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Issue 37 June 2009 ISSN 1468_9532

Edited by Nicholas Caulkin203 Dyas Avenue, Great Barr, Birmingham 842 lHN, England

-Nftl'wLA Cd4,ndh:nL,Sn; zoj eaz An.,Qna,f Ban: B'l4d,rn B+z tHN

Contributors

Thejollowing people have contributed to this edition: -Sherwin Bailey, James Constant, David Elvy, WilliamGardner,.Edward Johnston, Thomas Laudy, Art Maier,Foster Neville, nickthenibs, L,en Perry, Russell Robertson,Lewis Trethewey & Gordon Wratten.

Squarc by Ken Bartlett

@ The SocietyJor Italic Handwriting 2009Copyright is held by the SI'LI wtch thc rights ossigned rc thc originol aurhors.

The views ond opinions exprcssed ore those oJ the outhors ond nor neccssorils. oJ thc SIH.

Front cotcr designed h; nickhcnibs

The SIH is o rcgistered charitl'nunbcr 2E7EE9R Rcrcnuc numbu X99153.1

A Word from the Chair:Foster Neville

Italic handwriting has long lost its grip on the publicconsciousness. There was a time in the 1950s when, tojudge from the extensive newspaper cuttings in theSociety's archive, everybody knew about it and was tryingto reform their hands. Not being able to do it of coursedidn't prevent anyone being Prime Minister or a lawyer,and certainly not a doctor. It was about projecting animage of yourself as you wished to be seen onto the page.This was an age of quick brown foxes and lazy dogs thatwas firmly aspirational. It was the era of the well-produced book - such as Wilfrid Blunt's Sweet RomanHand - concerned with the Italic hand's history, practiceand application in the 2oth century. Now it would have tobe a website (such as we will be shortly launching), aninteractive DVD or even a Wii (Write - yes write! - likeNick Caulkin'. There would also be Jack Trodd, PaulStandard and Alfred Fairbank settings).

It is strange however, at a time when society is soobsessed with appearances, that writing Italic should besuch a little sought out art. We have experts to vet ourwardrobes so that we may project the right image and yetwho hasn't received a note or letter where a poorimpression of the writer was formed because of thehandwriting? The rarity of the handwritten in an age oftexts, emails (and Blackberries, or is it Blueberries, oreven Burberries?) only lends added significance to thosewho still strive to write well. There is no doubt howeverthat this is a generation for rvhom the usefulness ofhandwriting has largely come to an end, and it may bediscussed in the same way that are pot lids, old buttonsand clay pipes. If people think of handwriting at all it'sprobably with regard to historical documents in amuseum or items bid for on ebay. Even doctors havepatient management systems in place of the old medical

24

records cards (personally I shall miss the candour it waspossible to find in some of those!). Good handwriting isnow thought of as something to be seen only in specialcollections, like Hepplewhite chairs. But whereas findinga piece of Georgian furniture or an undiscoveredRembrandt in your loft or garden shed may get you a fewcolumn inches in a newspaper, being an Italic mud larkwill not.

Even in the 1950s Italic handwriting had something of thecollectors'item built-in to it though. To do it well, whichhas always been the aim - no half measures with Italic,required a good deal of historical detective work and morethan a little engagrng with the past. In the frfties theSociety had a large number of weekly classes in theLondon area, at Goldsmith's College, Morley College and anumber of Literary Institutes across London; week-endcourses at Jordan's Hostel near Beaconsfield run byAlfred Fairbank no less. Now it's all gone. Word processedexpense accounts emailed in probably seem much lesspersonally accountable than ones written in your ownhand.

This Societ5r was recovering a lost art in the early 1950s.Then it was the tools, the dreaded ball-point against theedged ink pen, which was the concern of many of itsmembers and the public alike. The SIH is still recoveringthe lost art of handwriting today and reviving the secondR, but now with modern methods. I like to think of Italicas a prized collectable in a throwaway age. It's a durablestyle of writing and, as many members will testify, wellworth finding - especially today.

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least fifteen brands, most of which are illustrated in their fullcolour range on the website: www.thewritingdesk.co.uk. Theyalso have a large range of writing instruments and paper, etc.

I recently purchased a new Rotring Art Pen with a 1.1 mmnib. I was surprised to see that it was made in the UK, nodoubt the result of Rotring being taken over by Sanford. Itappears to be identical to the original German pen. It is agreat pity that Sanford have also reduced the size range of theArt Pens. Can anyone tell me where I can buy a Rotring ArtPen with a 0.6 mm nib?

For ladies who like to carry a small fountain pen, the PilotBirdie is only 110 mm long and less than 9 mm diameter. Ithas a medium nib, but looks and writes as a fine nib. Theprice is less than €10. The pen has a sac filler with a sprungstainless steel bar, similar to some earlier Parker pens. Thebarrel and cap are stainless steel and the pen weighs just 15grams.

Lastly, remember that most fountain pen nibs can be re-ground to suit the user. Regrinding has to be carried out bysomeone who is skilled in this work.

Notes from nickthenibs

AN AporocvIn the Signs of the Times letter Legible Handuiting by JohnSmith on page 2l of Issue 36, the word aduert on line 1

should read report Please accept my apologies, John andall readers for this error.

