Whatever mode of treatment be followed, each line should be written with as much freedom as possible, the simplest straightforward writing being preferable to that which is over-arranged.
DECORATIVE CONTRASTS
The decorative treatment of lettering generally involves contrasts of size, weight, colour, or form—that is, of large and small, heavy and light, variously coloured, or variously shaped letters. As a general rule, marked contrasts are best; a slight contrast may fail of its effect and yet be sufficiently noticeable to give an unpleasant appearance of irregularity.
Contrasts of Colour (see pp. [144], [180]).—Note that, while it is convenient to distinguish “colour”—as red, blue, green, &c.—weight strictly involves [p328] colour: built-up or heavy letters in black show extra black beside lighter writing, while the latter appears grey in comparison (see figs. [197], [186]); in red writing the heavy letters appear red, the lighter letters, pink (see fig. [90]).
Contrast of Size.—The simplest decorative contrast is that of LARGE[88] letters with smaller letters (fig. [185]); the strokes being of equal, or nearly equal, weight, there is an harmonious evenness of tone throughout. Where the large letters are very much larger, their parts are made somewhat heavier to keep their apparent “weight” approximately equal (see p. [486]). This is one of the most effective treatments for inscriptions generally (see p. [299], and Plates [V.] and [XXIV.]).
Contrasts of “weight” and size.—In simple writing these are obtained by using two sizes of pen—the small, light letters being used for the bulk of the [p329] text, the larger heavier letters being used for occasional words or lines (or vice versâ). This is a very effective simple treatment for MSS. (fig. [186]).
[Fig. 186.]—(See also fig. [191].)