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Creative Lettering and Beyond: Timeless Calligraphy: A collection of traditional calligraphic hands from history and how to write them
144Overview
Product Details
| ISBN-13: | 9781633227293 |
|---|---|
| Publisher: | Foster, Walter Publishing, Incorporated |
| Publication date: | 04/30/2019 |
| Series: | Creative...and Beyond Series |
| Pages: | 144 |
| Sales rank: | 288,752 |
| Product dimensions: | 8.70(w) x 11.50(h) x 0.50(d) |
About the Author
Read an Excerpt
CHAPTER 1
Part I: Getting Started
Calligraphy is a craft that does not require many tools or materials . All you need to begin is a pen, nib, ink, paper, and practice!
Calligraphy & Lettering Basics
The Importance of Lines
Lines are important in lettering for practice and learning, as well as for creating finished pieces .
There are four key lines in calligraphy: baseline, x-height, cap height, and slant line. These lines are arguably the most important aspect of creating beautiful and legible calligraphic art.
• The baseline is the line upon which all the letters rest.
• The x-height is the height of a small letter "x" placed upon the baseline. When creating letters, it's a priority to keep them nicely placed along the baseline, and to keep all the x-height letters within the x-height.
• The cap height is the height of the capital letters, or majuscules.
• The slant line is the line at which the letters are sloped. Keep all downstrokes at this angle.
General Points
• The slope of the letter — the line that shows the angle at which the letter has been constructed — is vital for defining the style of the lettering, as well as maintaining its fluidity.
• Letters written in a very upright fashion — no slope — tend to have a more casual feel.
• Highly slanted letters have a more formal feel.
• Maintaining a consistent slope among all your strokes — that is, maintaining a similar angle of all heavy downstrokes — is key to creating a unified look. As a general rule (and rules are meant to be broken, but that's another story!), keep all downstrokes on the same slant line.
• Traditional script pointed-pen styles have a fixed slant line that must be followed to maintain the look of the hand.
• Modern calligraphy has no fixed slope line, which adds to its individuality.
• Always use lines when writing. This is so important to creating elegant calligraphy. As you become more comfortable and practiced with your calligraphy and lettering, you may only need to use a baseline.
• Using a light box, or other lighting setup, allows you to see guidelines without
Tools & Materials
Basic Calligraphy Materials
Pen Holder
I recommend an oblique pen holder, but you may wish to try a straight pen holder . Plastic calligraphy pens are available at most art stores, but choose a turned-wood holder if you can find one and would like to invest . Make sure your chosen nib will fit your holder .
Nib
You need at least one pointed-pen nib . If you're not sure where to start, I suggest Hunt #56, Nikko G, Hunt #101, and/or Gillott #404.
Ink
Black ink, such as an India ink, is opaque and permanent. Look for Japanese sumi ink, if possible, which is formulated especially for calligraphy and sumi painting.
Paper
The best paper for basic pointed-pen calligraphy is smooth white drawing paper. Look for Bristol or bond paper. If you plan to add watercolor or gouache washes or illustrations, use 140-lb. or heavier watercolor paper, and learn about paper stretching.
Choose hot-pressed paper for your watercolor calligraphy projects . Hot-pressed paper is machine-made and run through hot rollers, creating a smooth surface .
Other Basic Supplies
• Small jar, fitted with a sponge to clean your nibs
• Ammonia or alcohol to clean pen nibs
• Old toothbrushes (for cleaning nibs and pens)
• Small glass jars for decanting ink and mixing colors
• Light box
IMPORTANT:
Calligraphy dip pens and fountain pens are not the same thing! Avoid fountain pen ink for use with your dip pen . Fountain pen ink is dye-based and generally does not perform well with dip pens . Dip pen ink is pigment-based; it is much thicker and waterproof when dry . Never put dip pen ink in a fountain pen! It will clog and could ruin a fountain pen .
Improvising a Light Box
If you're not ready to invest in a light box, here are some alternatives:
• Place a piece of clear glass or plexiglass on an easel and arrange a light source behind it.