RenE Enweno JoHNSToN PosrceRoOn the centre pages of this issue I have included areproduction from a postcard of some of Edward Johnston'shandwriting. The post card was kindly sent to me byLeonard Perry, which was in the possession of calligrapherand illuminator Daisy Alcock. The back of the cardexplains that Johnston wrote out the directions for cleaningout a fountain pen for his Uncle Andrew on Christmas Day,1904. Johnston would have been 26 years old at the time.The original size of the card is 1o4mm by 92 mm and thewriting is in sepia ink.

AGMThe results of the AGM survey are included in this issue.Many thanks to those members who took the time andtrouble to complete and return their forms.

SIH,cT THE SSIIt was a great pleasure meeting some of you at the SSI LayMembers' Day on Saturday 25 April at Kings CollegeLondon. I would like to thank both Linda Winnett andKathy Lacy for helping me that day. Incidentally, I havewritten a brief history of the Society for the Summer 2009of the SSI's Neu.rsletter, which was published in May.

22

Nsxr IssupIssue 37 will be published in September so please let mehave all material by 15 August 2OO9, please. Rememberthat you can send contributions via post or email.

Local Groups

SIH CHIcHESTER (was West Sussex)Organiser: Arthur Reynolds,14 Roman W.y,Fishbourne, Chichester, West Sussex PO19 3QN. Email:arthur@fishbourne. plu s. com

SIH HnmPSHIRE

Hon. Secretary: Reg Nutting, Aldwin Cottage, 7Patrick's Copse Road, Liss, Hants. GU33 7EN. Tel:0 1 730-3007 7 9 E-mall: aldwinjr@ntlworld. com

SIH SomnnsErOrganiser: Rod Dixon, Moorsedge, Chedzoy, Bridgwater,Somerset, TA7 8RB. Tel: 01278-451647

The groups have a break during the summer months.

Pen Snippets:Russell Robertson

In issue 36, Kate Gladstone discussed writing instrumentsand exhorted the use of modern tools for a new 'aspect' inwriting. The editor comments that one of his writinginstruments is the Pilot G-Tec-C4 and also the use of amapping pen nib for work on a piece of calligraphy.

Like most writers, I have my favourite pens (and inks andpaper). I use a Parker Reflex pen, now' over 10 years of use,with a fine nib and Parker black washable ink. I also have awide variety of writing instruments built up over 40 years orso. These include fountain pens with standard or edged nibs,ball points, a wide variety of calligraphy pens and handmadepens - bamboo, Norfolk reed, quills, etc.

Modern tools do not give better results than some earlywriting instruments, e.g. quills, but some will give pleasingresults and can be fun to use.

Some writers spend a lot of money, particularly on fountainpens, but money does not mean you will get a better pen. Ithink that the most I have spent on a fountain pen is aboute55, a Sheaffer bought about ten years ago which isbeautifully engineered and writes well.

When pen manufacturers recommend a particular ink fortheir pens, it is often wise to use it (e.g. Parker recommendsParker inks). However, I use other good quality inks forwriting and for calligraphy but I prefer water colours orgouache for calligraphy. I have a selection of about twenty-five different makes of ink - not all good! - but if you like toexperiment, go ahead.

Remember also to thoroughly clean all parts of your penwhen trying out a different ink. For a choice of ink, try theWriting Desk based at Bury St. Edmunds. They stock at

2l

enjoy expressing feelings through letter graphics. Some ofthese graphics may include letter modifications thatactually relate to feelings --the H, with curved cross bar fora smile or other way, for a frown. Showing feelings, throughsubtle -- or not so subtle -- letter modifications may bringfun, and. more profound gratification.

I believe these are themes that deserve attention.

Art Maier, Fuhon, Missouri USA

Oxrono ScnmrsOxford Scribes have jtrst celebrated their 25s anniversaryby publishing a beautiful book illustrating 26 letteringhands from Greek to computer art. Also in the book is agallery of work by twenty-two members of Oxford Scribes.The gallery is currently on exhibition at Corinium Museum,Park Street, Cirencester until21 June. It continues at SaidBusiness School, Oxford throughout July River and RowingMuseum, Henley, 25 September to 29 November andCounty Record Office, Cowley, Oxford 1 December untilJanuary 2OtO.

The book, The Long Tradition, is available from GillyMiddleburgh:Tel. O 1 844 27 3498; Email gil@middleburgh.co.uk

Russell Robertson, Bungay, Sufr:olk, England

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Sherwin Bailey

Forty Years Ago

ConREspoNDENcE1.

Dear Mr. Osley,P.n adequate response to Mr. George Thomson's article, inthe form presented (Journal5T) seems impracticable. Onecan only implore him to read Johnston's book through atleast twice, paying particular attention to the Author'sPreface. Work of "no more than technical competence"Johnston assigns to the Artist-Beginner; he states that,within the limits of the craft, the scribe cannot have toomuch freedom; he instructs us that "...as to its particularvirtue each work stands alone - judged by its merits - inspite of all rules".

