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Illustrations compiled from Neon Signs and Cold-Cathode Lighting, by Samuel C. Miller, Tubelite Co., 2nd Edition, 1963 (1st Edition, 1935). Collection of Letterform Archive.
I assume this to be the most comprehensive technical manual on neon ever published. Subsequent reprints are easy to track down and it makes a great companion to Neon: A Light History, by Dydia DeLyser and Paul Greenstein, which was just released last month.
I have made a new larger print of this piece for the Christmas show at Soma Gallery in Bristol. This is 5 colours and sells for £40. I am also going to do one on either yellow or blue very soon.
My wife’s great grandfather’s “Lettering for pen and brush” manual, the cover of which is nearly obliterated with “practice” or possibly “accidents”. I’ll be sure to post a shot of the entire cover in the near future. It’s quite the work of art.
Lettera (Vol. 1, 1954).
This alphabet reminds me somewhat of Walter Käch’s Örtli & Co., seen in his influential book, Schriften / Lettering / Ecritures. Kâch’s design shares the horizontal-spine ‘S’, but has curved (rather than flat) sides, and appears to be the model for lettering commonly found in Swiss and German design in the 1950s and ’60s, particularly in architectural signage.
Like many of the alphabets shown in the Lettera series, Zürich was used in commercial work, and turned into fonts for both photo and digital composition. From our description on Fonts In Use:
“An (unauthorized) phototype adaptation appears in a Lettergraphics 1968 catalog as Astrid, with added numerals, punctuation glyphs, and wide alternates for ‘f’ and ‘t’. Shown in Castcraft’s Encyclopedia of Phototype Styles (1978) as “Aggie (similar to Astrid Solid)”.
Digital versions include OPTI Aggie Solid (Castcraft, 1990) and URW Aggie (URW++, 1999). The former includes the original narrow forms for ‘f’ and ‘t’ as alternates.”
The Traveler's Notebook by Midori has great paper that can take a bit of water, markers, ink and scratching. Filled up week 37 here.
by Rudolph Wendelin. Scanned at the Forest History Service.
Lauren Hart did some amazing research on the National Forests signage, and found the designer to be Rudolph Wendelin, a graphic artist that popularized Smokey the Bear. At Lauren’s suggestion, I emailed the Forest History Society, and they returned with a scan of the original material. Amazing. Thank you so much Lauren!!
Lettering I did, cutted out of steel with water! I'ts now for a week on my balcony to let it rust....
Ante todo!!!...
Gracias por acompañarnos en este año lleno de cambios. Sin duda han sido fundamentales. Espero reencontrarlos pronto!. Seamos felices!
Un abrazo grande!,
yani
© Yani Arabena & Guille Vizzari
Built as SSW 9660 in September 1989. Originally patched to UP 1965 and then later renumbered to UP 1076. Currently one of six final patched Cotton Belt locomotives on Union Pacific’s roster as of January 2023. When UP 1413, the last patched SP Roman lettered locomotive on the roster, was graffiti tagged almost beyond recognition it left those six former Cotton Belt GP60s as the final examples of Southern Pacific style Roman lettering on UP’s roster. Photo taken 1/19/2023.
Jigsaw falling into place, do Radiohead. Nanquim, lápis e aquarela sobre papel. / Nankin, pencil and watercolour on paper.
I love this quote because I think it speaks to all of us. There is always someone we think who is "better" artist than we are, but we all have our songs to sing!
Blogged about here.
A rustic masterpiece at Sunset View Cemetery. No date or other text on this one. I think it’s a family plot marker, with newer, conventional stones from the Brown family in front of it. Sunset View was established in 1908, and this is likely one of the first stones as it’s in the center with other early graves.
Schrift: Geschrieben, Gezeichnet, und Angewandt, Ernst Bentele, Karl Gröner Verlag, Ulm-Söflingen, Germany, n.d. [ca. 1953]
A very nice lettering manual.
See also Gustav Behre’s Malerei, Schrift, Graphik, a great signmaking manual from the same publisher.