Tutorials

Tutorials are instructive comments on various aspects of the practice of calligraphy, lettering and typography. They are based on my experiences as a designer and as a teacher.

The Rchive no. 16—Three more from London

Arden House detail (Lambeth, London). Photograph by Paul Shaw (2014).
Arden House in the Kennington neighborhood of Lambeth, London was built in 1968. The name over the estate entrance is an excellent example of vernacular lettering: simple and unpretentious. The sans serif capitals are constructed out of flat strips of iron that have been cut and welded together. Combined with the bordering strips the design harks back to some of Charles Rennie Mackintosh’s lettering. The R is a plain grotesque/gothic.
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The Rchive no. 15—Hamilton Wayzgoose

R composition (2012).
At the 2012 Hamilton Wayzgoose at the Hamilton Wood Type Museum in Two Rivers, Wisconsin I asked Lucio Passerini, the Milanese master printer who was one of the letterpress demonstrators, to proof some grotesque wood type letters for me. I was a calligraphy demonstrator at the Wayzgoose and I used some of Lucio’s R prints as the basis for improvisational calligraphic compositions for attendees. This one came out the best in terms of both vivacity and composition. For …
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The Rchive no. 14—Superior Florists

Superior Florists (Manhattan). Photograph by Paul Shaw (2005).
Superior Florists, established in 1930, is one of the remaining floral and plant businesses in what used to be the thriving Flower District along Sixth Avenue south of Herald Square in Manhattan. The neon sign (script for “Superior” and sans for “Florist”) is dated to 1951 by Tom Rinaldi, author of New York Neon.

The Rchive no. 13—A London Trio

Metal R (Jermyn Street, Westminster, London). Photograph 2014 by Paul Shaw.
The latest addition to the Rchive is this metal inline R in a classical mode that I recently photographed in the St. James neighborhood of London. It is not from a typeface, though it reminds me of the R in Weiss Antiqua. The juncture of the leg to the bowl near the stem is also similar to Futura. The pink paint makes it look as if it had been …
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An appreciation of Frederic W. Goudy as a type designer

Most type designers today dismiss the accomplishments of Frederic W. Goudy (1865–1947) because they fail to understand the state of type design in his lifetime, especially at the outset of his career.
A very short summary of the profession of type making is in order. From Johannes Gutenberg through Simon de Colines, the earliest creators of typefaces were printers who doubled as punch cutters. The first punchcutter who was not also a printer was Francesco Griffo da Bologna who cut punches …
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Michael Harvey’s opinions

Michael Harvey was always candid about his likes and dislikes in the overlapping worlds of calligraphy, lettering, lettercutting and type design. At the same time, he was very gentlemanly about them. Sometimes he kept them to himself or voiced them privately to friends and colleagues, such as myself. At other times he uttered them in public but always in such a way that there was no sense of meanness or rancor, just opinions borne of experience and long reflection.
One of …
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Addendum to Michael Harvey’s Teaching Notes, parts 8C and 8D

Eric Kindel, Associate Professor of Graphic Communication, University of Reading has kindly sent in his recollections of studying with Michael Harvey in the 1990s. Here are his comments:
I attended Michael’s ‘Letterforms’ classes (and James Mosley’s lectures) in 1996–1997. I was working at Central Saint Martins at the time (on the ‘Typeform dialogues’ project), and CSM kindly sponsored my time away from work and my travel expenses. James’ classes were every Saturday morning (9:30–10:30), while Michael’s classes took place in six …
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Michael Harvey’s Teaching Notes 1983–1995, part 8D

READING 1995–1999 : Letterforms
These final notes from the Letterforms course are devoted to type design from punches to pixels. They were scattered about in the Reading 1995 folder so I have arranged them in an order that seems to make sense to me. Perhaps one of Michael’s Reading students will be link the notes to the actual classes.
It is not clear exactly where this page belongs in the Letterforms course notes. I am placing it with the notes about …
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Michael Harvey’s Teaching Notes 1983–1995, part 8C

