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Gottfried Pott

German versionGottfried Pott – A Look into the World of Calligraphy

Calligraphy has long been neglected by many professionaltypographers, but the Type Directors Show suggests that"Lettering" is an important discipline in the field of typography inthe United States. The number of fonts inspired by handwriting isgrowing along with the interest in calligraphy. Linotype presentshere a look into the world of calligraphy, written by theinternationally known expert, Gottfried Pott.

Gottfried PottGottfried Pott, born 1939, studied graphic design at theWerkkunstschule in Wiesbaden with emphasis in lettering art underProf. Friedrich Poppl. At the same time studies in painting withProf. Vincent Weber and studies in music with Peter Kempin.Activities: Exhibits, workshops, development of type faces, as wellas limited edition publication of calligraphic works. Since 1988Professor for Calligraphy and Lettering Design at the University forApplied Science and Art at Hildesheim/Holzminden. He is a memberof the Bund Deutscher Buchkünstler (Association for German BookArtists).The exhibition "LetterArt" of Gottfried Pott took place in CasteWaldthausen in Mainz-Budenheim, Germany, from 6–27 October.The variety and quality of the works presented made the showing agreat success.

This article presents a look into the world of calligraphy andincludes excerpts from "Schrift · Bild · Klang. The Music ofLettering". In this book, Gottfried Pott combines text and images tobeautifully illustrate the connection between calligraphy and music.Though the complexity of the theme allows only a briefpresentation here, the parallels Pott draws between attributescommon to the arts of handwriting and music are a goodintroduction to his ideas.

* SCHRIFT · KLANG · BILD – THE MUSIC OF LETTERING fromGottfried Pott, published by Verlag Hermann Schmidt, Mainz

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Gottfried Pott

The Music of Lettering

The Evolution of Lettering

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Gottfried Pott – A Look into the World of Calligraphy

The Music of LetteringThe phenomenon of the art of lettering has been with us since the verybeginning of writing. This surely comes from the desire to express thecontent of the text in a very specific way. Each era has had its ownforms of artistic expression, and so it is with lettering. The art oflettering is the art of "subtle" notes, as in chamber music, for example,where the fine, in-between notes also become audible or visible.Emanating from England prior to and at the beginning of the 20thcentury, the art of lettering received new impulses by such greatreformers as William Morris, Edward Johnston, and Alfred Fairbank. InGermany other important lettering artists such as Rudolf Koch inOffenbach, F. H. Ernst Schneidler in Stuttgart, and Walter Tiemann inLeipzig continued that development. They in turn were followed byHermann Zapf, Karlgeorg Hoefer, Friedrich Poppl, Albert Kapr ... whocontinue to inspire the many lettering enthusiasts all over the world.

For some time now have been fascinated with the topic of musicality andlettering. An invitation to teach at the International Conference ofCalligraphy in San Francisco in 1989 intensified my interest even more.Georgianna Greenwood, the conference director from Berkeley. and herorganizing team had put this conference under the aegis of"experiment." The key word was team teaching which meant that for theduration of one week two faculty members where to share in theteaching of one group of students – a rather daring concept. It truly wasa challenge and an honor for me to plan and execute a workshoptogether with my friend and mentor, Karlgeorg Hoefer. Our long-term,well-tuned partnership became the capital from which both of us coulddraw. And thus the experiment turned into success. When I ask myselfwhy we succeeded, I can only say that we complemented one another inan ideal manner. We were "tuned in" to one another. Another greatsource in recognizing the relationship between lettering and music hasbeen my own training in music which I pursued parallel to my studies ingraphic design. The topic of music and calligraphy continued to captivateme long after the workshop in San Francisco and so I expanded itsconcept, and in the course of my workshops and seminars in Belgium,Italy, Canada, and the United States I was able to develop it furtherduring the following years.