• Work at a glass-top dining table and place a light underneath.
Watercolor & Gouache
Watercolor and gouache are among the best ways to color lettering and calligraphy. Watercolors have a transparent quality that allows for layering and creating washes. Choose white or light colored paper for use with watercolor.
Gouache is opaque and can be used on dark or light paper. White gouache is excellent for writing on a dark surface. Gouache also comes in a range of metallics.
To use gouache or watercolor with your pointed pen:
Squeeze the paint into a small dish, jar, or palette, and add a tiny bit of water. Use a paintbrush to mix the paint to an ink-like consistency, similar to coffee creamer; then use a paintbrush to load the paint onto the back of the nib. Test your nib on scrap paper to ensure good flow prior to placing your pen on your writing surface.
Additional Materials
These items are other perfect additions to your arsenal!
• White and metallic gouache paint
• Paintbrushes
• Needle-nose pliers (for adjusting nibs and flanges)
• Pen holder with adjustable flange to suit a range of nibs
• Soapstone pencil (for marking black paper)
• Black eraser (for erasing on black paper)
• Kneadable eraser
• Gum arabic, binding, and thickening agent
• Gum sandarac (for dusting glossy paper to repel water)
• Phantom-line™ lettering guide
• Tracing paper
• Walnut ink crystals (lovely sepia ink made from peat)
• Oak gall ink
Pen Holders & Nibs
Pointed-pen holders are either oblique (in which the pen nib is held at an angle) or straight . Each style creates a different writing angle . The oblique holder positions the nib at an angle that facilitates a 35- to 55-degree slant required for formal pointed-pen styles . The straight holder can be used at any angle, depending on the position of your hand and the nib . Additionally, a straight pen holder can be used with other nibs, such as broad-edged nibs, which are used to produce other calligraphy hands . It's helpful to have both a straight pen holder and an oblique holder .
Try out different nibs to determine which works best for you . There are a variety of different pointed-pen nibs available . Some nibs are made of stiffer metal and require more pressure to create a thick stroke . Others are made of more flexible metal and require a more delicate touch . All calligraphers have their own collection of nibs, with their favorites in rotation .
The Pointed-Pen Nib
The pointed pen comes to a sharply pointed, fine tip .
The pointed-pen nib works through pressure . The more pressure placed on the nib, the more the tines separate . The separation of the tines allows more ink to flow out, creating thick swells . When you glide the pen along the paper without pressure, you create thin, elegant hairline strokes .
All the calligraphy and lettering in this book is done with a pointed pen . (Although, the embellished lettering can also be done with a fine black marker, if you prefer!)
The Nikko G (shown above) is a large, sturdy, stiff pointed-pen nib . This Japanese nib is frequently recommended for beginning calligraphers . Because we all hold our pens differently, various nibs produce different results, depending on the user . Sample as many nibs as possible . Here are some suggestions:
• Brause 361 Steno
• Leonardt Shakespeare
• Leonardt/Hiro Crown #41
• Leonardt Index
• Zebra G
• Brause Rose #76
• Hunt 100
• Leonardt/Hiro 700
• Gillott #291
Attaching a Nib
Ensure you position your nib correctly in your pen holder . The keyhole needs to point upward, and the tines need to be equally weighted on the paper .
When to Replace a Nib
If you notice the tines of your pen nib are splayed, bent, chipped, or rusted, it's time to replace it. Be attentive to when your nib is scratchy, noisy, or generally difficult to use, as these could be signs it is past its prime. Lightly bent tines sometimes can be repositioned with needlenose pliers.
Dipping your Pen
When dipping your pointed pen, ensure the keyhole is submerged in the ink, as this aids in ink retention and longer strokes . Do not dip the pen holder in the ink . After you dip the nib, practice a stroke on scrap paper to ensure that it is not overloaded with ink . Look for too much ink buildup in the back of the nib . If this happens, gently wipe the ink back into the jar .
Caring for Your Nibs & Pens
Basic maintenance of your pens and holders will help them have a longer life:
• Never leave nibs or holders soaking in water.