At the outset, one would contest that Johnston wished orintended to stultify any development of his teachings, andhe would doubtless have judged experimental works bytheir merits of freedom, character, vitality and fitness fortheir office. It would appear, therefore, that the unfortunatesneer in which Mr. Thomson indulged did Johnston lessthan justice and that, although maligned, he may yet helpin the solution of present problems. Having discovered anaflinity, Mr. Thomson may further discover that otherprecepts stated in the book may be worthy of more respectthan he had accorded them hitherto.

In his approach to his craft, it is hoped that Mr. Thomsondoes not lean too heavily on the theories, for the time being,of those concerned with education; for, unlike the basictruths rediscovered for us by Johnston, they may be subjectto alteration at short notice. Some hold that contemporaryart education is inept, a view apparently shared by studentsat Hornsey and Guildford.

In modern times, when licence is more fashionable thandiscipline and anarchy more popular than good order, one

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also like to thank Joy for her work in organising LetterExchange.

Lastly, I would make a plea for all members whose namesappear on the Letter Exchange schedule to actually writetheir letters. on time. If they are unable to meet the monthlychallenge they should advise Joy.

RusseII Robertson, Bungay, Suflblk, England

ExpnEssroN THRoucH LETTERS

One "theme" that has brought some interest in my classesis adapting letters to match, visually, somehow, themeaning of their word texts. A simple example might be avery high t or I ascender in the word "tall," if the textincludes discussion of a tall building. A happy birthdaycard might have the word Happy, with the cross line of thecapital H up-curved, as a smile. Dots can be added for eyes-- making a smiling face. Examples, anyone?

Will the computer - word processor diminish theimportance of handwriting, as such? Not necessarily.

I was told that about 100 years ago musicians feared thatrecording sound devices would reduce the need for livebands, say at hotels. The "victrola" would, supposedly,cause many musicians to lose jobs. You can see today thatthe opposite occurred. Recorded music (if you want to callsome of it music) just made performers more popular, andactually brought more conce rtizing.

Movies have not diminished the popularity of live stage. Wecan hardly feel that the automobile has done away withhorseback riding.

I say that many of us can help the "cause" of handwritingand/or calligraphy by showing this to be a fantastic tool forself expression. Computer sophisticated children may still

may reasonably expect the crafts, as such, to fall intodecline. The field of lettering, generally, is vast and there isaccommodation for all tastes and shades of opinion. Onetechnique may influence and improve another, but if MissBackhouse attends an SSI exhibition and finds there, of allplaces, work unacceptably remote from Johnston's liberalconcepts she should say so: it should not be taken as anexcuse to impugn her integrity or competence as a critic.

We shall not know the verdict of posterity, but one canguarantee that in five hundred years, the work of truescribes will exist, fresh and of imperishable quality, for theenjoyment of our successors when much "creative" workwill have long since gone to dust for want of craftsmanshipin its creation.

Lewis Trethewey

2.To the Editor,It was the word 'mere' on line 16 of page 26 in the 1968summer number of the Journal which promoted this letter,

Your review of the SSI exhibition deplores the risk oflettering degenerating into mere components of a design,and issues a warning for those perilously close to theborderline between calligraphic display and mere graphicdesign based upon words and letter form. Fortunately it ishard to draw this borderline with any precision, and perii ismuch more likely to arise from restrictive or inhibitivethinking.

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Sign of the Tines:Your Correspondence

MoNouNE PENsLike Nicholas Caulkin (Issue 36), I also use the Pilot G-TecC4 pen and hate having to use a scrappy ball pen whichmay be to hand. The ink dries quickly and the nib bites thepage well. The ink comes in different colours and I thinkthat Martin Taylor can supply the tnnards' if you keep thebarrel. Don't ever lend the pen to anyone as if it is droppedthe nib can be ruined.

You can get an edge of sorts ifyou fasten two pens togetherwith an elastic band. I haven't tried it but I would havethought that it would be good for small pen sketches.

As Treasurer, it is my joy to write cheques with compressedwriting on good quality cheque book paper. The Pilot allowsme to try my flourishes and there is no greater satisfactionthan producing the perfect curve in a capital.

Gordon Wratten, East Molesey, Surrey, England

LErrEn ExcueNcEI have just completed my nineteenth letter and the last inthis series, as listed in Joy Daniels' list of October 2OO7 forthe Letter Exchange.

In theory I should have received nineteen letters but, so far,I have only received twelve, which is a great pity as I enjoyreceiving as well as writing and sending letters. For thosewho have written to me I would like to sa1- thank you. Notonly have the contents been interesting (and someamusing), but all have given me some beautiful writing,some being excellent examples of cursive ltalic. I would

MSwash capitals by Thomas Laudy

From his booklet,Renaissante Capitals

Reprodrrced by kind pcrnrissiorr

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boy indeed.

One envisages a wall-piece intended for enjoyment asdecoration per se, constructed intentionally from letters ofthe alphabet in the way pictorial, or abstract, embroidery isconstructed of individual stitches. The appeal is primarilyvisual, yet upon closer inspection the lettering technique ispresent and may be appreciated also. Decorativepossibilities are quite unlimited, and there could be nothingagainst such play with letters, either all of a style or invariety, if well formed. One would not perhaps subscribe towilful disharmony but even this on occasion may induce anescape from lethars/ or serve to clarify one's responses. Itis also recalled that random visual associations frequentlyproduce consequences of value, utterly out of reach ofcourse to those whose only working dress is a traditionalstraightjacket.

