet
of
smooth l lustration
oard,
hen
place
t
underneath sheetof bond
paper. This
el iminaies
aving o
draw
guidel ines
n each
piece
of
bond
paper.)
lwayskeepa small
piece
of cardor scrap
paper
nearby
to check he
nk ow
of
yourpen.
After
eachdip of
he
pen,pul l
a shor t
strokeon the
card o remove he excess
nk.This s
very
mportant s
too much nk
creates
sloppy
ine.
Try using differentpen angles o acquaint
ourself
with the results.
Constant
ractice
s a must,and it is important
o have
Eood
copy
in
front
of
you
for reference. lso,
be
sure o clean
your
pen
requently
dip t in
a
ar
of
water
and
wipe t
clean
witha
lint-free ag.At the
end
of
a
session,
lean
he nib with
pen
cleaner
ammonia
works ine.
SPACING
The
spacingbetween
etters
s
as
mportant s the etters
themselves.
ood
spacing nvolves qualizing
he
optical
weight or
smoothness
f the
word. n
uppercase
etters he
narrowest
pace
s
between ound letterssuch as O and C. A slightlywider space s
between
straight
etter
and a
round etter,
ike I
and O.
The widest
space s between
wo
straight,
ert ical
etters uchas H and . Diagonal
letters
re
spaced
ptical ly
o equalize
he openarea;
no
darkor
l ight
sections
hould
dominate.
roper pacing s called
good
color."
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Basc
sansffiStyle
ABCDEFGJKLMNOP
RSTUVWX
L FH
abcdefg
Jklnnoqr
sTuvwxyz
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ABOIDIFAF
-T
llJt\K'LMNolP
@STUI M
Ye-L
:ifyrg'
23
albcd@+llr
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FSTUi WX
1
2 1_
Y4
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1W56789
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1ry5678e
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- INSTRUCTION-
The Chancery
letter
is a favorite
with calligraphers
because
of
its beauty,
function
and
speedof
execution.
t
is
great
or a
largeamount
of
copy.
The ChanceryCursive
ital ic)
etter
ends
itselfbeautifully
o the
broad
pen.
The shape
of
the
lettersare all
rather
han
at.The
pen
angle is 45 degrees, ut the pitch of the
stroke
s 10-'15 egrees
off
the
vertical.
The
pen
does
mostof the
work
and
ittle
pressure
is needed.
Use one of
the
larger
nibs
for
practice
as
they are much
easier
o control.
Follow
he strokesequence
s shown.
Use
the
guideline
oard
or
practice.
BODY
OF
LOWER
CASE
5 PENWIDTHS
-
Ascenders & Descenders
equal
o
body
height
CAPITAL
HEIGHT
7-8 PEN
WDTHS
10
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STROKE
EQUENCE
z,
T6Cf_DtrF
gMTflru
Mpe
KSTWW
UPPER
CASE
LETTERS
\
w6c,ffe
6qEffi
Wq{*st
vffi"MpfZ
' t1
LOWER
CASE
LETTERS
-
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CHANCERY
URSIVE
f f i@E
Fq
O?
TUryW
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CHANCERY
URSIVE
urumrLo
7
wxuz
/
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CHANCERY
URSIVE
th
3ffi
kh*
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CHANCERY
URSIVE
ABWEq
HUKruN
'WSIU
TWWZ
nbc@W,kl
ffinryqrstu
ywxyz
Basc
15
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CHANCERY
URSIVE
abcd
q
n
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W
,
ryrystu
wry7
17
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CHANCERY
URSIVE
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CHANCERY
AMPLES
urfrn@nrnm'
rtficntc f
.bers@
S
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-lNsrRUCTloN
The
name
Uncial"
s derived
rom
he
Roman
nch
of
height
"uncia."
Uncial
s an uppercase
alphabet,
ut
i ts
ascenders
nd
descenders
ive
t an
upper
and
owercase
ook.
