“Inside Shapes.”—The beauty of a letter depends very much on its inside shape—i.e. the shape of the space enclosed by the letter form. As this is often overlooked, it may be briefly referred to. Frequently when it seems difficult to say what is wrong with a piece of bad lettering, a glance at the inside shapes will reveal the fault. In simple writing, if the pen be properly cut and properly held, these shapes will generally take care of themselves, and internal angles or asymmetrical lines which occur are characteristic of that particular form of penmanship, and not accidental (b, fig. [151]).
In making Built-up letters—which have both outer and inner strokes—the inner strokes should generally be made first (see p. [121]).
Plain and Ornamental Forms.—Not only for the sake of readableness, but to promote a beautiful and dignified effect, the forms of letters are kept simple when the text is long. And, generally, the less frequent the type, the more ornamental may be its form (see pp. [126], [210], [298], [330]).
BEAUTY OF UNIFORMITY (As the assimilation of the corresponding parts—“bodies,” “limbs,” “heads”—and as the “family likeness,” of the different letters, so that they go well together)
Right uniformity makes for readableness and beauty, and is the result of good craftsmanship.
Readableness.—Where the text letters are uniform, the reader is free to give his attention to the sense of the words, whereas the variations in an irregular or changing text are distracting.[56]
Beauty.—The abstract beauty-of-uniformity may be said to lie in this, that the different letters, or individual elements, “go well together.” The beautiful effect of uniform lettering is thus caused by the united forces, as it were, of all the letters.