Printing aside, we have arrived at transferred lettering andits natural counterpart the spacing machine, but thereemerges a vastly wider scope for hand lettering itself thanmight at first be suspected, form recording, copying andpresentation at the one end of the band to the mostadventurous work not dependent upon function alone atthe other. One cannot but foresee an increasingappreciation of situations where visual stimulus itself is themain spring not just the bonus, with legibility a still validbut secondary consideration. Indeed even in cases where areadable message is included it may well yield priority tothe overall excitement of the rest of the chase.

The greatest need is for an extension in the craft of handlettering, of which calligraphy is a part, i.e. the explorationof arrangements of lettering primarily decorative and onemay hope, technically sound as well. A fresh approach tosubstantial areas of lettering skills is something alreadywell in hand in art departments and establishmentsoverseas and for no craft is this irrelevant, least of all forlettering.

* Ang chance of the members coming together, sag, thesummer of 2010 at the Art Workers' Guild? Youutould haue to ballot the members for a consensus.This would be a semi-social meeting.

Thank you, Nick, and the Executive Committee forall you do to maintain our unique society.

Keep the good u.tork going.

Whilst unable to commit to taking any duties on myshoulders, I would like very much for the group tocontinue and wish all officers elected the verv bestfor 2OO9 and subsequent vears.

* I knout times are hard but I do miss our annual gettogethers of uthicheuer sort.

* I would like to thank all officers and committeemembers for their efforts and work in the past year.

As theg sag in Norfolk: "Keep a troshin' 'bor."

I would be more than happy to take out a lifemembership if such a category were available - itmight save on admin costs over the long term.Please thank the Committee and yourself, Nick, forall their generous hard work for the Society.

* None other than to utish gou uell as Secretary of theS1H.

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AGM 2009 Survey:nl

Kesults

Many thanks to those 30 members who completedand sent in their forms included with Issue 36. Theseare the results. A11 Officers and Executive Committeemembers for 2OO9l2OlO are listed in SIH Line Up2009.

Adventurous lettering is no more linked to the values of asales index than was for instance the impulsive painting ofa Van Gogh or a Gauguin, in the inevitable face of apathyon the part of the academic authority of the day.

Within its own expertise, and with the assistance ofletterers, the Printing Fraternity has explored the alphabetand its possibilities. It is up to the letterers similarly toregard their own traditions as a springboard rather than asa drogue, gladly accepting the borderline perils, if any,towards progress in their particular field.

For some, La Fonda is the destination; for others it canalways be further on.

William GardnerFrom Joumal 59 Summer 1969

SIH Line Up 2009

PRESIDENT: Vacant positionVIcE-PRESTDENTs: Dom Patrick Barry, OSB, The Rt. Hon. SirPatrick Nairne, GCB, MC, David Nicholls, CB, CMGCHATnnAN: Foster Neville*DEPUTY CHeln,unN: Vacant positionSecRErnny & Eorron: Nicholas Caulkin, 203 Dyas Avenue,Great Barr, Birmingham B42 1HN. Tel; 0I2I-244 8006(euenings and ueekends)Email: nickthenibs@hotmail. co.ukWebsite : www. nickthenibs. co.ukTRensunER: Gordon Wratten, 3 Orchard Lane, EastMolesey, Surrey KT8 OBN. Tel: O2O-8224 0632.E-mail: tvrattens@ntlworld.comExECurrvE CorvrrlrrrrEe: Clifford Bryant, Nicholas Caulkin,Joy Daniels, Kathy Lacy, Paul Lines, John Nash, DavidNicholls*, Mark Russeil*, Ludwig Tan, Martin Taylor &Gordon Wratten* *(Trustcc)

SOmE COMMENTS:* I'm looking forward to the appearance

in due course. Many thanks toCommittee for their work.

* I am most grateful to Foster andcontinuing tuorkfor the Societg.

of the websitethe Executive

Nick for their

t Thank all Committee members and officers for alltheir work and efforts on our behalf.

Election of officers and committeemembers

YES NO

I agree that Foster Neville should continue asChair of the Executive Committee

JU 0

I am happy for the current members of theExecutive Committee {listed within Issue 36 ofWitina Matterd to continue in oost

30 o

I should like to put myself forward for co-option on to the CommitteelName:I am happy for the current Secretary andTreasurer to continue in post

30 0

I agree that Mr James Dean should continueas Auditor

30 0

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Adventurous lettering is no more linked to the values of asales index than was for instance the impulsive painting ofa Van Gogh or a Gauguin, in the inevitable face of apathyon the part of the academic authority of the day,

Within its own expertise, and with the assistance ofletterers, the Printing Fraternity has explored the alphabetand its possibilities. It is up to the letterers similarly tor gard their own traditions as a springboard rather than asa drogue, gladly accepting the borderline perils, if any,towards progress in their particular field.