The Uncial
etter orm
s
made
with a
pen
angle
of 35
degrees.
he
etters
re
ull
and roundedwith considerable pen areas,so be carefulnot to overspace'
Uncial
hould
eel hat
t can
be contained
etween
wo
guidelines. healphabet
can
be used
n
a
variety f
heights
nd
widths.
t
blends
wellwith
tal ic
lphabets.
20
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ff iee
Fqhuh
mnoD
qret
TT?ry
7
--/
21
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UNCIAL
ABeo
fgnu1
LfDnop
QRsCU
vwxv
7&l?$
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FLOURISHES
SWASHES
This
"styl ish
xtra"
erves
double
purpose
y enhancing
he space
and
adding
unexpected
nterest.
I t is
important
hat the se strokes
be
executed
with
discipl ine
and
planning.
he bold
ribbonswash
s done
with the
samebroad
pen
used
for the
lettering.
smaller
pen
s
used
or
narrower washes
nd a
fine
point
pen
s
used
or
hairl inelourishes.
23
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la
INSTRUCTION-
The Black Letter,
lso cal led
Old
English,"
s
a
handsome,
trong,condensed
style. t is a great orm for creatinga feelingof timespast.Today, t is often used
for
diplomas,
wards
and other
certificates.
The BlackLetter
alphabet as many styles
and
weights.The
basic
sol id
weight etter s not as
difficult as it
appears
because he
letters are
quite
uniform.The
pen
is held
at a 30 degree
angle.The very
ornateOld
Englishwith hairl ine
flourishes
must
be drawncareful lywith a sharp,
hardpencil ,hen nked n with a pointedpen.
24
\-
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BLACK
LETTER
ABgBE
r tg f rT
MffiN
@#wB
$WMry
ffixu7
\
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BLACK
LETTER
ffi@Fr,
TFWMU1.
WFNN
Q)p
QIB
s
Tuu
---l
\--l
urx1{
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BLACK
LETTER
g,ng
TsqT1
I[
op
6,U$
xuz
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BLACK
LETTER
[8CDET GUIJ
rLnn
0?08
STUV
rux
z
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BLACK
LETTER
abcefghljhtmtropq
rst$xU
4
abstghl
iUnropq
rgtuttlxq
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SSIC
INSTRUCTION
The Roman
etter
s the
foundation
of
many
of
the
letter
orms used
oday.
Roman
stone
cuttersand scribes
developed
he classic
orm.
There
are many
variations
f
the Roman
etter,
ut
he
basics
emain
unchanged.
The
Romancapitals
are
made
with
a
pen
angle
of
30
degrees.
he serifs
on
the
letters
reexecuted
by
first
making
an
almost
horizontal
troke
across
he
op and
the bottomof the letter.Then the pen s arced o the rightand to the left o finish
the
serif.
A
short
vertical
troke
s made
o
finish
etters
C,
E,
F,
G,
L, T, and
S,
hen
fi l led
n.Thedetai led,
recise
lassic
etters
re
careful ly
rawn
and
nked
n with
a
fine
pen.
7t
CM
'l{'B
30
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$CDE
FGH[IK
OP
BSTU
VWXY
Z&w
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ABCDEF
GHI
NOPBS
TUVWX
Y
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ABQDE'
FGHTIK
LMNOP
STU
VWXY
33
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ROMAN
STYLIZED
-
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ab
ghUKm
nopqrs
VWX
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-tNSTRUcrloN
ThiSclaSsyScript, lSO nOwnaS"COpperplate" r
"ROundhand,"S deal
Or
awards,
diplomas,
estimonials,
reeting
cards
or
whenever
a
sophisticated
feeling
s desired.
COppERpLATE
The
intricate
ingle
stroke
etter
s
written
at a slant
of
54
degrees
with a f lexible,
pointed,
oblique
pen.
Copperplate
s developed
with
pressure
n
the nib.
The
pressure
s
gradually ncreased
rom a
hairl ine
o a
swell,
hendecreased
ack
o a
hairl ine.
SPENCERIAN Used for captions, ogos and nameplates, pencerian s
practical
nd beautiful.
he
copy
s carefully
aidout
on
tracing
paper
with
pencil,
somewhat
oversize.
