St. Ambrose University Digital Collections
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1778 research outputs found
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[Calligraphy Broadsides 11]
No full textBroadside with large "Z" and flourish letter motif in grey, blue, green and red.Tiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 565x761 pixels, 75dp
[Calligraphy Broadsides 13]
No full textBroadside with large "X" and flourish letter motif in red, green and pink.Tiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 570x767 pixels, 75dp
[Calligraphy Broadsides 26]
No full textBroadside with large, blue "X."The chief difficulty to understanding ancient letter-making has been the ‘external-accidental method which [emphasizes] externals’ ‘visible accidentals’ ‘secondary causes’, beauty, shapes & proportions of letters this method tho quite valuable for its purpose is unable to uncover the far more important causeative factors ‘the hidden factors, the internal dynamics & manipulative kinetics of imperial tr-making those substantive influences that make Roman letters what they are.Tiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 599x790 pixels, 75dp
[Calligraphy Broadsides 33]
No full textMixed media broadside with center image of seated Mary holding Christ child surrounded by angels singing with one playing the harp and text underneath "Let every heart that longs for the lord rejoice!"Calligraphy in Ancient Rome.
There are many obstacles to a proper understanding of writing and lettering in ancient Rome. The Romans wrote no lettering texts; left few abecedaria (alphabet models) and these few are the product of calligraphically untutored, plebian scribes – mostly children – learning to write. The scant calligraphic artifacts residing in museums tell us little about Roman lettering methods and calligraphic thinking. We are further handicapped by calligraphic-paleographic research and lettering manuals written since the Renaissance. Authors of lettering texts, typographic designers, calligraphers & historians of alphabetology have been one-sided in their approach to the lettering arts of antiquity, insisting that such lettering e.g., imperial inscriptions was of the hard tool, variety i.e., done by the square-edged reed, pen and quill, all hard-tools. They ignored the real tool-the chisel edged brush, a soft tool – responsible for fine Imperial architectonic majuscules. For example, here is what Graily Hewitt, author of the excellent text titled Lettering, and the most illustrious of Edward Johnston’s pupils, has to say about the soft tool the chisel-edged brush: “It is hard for the sign-writer to admit that his brush had nothing whatever…to do with the formation and technical development of the Roman alphabet.” p.23
Hewitt’s statement was picked up by others including the American authors Oscar Ogg, An Alphabet Source Book, p.37, and Warren Chappell, The Anatomy of lettering, p.4, both deriving that the sign-writers had anything to do w[ith] the formation of the Roman alphabet. Hewitt and his cribbers are guilty of gross error. The fact is the soft brush had EVERYTHING TO SAY ABOUT ROMAN LETTERS. The soft, square, sign-writer’s brush was the sole determinant for every facet and quirk of classic, Roman majuscules; their curves, lobes, tails, fillets, swells, flicks, internal junctures, thick-thin relationships, arms, bars, even each and every serif and stroke ending. E. Catich, 2-17-76Tiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 600x775 pixels, 75dp
[Calligraphy Broadsides 28]
No full textMixed media broadside with large yellow "Q" and other flourish and formal letters. Image of 3 wisemen, Mary, Christ child, and shooting star inside "Q."When you find the child, on your way to Jerusalem, please let me know that i too may worship himTiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 598x746 pixels, 75dp
[Calligraphy Broadsides 29]
No full textMixed media broadside with large orange "B" with other flourish and formal letters with fish motif next to "B". Image of angels and shepherds singing and playing instruments (banjo, tenor saxophone, flute) for Mary and Christ child in center.A new eternal star, brighter than any sun has arisen, and has made a path through the pathless night.Tiff file: 1704x2272 pixels, 11.1 Mb; Display: jpeg, 593x739 pixels, 75dp
[Abstract Christ Watercolors 05]
No full textJesus falling while carrying cross. In black, brown, green, pink and yellow. [On same sheet as [Abstract Christ Watercolors 04].Tiff file: 2901x4461 pixels, 37 Mb; Display: jpeg, 600x528 pixels, 72dp
[Illuminated Initial Letters 001]
No full textInitial letter "C" with girl in bikini sitting by water.Tiff file: 1526x1179 pixels, 5.15 Mb; Display: jpeg, 382x295 pixels, 75dp
[Illuminated Initial Letters 008]
No full textInitial letter "P" with football player.Tiff file: 1631x1112 pixels, 5.19 Mb; Display: jpeg, 408x278 pixels, 75dp
[Illuminated Initial Letters 024]
No full textInitial letter ""C" with a Native American man in bull costume holding rattle.Tiff file: 1550x1064 pixels, 4.72 Mb; Display: jpeg, 388x266 pixels, 75dp