The Morgue File brings together clippings and other ephemera gathered by Mike Meyer over the years as inspiration for signs and lettering. The book is a collaboration between Mike Meyer, Better Letters, designer Alice Mazzilli, printers 12–B and paper merchants G.F Smith. Printed by Risograph on Munken (main pages) and Colorplan (cover and section dividers), each cover has been hand stamped by Mike Meyer.
Better Letters, Mike Meyer, and A.S. Handover have collaborated on a series of short films to cover some of the basics of sign writing/painting. These ‘Primers’ support our workshops, providing reminders for people who have attended, and ‘homework’ for those preparing to participate in the future. The first episode is below, alongside the earlier trailer, with more to follow in the coming months. Thank you to A.S. Handover for such a fun project, and look out for a workshop near you in the coming months…
Participants in Mike Meyer’s Hand Lettering Workshop now have access to this all-in-one learning resource, detailing the main alphabets covered in the two-day event: Gothic; Thick ‘n’ Thin; Casual; and Script. They’ve been debuting on his current tour of Europe, next stop Milan, and will also be used at forthcoming events in Hamilton and Mazeppa, and beyond.
An incredible weekend learning how to paint Roman & Copperplate from sensai Dave Kynaston along with a bunch of other awesome sign painters – Ged Palmer
David Kynaston hosted the first classical hand-lettering workshop over the weekend with a group of ten signwriters and lettering artists from around the world. Guests traveled from as far away as Canada, The Netherlands and Sweden to learn Roman and Copperplate Script lettering from one of the masters. Here are a selection of photos, video and feedback from the day. Keep an eye on the Workshops page and join the mailing list for details of the next workshop.
The first day took everyone through the point system that David uses to layout and construct Roman lettering. The system provides an efficient and flexible way to size letters and spacing through a series of measures derived from the required letter height. This was then followed by working with a long sable chisel to practise the key strokes, especially the serifs, required for painting the letters. By the end of the day there was a good selection of quality Roman lettering on show, demonstrating the effectiveness of David’s technique and teaching approach. This was helped by some of his custom tools and instructional sheets which had been prepared specially for the workshop.
Day two focused on constructing and painting copperplate script letters. This time everyone got to work with a pointed brush, a tool perfectly suited to the flowing forms being created. After the discipline of laying out the letters in detail it was time to work with just very simple pencil guides and more freehand work on the brush. This was interspersed with a variety of demonstrations by David Kynaston to show what can be achieved with this form of lettering.