When he
lettering
s accurate,
t
is transferred
o
illustration
board
and
inked n carefully
with
a
pointed
pen.
Correct
any
slips
with opaque
white
paint
and t's
ready
or
photo
reduction.
Fine
Point
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SPENCERIAN
%%%%
)
l . /
./ '-\. ' I
^
/ ?
(
)///l//'(/4ft//
..'rf
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SPENCERIAN
The
weight
of the swell
should
be
wel l
above he
guidel ine.
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AWARDS
SPENCERIAN
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INSTRUCTION
This
decorative
etter
tyle
adds
muchclass
and
effectiveness
hen he
capitals
are
used
or the ead nit ial
n a
paragraph
r a
verse.
Being
very
ornateand
detai led,
he
letter
must
be careful ly
aid
out
on
tracing
paper,hen ransferredo the inalstock or inking.
lf
using
he
broad
pen,
use
he smallest
ib and
build
he
etterup
with care.
lf the art
s or reproduction,
he
racing hould
beslightly
versize.
ransfer
t to
i l lust rat ion
oard
nd
do
the inal
nk ing
wi tha
f ine
point
pen.
Sharpen
p
heart
with opaque
white
paint
and
t is
ready or
photo
eduction.
40
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RENAISSANCE
FBdNq,
ffffiF
\el
0P
QB STCI
Y(DXVN
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INSTRUCTION
Thisbeautiful
ngular
lphabet
asdeveloped
n France
n
the ifteenth
entury.
Batarde
s
a
natural
or
he broad
pen.
t isa
veryangular
orm
and
he
strokes
re
made
with
it i lediff
culty.
t is best
o
use
one
of
the
arger
nib sizes
o create
he
sharp
ibbon
effect.
he
pen
s
heldat
a
45 degree
ngle.
he upper
case
etters
arequitewideandcontrastwellwith he ightly-packedowercase etters'
Batarde
ombines
eautiful ly
ith
Chancery
Cursive
nd
other
tal ics'
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Wwe
Fq6WE
oV
Q13TTTL
07
z-
w
Lit
wyz
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-tNSTRUcrloN
The
name
Versals"
omes
rom
ts original
se
as
he
init ial
etter
f
a verse.
Versals
re al l
etters
ith an angular
race. hemaincharacterist icf this etter
style
s the
gentle
apered
lair
curving
n at
the
middle
of
the
stroke.
t is best
o
penci l
n the
etter
hape,
hen
usea
pen
width
hat
wil l
give
you
one
side
of
the
stroke,
hena dif ferent
en
width
o create
he other.
After
his,
he space
s
i l led
in to complete
he stroke.
Then hin
seri fs
are
made
with
a f lat
pen
angle.
The
letters
B,
D,
G,
P, R and
U
have
aised
nd
lowered
oops
above
and
below
he
guidel ines.
Bui ldup he
etter
with wo
strokes,
hen
i l l
t in with
pen
or" rush.
Loops
iseabove
nd
below
he
guidel ines.
fa l l
44
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ABdnE
FGHIIK
LMNOP
QRSTU
Wg
45
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qrcqtng
s
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;w
ryWl
A^rirr
WISH
f|U
E
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illNlLll lNl
- INSTRUCTION-
The
Inline
stylecan
be str ikingly
ffective
hen used
as a
tit le
or
as
the init ial
capital f a word. t hasgreat poster unch."
The Inl ine
echnique
equires ome
planning
efore
ts execution
s
the letters
must
be
wide enough
o contain
he
str ipecomfortably.
ach ettershould
be
carefully
aid out
with
the center
ine
n
place.
One
approach
s to use
a small
broad
pen
and
ettereach
sideof
the stroke,
eaving
he
stripe
n
between.
ut
he
best
echnique
s o
letter he
form completely
nd
hen
carefully
aint
he
nline
with opaque
white
paint
and
a small
brush.
his
requires
recise
rushcontrol.
s
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lr,uf
BOL
Logo design
s
a
vital
part
of
promotional
dvertising.
good
logo
can
provide
nstant
ndenti f ication
nd
recognition.
