Category: Nick Garrett Traditional Sign writer (page 14 of 56)

Michael Leventis.. lettering his works

Lettering the fine fine art painting

 

This lettering commission was really unpredictable with the canvas and different absorptions affecting flow of sign enamel.

The letters actually flowed on beautifully… but the real drama was getting them on in the first place.

Normally the layout drawing traces down onto the surface easily and one uses the chalk line draft as a close spacing guide.

This drawing and trace down decided to completely fail for some unfathomable reason.  It was at that moment I realised there was something special in the way he applied his paint.

”Only oils with turpentine he mused..”

But as I gave up the normal route I realised I had to do it differently and without hesitation.

I grabbed a pair of rusty studio scissors and started hacking out the letters with reasonable accuracy and rising panic… after a fairly desperate activity I laid the drawing back up and flicked chalk across the now newly chopped stencil.  In 32 years this was a first and not without desperation.

I never use the drawing as a final mark… I always take my brush and allow it to command the structure and curves.  The drawing gets you spaced accurately but after that it can get in the way.

 

At last my pallet was loaded and brush charged to the canvas the chiselled sable went and with a tip led technique I found myself flying around the text!  Ocassionally the canvas sucked in the mix and cause tiny errors, spiders and runs…  I zapped these with tissue at hand and re cut the glyphs.

 

The font itself was a contrived New york wharf type of 50s font – chunky and hard. Standing back with line one done it looked really hard and perfect.

I was amazed!!  This was good.

After 30 minutes they were done and it was solid… no need for an outline as originally planned.

The painting had taken on a new dimension and talked it’s own poetic message.

Masking the 10mm box line was a job every bit as accurate as Damien Hirst job nay more so… involved taping registers for marking out … marking, straight liner tape as offset guide, then Frog tape, tracking the straight setters… corners all needed re tape cut ins because impossible to razor trim tap for obvious reasons… Frog Tape ruled again with only 2 tiny bleeds.

 

Curious as I usually am about my clients, I had a number of fascinating kick-back chats with Michael in his fab Rauol restaurant in Maida Vale and talked about his past present and future aspirations..

I can recommend the salmon and avocado sandwich by t’way.

”I started out working with my father… he didn’t want me to head in the wrong direction  ‘wrong direction’ (art college) and so in my early twenties I found myself in the USA … we had a number of businesses in the states… one of which was a bottling plant for Cocoa Cola… ”

But it wasn’t until I met Francis (Bacon) years later and quite by chance on Ios that I realised I had to paint again… Francis demanded I return to England and found me a studio… how could I refuse that?

 

” You see my father died of lung cancer… and the chap in the Marlborough adverts died of lung cancer too… so it’s deeply ironic.

I physically winced when he told me that.

”How devastating… ”

We stood in his studio flipping through various books and memoires… ”This is Francis’s easel… he used these boxes to divide his images…” Pointing at the sketch we had made.

”They make the picture dynamic..”

”I remember the Screaming Pope had them as a frame … a glass box. Then years later they stuck him in a Pope-mobile with a glass box… life the imitator’ I mentioned trying to tease out some other meanings.

”Exactly… smoking was a macho thing to do… cool.  But it kills you”

Michael kept his eyes fixed in his sheltered yet poised, reflective manner.  He struck me as a tender hearted, contemplative man and an astute, gifted painter.

 

Getting up close to his image on the canvas was quite a surprise because at a distance these graphically rendered images seem rather slick. Up close is a different mater.  They sing.

They are beautifully painted… crafted in layers across the carefully selected shifts and divisions.

”The background are layers.  Lots of layers… I never want them to look photographic but I try to find these areas… these shapes”

 

Divisions they depict and play with.

 

TBC shortly

NG

 

 

 

 

Typographer Edward Johnston – FREE FONT NGS Johnston Prima … inspired by

Typographer Edward Johnston – Going Underground… inspired by

 


New Font NGS Johnston Prima

DOWNLOAD THE FREE VERSION HERE!

NGS_Johnston_Prima-Demi

 

 


Edward JohnstonCBE (11 February 1872 – 26 November 1944) was a British craftsman who is regarded, with Rudolf Koch, as the father of modern calligraphy, in the particular form of the broad edged pen as a writing tool. He is most famous for designing the sans-serifJohnston typeface that was used throughout the London Underground system until it was re-designed in the 1980s. He also redesigned the famous roundel symbol used throughout the system. After studying published copies of manuscripts by architect William Harrison Cowlishaw, and a handbook by Edward F. Strange, he was introduced to Cowlishaw in 1898 and then to William Lethaby, principal of the Central School of Arts and Crafts.

JY glass 002

William Harrison Cowlishaw (1869–1957) was a British architect of the European Arts and Crafts school and a follower of William MorrisLethaby advised him to study manuscripts at the British Museum, which encouraged Johnston to make his letters using a broad edged pen. Lethaby also engaged Johnston to teach lettering, and he started teaching at the Central School in Southampton Row, London, in September 1899. From 1901 he also taught a class at the Royal College of Art and many students were inspired by his teachings.