For some, La Fonda is the destination; for others it canalways be further on,

William GardnerFrom JournalS') Summer 1')69

SIH Line Up 2009

PRESIDENT: Vacant positionVICE-PRESIDENTS: Dam Patrick Barry, OSB, The Rt. Hon. SirPatrick Nairne, GCB, MC, David Nicholls, CB, CMGCHAIRMAN: Foster Neville*DEPUTY CHAIRMAN: Vacant position

ECRETARY & EDITOR: Nicholas Caulkin, 203 Dyas Avenue,Great Barr, Birmingham B42 1HN, Tel: 0121-244 8006(evenings and weekends)Email: nickthenibs@hotmail.co.ukWebsite: www.nickthenibs.co.ukTREASURER: Gordon Wratten

E-mail: wrattens@ntlworld.comEXECUTIVE COMMIHEE: Clifford Bryant, Nicholas Caulkin,Joy Daniels, Kathy Lacy, Paul Lines. John Nash, DavidNicholls*, Mark Russell*, Ludwig Tan, Martin Taylor &Gordon Wratten* *(Tru'tee)

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Many thanks to those 30 members who completedand sent in their forms included with Issue 36. Theseare the results. A11 Officers and Executive Committeemembers for 2OO9l2OlO are listed in SIH Line Up2009.

Adventurous lettering is no more linked to the values of asales index than was for instance the impulsive painting ofa Van Gogh or a Gauguin, in the inevitable face of apathyon the part of the academic authority of the day.

Within its own expertise, and with the assistance ofletterers, the Printing Fraternity has explored the alphabetand its possibilities. It is up to the letterers similarly toregard their own traditions as a springboard rather than asa drogue, gladly accepting the borderline perils, if any,towards progress in their particular field.

For some, La Fonda is the destination; for others it canalways be further on.

William GardnerFrom Joumal 59 Summer 1969

SIH Line Up 2009

PRESIDENT: Vacant positionVIcE-PRESTDENTs: Dom Patrick Barry, OSB, The Rt. Hon. SirPatrick Nairne, GCB, MC, David Nicholls, CB, CMGCHATnnAN: Foster Neville*DEPUTY CHeln,unN: Vacant positionSecRErnny & Eorron: Nicholas Caulkin, 203 Dyas Avenue,Great Barr, Birmingham B42 1HN. Tel; 0I2I-244 8006(euenings and ueekends)Email: nickthenibs@hotmail. co.ukWebsite : www. nickthenibs. co.ukTRensunER: Gordon Wratten, 3 Orchard Lane, EastMolesey, Surrey KT8 OBN. Tel: O2O-8224 0632.E-mail: tvrattens@ntlworld.comExECurrvE CorvrrlrrrrEe: Clifford Bryant, Nicholas Caulkin,Joy Daniels, Kathy Lacy, Paul Lines, John Nash, DavidNicholls*, Mark Russeil*, Ludwig Tan, Martin Taylor &Gordon Wratten* *(Trustcc)

SOmE COMMENTS:* I'm looking forward to the appearance

in due course. Many thanks toCommittee for their work.

* I am most grateful to Foster andcontinuing tuorkfor the Societg.

of the websitethe Executive

Nick for their

t Thank all Committee members and officers for alltheir work and efforts on our behalf.

Election of officers and committeemembers

YES NO

I agree that Foster Neville should continue asChair of the Executive Committee

JU 0

I am happy for the current members of theExecutive Committee {listed within Issue 36 ofWitina Matterd to continue in oost

30 o

I should like to put myself forward for co-option on to the CommitteelName:I am happy for the current Secretary andTreasurer to continue in post

30 0

I agree that Mr James Dean should continueas Auditor

30 0

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boy indeed.

One envisages a wall-piece intended for enjoyment asdecoration per se, constructed intentionally from letters ofthe alphabet in the way pictorial, or abstract, embroidery isconstructed of individual stitches. The appeal is primarilyvisual, yet upon closer inspection the lettering technique ispresent and may be appreciated also. Decorativepossibilities are quite unlimited, and there could be nothingagainst such play with letters, either all of a style or invariety, if well formed. One would not perhaps subscribe towilful disharmony but even this on occasion may induce anescape from lethars/ or serve to clarify one's responses. Itis also recalled that random visual associations frequentlyproduce consequences of value, utterly out of reach ofcourse to those whose only working dress is a traditionalstraightjacket.

Printing aside, we have arrived at transferred lettering andits natural counterpart the spacing machine, but thereemerges a vastly wider scope for hand lettering itself thanmight at first be suspected, form recording, copying andpresentation at the one end of the band to the mostadventurous work not dependent upon function alone atthe other. One cannot but foresee an increasingappreciation of situations where visual stimulus itself is themain spring not just the bonus, with legibility a still validbut secondary consideration. Indeed even in cases where areadable message is included it may well yield priority tothe overall excitement of the rest of the chase.

The greatest need is for an extension in the craft of handlettering, of which calligraphy is a part, i.e. the explorationof arrangements of lettering primarily decorative and onemay hope, technically sound as well. A fresh approach tosubstantial areas of lettering skills is something alreadywell in hand in art departments and establishmentsoverseas and for no craft is this irrelevant, least of all forlettering.

* Ang chance of the members coming together, sag, thesummer of 2010 at the Art Workers' Guild? Youutould haue to ballot the members for a consensus.This would be a semi-social meeting.

Thank you, Nick, and the Executive Committee forall you do to maintain our unique society.

Keep the good u.tork going.

