Another video I made back in 2015 in Taiwan. This paper mill is worth a visit for paper lovers.
The foundational hand that Edward Johnston created is important to understand regular script, the kind of script that we find in books. Practicing it is the best way to become acquainted with letter-shapes. Continue reading
日星鑄字行, 324版畫工作房. An old video from the archive about typography and letterpress in Taiwan.
Edward Johnston recalls his youthful awakening moment when he realised ‘that there was something fascinating about letters… letters were intended primarily to be read … the forms of the written letters would somehow depend upon the pen that wrote them’ (Holliday, 2007).
Extracted from Harold Speed’s The Practice and Science Of Drawing:
The fact that we have two flat pictures on our two retinas to help us, and that we can focus at different planes, would not suffice to account for our knowledge of the solidity and shape of the objective world, were these senses not associated with another sense all important in ideas of form, the sense of touch. Continue reading
This entry is related to Handwriting and visual perception. Literacy has stagnated for more than a century in the West. In 1906, Edward Johnston was requested by the London County Council Education Committee to report on the pens and copy books in use at the time. ‘The ordinary blunt and pointed pens give indefinite and uncertain strokes […], he wrote. Continue reading
In the following article Riccardo Olocco looks at the early development of roman type in Venice and the connections with the work of Paduan and Venetian scribes. You can find the article here https://articles.c-a-s-t.com/the-venetian-origins-of-roman-type-a856eb3f0cb
This entry is a complement to Painting like writing in which I compared the method of Chinese literati painting with the construction principles of a script. Here I compare the music of J. S. Bach with a script (defined as a system of stroke–shapes). Continue reading