Hello! Welcome back to our course on medallic art.
In our last lesson, we analyzed the compositional conventions of the circular tondo format. We saw how strategies like creating circular flow and stable central structures are used to create a harmonious design. We noted that lettering, or the legend, is a critical compositional element used to frame the image and reinforce the circular shape.
Today, we'll focus entirely on that element to meet our learning outcome: Design effective lettering and inscriptions that integrate seamlessly with medal imagery.
Given your background in graphic design, you are already well-versed in typography and layout. We'll begin by framing the task in those familiar terms. Then, we will transition to the unique sculptural and technical considerations specific to medallic art—moving from the 2D plane of a page to the 3D world of relief sculpture.
The Anatomy of Lettering on a Medal
First, let's establish some common terminology. Just like a sculpture or a building, a medal has its own anatomy.
As you can see, the text on a medal is not just "writing"; it's a collection of distinct elements—legends, mottos, dates, and signatures—that must be thoughtfully composed.
Part 1: The Graphic Design of Medal Lettering
At its core, arranging text on a medal follows the same visual principles as any other graphic design task. The goal is to organize information in a way that is clear, balanced, and aesthetically pleasing. The Gestalt principles of visual perception provide an excellent framework for this.
Let's watch a few short segments from a video on these principles. As you watch, think about how each concept applies to placing text within a circle.
Graphic Design Principles: Why Your Designs Look Off (Gestalt Layout Rules)
This video from Lindsay Marsh, titled 'Graphic Design Principles: Why Your Designs Look Off', offers a fantastic review of Gestalt theory. We'll look at a few key principles that are directly applicable to arranging inscriptions on a medal.
Please watch the following three short segments: Proximity (00:03:02 - 00:04:00): Note how grouping related items makes information easier to digest. Continuation (00:13:52 - 00:14:35): Observe how our eyes prefer to follow smooth paths. Figure and Ground (00:07:07 - 00:08:00): Focus on how contrast helps us distinguish foreground from background.
How do these principles translate to medal design?
- Proximity: On the Franklin Half Dollar above, the words "LIBERTY" and "IN GOD WE TRUST" are separate ideas placed in different areas. The date and mint mark, which are related, could be grouped together. Proximity helps create a clear information hierarchy.
- Continuation: This is perhaps the most important principle for medallic lettering. By arranging the legend along the curve of the rim, the text creates a path for the eye to follow, reinforcing the circular composition and framing the central image. The Kraszewski medal is a perfect example of this.
- Figure and Ground: Lettering must be legible against the "ground" of the medal's field. This is achieved through relief—raising the letters from the surface so that light and shadow make them stand out.
Part 2: The Sculptural Form of Lettering
This is where your skills as a sculptor become paramount. Lettering on a medal is not a flat graphic; it is a tiny, low-relief sculpture. Its physical form is as important as its placement.
Let's explore the key decisions and constraints involved in creating the physical letterforms. The following reading is from an article by James Berry, a New Zealand artist who designed both coins and medals. He provides a fantastic first-hand account of the practical challenges.
This excerpt from the 'New Zealand Numismatic Journal' discusses the practical considerations of designing lettering for coins and medals.
Please read two sections from the article: Start at '(2) THE DESIGN' and read to the end of that section. Pay attention to Berry's preference for hand-lettering over using pre-cast type. Find the section titled '(4) LIMITATIONS, MEASUREMENTS AND GAUGES FOR MODEL RELIEF'. Read the paragraph that begins 'The maximum relief for lettering and value figures...'. This explains a key constraint on relief height.
As Berry explains, there are several key sculptural considerations:
- Hand-Lettering vs. Type: While using pre-made letterforms might seem easier, hand-sculpting the letters offers far more control over their size, weight, and style, allowing for a better fit with the overall design. Given your fine arts background, this approach will likely feel more natural.
- Relief Height: Lettering near the rim must have a lower relief than the central image. This is a crucial rule to ensure the metal can flow properly into the die during striking and to prevent excessive wear on the highest points of the coin.