Whilst unable to commit to taking any duties on myshoulders, I would like very much for the group tocontinue and wish all officers elected the verv bestfor 2OO9 and subsequent vears.

* I knout times are hard but I do miss our annual gettogethers of uthicheuer sort.

* I would like to thank all officers and committeemembers for their efforts and work in the past year.

As theg sag in Norfolk: "Keep a troshin' 'bor."

I would be more than happy to take out a lifemembership if such a category were available - itmight save on admin costs over the long term.Please thank the Committee and yourself, Nick, forall their generous hard work for the Society.

* None other than to utish gou uell as Secretary of theS1H.

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Sign of the Tines:Your Correspondence

MoNouNE PENsLike Nicholas Caulkin (Issue 36), I also use the Pilot G-TecC4 pen and hate having to use a scrappy ball pen whichmay be to hand. The ink dries quickly and the nib bites thepage well. The ink comes in different colours and I thinkthat Martin Taylor can supply the tnnards' if you keep thebarrel. Don't ever lend the pen to anyone as if it is droppedthe nib can be ruined.

You can get an edge of sorts ifyou fasten two pens togetherwith an elastic band. I haven't tried it but I would havethought that it would be good for small pen sketches.

As Treasurer, it is my joy to write cheques with compressedwriting on good quality cheque book paper. The Pilot allowsme to try my flourishes and there is no greater satisfactionthan producing the perfect curve in a capital.

Gordon Wratten, East Molesey, Surrey, England

LErrEn ExcueNcEI have just completed my nineteenth letter and the last inthis series, as listed in Joy Daniels' list of October 2OO7 forthe Letter Exchange.

In theory I should have received nineteen letters but, so far,I have only received twelve, which is a great pity as I enjoyreceiving as well as writing and sending letters. For thosewho have written to me I would like to sa1- thank you. Notonly have the contents been interesting (and someamusing), but all have given me some beautiful writing,some being excellent examples of cursive ltalic. I would

MSwash capitals by Thomas Laudy

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also like to thank Joy for her work in organising LetterExchange.

Lastly, I would make a plea for all members whose namesappear on the Letter Exchange schedule to actually writetheir letters. on time. If they are unable to meet the monthlychallenge they should advise Joy.

RusseII Robertson, Bungay, Suflblk, England

ExpnEssroN THRoucH LETTERS

One "theme" that has brought some interest in my classesis adapting letters to match, visually, somehow, themeaning of their word texts. A simple example might be avery high t or I ascender in the word "tall," if the textincludes discussion of a tall building. A happy birthdaycard might have the word Happy, with the cross line of thecapital H up-curved, as a smile. Dots can be added for eyes-- making a smiling face. Examples, anyone?

Will the computer - word processor diminish theimportance of handwriting, as such? Not necessarily.

I was told that about 100 years ago musicians feared thatrecording sound devices would reduce the need for livebands, say at hotels. The "victrola" would, supposedly,cause many musicians to lose jobs. You can see today thatthe opposite occurred. Recorded music (if you want to callsome of it music) just made performers more popular, andactually brought more conce rtizing.

Movies have not diminished the popularity of live stage. Wecan hardly feel that the automobile has done away withhorseback riding.

I say that many of us can help the "cause" of handwritingand/or calligraphy by showing this to be a fantastic tool forself expression. Computer sophisticated children may still

may reasonably expect the crafts, as such, to fall intodecline. The field of lettering, generally, is vast and there isaccommodation for all tastes and shades of opinion. Onetechnique may influence and improve another, but if MissBackhouse attends an SSI exhibition and finds there, of allplaces, work unacceptably remote from Johnston's liberalconcepts she should say so: it should not be taken as anexcuse to impugn her integrity or competence as a critic.

We shall not know the verdict of posterity, but one canguarantee that in five hundred years, the work of truescribes will exist, fresh and of imperishable quality, for theenjoyment of our successors when much "creative" workwill have long since gone to dust for want of craftsmanshipin its creation.

Lewis Trethewey

2.To the Editor,It was the word 'mere' on line 16 of page 26 in the 1968summer number of the Journal which promoted this letter,

Your review of the SSI exhibition deplores the risk oflettering degenerating into mere components of a design,and issues a warning for those perilously close to theborderline between calligraphic display and mere graphicdesign based upon words and letter form. Fortunately it ishard to draw this borderline with any precision, and perii ismuch more likely to arise from restrictive or inhibitivethinking.

It has been said that the criterion for handwriting will be alegibility which entails beauty as a bonus - in that order-but for professional letterers this order surely need notalways hold. In fact, Llse of the alphabet, may rvelltranscend the act of recording or the presentation of wordsexpressing ideas. The emotion of design may be permittedto play a part, and ail work with no play makes Jack a dull

l8

Forty Years Ago

ConREspoNDENcE1.

Dear Mr. Osley,P.n adequate response to Mr. George Thomson's article, inthe form presented (Journal5T) seems impracticable. Onecan only implore him to read Johnston's book through atleast twice, paying particular attention to the Author'sPreface. Work of "no more than technical competence"Johnston assigns to the Artist-Beginner; he states that,within the limits of the craft, the scribe cannot have toomuch freedom; he instructs us that "...as to its particularvirtue each work stands alone - judged by its merits - inspite of all rules".

