Look, Learn
& Create
Master Basic Skills and Techniques Easily through Step-by-Step Instruction
INCLUDED
Jeaneen Gauthier
Creative Publishing international
Photographer: Corean Komarec
Calligraphy 101
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987 654321
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due
to
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for a
and
skill
and various manufacturers
liability for
unsatisfactory results or
improper use
of tools, materials, or
information in this publication. Library of Congress Cataloging-in-Publication Data All rights reserved.
Calligraphy 101 / Jeaneen Gauthier.
in
cm.
for
to materials
DVD-ROM'-Provided by
ISBN-lO: 1-58923-503-7 (soft cover)
Calligraphy-Technique.
NK3600.G382010 745-6'l-dc22
2010016769
and
learning to do calligraphy. Includes publisher.
ISBN-13: 978-1-58923-503-8 (soft cover)
1.
may be reproduced or used by any means— graphic, electronic,
any form or
taping of information on storage and retrieval
Summary: "Beginner's guide instructional
work covered by
or mechanical, including photocopying, recording,
Includes index.
techniques
part of this
the copyrights hereon
Gauthier, Jeaneen.
p.
No
I.
Title.
systems— without the written permission
of the
publisher. However, the publisher grants to the
purchaser of this book permission to reproduce the templates in the book
for
personal use.
CONTENTS How to Use this Book
4
Tools and Supplies
Gothic Hand
7
Writing Instruments
9
Inks and Paints
14
Papers
18
Art Supplies
20
Lowercase Blackletter Alphabet
140
Uppercase Blackletter Alphabet
144
Skill Builders
145
Projects
147
Italic
Making Marks
23
The Writing Surface
Up Your Work
24 Station
Hand Alphabets
160 162
Skill Builders Italic
Setting
139
Swash Capitals
165
26 167
Projects
Trying Out Your Pens
28
Getting Started
31
Table of Basic Strokes
32
Beginner Brush Lettering
192
Using a Dipping Pen
33
Advanced Brush Lettering
193
35
Skill Builders
195
39
About Gold and
Skill
Builders
Projects
Brushwork and Gilding
Silver Leaf
Hand
51
Hand Alphabets
52
Calligraphy and
54
of
Foundational Skill
Builders
Projects
59
Modern Methods
Copying
Ornament
73
Ruled Lines and Ladders
74
Ruling Lines for Practice and Projects
76
Skill
Builders
78
Color
79
Ornament
86
Projects
89
Uncial
Hand and
Illumination
The Uncial Alphabet
103
106
Versal Letters
108
Skill
Builders
Illumination Skill
Builders
Projects
219
Scanning and Inkjet Printing your Calligraphy
220
Having your Calligraphy Professionally Printed
228
Glossary
Anatomy
226
of Letterforms
231
Products Used
232
Resources
234
Dedication
236
Acknowledgments
236
About the Author
236
Index
239
104
Builders
Skill
219
Reproducing Calligraphy on a Personal
Computer Proportion, Color, and
198
201
Projects
Foundational
191
109 110 116 119
How to Use This Book Calligraphy—from the Greek word at
and a joy
to create.
Even
printing, beautifully written
for "beautiful
in today's
writing"— is lovely to look
world of text messaging and digital
words have a special place.
If you've ever
how to do calligraphy, but weren't sure how to begin, this is the book for you. Here you will learn the basics of calligraphy step by step as you create projects that are easy, satisfying, and fun! You'll also be encouraged to experiment, play, and even break the rules a little as you develop your own personal style of beautiful writing. wanted
to
learn
The materials needed to do calligraphy the right pen, and the right paper will
is
are very simple: ink, pen,
and paper. However, choosing the right
not always as simple, especially
when you
ink,
book
are just beginning. This
help you navigate the wide array of calligraphy products available and show you which tools and sup-
plies are a pleasure to er that
use and which also deliver consistent, high-quality
having good materials
In this
book you
to
work with
is
major
will also learn the essential skills
these skills are very simple, such as learning
However, these
a
skills
may
not
seem obvious
how at
to
first,
first
step on your
and techniques
results.
way to
that
all
You
will
be happy to discov-
creating beautiful calligraphy.
Most
calligraphers use.
of
hold the pen, and how to position the writing paper.
and they do require
Throughout
practice.
you
will find
book
this
suggestions
for practic-
ing the skills you learn in ways that are fun
and
relaxing,
and that
will
spark your creativity.
Many beginners when
get discouraged
starting to learn calligraphy
because their early "perfect."
inspire
The aim
efforts aren't
of this
book
is
to
you to explore and develop a
style of writing that is "personal" rather
than "perfect." You are encouraged to experiment, play, and keep an open
mind— skills essential for any artist. It's a commonly known fact that no two calligraphers can write exactly alike,
no matter how they
skilled
and experienced
you have
are. So, don't feel like
copy every project Instead, use this
in this
book as
book
to
exactly.
a guide for
developing your penmanship
skills
and
as a source of inspiration for allowing
your
4
Calligraphy 101
own beautiful
writing to flow.
