Edward Johnston (1872 -1944) was the central figure in the revival of a European tradition of calligraphy in the twentieth century. This book, with essays by Phil Baines and Ewan Clayton, has been developed from the exhibition With Paper, Pen and Ink: Being Edward Johnston, held at Ditchling Museum in 2006.
The exhibition, curated by Ewan Clayton, coincided with the centenary of the publication of Johnstonís first book, Writing & Illuminating, & Lettering.
The foreword to the book
Edward Johnston is widely known today as the designer of the world-famous London Underground typeface with its bullseye logo. But one hundred years ago he produced an equally important work, Writing & llluminating, & Lettering, the first practical handbook about calligraphy and lettering in the modern era. This book launched a revival of interest in these crafts across Europe and the English Ė speaking world.
This publication has been produced in conjunction with an exhibition that was held at Ditchling Museum in 2006, with Pen, Ink and Paper: Being Edward Johnston to celebrate the 100th anniversary of the publication of Writing & llluminating, & Lettering, and to place this major work in the context of his life and other work. Ditchling in Sussex was Johnston's home for thirty years and it was here that he developed his famous typeface, 'Johnston Sansí and where he continued to develop his calligraphic hand.
The project was instigated in 2004 by Hilary Bourne, a lifelong admirer of Johnston. She had known Johnston as a child in Ditchling and even in her nineties Hilary remained enamoured by the man and the artist. Sadly, Hilary died in 2005 but in the early planning of the exhibition with Ewan Clayton, the curator of the exhibition, she talked enthusiastically about Johnston's approach to life and how this was reflected in his work. We would like to thank Professor Ewan Clayton for curating the exhibition, for his careful and thorough research, and for his elegant and sympathetic design of this publication. Ewan is himself a calligrapher of international standing, and through his understanding of the complexities and concerns facing a practitioner, has provided a fascinating insight into Johnston the calligrapher as well as Johnston the man. Alongside Ewan's text, professor Phil Baines has provided an introductory essay that assesses Johnston's impact on the typographic world alongside that of his colleague Eric Gill and their continuing legacy. In terms of producing the catalogue I would like to thank SaraMorris for her sensitive photographs of Johnston's work that capture both the spirit of the man and his work, and Gerald Hinckley for his proofreading and editorial work. Hilary Williams, Director
1st edition, 2006, paperback, 96pp, over 50 plates of Johnstonís work, many in colour and complimented with a myriad of images from his photograph album.