- Raised vs. Incuse: Letters can be either raised from the surface (relief) or cut into it (incuse). Most medallic lettering is in relief for legibility. However, as we'll see, incuse lettering is an important technique during the modeling process.
The Hard Rules: No Undercuts and Proper Bevel
When sculpting for casting, you are already familiar with the need for draft angles to allow a pattern to be removed from a mold. In die-striking, this principle is even more rigid. Every element, including every letter, must have a slight bevel or taper.
This next reading from a blog by medallic historian D. Wayne Johnson is essential. He explains the two "undeniable truths" of die-striking.
Undeniable Truths of Minting: #1 No Undercuts, #2 The Devil’s In The Bevel.
This post, 'Undeniable Truths of Minting,' clearly explains the most important technical constraints in designing for struck medals. This is non-negotiable information for any medallic artist.
Read the entire blog post. It's short but dense with critical information. Focus on the definitions of 'undercut' and 'bevel' (or 'draft') and the specific minimum angles required for different production methods.
The key takeaways from this are critical:
- No Undercuts: There can be no negative slopes or overhangs. A die must be able to withdraw cleanly from the struck medal. An undercut will cause the medal to get stuck in the die, a catastrophic failure called a "hang-up."
- Proper Bevel: The sides of all relief elements, including lettering, must have a taper. A minimum of 15° to 20° is recommended. The author's tip is excellent: if you hold a pencil vertically next to your relief and can't see light at the base, your wall is too steep.
Part 3: A Glimpse into the Workflow
So, how are these letters actually made? The process can be either physical or digital.
Traditional Sculpting Workflow
In his article (LINK), James Berry describes a fascinating traditional process. First, he would lay down a curved strip of modeling clay (plastilina) for the legend. Then, using a tracing of his design, he would carefully cut out the letterforms, making sure to angle the cuts to create the necessary bevel.
For even sharper results, he often preferred to cut the letters incuse (in negative) into the intermediate plaster mold. When the final positive plaster was cast from this mold, the letters would emerge in sharp, clean relief. This is an advanced technique that takes advantage of the fact that it's often easier to cut a sharp interior corner than to build up a sharp exterior one.
Digital Sculpting Workflow
With your proficiency in Blender, you can achieve the same result digitally. The principles are identical. Text objects can be created, converted to meshes, and given a bevel. They can then be curved to follow a path that matches the medal's rim.
This short video demonstrates the basic concept of applying text to a circular path in a design program. The software is different, but the principle is universal.
3D Engrave Any Image Onto a Coin (Step by Step Process)
This clip from Make or Break Shop shows text being applied along a circular path in LightBurn software. This demonstrates the digital equivalent of laying out a legend around the rim of a medal, a process you can replicate in Blender.
Watch from 00:11:00 to 00:12:45. Notice how the text is selected and then applied to the circular guide path. The artist then adjusts the horizontal spacing ('H Space') to distribute the letters evenly around the curve.
In Blender, you would use a "Curve" modifier on your text object to achieve this effect, giving you precise control over placement, spacing, and form before you even begin to sculpt.
Conclusion
Today we've seen that lettering on a medal is a sophisticated art form that blends graphic design with sculpture. It requires an eye for balanced composition and a deep understanding of the physical constraints of the medium.
Key Takeaways:
- Medallic inscriptions should be composed using established design principles like Proximity, Continuation, and Figure/Ground.
- Lettering is a form of low-relief sculpture that can be hand-modeled or digitally created.
- For die-struck medals, there are two inviolable rules: No Undercuts and Proper Bevel (a draft angle of at least 15-20°) on all relief elements, including letters.
- Lettering near the rim must be of a lower relief than the central devices.
You've now examined composition and lettering, the two main elements of a medal's design. In our next lesson, we will synthesize these components and tackle the learning outcome: Translate a 2D medal design into a 3D low-relief model, managing planes and transitions suitable for medallic art. We will discuss how to build up the forms of the main image and integrate them with the lettering we've discussed today.