UPPER & LOWER PARTS
In the letters B, E, H, K, X (A), F, R, P (S), Y there is generally a tendency to enlarge the lower part, the cross-bar—or division—being set above mid-height. This tendency may reasonably be accounted for as follows:—
The natural division of B, E, H, K, & X, regarded as abstract forms, would be symmetrical—i.e. at the centre of the stem.[66] In order that its apparent position may be central, however, it is necessary, for optical reasons, to make [p274] its actual position above the centre.[67] And further, by a reasonable enlargement of the lower part, these letters acquire a greater appearance of stability.
It would be well, I think, for the letter-craftsman to begin by making such divisions at the apparent centre (i.e. very slightly above mid-height; see E, F, X, [Plate II.]), so keeping most nearly to the essential forms (see p. [275]). Later he might consider the question of stability (see B, [Plate II.]). The exaggerated raising (or lowering) of the division associated with “Art Lettering” is illegible and ridiculous.
A The lower part is essentially bigger, and the cross-bar is not raised, as that would make the top part disproportionately small.
F usually follows E, but being asymmetrical and open below it may, if desired, be made with the bar at—or even slightly below—the actual centre.
R In early forms the bow was frequently rather large (see [Plate II.]), but it is safer to make the tail—the characteristic part—more pronounced (see Plates [III.], [XXIV.]).
P The characteristic part of P is the bow, which may therefore be a little larger than the bow of R (see [Plate III.]).
S In the best types of this letter the upper and lower parts are approximately equal; there is a tendency slightly to enlarge the lower [p275] part. (In Uncial and early round-hands the top part was larger: see Plates [IV.] to [VII.])
Y varies: the upper part may be less than that of X, or somewhat larger.