Pen-Lettering History

Carl Shank • July 17, 2025

Pen-drawn lettering lies at the heart of Western typographic tradition. From Roman capitals to digital script fonts, its influence persists in the balance, rhythm, and grace of letterforms—whether carved in stone, printed in books, or drawn by hand on a modern tablet.


The history of pen-drawn lettering in typography is deeply intertwined with the broader evolution of writing, calligraphy, and type design. It represents a key bridge between handwritten traditions and mechanical or digital type. Key characteristics of Pen-Drawn Lettering include stroke contrast, from broad-nib or pointed-pen techniques, fluid cures and terminals, which are naturally shaped by hand movement, and the human touch of imperfections, variation and expression.


Although allied with Calligraphy, pen-lettering has distinct differences. Calligraphy illustrates the art of writing with specific strokes, while pen-lettering focuses on the art of drawing letters. Calligraphy shows writing in one continuous flow while in pen-lettering letters are stylized individually. Calligraphy relies on pressure for thick/thin strokes while pen-lettering is drawn and shaded manually. It is harder to fix mistakes in calligraphy. Thus, the word "typography" in calligraphy is written in one flowing motion, using a brush pen, adjusting pressure to get thick and thin lines. In pen-lettering the word "typography" is done by drawing each letter as a mini-illustration, perhaps outlining it and adding embellishments. However, both calligraphy and pen-lettering share similar histories and are at least partners in typography.


The plates below give an overall history of pen-lettering. Enjoy!


SOURCES

ChatGPT on "calligraphy" and "pen lettering"

https://luc.devroye.org/fonts-32497.html

https://en.wikipedia.org/wiki/Johnston_(typeface))

 P22 Type Foundry  and MyFonts.com for typeface descriptions

https://www.calligraphersguild.org/sheila-waters

Настина Сказка - мир макраме мастера vk.com/nastinaskazka on Pinterest

https://www.pinterest.com/pin/3588874697522020/visual-search/?cropSource=5&surfaceType=flashlight&rs=deep_linking lettering on Pinterest

http://www.lettercult.com/archives/2853 featuring David Croy on Pinterest

H. Carl Shank, Typography Through the Years, Lulu Press, 2024

Lewis F. Day, Alphabets Old and New, London, 1910.

Maggie Patton, “The Printer’s Mark: That Curious Penguin on the Spine of Your Favorite Paperback Isn’t There Just for Decoration,” Openbook, Autumn 2022.

William Roberts, The Project Gutenberg Ebook of Printers’ Marks, June 1, 2008, Ebook #25663, from inages made available by The Internet Archive.

Charles Ayers Faust, Faust's 75 New Alphabets, C.W. Braithewait Co., 1912





Successful Layout & Design

By Carl Shank July 11, 2025
Charles Ayers Faust (b. 1860) was an American calligrapher and typographic designer known primarily for his 1912 compendium Faust’s 75 New Alphabets , a richly illustrated manual of lettering techniques. Published in Chicago by the C. W. Braithewait Company, this 72‑page volume is now in the public domain. CARE Typography, in its mission to digitally restore older typography, has restored some of Faust's designs for the modern type world. 75 unique alphabets for artistic lettering, including brush, air-brush, air-pencil, relief, stencil, marking, shading, and both ornate (Payzant, Soennecken) and practical “common pen” styles. They are Highly visual, serving as both an instructional guide and inspirational specimen book for sign-writers, designers, artists, and printers of the early 20th century.  Samples are below, available from CARE Typography .
By Carl Shank July 8, 2025
The De Stijl (Dutch for “The Style”) typographical and art movement emerged around 1917 and significantly influenced modern art, design and thought itself. In the wake of the chaos of World War I, the movement sought to express a new vision of harmony and order. De Stijl was not just an art style, but a comprehensive aesthetic philosophy. It sought universal beauty, as abstracted from individual beauty, and a visual language and typography based on simplicity, geometry and primary colors, namely red, blue and yellow. Its core characteristics were the use of straight horizonal and vertical lines, the use of rectangles and squares, an emphasis on asymmetry, and the favoring of pure abstraction. De Stijl was deeply influenced by the philosophy of Neo-Plasticism, a theory developed by Piet Mondrian, which sought to depict reality in a pure, universal form. Behind this philosophy was the religious thrust of Theosophy, particularly the spiritual writings of Helena Blavatsky (1831–1891) and Rudolf Steiner (1861–1925).
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