Edward Johnston was a well-known and skilled calligrapher and illuminator. He is perhaps best known for his controversial sans-serif font which he created specifically for the London Underground, where it can still be found today naming each station and tiled above their doors. Johnston approached his work as a true artist, taking his discipline as seriously and envisaging his creative scope as widely as any painter or musician. In 'Writing Illuminating,& Lettering' the author delves into a wide range of decorative historical styles from those demonstrated in historical manuscripts through to traditional writing styles from as early as the ninth century. He also shows letter formations as well as common and rare ornamentations and embellishments for characters. Whilst this book is undoubtedly Art, the fonts across its pages are also familiar and will bring up powerful associations for each reader. Perhaps the font of your favourite children's book or the illumination pattern shown in your favourite book of myth, the pavlovian reaction to a design reminiscent of a favourite type of sweet wrapper. One could easily be a devoted fan of Johnston's work and yet never be aware of it until opening this book. Edward Johnston believed in his art and he worked hard during his lifetime to see the work of calligraphers and illumination artists recognised. He worked with typographers to expose a greater audience to a range of design styles on the printed page and believed that they should be appreciated. Read his book, consider his work and you certainly will. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.