Da sD SKF K HI IKI ISI ISG III IIIGIIIIIIIIII OY Kes THA ere essivtih¥ ee AIIIIIIIIS IS SSSAS. SSS. MIG SGIIIISSSIIIII SSIS IS, I spent the late 80s at a vo-tech high school painting color wheels, trying to fill ruling pens with India ink and pushing tempra around with a lettering brush. That was where I met Mr. Betts, a fellow commercial art student with an amazing marker collection and a stack of black sketch books. We were supposed to be focusing on the fun- damentals of sign painting, photography, composition and typography but the illustration and graffiti in BJ's sketchbooks proved to be a magnetic distraction. The work iin those booke served as a visual bridge between the craft of commercial art and popular culture for myself and classmate/future House Industries partner Allen Mercer After working together in “shop” as well as a brief, yet decorated career at Burger King, BJ and I lost touch after high school. Fifteen years later a tattoo lettering guide landed on my desk. A few phone calls and the next thing T know BJ is helping us out with custom lettering jobs and a show in London to launch the House33 clothing line. Aside from his skills as an “artiste”, what impresses me most about BJ’s work is how well he performs on the front lines when it comes to lettering. Seeing him draw a name on demand for a customer in minutes is the polar opposite of us type geeks sweating over a curve in an script “S" for monthe. Unfortunately hand lettering is a dying art Why spend the time learning, practicing and relearning how to draw characters by hand instead of typing it on a key- board? Simple. Because with effort (and a bit of style) the craft of lettering is what will ultimately separate you and your work from everyone else who uses the alphabet to communicate. 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