READING 1995–1999 : Letterforms
The notes reproduced here are scattered throughout the Reading 1995 folder, some together and others on their own. Since Michael’s file names have not been entirely reliable I have chosen to gang these notes rather than try to guess exactly how they would have fit into his teaching sequence. They are about cutting, carving and engraving letterforms: in linoleum, wood, stone, steel and copper. The techniques bridge the worlds of calligraphy, drawn letters and type design.
Michael divided the engraved …
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Michael Harvey’s Teaching Notes 1983–1995, part 8B

READING 1995–1999 : Letterforms
This continuation of Michael’s notes for his Reading Letterforms course focuses on the segment devoted to drawn letters. The first of these pages is dated 1996 which suggests that this is the spring half of the class that began in the fall of 1995. Two are dated 1998 and 1999 respectively.

“Drawing is all about line, in lettering outline. Shapes are defined by drawn outlines. Solid forms are filled in with ink applied by brush. The pencil …
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Michael Harvey’s Teaching Notes 1983–1995, part 8A

This is the last set of teaching notes that Michael left me. He grouped them in a folder labeled Reading 1995, but some of the pages are dated 1996, 1998 and 1999. It appears that his thinking about the contents of his Letterforms course had crystallized in 1995 and that after that he felt no need to prepare his usual set of notes. Instead, he amended his existing ones as new ideas for exercises or new insights came to him.
READING …
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Michael Harvey’s Teaching Notebooks 1983-1995, part 7

SAN FRANCISCO 1994 : Drawn to Type
San Francisco was one of Michael’s favorite cities. He enjoyed its topography, its climate, and especially its streets and signage. And he enjoyed its thriving calligraphy and letterpress printing scene. I think these notes may be for a talk at that year’s ATypI conference which took place in San Francisco.  The content seems to be a dry run for his autobiography.


Note the A which Michael has labeled “Improved”, meaning that it is …
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Michael Harvey’s Teaching Notebooks 1983–1995, part 6

Michael began teaching in the Department of Typography & Graphic Communication at the University of Reading in the “early ‘nineties’” he says in Adventures with Letters. The finding aid for the Michael Harvey Papers at the University of Reading indicates that he began his Letterforms course in 1993. He retired from teaching in 2002. The teaching notesbooks for the Reading class only cover the years 1993–1995. Some of these pages are reproduced in Adventures with Letters (see pp. 176–179).
READING 1993 …
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Michael Harvey’s Teaching Notebooks 1983–1995, part 5

PORTLAND 1991 : Calligraphy Northwest : Drawing Away from Calligraphy / Stencil Lettering / Masterclass in Letter Design
Apparently Michael taught three classes—an unusually high number—at Calligraphy Northwest, the 11th annual calligraphy conference, which took place in Portland, Oregon. “Drawing Away from Calligraphy” was another of his attempts to get calligraphers to broaden their horizons and to lessen their dependence on broad-edged tools.





A stencil workshop was a natural for Michael. He liked stencils for two reasons: …
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Michael Harvey’s Teaching Notebooks 1983–1995, part 4

BELGIUM 1989 : Written & Drawn Italic

This workshop was a new topic for Michael in a new venue: Belgium. “22+ students. Most English-speaking. Expecting to learn something particular from me,” he wrote, “ so it must be drawing and design. My English background could be a help or a hindrance. We’ll see!” Since Michael was not a calligrapher, italic was not a typical subject for him.

That Michael had some difficulty with this workshop is evident in these notes: …
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Michael Harvey’s Teaching Notebooks 1983–1995, part 3

Michael made a teaching trip to Canada in 1988, visiting calligraphy groups in Toronto, Montreal and Ottawa: the Toronto Calligraphy Guild, La Société des Calligraphes de Montréal and the Calligraphy Society of Ottawa. He taught several different workshops instead of repeating one as he had on his 1984 West Coast trip.
TORONTO 1988  : The Art of Drawing Letters and Lettering for Publicity

Item 3—“Demonstration of freehand drawing technique”—is illustrated on the right-hand page where Michael is building up a letter …
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