Tag Archives: typeface

‘Gutsy lettering’ and all that jazz – Michael Harvey

Michael Harvey typefacesSome of the names of the fonts available on our computers can be quite intriguing, and the stories behind them even more so. When Michael Harvey designed his first he called it Zephyr after the car he was driving, and his later fonts were named after his passion for jazz – Ellington, Mezz and Strayhorn. They are strong, clear and simple designs which have stood the test of time.

Michael Harvey book jacketDesigning book jackets was another of the strings to Michael’s bow. Initially influenced very much by the letter-forms he had been taught by Joseph Cribb, who was Eric Gill’s first apprentice, Michael then went on to work with the wood engraver Reynolds Stone, who encouraged him to free himself from what could have become a straight jacket. Despite the constraint of being able to use only one or two colours at the time, Michael made sure that his book jacket designs fairly leapt off the shelves, as with his own book here.



Sainsbury wing letteringPerhaps the best place to see his work easily is outside the Sainsbury Wing of the National Gallery. The architect, Robert Venturi, said that he wanted ‘really gutsy English lettering’ and Michael was able to oblige with letters having strong serifs and a good contrast in the widths of the strokes. He approved of being involved in the whole design process rather than what is sometimes the case – architects simply picking a design out of a font catalogue almost as an afterthought. The commission really was huge, though, and Michael required the assistance of letter cutters and designers themselves, Brenda Berman and Annet Sterling of Incisive Letterwork, to help him carry it out.

Page from Michael Harvey's bookMichael also taught for many years at the University of Reading, running the course Letter-forms, and many are those who have benefited from his skills and knowledge. I remember talking with him about teaching and him saying that it was as much about learning as it was teaching, with which I wholeheartedly agreed. His books on lettering are worth every penny, with strong layouts, copiously illustrated with his own designs and artworks, and often with his drawings as well. Michael believed very strongly in the importance of drawing.

He and I also felt that copying was useful, but his words are far better than any I could give: ‘A model is not an end but a beginning. Copying a good model is a good start … No matter how much one tries to reproduce another person’s style we add something of ourselves.’

Michael sadly died last month after a long illness.

  • Harvey, Michael. Letters into words. London: Clowes, 1973.
  • Harvey, Michael. Lettering design: form and skill in the design and use of letters. London: Bodley Head, 1975.
  • Harvey, Michael. Creative lettering, drawing and design. London: Bodley Head, 1985.
  • Harvey, Michael. Carving letters in stone and wood. London: Bodley Head, 1987.
  • Harvey, Michael. Calligraphy in the graphic arts. London: Bodley Head, 1988.
  • Harvey, Michael. Reynolds Stone: engraved lettering in wood. Netheron: Fleece Press, 1992.
  • Harvey, Michael. Creative lettering today. London: A. & C. Black, 1996.
  • Harvey, Michael. Adventures With Letters. Bridport: 47 Editions, 2012

Gerald Cinamon – Man of Letters

Cover of Gerald Cinamon's bookAlmost without realising it our book buying is influenced many times by the design. Without knowing the contents, we select or reject a book often simply by the cover.

Gerald Cinamon, Jerry, is a past master at this. A recent publication, coinciding with an exhibition of his work at the Institute of Contemporary Arts this year, Gerald Cinamon: Collected Works Since 1958, and the accompanying video: Close Not Touching, shows some of the breadth of his work, and it is simply stunning! Sadly the exhibition has now closed, but his book is still available. The cover of the book, right, is in his favourite bold red, used in a number of other of his designs, too.

Cover design for Penguin Books 1967Jerry, born in the US, started his career well before there were computers, when type and image could be shifted around simply by a click of a mouse. His were the days of Cow Gum and Letraset letters. The title of the video Close Not Touching was taken from the use of Letraset, where letters were pressed from a transparent sheet on to paper, and were – close, but not touching. How very much easier it is for designers now. This design for Architecture and Art, made for Penguin books in 1967, shows just what an eye for really strong design, and a sense of humour, can achieve.


Design for wine list for a restaurant



This is a real favourite – a design for a family restaurant in Devon. The use of the wine glass distorting the letters, although they remain completely legible, suggests not only the movement of the tide coming in and out of the shore, but also the possible effects on someone’s vision of too much strong drink!



bbc poster image

A simply stunning design is this for the BBC, used both for posters and recital programmes. It is so simple but so effective in the way that the bowl of the letter b has been reversed to make the c, and any heaviness in letter-form has been avoided by truncating the downstroke. The letters are all very readable and clear, even though they are reduced in form so much. Jerry writes that he really enjoyed seeing his posters displayed at the Royal Festival Hall when he went there for a concert.



Cover for Penguin's 50th anniversarySimple and ingenious – this cover is for the Fifty Penguin Years exhibition catalogue in 1985. Here is that wonderfully vibrant red again, but the 25th penguin is in silver, and the 50th in gold. Penguin book covers were renowned for their limited use of colour, usually just one colour and black, so special permission had to be granted to do a silver and a gold run in addition!

This book is a real visual delight, each page, with its informative captions, shows another stunning design. There is a foreword by Ken Garland, a biography of Jerry and an interview with him and David Pearson (who is also in the video).

The book is available from Jerry’s website and costs £20 plus postage. I cannot recommend it more highly for anyone interested in lettering, design, and a really great man.

MacDonald Gill exhibition

MacDonald Gill

MacDonald Gill

Most people have heard of Eric Gill, the great letter cutter of the first part of the last century. He carved the Stations of the Cross at Westminster Cathedral and the Ariel figure for the BBC as well as many inscriptions. Others may know of his type designs including Gill Sans and Joanna, the latter named after his daughter.

Fewer people know of his brother, MacDonald Gill, known as Max. He created very lively and colourful maps, posters, logos and typefaces too.

This is one of his maps – London Wonderground.

London Wonderground

There is to be a new exhibition on his work opening next month. Many of the exhibits were in the loft of the cottage where he lived with his second wife, Priscilla Johnston, daughter of the Master Calligrapher Edward Johnston. Her nephew, Andrew, inherited the cottage and found the originals tucked in all sorts of hidden places – not only in the loft but also under tables and hidden in wardrobes.

 Max's baby shoesA rather sweet exhibit will be his shoes, where the name ‘Eric’ as well as ‘Vernon’ (another brother) have been crossed out and ‘Max’ scratched on in replacement. I suppose with 13 children in the family hand-me-downs are inevitable.

The exhibition is at the Pitzhanger Manor House, Ealing, a Grade I listed building designed by John Soane in 1800, and looks worth a visit on its own!

Out of the Shadows: MacDonald Gill will open at PM Gallery & House on 20 September until 2 November 2013. For visitor information and opening times, see http://www.ealing.gov.uk/pmgalleryandhouse. To see more of Gill’s work, visit http://www.macdonaldgill.com.