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The Evolution of LetteringThe development off lettering during the last 15 years has alsobeen accompanied by a growing interest in writing on the part ofthe industry. There is an abundance of tools, papers, colors, andother materials on the market today that would have been hardlyconceivable earlier on. Unfortunately, currently available fountainpens still leave a lot to be desired in terms off elasticity. A fewyears ago a person with a pen in hand was greeted with a funnylittle smile. Today many typeface houses like to incorporate acalligraphic feel into their software fonts. The liberation from thetypeface block opens up undreamt of possibilities but has alsojeopardized the art of lettering. It is certainly true that interest inlettering has grown but the everpresent access to electronic mediahas often hindered access to the actual lettering form. A feeling forlettering comes from writing. I believe, along with many of mycolleagues. that a concentrated study of working with the pen isnearly indispensable and absolutely necessary in order to acquire acertain instinct and sensitivity for form. The repertoire of ourhistory of writing is an eternal source of inspiration. Yet copying isnot necessarily the goal in this instance, as necessary as it mightbe. In fact, it is the basic kind of exercise in order to tap one’sown source of inspiration. The spectrum of activity extends fromthe freely executed calligraphic work of art to applied art in typedesign, in advertising, in book design, and so forth. I see thecomputer as an extension of the working palette. Traditional writingand modern computer technology complement one another.

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From Calligraphic Exercises to Type DesignFor some years now it has been possible to observe a trend in the productionof type design which pays increased attention to the handwritten quality oflettering. With the advent of digitized type design the expense of time andmoney has been greatly reduced by comparison to the hot metal tradition.Today, thanks to modern software programs, the type designer can producenew fonts nearly independently. Digitizing by hand, scanning, and acombination of computer technologies with various specific programs are allat his command. We should not be deceived, though – the eye and the pencilhave not become obsolete. Otl Aicher wrote the following in his bookTypographie:"During the development of the type face Rotis we had been working with acomputer for several years and named it Fritz. It had performed numerousservices for us until we discovered the pencil at long last. A vast new fieldopened up for us which we had not considered in this way until that time:that off human decision-making."

The buzzword in the computer industry is: everyone can be Gutenberg. Anopportunity, to he sure, a dream come true for every type designer. But thedangers to the quality of typography cannot be overlooked. The copyingcraze has apparently no limits. The market is flooded with products ofplagiarism. Lettering, however, is a cultural item with high standards. Itshould not only be created by clever but also by quality-conscious designers.The entire repertoire of lettering, even in the time before Gutenberg, alongwith recent developments come to mind. In this context I would like tomention the alphabet Lithos for Adobe by designer Carol Twombly. It harksback to the Greco-Roman Lapidar-Antiqua. Or let us look at the project Typebefore Gutenberg for the Linotype Library GmbH, which was conceived byAdrian Frutiger. In this project, for example, he designed the alphabetHerculanum (Roman Cursive Majuscules); Karlgeorg Hoefer contributedamong others the fonts Omnia (Uncial) and San Marco (Rotunda); HerbertMaring the alphabet Clairvaux (Early Gothic Bookhand); and I createdCarolina (Carolingian Minuscule) and Duc de Berry (French Batarde).Regarding the work of my colleagues and my own in this project I would liketo say that these fonts were developed out of the process of lettering itself.In the course of many correction phases, we searched for an interpretationwhich was not content with copy but tried to meet today’s requirements.Technical means today greatly facilitate the process of creating an alphabet.Software programs offer undreamt-of possibilities, especially if the drawingshave been produced already. It is even possible to design everything entirelyon the computer although this requires an even greater knowledge of formon the part of the designer. The following contribution by my Americancolleague, Professor Larry Brady, Los Angeles, provides some insights fromhis point of view into the development and significance of the art of letteringin the various areas of graphic design.

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Calligraphic Tools In researching the development of writing, one will find that new toolsalways gave rise to new changes in lettering forms. This has continued tothis day. The experimental focus in my own work is very much shaped bythe search for an appropriate tool. The tool has a bearing on the form andthereby on the expressive quality of the lettering. To use a tool according tothe rules but also against the rules, when necessary, means to embark onan experimental journey.

Special PensTake, for instance, the "Five-Line-Pen": it produces a five-fold line ofwriting. The outer lines show a broader stroke than the inner lines whichresults in an over-all, richly modulated effect. There is also a steel pen,called a music pen, which has a particularly valuable property: it is veryflexible. This is possible because the pen has two slits and therefore reactswell to pressure and also ensures a good flow of ink.

