Caligrafia en pasos sencillos.pdf

5/21/2018 Caligrafia en pasos sencillos.pdf

1/68

CALLIGRAPHY

&

LETTERING

DESIGN

ByArthurNewhall

WALTER

OSTER

ublishing


2/68

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3/68

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.


4/68

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


5/68

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


6/68

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


7/68

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'


8/68

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."


9/68

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10/68

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12/68

- 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


13/68

STROKE

EQUENCE

z,

T6Cf_DtrF

gMTflru

Mpe

KSTWW

UPPER

CASE

LETTERS

\

w6c,ffe

6qEffi

Wq{*st

vffi"MpfZ

' t1

LOWER

CASE

LETTERS

-


14/68

CHANCERY

URSIVE

f f i@E

Fq

O?

TUryW


15/68

CHANCERY

URSIVE

urumrLo

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16/68

CHANCERY

URSIVE

th

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17/68

CHANCERY

URSIVE

ABWEq

HUKruN

'WSIU

TWWZ

nbc@W,kl

ffinryqrstu

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Basc

15


18/68

CHANCERY

URSIVE

abcd

q

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19/68

W

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wry7

17


20/68

CHANCERY

URSIVE


21/68

CHANCERY

AMPLES

urfrn@nrnm'

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.bers@

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22/68

-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


23/68

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Fqhuh

mnoD

qret

TT?ry

7

--/

21


24/68

UNCIAL

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LfDnop

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7&l?$


25/68

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


26/68

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

\-


27/68

BLACK

LETTER

ABgBE

r tg f rT

MffiN

@#wB

$WMry

ffixu7

\


28/68

BLACK

LETTER

ffi@Fr,

TFWMU1.

WFNN

Q)p

QIB

s

Tuu

---l

\--l

urx1{


29/68

BLACK

LETTER

g,ng

TsqT1

I[

op

6,U$

xuz


30/68

BLACK

LETTER

[8CDET GUIJ

rLnn

0?08

STUV

rux

z


31/68

BLACK

LETTER

abcefghljhtmtropq

rst$xU

4

abstghl

iUnropq

rgtuttlxq


32/68

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


33/68

$CDE

FGH[IK

OP

BSTU

VWXY

Z&w


34/68

ABCDEF

GHI

NOPBS

TUVWX

Y


35/68

ABQDE'

FGHTIK

LMNOP

STU

VWXY

33


36/68

ROMAN

STYLIZED


37/68

ab

ghUKm

nopqrs

VWX


38/68

-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


39/68

SPENCERIAN

%%%%

)

l . /

./ '-\. ' I

^

/ ?

(

)///l//'(/4ft//

..'rf


40/68

SPENCERIAN

The

weight

of the swell

should

be

wel l

above he

guidel ine.


41/68

AWARDS

SPENCERIAN


42/68

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


43/68

RENAISSANCE

FBdNq,

ffffiF

\el

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QB STCI

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44/68

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'


45/68

Wwe

Fq6WE

oV

Q13TTTL

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46/68

-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


47/68

ABdnE

FGHIIK

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51/68

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


52/68

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


53/68

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gp

'il

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a$ll

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51


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55/68

SUNGLASSES


56/68

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O

0)

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57/68

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


58/68

tut

EXAMPLES

F

LETTERING

USED

N

ADVERTISING

co


59/68

4W*hwnuLL plingffi

Sm

57


60/68

eoFoneE

Gr.apHlcs

W


61/68

re

Drofus

$e

oflew

frorw

olvrrtpus


62/68

$

\

)

>sI

\)

s

.

s

N

I

il

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-

-

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rrI

J5

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60


63/68


64/68


65/68


66/68

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.


67/68

rious

nstruction

or

Serious

rtists

'll'h:

>

nhat

the

Artist's

Library

Series

s all

lrr-'il The books n this serieswill helpyou

,us:n.J

-ourcreativity,

overcome

echnical

nrr:r;-;ies.

nd

explore

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Each

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ocuses

n

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nd

meth-

qrrs

,trr

specific

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and

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monstrations,

elpful

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The

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eader

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I ETi t:3nks

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l ::: lordJohnson

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1..i

HowToUse

t)

q

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Pen&

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ise

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i",

-

-

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l.Dell i l le

,;ir-;{.',

,Techniques

Uses)

_,::.

\{3:;alf

,.

:

;-.

:r.

:

I mp essionism

3

{,i

:- : ' 3id

"-

:

tui;,,-::

,;

DnbrushTechnique

-

-r:.

::rks

AL13

Perspective

by

Wm. F.

Poweil

AL14

Cartooning

by Hal Tollison

AL15

Calligraphy

Lenenr.:

D:.:.

by

Arthur

Nerhall

AL16

Watercolor

ih

lfi.r

1l;;;

byDuane

.Light

ALl7

Oil

Painting

aterials

by

Wm. F. Powell

AL18

Watercolor

Acrylic

Materiak

by Wm.

F. Powell

AL19

TheArt

Of Framing

by Charlene

Brom

AL2O

Felt

Pen&Watercolor

byDuane

.Light

AL21

Sculpturing

by DomenicoMazzone

AL22

EggTempera

ainting

by

Kirk Miller

AL23

Knife Painting

by Wm.

F.Powell

AL24

Marker

Rendering

by Todd

Murrison

WalterFosterPublishing rovides

art

nstruction

roducts

or all

ages

and

skill

evels.

or

more nforma-

tion,

send

or

a

freecatalog.

Walter

FosterPublishing,

nc

23062La

Cadena

Drive

Laguna

Hills, CA92653

-t;

zrt-tEz-Bl

fmqlgJffi

-


68/68

Artist's

Libr ry

Series

rsBN

1- 5h01,0

031,

,

Documents

Caligrafia en pasos sencillos.pdf