THE SCOPE OF THIS HANDBOOK

Generally this book has been planned as a sort of “guide” to models and methods for Letter-craftsmen and Students—more particularly for those who cannot see the actual processes of Writing, Illuminating, &c. carried out, and who may not have access to collections of MSS. Much of, if not all, the explanation is of the most obvious, but that, I hope, gives it more nearly the value of a practical demonstration. In describing methods and processes I have generally used the present tense—saying that they “are—”: this is to be taken as meaning that they are so in early MSS. and inscriptions, and in the practice of the modern school of scribes who found their work on them.

Regarding the copying of early work (see pp. [195], [323], &c.) it is contended that to revive an art [p-xx] one must begin at the beginning, and that, in an honest attempt to achieve a simple end, one may lawfully follow a method[4] without imitating a style. We have an excellent precedent in the Italian scribes who went back 300 years for a model and gave us the Roman small-letter as a result (see p. [47]). The beginners attitude is largely, and necessarily, imitative, and at this time we should have much to hope from a school of Artist-Beginners who would make good construction the only novelty in their work. We have almost as much—or as little—to be afraid of in Originality as in imitation, and our best attitude towards this problem is that of the Irishman with a difficulty—“to look it boldly in the face and pass on”—making an honest attempt to achieve a simple end. Perhaps we trouble too much about what we “ought to do” & “do”: it is of greater moment to know what we are doing & trying to do. In so far as tradition fails to bound or guide us we must think for ourselves and in practice make methods and rules for ourselves: endeavouring that our work should be effective rather than have “a fine effect”—or be, rather than appear, good—and following our craft rather than making it follow us. For all things—materials, tools, methods—are waiting to serve us and [p-xxi] we have only to find the “spell” that will set the whole universe a-making for us.

Endeavouring to attain this freedom we may make Rules and Methods serve us (see p. [221]), knowing that Rules are only Guides and that Methods are suggested by the work itself: from first to last our necessary equipment consists in good models, good tools, & a good will. Within the limits of our craft we cannot have too much freedom; for too much fitting & planning makes the work lifeless, and it is conceivable that in the finest work the Rules are concealed, and that, for example, a MS. might be most beautiful without ruled lines and methodical arrangement (see p. [343]). But the more clearly we realize our limitations the more practical our work. And it is rather as a stimulus to definite thought—not as an embodiment of hard and fast rules—that various methodical plans & tables of comparison & analysis are given in this book. It is well to recognize at once, the fact that mere taking to pieces, or analysing, followed by “putting together,” is only a means of becoming acquainted with the mechanism of construction, and will not reproduce the original beauty of a thing: it is an education for work, but all work which is honest and straightforward has a beauty and freshness of its own.

The commercial prospects of the student of Writing & Illuminating—or, indeed, of any Art or Craft—are somewhat problematical, depending largely on his efficiency & opportunities. There is a fairly steady demand for Illuminated Addresses; but the independent craftsman would have to establish himself by useful practice, and by seizing opportunities, and by doing his work well. Only an attempt [p-xxii] to do practical work will raise practical problems, and therefore useful practice is the making of real or definite things. In the special conditions attaching to work which the craftsman is commissioned to do for another person, there is a great advantage. And the beginner by setting himself specific tasks (for example: making a MS. book for a specific purpose—see p. [100]) should give reality to his work. As a craftsman in Lettering he might get work in some of the directions mentioned in pp. [337]–[341].

Although the demand for good work is at present limited, the production of good work will inevitably create a demand; and, finally, the value of Quality is always recognized—sooner or later, but inevitably—and whatever “practical” reasons we may hear urged in favour of Quantity, the value of Quality is gaining recognition every day in commerce and even in art, and there or here, sooner or later we shall know that we can afford the best.

EDWARD JOHNSTON.

October 1906.

My thanks are due to Mr. T. J. Cobden-Sanderson, to Mr. Emery Walker, and to Mr. George Allen for quotations: to Mr. Graily Hewitt, to Mr. Douglas Cockerell, to Mr. A. E. R. Gill, to Mr. C. M. Firth, and to Mr. G. Loumyer, for special contributions on gilding, binding, and inscription-cutting: to Mr. S. C. Cockerell for several of the plates: to Mr. W. H. Cowlishaw, to the Rev. Dr. T. K. Abbott, to Dr. F. S. Kenyon of the New Palæographical Society, to the Vicar of Holy Trinity Church, Hastings, to the Secretary of the Board of Education, S. Kensington, to Mr. H. Yates-Thompson, to Mr. G. H. Powell, and to others, for permission to reproduce photographs, &c.: and to Mr. Noel Rooke and G. J. H. for assistance with the illustrations and many other matters: I should like, moreover, to acknowledge my indebtedness to Mr. W. R. Lethaby and Mr. S. C. Cockerell for encouragement and advice in years past.

