essentÊrving±63

INCISED LeTTERINC,

Agcs, and V was used until then. The Frcnch still cali W double V Somctimes two Vs arc intcrlockcd. The crossover has to bc nicely judged so rhat che serifs do not become overcrowded. In his drawing Philip Surey has managed to avoid this without making the letter look too wide. Sometimes the letter is formed in the same way but without extending the crosscd arms to the top linÄ™. This means rhat the outside of the apex is below the top linÄ™. If the apex is raken to the top linÄ™ the letter may look too wide. You should not make it like an upside down M as the angles are quite difterent. The middle V shape of the M has an angle of about 52*, but the angle with the outer strokes is morÄ™ acute. On the original inscription on Trajans column the outer left oblique strokes start at a flatter angle, but modern letterers usually make M symmecrical. With M the important things to look for are the regular spacing of the bases of the strokes. The internal distance between the outside obIiquc strokes and the point is the same on each sidc. Care must be taken to keep the letter from doing the splits or looking as though it is falling apart at the centre.

The tops of R and P are similar but not the same. The top of the R is both wider and deeper. The bottom of the countcr is enclosed. The strokc diminishes to the bottom right of the lobe then returns horizontally, kecping the arm the same thinness, to end in the vertical stroke. The P, on the other hand, is not quite closed. The taiÅ‚ of the lobe curves up to but does not quite mect the srem.

The same gap can be madÄ™ in the U if the stem on the right has a foot serif (usually on the outside of the right stem only). In Philip Sureys examplc (see Fig 15.2) the left-hand stem has the fuli thickness, but it diminishes as it curvcs across the base then runs up in a thin right stem. Others carry the curve around, diminishing it to its Iowest part in the middle and then swelling it slightly as it rises to touch the right stem above the serif.

S is probably the most difFicult letter to draw and carve because the serifs are easily madÄ™ too heavy. Care is also needcd to prevcnt its appearing to topple over. It is based on rwo circles that just kiss, the bottom one being slightly larger than rhat at the top.

The mid-point of Y is just below its insidc angle.

The Trajan inscription shows a slight curvature to the lower strokes of V, M and W beforc they come to a point. This emasis also occurs on the bottom of the oblique stroke of N. It stops the points looking too sharp.

Transferring a Lettering Design on to Wood

Several attempts are needcd before you will be satisfied with the design, spacing and letter shapes. This must be done on paper unless you are very experienced. PenciI used straight on wood dents the surface and is difFicult to correct. Once the design is complete it is transferred to the wood with carbon paper, though this has the disadvanrage rhat it is not easy to rub out. If you transfer the parallel lines with carbon paper, minimum pressure is required to prcvcnt denting of the wood whcrc it will not be cut away (Fig 15.7).

Techniques OF Cutting Letters in Wood

Choice of Wood

The ideaÅ‚ wood for letrering is densc, finc textured and close grained. A light-coloured wood shows the shadows well, although painted letters look good in dark wood. Beech, cherry, pear and sycamore are excellent. The context may demand

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