At the outset, one would contest that Johnston wished orintended to stultify any development of his teachings, andhe would doubtless have judged experimental works bytheir merits of freedom, character, vitality and fitness fortheir office. It would appear, therefore, that the unfortunatesneer in which Mr. Thomson indulged did Johnston lessthan justice and that, although maligned, he may yet helpin the solution of present problems. Having discovered anaflinity, Mr. Thomson may further discover that otherprecepts stated in the book may be worthy of more respectthan he had accorded them hitherto.

In his approach to his craft, it is hoped that Mr. Thomsondoes not lean too heavily on the theories, for the time being,of those concerned with education; for, unlike the basictruths rediscovered for us by Johnston, they may be subjectto alteration at short notice. Some hold that contemporaryart education is inept, a view apparently shared by studentsat Hornsey and Guildford.

In modern times, when licence is more fashionable thandiscipline and anarchy more popular than good order, one

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James Constant

enjoy expressing feelings through letter graphics. Some ofthese graphics may include letter modifications thatactually relate to feelings --the H, with curved cross bar fora smile or other way, for a frown. Showing feelings, throughsubtle -- or not so subtle -- letter modifications may bringfun, and. more profound gratification.

I believe these are themes that deserve attention.

Art Maier, Fuhon, Missouri USA

Oxrono ScnmrsOxford Scribes have jtrst celebrated their 25s anniversaryby publishing a beautiful book illustrating 26 letteringhands from Greek to computer art. Also in the book is agallery of work by twenty-two members of Oxford Scribes.The gallery is currently on exhibition at Corinium Museum,Park Street, Cirencester until21 June. It continues at SaidBusiness School, Oxford throughout July River and RowingMuseum, Henley, 25 September to 29 November andCounty Record Office, Cowley, Oxford 1 December untilJanuary 2OtO.

The book, The Long Tradition, is available from GillyMiddleburgh:Tel. O 1 844 27 3498; Email gil@middleburgh.co.uk

Russell Robertson, Bungay, Sufr:olk, England

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Sherwin Bailey

Nsxr IssupIssue 37 will be published in September so please let mehave all material by 15 August 2OO9, please. Rememberthat you can send contributions via post or email.

Local Groups

SIH CHIcHESTER (was West Sussex)Organiser: Arthur Reynolds,14 Roman W.y,Fishbourne, Chichester, West Sussex PO19 3QN. Email:arthur@fishbourne. plu s. com

SIH HnmPSHIRE

Hon. Secretary: Reg Nutting, Aldwin Cottage, 7Patrick's Copse Road, Liss, Hants. GU33 7EN. Tel:0 1 730-3007 7 9 E-mall: aldwinjr@ntlworld. com

SIH SomnnsErOrganiser: Rod Dixon, Moorsedge, Chedzoy, Bridgwater,Somerset, TA7 8RB. Tel: 01278-451647

The groups have a break during the summer months.

Pen Snippets:Russell Robertson

In issue 36, Kate Gladstone discussed writing instrumentsand exhorted the use of modern tools for a new 'aspect' inwriting. The editor comments that one of his writinginstruments is the Pilot G-Tec-C4 and also the use of amapping pen nib for work on a piece of calligraphy.

Like most writers, I have my favourite pens (and inks andpaper). I use a Parker Reflex pen, now' over 10 years of use,with a fine nib and Parker black washable ink. I also have awide variety of writing instruments built up over 40 years orso. These include fountain pens with standard or edged nibs,ball points, a wide variety of calligraphy pens and handmadepens - bamboo, Norfolk reed, quills, etc.

Modern tools do not give better results than some earlywriting instruments, e.g. quills, but some will give pleasingresults and can be fun to use.

Some writers spend a lot of money, particularly on fountainpens, but money does not mean you will get a better pen. Ithink that the most I have spent on a fountain pen is aboute55, a Sheaffer bought about ten years ago which isbeautifully engineered and writes well.

When pen manufacturers recommend a particular ink fortheir pens, it is often wise to use it (e.g. Parker recommendsParker inks). However, I use other good quality inks forwriting and for calligraphy but I prefer water colours orgouache for calligraphy. I have a selection of about twenty-five different makes of ink - not all good! - but if you like toexperiment, go ahead.

Remember also to thoroughly clean all parts of your penwhen trying out a different ink. For a choice of ink, try theWriting Desk based at Bury St. Edmunds. They stock at

2l

least fifteen brands, most of which are illustrated in their fullcolour range on the website: www.thewritingdesk.co.uk. Theyalso have a large range of writing instruments and paper, etc.

I recently purchased a new Rotring Art Pen with a 1.1 mmnib. I was surprised to see that it was made in the UK, nodoubt the result of Rotring being taken over by Sanford. Itappears to be identical to the original German pen. It is agreat pity that Sanford have also reduced the size range of theArt Pens. Can anyone tell me where I can buy a Rotring ArtPen with a 0.6 mm nib?

For ladies who like to carry a small fountain pen, the PilotBirdie is only 110 mm long and less than 9 mm diameter. Ithas a medium nib, but looks and writes as a fine nib. Theprice is less than €10. The pen has a sac filler with a sprungstainless steel bar, similar to some earlier Parker pens. Thebarrel and cap are stainless steel and the pen weighs just 15grams.

