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Lettering made by students at Cypress High School in Santa Cruz, CA after my LEGO presentation there.
I´ve never made a real shop sign before, so when we needed one at the upholstery shop, I thought I´d give it a try.. here is a shot from the process :-)
James Danger Harvey, the skin gallery, 5739 Auburn blvd Sacramento CA 95841, black and grey, tattoo, script, 916-247-3538, lettering, side tattoo,
Public Domain: Studio handbook lettering over 250 pages, lettering, design and layouts, new alphabets
Wall design created for Lubalin Now exhibition. 142 logos designed by Herb Lubalin and collaborators.
Quito (Ecuador) 12 de noviembre de 2021
Clase de lettering con los estudiantes de tercer semestre de la carrera de Diseño Gráfico
Foto: Ximena Padilla / La Metro
The font Baghadeer seen here is now available at: www.myfonts.com/fonts/stephen-rapp/baghadeer/refby
Freemason’s Hall detail of lettering on door fanlight. Lettering
Conservation Awards – Nomination 1978
Dating from the late 1950s or early 1960s, according to the rest of this collection, an eloquent, but harsh sign very much of the times. This Collection was donated by Dr Steeds.
In 1939 Dr Roger Steeds, general practitioner joined the three Staddon brothers who were in practice at 6 Silent Street. Just before the war, the building was threatened with demolition because of road widening. The practice moved to 18 Silent Street. It was said to be a purpose built building with three consulting rooms, dispensary, reception area and waiting room and caretaker’s flat. However, the building was wrecked by a bomb during the war but re-erected in 1946. After the war as each of the Staddon brothers retired, they were replaced in turn by Dr Roy Webb, Dr Sheila Hines and Dr Bunt Drabble. Dr Steeds retired In 1966.
Gill, E., An Essay on Typography (2nd ed.). London: Sheed & Ward, 1936.
Figure 19: 1,5,9,13,17, and 21, normal forms; the remainder shows various exaggerations; 8 is a common form of vulgarity; 10 & 11 are common misconceptions; 22 and 24 are copies of figures actually seen in advertisements.
WAR MEMORIAL, Worthington Ridge, is significant historically because it represents the desire of the residents of the Town of Berlin to honor those from the town who served in wars. While prompted by the recent experience of World War I, the original lettering on the pedestal gives equal recognition to service in the Civil War and Spanish-American War. The original intent to recognize all service was continued by the plaques subsequently raised near the pergola behind the monument, which list names from World War II, Korea, and Vietnam.
To a substantial degree, the WAR MEMORIAL, Worthington Ridge, was the benefaction of Major Frank L. Wilcox, president of the local Fidelity Trust Company, who gave funds to purchase and clear the site and defrayed the expense of improvements other than the monument itself.
Berlin's WAR MEMORIAL on Worthington Ridge consists of a tall granite obelisk which is surmounted by a bronze eagle and flanked by flag poles, the whole in front of a rustic arbor. It occupies a small park at the corner of Farmington Avenue. The site is defined by a low brownstone random ashlar wall, rounded and stepped down at the street corner. Inside the widely spaced entrance piers of the wall a courtyard of slate and bluestone pavers is surrounded by squares of concrete within a red brick border.
At grade the base of the monument is formed of square and rectangular blocks of granite and limestone. The second level is granite with quarry-finished edges. The face of the base and the face of the pedestal form a single curved line with minor stepped moldings forming a smooth transition from pedestal to shaft. At the top of the shaft the eagle's talons are fixed to a granite sphere.
On either side of the monument two-stage granite plinths support the cast-iron bell-shaped pedestals in which the steel flagpoles are set. The bell shapes are embellished with raised swags.
At the rear of the site, where grade falls off, two pergolas flank a rounded brownstone wall section which surrounds a field artillery piece. The wooden framework of the pergolas is supported by 18" x 19" brownstone piers. At the north end, five brick risers with stone treads lead up from Farmington Avenue. Wrought-iron railings run on the west side over the retaining wall between the three pairs of piers which support the beams and joists of the arbor. The second pergola, south of the artillery piece, has four pairs of piers. At the south end of the south pergola, stone steps return in a switchback down to grade. The piers are covered with ivy and the arbor is overwhelmed by a vine, in contrast to the stark original appearance.
WAR MEMORIAL, Worthington Ridge, is significant artistically because it is an example of a traditional obelisk adapted to the Art Deco mode. In the manner of traditional Civil War monument obelisks, Worthington Ridge follows a standard in that it is mounted on a pedestal and surmounted by an eagle. But Worthington Ridge is tall and sheer and without the well-defined horizontal moldings that define the components of base, pedestal, and shaft in the earlier works. The single curved line at the bottom of this WAR MEMORIAL and the attenuated proportions of the shaft identify it with the Art Deco style, which was coming into prominence at the time of its design in 1920.
The flagpoles at Worthington Ridge, almost as tall as the monument, work well in the plan, creating a fitting ensemble. Such flagpoles are found elsewhere, as at World War I Memorial, New Haven, and Torrington War Memorial. Worthington Ridge is different because it has two. The partiality of the architect, William F. Brooks, for Adamesque features, often found in his other works, is here evidenced by the robust festoons on the bell-shaped pedestals of the flagpoles, but such high-relief details are out of place with the Art Deco.
The rustic character of the pergolas reflects a design preference then in vogue for rough masonry and exposed, structure-revealing wood forms, but, again, is a diverse design element. The overall site, while attractive, does not have design unity. The present unkempt state of the pergolas dilutes their original visual contribution. www.chs.org/finding_aides/ransom/005.htm
War Memorial Monument – originally dedicated in 1920 following WWI to honor residents of East Berlin, Berlin and Kensington who served in the armed forces in time of war. Separate tablets honoring all who served in WWII, Korean War and Vietnam War have been added to the Monument. From "Walking Tour of Berlin's Historic District."
The Third Workshops Calotipo Campestres were made in the farmhouse Collado Royo (Teruel) for a weekend in April 2013. This time we are joined by Juanjo Lopez, who gave a workshop of lettering and calligraphy. The next day Carla Nicolás showed participants how to work with linoleum elaborate designs to stamp. Also enjoyed the wonderful new environment around us and the magnificent kitchen Pilar and Roberto, owners of the farmhouse.
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Las III Jornadas Calotipo Campestres se realizaron en la Masía Collado Royo (Teruel) durante un fin de semana de abril en 2013. En esta ocasión contamos con la participación de Juanjo López, que impartió un taller de lettering y caligrafía. El día siguiente Carla Nicolás mostro a los participantes como trabajar con linóleo para poder estampar los diseños elaborados el día anterior. Además disfrutamos de nuevo del maravilloso entorno que nos rodeaba y de la magnífica cocina de Pilar y Roberto, dueños de la Masía.