There are metal pens of different widths which allow for stroke variations.They are manufactured in England under the name of ‘Automatic Pen’ andare superbly suited for lettering work. The product name ‘Automatic Pen’ ismisleading because, naturally, these pens do not write ‘automatically’ at all.What is characteristic of this pen is its sharp metallic stroke. It also holds alot of color and is flexible.

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Ruling Pen Ruling pens, originally manufactured for technical drawings invarying widths and under varying names, are especially attractivefor lettering if they are handled in a certain way. My teacher,Friedrich Poppl, introduced me to this pen. In the early eighties Ihad a ruling pen made according to my own specifications. Thisruling pen was designed for the special demands of lettering. Thealtered size of the reservoir, the angle of the writing surface of thepen, the writing edge itself, the manipulation of the tip, andespecially the way the pen was held had a significant influence onthe ductus, the character and, therefore, on the form of thelettering. These specifications made it possible to hold the pen as"naturally" as possible. This was, in fact, one of its most importantfeatures because the way a tool is held has a major impact on theform. Through alternating the position of the tool, I wanted to beable to write in all widths possible. That is to say, I wanted to beable to hold the pen not rigidly but rather in a flexible mannerbecause fingers, hand and arm are always involved in the writingprocess. In this regard the ruling pen, despite all of its differences,is comparable to the brush. All lettering styles which require anindividual, hand-written, or expressive form can be executed withsuch a pen. Writing style and writing speed greatly influence theductus and thereby the most important aspect, namely the formand expressiveness of the lettering. The "rolling-off" from apowerful stroke with the broad part of the writing surface to thefinest line with the pen’s tip is the decisive prerequisite for avirtuoso handling of this pen. It requires much practice – this pen,too, cannot do what the hand has not learned, The pen as aninstrument is just as important in the hand of the writer as thepiano is to the pianist. It is only when the aspect of writing haspriority in the production of a ruling pen, that a >resonant<writing implement can be created with which to produce "music".

Many pieces of calligraphy executed with this pen led to thedevelopment of a new typeface in 1992/93. It was issued byLinotype Library as a PostScript Font under the name Ruling Script.The formal language of this alphabet is a handwritten improvisationof the Cancellaresca. In this instance, the tool produced the form.The ductus is rich in contrasts and the contour is lively and rough.The natural quality of writing has been preserved as far aspossible.

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The Round Nip – a Multifaceted Instrument The unjustly overlooked round nib merits some closer examinationhere. As a pen, it is wonderfully suited for monoline alphabets orfor the Grotesque Alphabet and remains indispensable to this day.But for experimental work it also offers a broad range ofpossibilities. In holding it unconventionally, the bottom part of thenib produces a broad stroke. In order to achieve this effect, onehas to »scrub« the nib across the paper, pushing it against allrules, which results in a grpahically very pleasing result in theoverall image of the text of single word.

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Pen Manipulation A totally different procedure with the same pen led to an unexpected formof manipulation. I had been looking for an appropriate tool for a particularpurpose. This tool was to have the capacity to be used in all directions andto produce a fine alternating stroke. Such a tool exists already, of course;I am referring to the pointed brush. I did not, however, want the flexibilityof the brush but was looking for a way to coax a nearly unrestrictedfreedom of mobility out of an essentially rigid pen.

I wanted to be able to work freely and spontaneously with this pen withoutthe limiting fear to have the pen snag when it was held at extreme angles.After trying various tools, I returned to the round nib again. Using wetsandpaper, I began to carefully file down the round tip right at the start ofthe slit. This way the rounded tip of the nib was straightened out. Icorrected the now nearly straight-lined edge by filing down any sharpedges to avoid those dreaded snags during writing. And now the mostimportant step: I turned the pen upside down and began writing with it.That is to say, the bottom part of the pen was now turned toward me. Aside benefit: the underside provided me with a larger reservoir. This"exotic" procedure earned some smiles initially. But the manifoldpossibilities of working with this instrument and even more so the resultsproduced with it convinced all the skeptics. Students and workshopparticipants confirmed: writing with this manipulated pen gives a sense ofliberation. The experiment was fun – but here, too, the main goal was, ofcourse, once again the lettering itself.