Lastly, remember that most fountain pen nibs can be re-ground to suit the user. Regrinding has to be carried out bysomeone who is skilled in this work.

Notes from nickthenibs

AN AporocvIn the Signs of the Times letter Legible Handuiting by JohnSmith on page 2l of Issue 36, the word aduert on line 1

should read report Please accept my apologies, John andall readers for this error.

RenE Enweno JoHNSToN PosrceRoOn the centre pages of this issue I have included areproduction from a postcard of some of Edward Johnston'shandwriting. The post card was kindly sent to me byLeonard Perry, which was in the possession of calligrapherand illuminator Daisy Alcock. The back of the cardexplains that Johnston wrote out the directions for cleaningout a fountain pen for his Uncle Andrew on Christmas Day,1904. Johnston would have been 26 years old at the time.The original size of the card is 1o4mm by 92 mm and thewriting is in sepia ink.

AGMThe results of the AGM survey are included in this issue.Many thanks to those members who took the time andtrouble to complete and return their forms.

SIH,cT THE SSIIt was a great pleasure meeting some of you at the SSI LayMembers' Day on Saturday 25 April at Kings CollegeLondon. I would like to thank both Linda Winnett andKathy Lacy for helping me that day. Incidentally, I havewritten a brief history of the Society for the Summer 2009of the SSI's Neu.rsletter, which was published in May.

22

records cards (personally I shall miss the candour it waspossible to find in some of those!). Good handwriting isnow thought of as something to be seen only in specialcollections, like Hepplewhite chairs. But whereas findinga piece of Georgian furniture or an undiscoveredRembrandt in your loft or garden shed may get you a fewcolumn inches in a newspaper, being an Italic mud larkwill not.

Even in the 1950s Italic handwriting had something of thecollectors'item built-in to it though. To do it well, whichhas always been the aim - no half measures with Italic,required a good deal of historical detective work and morethan a little engagrng with the past. In the frfties theSociety had a large number of weekly classes in theLondon area, at Goldsmith's College, Morley College and anumber of Literary Institutes across London; week-endcourses at Jordan's Hostel near Beaconsfield run byAlfred Fairbank no less. Now it's all gone. Word processedexpense accounts emailed in probably seem much lesspersonally accountable than ones written in your ownhand.

This Societ5r was recovering a lost art in the early 1950s.Then it was the tools, the dreaded ball-point against theedged ink pen, which was the concern of many of itsmembers and the public alike. The SIH is still recoveringthe lost art of handwriting today and reviving the secondR, but now with modern methods. I like to think of Italicas a prized collectable in a throwaway age. It's a durablestyle of writing and, as many members will testify, wellworth finding - especially today.

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David Elvy

Contributors

Thejollowing people have contributed to this edition: -Sherwin Bailey, James Constant, David Elvy, WilliamGardner,.Edward Johnston, Thomas Laudy, Art Maier,Foster Neville, nickthenibs, L,en Perry, Russell Robertson,Lewis Trethewey & Gordon Wratten.

Squarc by Ken Bartlett

@ The SocietyJor Italic Handwriting 2009Copyright is held by the SI'LI wtch thc rights ossigned rc thc originol aurhors.

The views ond opinions exprcssed ore those oJ the outhors ond nor neccssorils. oJ thc SIH.

Front cotcr designed h; nickhcnibs

The SIH is o rcgistered charitl'nunbcr 2E7EE9R Rcrcnuc numbu X99153.1

A Word from the Chair:Foster Neville

Italic handwriting has long lost its grip on the publicconsciousness. There was a time in the 1950s when, tojudge from the extensive newspaper cuttings in theSociety's archive, everybody knew about it and was tryingto reform their hands. Not being able to do it of coursedidn't prevent anyone being Prime Minister or a lawyer,and certainly not a doctor. It was about projecting animage of yourself as you wished to be seen onto the page.This was an age of quick brown foxes and lazy dogs thatwas firmly aspirational. It was the era of the well-produced book - such as Wilfrid Blunt's Sweet RomanHand - concerned with the Italic hand's history, practiceand application in the 2oth century. Now it would have tobe a website (such as we will be shortly launching), aninteractive DVD or even a Wii (Write - yes write! - likeNick Caulkin'. There would also be Jack Trodd, PaulStandard and Alfred Fairbank settings).

It is strange however, at a time when society is soobsessed with appearances, that writing Italic should besuch a little sought out art. We have experts to vet ourwardrobes so that we may project the right image and yetwho hasn't received a note or letter where a poorimpression of the writer was formed because of thehandwriting? The rarity of the handwritten in an age oftexts, emails (and Blackberries, or is it Blueberries, oreven Burberries?) only lends added significance to thosewho still strive to write well. There is no doubt howeverthat this is a generation for rvhom the usefulness ofhandwriting has largely come to an end, and it may bediscussed in the same way that are pot lids, old buttonsand clay pipes. If people think of handwriting at all it'sprobably with regard to historical documents in amuseum or items bid for on ebay. Even doctors havepatient management systems in place of the old medical

24

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Issue 37 June 2009 ISSN 1468_9532

Edited by Nicholas Caulkin203 Dyas Avenue, Great Barr, Birmingham 842 lHN, England

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