Hermann Zapf has said recently of Johnston,

Nobody had such a lasting effect on the revival of contemporary writing as Edward Johnston. He paved the way for all lettering artists of the twentieth century and ultimately they owe their success to him

EdwardJohnston

Edward Johnston (1872-1944) by his teaching and practice almost single-handedly revived the art of formal penmanship which had lain moribund for four centuries. His major work Writing and Illuminating, and Lettering, first published in 1906 and in print continuously ever since, created a new interest in calligraphy and a new school of excellent scribes.

The life he breathed into this ancient craft and its continuing tradition even in today’s hi-tech world can be ascribed to his re-discovery of the influence of tools, materials and methods. His researches were carried out with the understanding of the artist-craftsman, the scientist and the philosopher and this three-fold approach resulted in a profound insight – he fully grasped the root of formal writing and saw how all the branches grew from that root.

Branding the London Underground

Frank Pick</p><br /><br /><br /><br /><br /><br /><br /> <p> Frank Pick

As head of the London Underground in the 1910s and 1920s and of the newly merged London Transport in the 1930s, FRANK PICK (1878-1941) was instrumental in establishing the world’s most progressive public transport system and an exemplar of design management commissioning Johnston to design the branding of LU.

The epoch-making sans-serif alphabet he designed for the London Underground Railways changed the face of typography in the twentieth century.

johnston's fonts - Google Search

http://www.vads.ac.uk/results.php?cmd=search&words=edward+johnston+crafts+study+centre&mode=boolean&rpp=90

We celebrated 150 years of the London Underground, but 2013 also marks the centennial of its iconic typeface, first commissioned in 1913. Edward Johnston, a British calligrapher and lettering artist, was asked to create a typeface with “bold simplicity” that was truly modern yet rooted in tradition. Johnston’s design, completed in 1916, combined classical Roman proportions with humanist warmth.

“Underground” — later known as “Johnston” — was circulated as a lettering guide for sign-painters and also made into wood and metal type for posters, signs, and other publicity materials used throughout London’s transport network.

Johnston himself only drew one weight of the typeface. He based its weight and proportions on seven diamond-shaped strokes of a pen stacked in a row. This gesture even shows up in the typeface itself, with the characteristic diamond used as the tittle of the “i” and “j”. He felt so strongly about the weight of the design that when another student of his agreed to create an accompanying set of bold capitals, Johnston wouldn’t speak to him for decades afterward.

Johnston’s type became a distinctive feature of the Underground brand over the years, but by the late 70s it was less practical to use the old wood and metal fonts. Inevitably, the brand was getting watered down as other typefaces were chosen for different uses around the system. In 1979, London Transport asked design agency Banks & Miles to modernise “Johnston” and prepare it for the typesetting systems of the day, such as the Linotron 202.

Eiichi Kono, a new designer at the agency, was asked to revise and revive the family. Not only did he redraw the proportions for better display and even out some of the inconsistent details of the original, but he also took on the challenge of adding two new weights and accompanying italics for the full set, attempting to give the family greater versatility.

Yet Johnston was never intended to be a family.

Some years later, this bastardised design was further mutilated by Monotype, with even greater support for different languages. Known now as “New Johnston”, the fonts are a sad departure from the original, and used exclusively by Transport for London today as its brand typeface.

On closer inspection some of the recent changes made to the original drafts have lost essential typographic characteristics which made the original so unique and pleasing to the eye.  It is the eccentric idiosynchronicity of the font that makes it work visually. By evening out these characteristics the magic is lost.

The slightly heavier new weight has clogged the graceful flow of the original.  The agility of spacing between angled and curved characters has been replaced by the misguided attempt for more solidity and stability.

”When I look at the new version used by TFL today it saddens me because I don’t feel the designers have a clue about what Johnston was doing with this font and how it was conceived.  It is a calligraphic sans serif.

The glyphs are now made clumsy, aggressive and gawdy looking … especially the S which has always been Johnston’s masterpiece in my opinion.

In the original form the lower tail curved directly into the line of the diagonal leg of the K, R and created a beautiful link across many ranges of spacings.  Now the S hooks too aggressively and fails to create that delicate yet open dynamic link.  A crucial loss to the font and it fails as a result.

Other characteristics such as the 3 forms of W have been lost which is again unforgivable. Every glyph has been stripped of it’s spring and beauty”

Nick Garrett of NGS Signwriting London.

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A recently revealed fascia in Higbury showing early Johnston characters.
Inspired by Johnston - London signwriting NGS
Inspired by Johnston – London signwriting NGS
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Inspired by Johnston – London signwriting NGS
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Inspired by Johnston – London signwriting NGS

Other versions are commercially available to the rest of us, each taking a different approach to adapting Johnston’s design.

P22 Type Foundry thankfully released its faithful, officially licensed version of Johnston’s original in 1997, also offering a number of lively graphic elements such as ornaments and borders that draw on TfL’s rich visual history. P22 London Underground was later updated as P22 Underground Pro with many more weights and typographic features.

While P22 revived “Johnston” as a display typeface, designer Dave Farey was interested in refining the concept to work better for text in his 1999 design of “ITC Johnston“. His first iteration included three Roman weights that were redrawn and respaced with a freer hand, using the original as a starting point and a model. When adding italics later, Farey looked back to Edward’s Johnston legacy as an influential teacher of calligraphy and writing, and he devised a more cursive set of forms that drew on a very English tradition of lettering.

So happy birthday to the Underground and its namesake typeface, in all its flavours.

PINTEREST GALLERY

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