Bery Tuscan derives from one of two tuscan stencil sets purchased by Franklin. Both sets, made up of capital letters only, illustrate Bery’s intelligent translation of this style of letter into stencils. Models occur in books, prints or other documents, where they were painted and illuminated, engraved, or composed as printing types. The underlying motifs were acanthus leaves and floral bursts arranged into letterforms with accented mid-lines. Stencil versions simplified these motifs into separate but fluidly integrated elements, the acanthus leaves growing outward into strokes ending in rounded, bifurcated serif-tendrils. The letters in this way merged seamlessly into the stencil idiom, though their forms were so complex that they could only be realized, as stencils, through the use of etching.