• Keep your pen nibs and holders clean. In between dipping the nib in ink, give it a wash in a jar of water regularly. This will keep the nib clear of dried ink, which can inhibit the flow. Keep a towel nearby to dry your nib prior to dipping again.
• When needed, give your nib a scrub with an old toothbrush and some dish soap. Rinse well, and ensure that the nib and pen holder dry thoroughly. If your nibs are really dirty, cleaning them with ammonia should do the trick.
A brand new pen nib needs to be cleaned prior to use. Most nib manufacturers coat the nib to prevent damage in transit. Some calligraphers recommend passing the pen nib through the heat of a match or lighter, and then wiping with a cloth to remove the coating. I simply give the new
Work Environment
Your environment is important to your success in calligraphy. For example, if you practice with bad posture, you may find the whole calligraphy experience uncomfortable or even painful for your neck, back, and shoulders. Here are some tips for creating a comfortable environment for maximum productivity.
Posture Aim for a relaxed body position and a straight back. Loosen arms and wrists.
Writing Hand Keep your writing hand free and agile on the paper so that it glides as you write. Avoid planting your hand like a tree; instead, envision a light "butterfly" hand.
Setup Keep supplies, such as ink, water, paper, etc., to the side of your writing hand. Place some extra paper under your writing paper; padding will improve your pen's performance. Use a guard sheet or a small scrap of card under your hand to avoid transferring oils from your hand to your working paper.
The Sweet Spot Keep your work positioned in a straight line in front of your heart for best posture, control, and visibility. Arrange your arms, body, and paper so that you can most comfortably work in the "sweet spot."
Lighting Position yourself and your light source so that your body, arms, and hand are not casting a shadow on your work.
Work at an Angle Keep your work positioned at an angle on a drafting table, light table, or a board
Tips for Left-Handed Calligraphers
1. Try a variety of paper positions. Adjust your paper so that you can easily maintain the correct pen angle/ slope, even though you may not be able to easily see your lettering. Place the paper at a 90-degree angle, and try positioning your paper farther away from your body and not directly under your chin.
2. Use an oblique pen holder. Adjust the nib in the holder at the correct position for you. Aim for both tines of the nib to be squarely on the paper, with the keyhole pointed up.
3. Try different hand and arm positions, such as overhand, underhand, or whatever feels right to you.
4. Use a guard sheet under your hand so your letters do not get smudged.
5. Try a different order of strokes from those suggested by the ductus.
6. Use other tools. Practice calligraphy with a ballpoint pen, pencil, or thin marker. These tools will let you practice letter shapes and try out hand, arm, and paper positions without the added worry of smudges and splatters.
7. Get a "left-handed" nib with an angled cut if you are working with a broad-edged nib. Pointed-pen nibs do not come with nibs styled for left-handed calligraphers. Keep your eye out for calligraphy tools specifically manufactured for the left-handed calligrapher.
8. Use a "bridge." Similar to a tiny table, some left-handed calligraphers rest their hand on this tool while
General Practice Tips
Calligraphy guides recommend short but frequent practice sessions — usually a half hour at a time — to avoid burnout and discouragement. Whether you are a beginner or an experienced calligrapher, the following tips and exercises on pages 20-22 will give your pointed pen a great workout!
Warm Up Warm up your calligraphy muscles by making some easy strokes (see page 20).
Techniques Once you feel warmed up, move through the essential technique strokes from the Copperplate tradition. These are key to using the pointed pen (see page 21).
Stroke Exercises Pick one of the exercises shown on pages 21-22, and practice for 30 minutes.
Additional Tips:
• Practice both the individual strokes and strokes compiled into the letters.
• Write out a line of the letter "e" in your chosen alphabet, with each "e" joined to the next; then try another letter.
• Invent a few of your own practice strokes.
• Write out a list using a pointed pen.
• Use your pointed pen to write in your journal or daily planner.
• Handwrite a letter or card to one friend per month. Add a flourished border!
• Create hand-lettered gift tags. Blank tags are available at office supply stores and craft stores.
