INSCRIPTIONS ON METAL, STONE, WOOD, &C.
As the material naturally modifies the shapes of the letters cut or formed on its surface, and as the object bearing the inscription affects their arrangement, it is essential that the inscription cutter make himself familiar with various stones, metals, woods, &c., with the various chisels and gravers which are properly employed on them, and with fine inscriptions or examples of good pieces of lettering (see pp. [388], [237]).
A knowledge of penmanship will be found useful, and the pen may be appealed to to decide questions of abstract form in regard to letters which have come from pen forms (e.g. Roman Small-Letters, Italics, &c.). And in this connection it may be noted again that the “slanted-pen forms” (pp. [305], [43]) are generally the most practical.
Engraving on Metal.—Letters incised in metal may most nearly approach pen forms, as the fine grain of the metal and the comparatively small scale of the work allow of fine “thin strokes.” The engraver, however, while following generally the “thicks” and “thins” of the penman, allows the metal and the tool and, to a large extent, his own hand, to decide and characterise the precise forms and their proportions.
Inscriptions in Stone (see Chap. XVII., Plates [I.], [II.], and [XXIV.], and pp. [292], [36]).—The grain of stone does not generally allow of very fine thin strokes, and the “thicks” and “thins” therefore tend to differ much less than in pen-work. Their origin, moreover, is much less easily traced to the tool—i.e. the chisel—and the difference was less in the [p376] early inscriptions (see [Plate II.]) than we are now accustomed to (see [Plate XXIV.]): perhaps it may be explained as a fashion set by penmanship (see p. [241]).
Inscriptions on Wood are frequently in relief (see raised letters, p. [377]), matching the carved ornament. Incised letters may be painted or gilded to make them show more clearly.
Sign-Writing and Brush-Work.—Inscriptions, such as shop signs, notices, &c., painted on wood or stone, require—besides a practical knowledge of materials—a considerable facility with the brush or “pencil.” Directness and freedom of workmanship are most desirable.[116]
A suitable brush will make letters closely resembling pen letters. But the pen automatically makes letters with a uniform precision, which it is neither desirable nor possible for the brush to imitate: and greater skill is required to control the brush, which in the hand of a good “Writer” will be permitted to give its own distinct character to the lettering (see also p. [292], and fig. [164]).
The brush is properly used for temporary inscriptions, especially on the surface of painted wood or stone, but, for more important work, incising or carving (painted if desired) are to be preferred as [p377] being more permanent[117] and preserving the original form[118] of the lettering.