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CHAPTER 15

INCISED

LETTERING

Lettering is Part of the Message

£ T f BRIX don’c spell bricks what do it spełl X thcn?’ is an old joke and unanswerable. It is surely enough that the message is intelligible; the way in which it is expressed is unimportant. Thcre is many a message incorrectly or awkwardly expressed that we see and understand. We may think less oF the writer if rhere are gross errors of speiling, grarmnar or fact, but we scldom notice letter forms and their spacing unlcss they are unreadable. Unconsciously we are disturbed by flawed letter forms and poor spacing. An insc.ription well formed is a joy to look at close up and from afar.

Lettering is morc than just the words of the message. The arrangemem of shapes on paper or tablet is as much an art form in lettering as in drawing or relief sculpture. $lovenly or uneducated lettering may indicate a contempt for the message or for the reader. It is certain that well-ordered lettering is elear and attractive. It may lend dignity or poetry to the words and, indeed, is part of the message.

Łazy and Serious Approaches to Lettering

When drawing up an inscription an easy way out is to use transfer letters. This may take care of the letter shapes but the layout and spacing are still yours. When it comes to letter cutting, a pantograph with a router may be used. However, the result is boring precision and regularity. To produce the liveliness, subtlcty and freedom that is seen in the best inscriptions you need to study the letter forms and practise cutting freehand.

Learning FROM A Good Model

The most important alphabet used in western culture is that of the Roman capitals. The

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