• Purchase a copy of George Bickham's The Universal Penman and then practice tracing the elaborate flourishes!
Tracing
Tracing is an excellent way to practice any art form, including calligraphy. Use tracing paper and a pencil for easy practice. Simply place the tracing paper over your desired alphabet or flourish, and go!
Pointed-Pen Exercises
Warm Up
Work through the casual warm-up exercises below, keeping the following points in mind: 1) Put pressure on the nib on the downstroke, and 2) Use light pressure on the upstroke.
Keys to Great Lettering & Calligraphy
There are three key components to great lettering and calligraphy: spacing, slant, and size.
• Spacing Maintain even spacing between letters, words, and lines of text.
• Slant Maintain the same angle or slant in the vertical strokes of all letters.
• Size Maintain a consistent size in letter shapes (such as the circles and ovals that make up the letters), heights, and widths.
Techniques
The strokes below, from the Copperplate hand, are essential for working with pointed pen.
Stroke Exercises
Mountain & Valley Stroke
The most important exercise for working with the pointed pen is what I call the mountain and valley stroke. This stroke practices the smooth graduation between thick and thin; it also develops a smooth rhythm for writing.
Snake Stroke
The snake stroke practices the swelled downstroke, which is important for pointed-pen majuscules. Begin with a hairline stroke and gently extend into a swelled thick stroke by gradually applying more pressure to the pen nib. Taper the stroke out into a hairline again.
As a beginner, warm-up exercises are vital to getting comfortable with the feel of the pen in your hand, as well as learning how much pressure to apply to achieve thick downstrokes and thin upstrokes. Don't underestimate the power of a great warm up! You'll approach your work with more ease and familiarity- and possibly save yourself some mistakes!
Pointed-Pen Script Styles
Let's take a quick look at the details and characteristics of pointed-pen script styles, which include Copperplate, Spencerian, Italian, and Bickham.
Minuscule Letter Groups
For the study of these pointed-pen script styles, we will learn the minuscule letters based on letter groups. These groups of letters are formed in a similar fashion: the entrance and exit strokes are similar, the ascender or descender formation is similar, and the pattern of strokes is the same. Many of the letters contain similar strokes and formations to other letter groups, so there is some overlap.
Generally, the minuscule letter groups are as follows:
• a, o, e, c, d, g, q
• h, l, k, b
• f, p, j
• u, v, w, x, y, z, m, n
• s, r
• i, t
(Continues…)
Excerpted from "Creative Lettering and Beyond Timeless Calligraphy"
by .
Copyright © 2019 Quarto Publishing Group USA Inc..
Excerpted by permission of The Quarto Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Introduction, 4,
How to Use This Book, 5,
Part I: Getting Started, 6,
Calligraphy & Lettering Basics, 8,
Tools & Materials, 12,
Pen Holders & Nibs, 14,
Work Environment, 18,
Tips for Left-Handed Calligraphers, 18,
General Practice Tips, 19,
Pointed-Pen Exercises, 20,
Pointed-Pen Script Styles, 24,
Step-by-Step Project: Make Your Own Oak Gall Ink, 28,
Part II: Pointed-Pen Hands, 30,
Copperplate, 34,
Spencerian, 46,
Step-by-Step Project: Monograms & Wedding Invitations, 54,
Italian Hand, 60,
Bickham, 64,
Step-by-Step Project: Craft a Feather Quill, 68,
Roman, 70,
Uncial, 76,
Bookhand, 84,
Part III: Timeless Calligraphy Styles, 94,
Victorian Hands, 96,
Step-by-Step Project: Silhouette Letters, 104,
Step-by-Step Project: Victorian-Inspired Story Letters, 108,
Step-by-Step Project: Victorian-Inspired Watercolor Letter, 112,
Art Nouveau Capitals, 114,
Step-by-Step Project: Embellished Art Nouveau Letter, 118,
Gothic Style, 122,
Step-by-Step Project: Gouache Floral Letter, 131,
Practice Templates, 138,
Glossary, 142,
Resources, 143,
About the Artist, 144,
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