The hand-drawn work of scribes has always had an inexplicable allure. Since the time of Gutenberg, typographers have been attempting to imitate their intricate and elegant lettering. The scribe’s pen or brush was then seen as the higher form to which type designers aspired but could not hope to achieve, and even today it still serves as an important tool in the typographer’s kit. In the words of Jan Tschichold, a German type designer and calligrapher, “Anyone who has ever done lettering by hand knows much more about the qualities of right spacing than a mere compositor who only hears certain rules without understanding them.”