THEORY & PRACTICE
The above discussion of theories and “rules” for the construction and arrangement of good lettering is intended to suggest some useful methods—not to provoke excessive fitting or planning, but rather to avoid it. Straightforwardness is perhaps the greatest virtue in a craft, and whatever “rules” it may break through, it is refreshing and charming.
An excellent example for the scribe or inscription maker is the method of an early printer, who had only four or five sorts of type—say, “Small-Letters” and “Capitals” (Roman and Italic) and “Large Capitals,” and who, without any elaborate “design,” simply put his types into their proper [p268] places, and then pulled off his pleasant sheets of “commonplace” printing.
The scribe should choose the best and simplest forms and arrangements, and master them before going further; he should have a few definite types “at his finger tips,” and, for everyday use, a matter-of-course way of putting them down on paper.
Ambiguity is one of the greatest faults in a craft. It comes often from vague ambitions. One may be inspired by good ambitions, but the immediate concern of the craftsman is to know what he is capable of doing at the present, and to do it.
Let the meaning of your work be obvious unless it is designed purely for your own amusement. A good craftsman seeks out the commonplace and tries to master it, knowing that “originality” comes of necessity, and not of searching.
[CHAPTER XV THE ROMAN ALPHABET & ITS DERIVATIVES ] The Roman Alphabet — Proportions of Letters: Widths — Upper & Lower Parts—Essential or Structural Forms — Characterisation of Forms — Built-Up Forms — Simple-Written Capitals — Uncials — Capitals & Small-Letters — Early, Round, Upright, Formal Hands — Slanted-Pen Small-Letters — Roman Small-Letters — Italics — Semi-Formal Hands — Of Formal Writing Generally — Decorative Contrasts — Ornamental Letters.
The Roman Alphabet
The Roman Alphabet is the foundation of all our alphabets (see Chapter I.). And since the full [p269] development of their monumental forms about 2000 years ago, the Roman Capitals have held the supreme place among letters for readableness and beauty. They are the best forms for the grandest and most important inscriptions, and, in regard to lettering generally, a very good rule to follow is: When in doubt, use Roman Capitals.
The penman may with advantage devote some study to a fine monumental type of Roman Capital (such as that of the Trajan Column Inscription: Plates [I.] and [II.]), and endeavour to embody its virtues in a built-up pen form for use in MSS. (p. [294]).