Classic signwriting in days gone by

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Classic Signwriting.

The classic style (Fig. 16) is noted for its fine proportions. It requires careful drawing and painting. Liberties should not be taken with it, or they will be considered evidence of ignorance.
The classic type (Fig. 17) is based presumably on the proportions of the ideal human figure, which is eight heads high. The thick stroke is from one-tenth to one-eighth of the height; the thin stroke is one-third to one-half of the thick stroke. For convenience it may be well to divide the square into twentyfour parts. This will be useful, for it will be seen that the width of the feet or serifs is three parts. The method of construction is indicated on letter P.

FIG. 17.-Proportions of Letters of Classic Type.

The middle bar of letters A B E F G H should be exactly central. The central line has much to do with determining the width of letters B E F P R S, as the illustrations will show. Opinions may vary, but letter P seems best drawn as if it were the bottom circle of letter B.
The simplest way to construct letter G is to draw two circles from points shown, finishing the letter by hand.
Letter S and figure 8 are constructed on the same lines.
Letter 0 may be drawn in a circle, constructed from three points. Another form makes it larger than a circle. Each form is legitimate.
Letters M and N require more than a square; thus, assuming the square equals twenty-four parts, these letters require twentyeight parts. The sloping strokes of letter M are preferable to upright.
Letter W, the largest letter, takes up thirty-six spaces.

Fig.16 Classic Lettering

FIG.18 Light classic lettering

Fig.18 illustrates a lighter form of classic lettering, and in Fig.19 is shown a form of block lettering based on classis and suitable for modern work.

FIG.19 Modern block lettering.