The
best
ogosare usual ly
ui te
simple
and symbol ic .
Many imes
the
graphic
ymbol
alone reates
he company
ignature.
A
powerful
effect
s
often
achieved
y
grouping
stylized
nitials.
50
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ill
gp
'il
lur
B$
a$ll
qEH
51
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SUNGLASSES
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0
O
0)
rt-
IJ
o)
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LETTERING
WITH
THE
Brwh
RUCTION
The Steel
Brush
s an
interesting
nd
helpful
ool.
t
is
great
or large
ettering
because
f
itsextra
width,
and
you
can
use
hinned
poster
paint
on
it as
well
as
nk.
Steel
Brushes
ange
rom
1/4
inch
to 3/4
inch
wide.
They
make
t
possible o
fashion etters to 8 incheshigh.
The
Steel
Brush
s a
fine
ool
or sign
or
poster
work'
Try
supporting
our
hand
with
a
sign
painter 's
mahlstick.
he
flexible
ip
providesmore control
han
a
brush.
or
nteresting
esults,
ry
dipping
he
pen
nto
wo
or
morecolors
ta
time.
55
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tut
EXAMPLES
F
LETTERING
USED
N
ADVERTISING
co
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4W*hwnuLL plingffi
Sm
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eoFoneE
Gr.apHlcs
W
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re
Drofus
$e
oflew
frorw
olvrrtpus
-
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$
\
)
>sI
\)
s
.
s
N
I
il
tfv
J5
-
-
u
rrI
J5
l-
E
\
U
60
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-
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n
It has
been
my
pleasure
o share
my
life- long bsession
with the
letter orm with
you.
I hope
you
don't
restr ict
our
letter ing
o the
broad
pen.
Try the
fine
point
f lexible
nibs and
the steel
brush.
Experiment i th a showcard
brush
and a sign
painter 's
uil l .
These
wil l al l
contr ibute
o
your
total call igraphic
ki l ls.
have demon-
stratedmany alphabets
nd styles;
hey
are here
for the
taking.
Remember, very
minute
you
spend
exploring
his
excit ing
art
is
yours o keep.Don't be afraid o be creative
ACKNOWLEDGEMENTS
To RossSarracino-for
his kindness
nd understanding.
To
SydneySprague-for
her
professional
elp
and editing.
To my
wife,
Emma-for
herencouragement
nd
patience.
-
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67/68
rious
nstruction
or
Serious
rtists
'll'h:
>
nhat
the
Artist's
Library
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s all
lrr-'il The books n this serieswill helpyou
,us:n.J
-ourcreativity,
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echnical
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Each
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ocuses
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de
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elpful
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The
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l ::: lordJohnson
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1..i
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t)
q
&:
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::
llll
Pen&
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r- l.ssfod
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r:':
?ncils
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rl.
-:
\\
ise
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i",
-
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-s ' :c
l.Dell i l le
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,Techniques
Uses)
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:r.
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I mp essionism
3
{,i
:- : ' 3id
"-
:
tui;,,-::
,;
DnbrushTechnique
-
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::rks
AL13
Perspective
by
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Poweil
AL14
Cartooning
by Hal Tollison
AL15
Calligraphy
Lenenr.:
D:.:.
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Nerhall
AL16
Watercolor
ih
lfi.r
1l;;;
byDuane
.Light
ALl7
Oil
Painting
aterials
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AL18
Watercolor
Acrylic
Materiak
by Wm.
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AL19
TheArt
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by Charlene
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Pen&Watercolor
byDuane
.Light
AL21
Sculpturing
by DomenicoMazzone
AL22
EggTempera
ainting
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Kirk Miller
AL23
Knife Painting
by Wm.
F.Powell
AL24
Marker
Rendering
by Todd
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WalterFosterPublishing rovides
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evels.
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Artist's
Libr ry
Series
rsBN
1- 5h01,0
031,
,