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Bamboo – Reed Pen Bamboo- and reed pens are a must in any calligrapher’s palette.They can be fashioned by hand in varying widths. A reservoir isvery helpful and easy to manufacture. A small strip of aluminumfrom a softdrink can is bent into a loop and inserted into theunderside of a bamboo pen. In cutting the tip of the pen, careshould be taken that the writing part is cut as long and as thinas possible. This is of great importance to elasticity of the pen.The stroke is characteristically smooth and has a warmer tonethan the already described stroke made with a metal pen. Othermaterials, depending on their specific qualities, such ascardboard, felt, balsa wood, or cork, produce many richvariations as well.

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Tool – Experiment I would like to point out a further very interesting modulation instroke. In the foreground is again the search for a basic stroke, richin variations. I discovered that plastic drinking straws make for aninteresting addition to my tool palette. Here are some examples outof the many possibilities: cut a slit into the straw as you would findit in a pointed nib and repeat so that you get many "brush-like"threads or strips. This allows for an expressive multilinear stroke withmuch play for a "happening". Depending on the writing fluid and thematerial on which the writing is performed, this main stroke can beenriched through several adjacent strokes. With a little courage toexperiment and enough leeway for chance, fascinating possibilitieswill lead to new forms for letters or words which are rich in tonalvalues.

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Writing Surfaces Writing surfaces, i. e. the materials on which the writing isperformed, are just as important as the tools. The available paletteextends from brown packaging paper to precious, handmade paper.The latter distinguishes itself through its vertical and horizontal linearstructure (egoutteur imprints) produced by the wiregrids of thedipping screen. The manufacturer’s logo is also incorporated into thisscreen and forms the watermark. Whenever possible, this linestructure should be included into the overall composition. The deckleedge is equally characteristic of these hand-dipped papers, alsoknown as "verge" papers. There are machine-made imitations ofhandmade paper, as well. They are naturally less expensive and cancertainly be used for more than just practice paper. Other easilyavailable materials include papers used in printing, end papers, andincreasingly also recycled papers. Reaction to color and absorbency,surface quality, color fastness, acid content, weight, direction of fiberand color intensity of the paper as well as format and edge are someof the factors which should be incorporated into the piece of letteringfrom start to finish. This list, incomplete as it may be, shows howextensive the consideration for the right choice of materials canbecome. It is important that papers are acid-free and do not containany bleaching agents. The material speaks to many of our senses,such as seeing, feeling, even smelling and hearing. Papers areextremely important as the "sounding board" for the resonance ofthe letters. Paper can sound bright or muted, dull or clear dark ...,both during the process of working on it and during the handling bythe user. Paper is an "intoxicating" material.

Writing FluidThe writing fluid withits great influence on the overall effect of thecalligraphic piece has to be mentioned here in the same vein. Howdoes it react with the paper? Are we talking about ink, stick ink,gouache, water color or a dye? Does the color rub off, is itwaterproof, does it withstand erasing, is it colorfast, how does itflow? What kind of binding medium does it contain? It could be glue,casein, egg white, shellac, or gum arabic. How does it react to beingmixed? In markers and felt tip points the solvents are important;they should be ecologically sound and free of hazardous materials.There is a broad range of ready-to-use materials on the markettoday but one should be cautious. Expert advice is unfortunately rarebut it is available and one should seek it out.

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Practical Suggestions We should always consider the interactive effect of tool, paper, and colorif we want to suceed with a particular idea. Here experience is onceagain the best teacher. This is why I want to include at this point a fewtips out of my own practice. I like to add a few drops of gum arabic tocommercially available paints, such as gouache. It increases the bindingcapacity and prevents smearing; it even increases the flow from the penduring work. A few drops of ox gall are helpful if the writing fluid isbeing repelled by the paper surface.

Opaque/Glazing FluidI like to make my own opaque black which is easy to write with. I mixcharcoal black as the color pigment with gum arabic and dilute it withdistilled water until I can write with it.

If a glazing fluid other thank ink or water color is desired for writing, Iwould like to recommend a water-soluble dye which is available ingranular form. A walnut dye is especially good because of its rich tonalvalues from the deepest to the lightest values of brown. And thegranular form is very practical in general. It does not spill duringtransport and needs only the addition of water when we are ready touse it.

