The National Ballet of Canada – script wordmark, Al Elliott, c1963

Al Elliott often used swashes to compose scripts into round or oval shapes, transforming a piece of lettering into a unified wordmark with just a few well-placed flourishes. He was always careful not to let the swashes overpower the letterforms. To avoid visual ‘dark spots’, he never overlapped two thick strokes – though two thin strokes, or a thick and thin, could be overlapped with elegance.
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Notes

Al Elliott was a master of the English Roundhand, a formal script that had reached its fully developed state in the 18th century. By the mid-20th century, a new generation of lettering artists – many working in New York – had transformed the style from a written script into a drawn one, often embellished with decorative swashes.

In April 1963, Elliott joined The Headliners, the photo-lettering division of Cooper & Beatty. Although the studio already had top-tier lettering artists on staff – including Alex Hobson – Elliott’s arrival was seen as a major addition. In the early 1970s, he left to freelance from his home studio, during which time he designed two scripts, Neo-Balladeer and Neo-Charade, for Headliners International.

Elliott was the lettering artist of choice for a number of Toronto’s leading designers, including Allan Fleming and Jim Donoahue. It is likely that this wordmark for The National Ballet of Canada was commissioned by Fleming. – Rod McDonald

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Artifact

Article Data

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Date

c
1963

Title

The National Ballet of Canada

Description

Hand-Lettered Wordmark

Flourished Roundhand script

Publication

Publisher

Credits

Agency:
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Creative_Director:
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Design:
Typography:
Hand_Lettering: Al Elliott
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Region

Ontario

Language

English

Holding

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