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In 1810, William Caslon IV introduced "sanspareil" matrices, made like a stencil by cutting out the letter in sheet metal and riveting it to a backing plate. This produced much sharper type than sandcasting and was easier to use; it was quickly copied. [27] The large metal types produced were cast with hollows in them to reduce the weight.
At the top right-hand corner of the fragment is a deeply cut motif consisting (as visible) of a letter A and another incomplete character on either side of a large diagonal cross; the whole may represent a common Christian symbol, a Christogram—the Greek alphabet letters Alpha and Omega flanking a large Greek letter Chi (written like a Roman ...
Letter cutting is a form of inscriptional architectural lettering closely related to monumental masonry and stone carving, often practised by artists, sculptors, and typeface designers. Rather than traditional stone carving, where images and symbols are the dominant features, in letter cutting the unique skill is "meticulous setting out and ...
As well as hand-cut letterforms, Lida has designed several digital typefaces including 'Emilida', commissioned by music company EMI [8] and 'Pulle' which is based on letterforms Lida has been cutting for over 20 years and offers a very large range of letter heights rather than variations in weight.
Painted letters are typically found on bare rock faces and cliffs, as is the G in The Gap, Arizona. Cutout letters, the least common, are formed by removing the vegetation to create a letter; the R for the University of Redlands in Redlands, California, is an example. These emblems can range in size from 10 or 15 feet tall to hundreds of feet tall.
Lombardic capitals is the name given to a type of decorative uppercase letter used in inscriptions and, typically, at the start of a section of text in medieval manuscripts. [1] They are characterized by their rounded forms with thick, curved stems. Paul Shaw describes the style as a "relative" of uncial writing. [2]
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