We’re all gonna live forever!
Well, not really. That would be terrible, wouldn’t it? Aside from the personal boredom and increasing cynicism that would start to affect everyone, one of the most important ways in which society changes is with the refreshing of generations. People, as it turns out, don’t really change that much. Old ideas get pushed aside when the people who hold them disappear, not because those people stop holding certain views. What, then, might happen if we suddenly all start to live forever? Well, for one, this lettering piece will become true. For another, a drastic change in the birth:death ratio would mean that world population would quickly increase to the point that we would need to colonise other planets. And lastly, those with power and riches would find ways to keep them indefinitely. But hey, I think I’d trade that for my lettering piece becoming relevant, wouldn’t you?
This piece is a first for me, because it includes lowercase (or minuscule) Romans. But surely I’ve done that before, haven’t I? Well, yes, I have, and usually you would just call them typographic lowercase serif, but in this case, it’s not lettering modelled after a typeface, it’s the original, real-deal calligraphic forms, which the typefaces themselves were modelled after. The words “LIVE” and “forever” were both done with lettering, meaning that they were constructed through a numerous series of strokes (that is to say that they were drawn, not written), whereas the first three words are calligraphy. Calligraphy is an all-or-nothing kind of affair where you only get one shot at getting it right. It’s quick to produce, but when the letterforms are executed in a matter of seconds, any tiny mistake in hand motion affects everything.
The theme of this week is my attempts to combine lettering and calligraphy. Calligraphy is a skill that requires a lot of muscle memory in order to properly reproduce the correct letterforms every time, and so, unlike lettering, consistency is something that comes only after much, much practice. Here’s another piece where I have combine calligraphy and lettering:
Here, the first three words, “Push Your Boundaries”, are lettering. They were outlined in pencil, inked (or in this case painted), and filled. Everything else, however, is calligraphy. The sans serif Romans were done with the same flexible pointed pen that was used for the Copperplate, which while was planned out in pencil initially, was executed in two or three minutes, using pressure and nib control to achieve the correct line weighting.
Less obviously in this piece is a mixture of different media. The piece is done in gold paint, but some of it includes some ink too. The subtle drop shadow on the words “Push Your”, and the radial lines below them, were made with a mixture of gold paint and black calligraphy ink. The ink was used sparingly, as black is very powerful, and the piece being gold-on-black in the first place meant that if it were too dark, it wouldn’t show up at all. The ink, however, gives it just enough darkening to fit well as background ornamentation that doesn’t steal focus from the letters themselves.