E. J.

FOOTNOTES TO AUTHOR’S PREFACE:

[1] See Chap. XVI. “Of Colour” in “Stained Glass Work” by C. W. Whall, in this Series, and the illuminator might profit by the suggestion (ibid., p. 232) of playing with a home-made kaleidoscope.

[2] Dealing with the practical and theoretical knowledge of letter-making and arrangement which may be gained most effectually by the use of the pen.

[3] In making choice of a model we seek an essentially legible character, remembering that our personal view of legibility is apt to favour custom and use unduly, for a quite bad, familiar writing may seem to us more readable than one that is far clearer in itself but unfamiliar.

[4] Much remains to be found out and done in the matter of improving tools & materials & processes, and it would be preferable that the rediscovery of simple, old methods should precede new & complex inventions. We still find the Quill—for its substance & for shaping it and keeping it sharp—is a better tool than a modern gold or metal pen (see p. [60]). The old parchment, paper, ink, gilding-size & colours are all much better than those now obtainable (see pp. [51], [167], [173], [178]–[179]). I should greatly appreciate any advice from illuminators and letter-craftsmen as to materials and methods, and should endeavour to make such information available to others.—E. J.

[ADDENDA & CORRIGENDA]

P. [51]. Beginners practising large writing may more easily use a thin, or diluted, ink: in small writing this does not show up the faults with sufficient clearness.

P. [59]. Quills often have a sort of skin (which tends to make a ragged nib), this should be scraped off the back.

P. [63]. Until the simple pen-stroke forms are mastered, the pen should be used without appreciable pressure. With practice one gains sleight of hand (pp. [85], [311]), and slightly changing pressures & quick movements on to the corners, or points, of the nib are used. The forms in the best MSS. shew such variations; e.g. the Uncials in fig. [5] appear to have been made with varying pressure (perhaps with a soft reed) & their fine finishing-strokes with the nib-point (comp. forms in fig. [146]). Versals likewise shew varying, and sometimes uncertain, structures that suggest a form consisting of strokes other than definite pen strokes. [p-xxv]

[Figs. a to n], illustrating Addenda & Corrigenda.

P. [64]. A nib may be sharpened several times, before it is re-cut, by paring it underneath (fig. [a]).

Pp. [73] & [81]. The thin finishing-strokes of j, & F, G, J, N, are made with the point of the nib—see note p. 63 above.

P. [99]. The plan of a paper scale is shewn in fig. [b].

P. [109]. The dots for lines were often pricked through the edges of the book-sheets which were cut off after ruling (fig. [c]).

P. [118]. The spread or wedge-shaped thin stroke, sometimes very strongly marked, is common in early forms (fig. [d]).

P. [144].

&

: better (pen) forms of these are shewn in fig. [e].

P. [208]. Ornamental Letter forms may consist of flourishes, patterns, leaves, flowers, &c. (see fig. [f]).

Pp. [215]–[217]. Diapering generally means the variegation, figuring, or flowering, of a plain or patterned surface, with a finer pattern (see fig. [191a]). Some diagrams of simple patterns (g–g2 from modern cantagalli ware) are shewn in fig. [g]. Note: the more solid penwork line-fillings in figs. [87], [126], make effective framing borders (see fig. [h]).

Pp. [219]–[220]. Note: the principle of breaking straight or long lines, mentioned in regard to background edges (p. [190]), and illustrated in the line-finishings (fig. [126]) and flourishes (fig. [79]), is related to branching out and is re-creative, whereas the prolonged line is tiresome (see figs. [k], k1, & comp. k2).

P. [249]. The B & D should be round-shouldered—see note p. 280 below. [p-xxvi]

P. [260]. It is sometimes better to make narrow forms than to combine wide ones—example fig. [l].

Pp. [270]–[275].
Pp. [280]–[288]. The large types—“Old Face” (founded on Caslon Type) and “Old French” (modern) respectively—are used in these pages as reference or index letters (not as models).

P. [280]. Generally round-shouldered letters have finer and more stable forms than square-shouldered, and generally emphasis should be laid on the strong, thick stroke running obliquely down from left to right (

), while the weak, thin stroke (

) is rather to be avoided (see fig. [m]). The writing used in the diagrams in this book, considered as a formal hand, shews a little too much of the thin stroke (see p. [485]).

P. [324]. Commonly letters are made more slender in proportion as they are made larger, and it is generally not desirable (or possible) in practical work to have exactly similar proportions in large and small lettering.

P. [325]. g from fig. [173] inaccurate—comp. fig. [173] & see fig. [n].

P. [331]. Ornamental letters—see note p. 208 above.

P. [481]. A small writing is often the most practical—in the matter of speed in reading and less bulk in the MS., besides speed in the writing of it—but it is more difficult for the beginner to write it well and it is apt to lose some of the virtues of formal penmanship (see Fine-pen writing pp. [59], [86], [311], [324], [482]).

P. [485]. Oblique thin stroke—see note p. 280 above.

CONTENTS

PART I WRITING