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Stick Ink I must, of course, also mention stick ink in this contest. I am alwaysfascinated again with this unique material. This kind of ink isunsurpassed in its tonal scale from a deep opaque black to a transparentlightgrey tone. An ink stick with the addition of a little distilled water isbeing ground with circular movements in the indentation of an inkstoneuntil the desired consistency is obtained. In Asian calligraphy, ink stick,stone, brush and paper are one unit. In Western calligraphy the brush inthis quartet is being substituted by the pen. Stick ink does not withstanderasing. It would actually be a contradiction to want to violate thisvelvety layer of color. A substitute for stick ink is also availablecommercially under the term of Sumi-ink. But it cannot match thequality of ink made from ink stick.

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Minor Details - Big Effects Naturally, a thin piece of paper should always protect the papersurface from secretions of the skin of the hand. (It should be thin sothat its edge won’t impede the flow of writing.) A good colorabsorbtion and the necessary restistance to writing with the pen canbe obtained by rubbing the paper with a pulverized resing (sandarac).This refers, of course, only to papers with a smooth surface withouta "tooth". It also allows for a sharper edge of the stroke. One speaksabout a stroke which "sits" well on the paper. It is interesting thatmusicians of string instruments also use this kind of resin for thesame purpose. The resin is subbed onto the hairs of the bow so thatthe strings are slightly roughed up during play and therefore begin tovibrate more easily.

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Filling the Pen My hair stands on end when I see how the pen is dipped into the inkall the way up to the penholder. You cannot work neatly like that.But what is even more important is that a clean edge and acontrolled flow of color is impossible this way. The ink surrounds thetip of the nib all the way around. Even after striking it off, a cleanstroke cannot be achieved. Only a brush will help you in controllingthe ink during the filling of the pen. It is just a matter of habit tohold the penholder in the right and the brush for filling the pen inthe left hand; it should simply become second nature. The filling ofthe upper and lower reservoir, as for example in the round nib,assures a good flow during writing when pressure is applied ordecreased. This is very important for a stroke which is rich inmodulation. Even if there is no upper or lower reservoir, it isrecommended to fill the top of the pen by running the brush acrossit. And do not forget: start the pen on a scrap piece of the paperyou are working on. This helps in obtaining sharper contours. It alsohelps, incidentally, to put several pieces of paper underneath thesheet you are working on. This way the writing surface has moreelasticity and feels more "giving." And here another little trick: inorder to augment the sharpness of the broad nib, the top side of thewriting edge should be slightly sharpened with very fine wetsandpaper or with an Arkansas stone. It goes without saying thatthe pen should be cleaned after use. It requires little effort when itis done immediately and is the best guarantee for years of goodusage.

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Gottfried Pott





Ruling Pen

Round Nip

Pen Manipulation

Bamboo − Reed Pen

Tool − Exeriment

Writing Surface


Stick Ink


Filling the Pen


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Following are examples of the work of Gottfried Pott. For alarger view please click on the image.

Geometrie kann ...Paul StandardHahnemühle-BüttenpapierGouache1999 · 100 x 70 cm

Psalm 117BFK Rives-BüttenpapierGouache1992 · 76 x 58 cm

Contrapunctus IIBütten-VliesTusche · Gouache1991 · 80 x 60 cm

Musica ...Karton · Gouache1997 · 70 x 100 cmDiptychon

Ma forse più ...Giamb. BodoniHahnemühle-BüttenpapierGouache1990 · 75 x 54 cm

Geometrie kann ...Paul StandardHahnemühle-BüttenpapierGouache1999 · 100 x 70 cm

Reibe deinenTuschestein ...Wen TianxiangCanson-BüttenpapierGouache1999 · 65 x 50 cm

Pinsel-ExpressionHahnemühle-BüttenpapierGouache1990 · 40 x 40 cm



Go to Font Features


Gottfried Pott





Ruling Pen

Round Nip

Pen Manipulation

Bamboo − Reed Pen

Tool − Exeriment

Writing Surface


Stick Ink


Filling the Pen


CONTACT

SITEMAP

TERMS OF BUSINESS

LICENSE AGREEMENT

SECURITY

IMPRINT/IMPRESSUM


Documents

Arioso™ (LinotypeFont Family Carolina™ (LinotypeFont ...image.linotype.com/files/pdf/fontfeatures/calligraphy_fontfeat_e.pdfFrom Calligraphic Exercises to Type Design For some