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An example of Goudy's early work as a book designer and lettering artist. It was reprinted in "Letters and Letter Construction" by F.J. Trezise (The Inland Printer Company, 1910).
By 1896, Frederick W. Goudy was beginning to "make a name for himself" as a Chicago type designer. Thanks to valuable contacts at The Inland Printer, he published "self-promos" in this internationally high-profile journal.
As suggested by Berne Nadall of Barnhart Bros. & Spindler (Chiacgo), William E. Loy wrote to him in September 1896 requesting input on his plan for researching and writing "Designers and Engravers of Type."
The same year, Goudy sold caps-only Camelot, his first commercial type design, to ATF Boston (formerly the Dickinson TF). He and J.W. Phinney patented a dual-case version in 1900.
According to records curated by the Cary Graphic Arts Collection, Rochester Institute of Technology (Rochester, NY), Mr. Goudy had designed Camelot more than 30 years earlier (1869): www.scribd.com/doc/72891449/RIT-Goudy-List
More about Camelot: typeheritage.com/jfc-00/03-patents/
© Jo De Baerdemaeker, Antwerp, December 2009
Lettering from Belgian graphic designer Gert Dooreman on the patio from the 'Letterenhuis' in Antwerp.
The text translates as 'ACCEPT ME TAKE ME SEE ME'.
www.letterenhuis.be/eCache/MDN/30/02/411.cmVjPTgwMjYwOTY....
Hit 'L' to view on large.
After sunrise at Aberthaw, an Urbex Explore to a Quarry. All in all a cracking morning.
Lettrage en Signfoam.
Signfoam lettering.
Nous contacter
Web: Enseignes Bois et Passions
Tél: 1-514-710-3931
Get in contact
Web: Wood Signs
Phone: 1-514-710-3931
Just some random pineapple facts above in some different lettering styles.
onesquigglyline.com/onesquigglylineblog/2014/11/21/letter...
Guest photos from Letterheads 2018: London Calling at Bargehouse, OXO Tower Wharf, 16-19 August. See photo/file name for photographer details.
#LondonLetterheads
12x18 Poster
All original photography and hand lettering.
(view the largest size for small type details.)
This was a typographic exercise which also taught me the basics of Photoshop. It involved selecting letters and fonts and working with them in colour and with space within a given space.
After playing with 2mm wide calligraphic pen and ink for a while, I quickly sketched these letters in Illustrator with a preset calligraphy brush (30degrees) and then started copy and paste, cut and redraw.
This happened after reading the great essay titled Problems Relating to the Translation of a Drawn Letterform to a Digital Typeface written by Eduardo Berliner - you can download it from here too: www.typeculture.com/academic_resource/article s_essays/pdf...
I feel these glyphs have much more power and life than any previous one which was either merely constructed in Illustrator or based on drawings by pen.
Now i keep practicing with calligraphy and look forward even more improved letters - and I hope, a full set of characters