Shetla Waters
"Foundations of Calligraphy,”
Letter Arts Review, Vol. 15, #4,
2000, pp. 42-53.Intentionally BlankParr 13
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Design and Layout, Part 4
Unies the pincpe of god design aap
Pls to specific problems of ayo they
Fn theresa The ive pines, ot Ut
InPart a aity, oe conret epias
Tempt sexplore ow thee prnipescan Be
putt wok for ultarian prt auch as
Ios cereals invitations, na ers an
forpecs using pros and psty, Tra
slates contre scene text oranges
‘rth pour desig sautons. Each example top
evans pec prsip, although ber
Unity
Unity iahieved by using he tye compo
‘ent pointy grown enero, Un,
"heaspec of desig tha embraces the ot
‘rll avayete present ina sues eo
pst though snot usted epoca
‘sari,
once
Radia nd tema sa intel rr ing,
forthe mot foal arent Syatrys
ie fread, etnies dc
"ations, anf expressing compe, with no
‘ens mocencet
By Shelia Waters
2. Opi entering
Faning the vert cer of sheet simp
bythe etal hrizontl cee pte ap
ess tbe lower than ely Il magi
recs the bot marin em on all
Trastanally, he btm margin mst
spor thas toposes, node o prevent
Imeappenrance of pcre “alin ot”
Maseproduced mats ave equal mario
they can be sete verally or orzo.
tly thus sacrificing de sense of blanc
‘Optical center i maved high enough
tomake the anasabve an clo tapes
beesual ig) This bose copa et
tor as crossbars for E-andF atom opti
enter an the upper wtf 8 iss than
thelower dost
shape, the ines ragged left and eight, i more
plessing when the weight i conontatt
Sbovehorzontal cane, with doninane
‘words nea the top, rather than ely. These
say be given emphasis of siz aor Weigh
{Fig 2) Thecasclly beat human ace
ise sped, with the retest wih cross
Uheears a ro, with he ine oming
the atrovent ote egg (Fl 94) he
jw a the wget athe fend nao
wend Ie face unatractve (Fig 38).
erie, fa ayout sage wth more weight