Surface 5>ur Writing The „ Rat surface.
—
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Quick reference text
The
first
section of this book introduces you
to the vast array of tools
calligraphy, explaining
and supplies used
and letting you know which items
for,
need
to get started (as well as
of
The second
in
what the various items are
used
won't).
Quick reference
you'll
which ones you
section introduces the basics
using the calligraphy pen, and encourages
you
to explore the various kinds of
can make with
it.
marks you
Each of the following sections
introduces you to a unique calligraphic alphabet, a set of projects, the skills
necessary to complete
book
more detailed suggestions
to give
help you improve your techniques.
The Quick
Reference sidebars are there to clarify words or
phrases printed
like this.
Many
of the projects
also include variations— different wording, papers, colors, etc.— and
own
you are encouraged
variations to any project
The
DVD-ROM included with this book
additional learning tool that will
essential techniques used for calligraphy.
Quicktime software. To download the
photographed
so that you can see exactly what to do at each
point along the way. Tips appear throughout the
feel
is
an
show you the
A list of necessary supplies
is
make your
inspired to do so.
PC and Mac
and every step of each project
to
whenever you
the projects, and various technical tips and tricks.
precedes each project,
that will
It is
both
compatible, and can be viewed using
sion of Quicktime for
free, visit
latest ver-
http://www.apple.
com/quicktime/download.
You can do
calligraphy!
Now,
let's
get started.
How
to
Use
this
Book
5
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Tools and Supplies One of the great advantages of learning the art of calligraphy is that you need only a few simple supplies to get started. This chapter
and supplies needed explaining what they are used
introduce you to the tools for calligraphy, for
and whether
getting started.
will
or not they are essential for
Basic Supplies to Get Started •
calligraphy fountain pen with a flat-tipped nib
measuring 2 to 3
mm
wide, and equipped with
refillable ink reservoir •
dipping pen nib with a
round-hand •
nib)
flat tip
(often called a
measuring 2 to 3
dipping pen nib with angled
•
•
mm
brush,
V (3 mm)
flat
book
•
agate burnisher for applying gold leaf
•
artist's
spray fixative for stabilizing metallic
pigments so they don't brush
off the
paper paper
•
bookbinder's awl for poking holes
•
brads for attaching layers of card stock together
•
brushes
in
wide
nib holder
#0 round
in this
—purchase these as you need them:
mm wide
tip (Italic nib,
Brause nib) measuring about 2
Other tools and supplies used
brush, craft brush
in
assorted shapes and sizes for
illuminating
for glue • •
black calligraphy ink (as well as red, blue, yellow,
and white calligraphy
ink,
if
self-healing cutting
when
mat
to place
under paper
cutting with a craft knife
you want •
to mix colors)
distilled
water for mixing with gouache or
pigment •
•
paper for pens/markers •
gold and silver leaf for gilding
•
gold leaf sizing liquid
•
gum
•
Vb"
(3
in
paper
inexpensive practice paper (heavy copier paper,
graph paper, heavy notebook paper) •
•
•
•
•
•
pencil
mm)
hole punch for punching holes
gray kneadable and white plastic erasers T-square, 12" (30.5
•
palette for holding several colors of ink or paint
•
polyurethane spray sealant for sealing painted
cm)
grid/lined ruler with steel edge, 12" (30.5
cm)
surfaces
craft knife •
8
arabic for use with metallic pigments
Bristol
•
scissors
•
craft glue
•
drafting tape or artist's tape
•
little
•
glass jar for rinse water
•
paper towels or cotton rags
containers for ink
Calligraphy 101
assorted ribbon, cord, and beads for binding
and decoration •
fine
sandpaper
for preparing surfaces for
painting •
scoring wheel, used with a ruler to impress
grooves into paper to make a crisp fold •
wax paper
Writing Instruments make marks, including markers, quills, and brushes.
Calligraphers use a variety of tools to fountain pens, dipping pens,
calligraphy
Pens and Nibs Calligraphy fountain pens
much
are
pens; the
like
ordinary fountain
main
difference
is
that the nib (writing edge) of a calligraphy fountain
pen
is
broader than that of an ordinary fountain pen.
The broad edge
what makes the
Calligraphy fountain pen sets
Dipping pens are the
include interchangeable nibs
traditional
pens used by
of various sizes, cartridges, and
ligraphers,
and consist of
an ink reservoir. Calligraphy
removable writing nib inserted
fountain pens for left-handed
in a
wooden, ceramic, or
handle called a nib holder.
calligraphy fountain pens
may
Many
calligraphy nibs are
equipped with reservoirs,
characteristic thick-and-thin
and precisely than
which
pen
dipping pen, they are very useful
small metal flap that
when you
or
lines of calligraphy pos-
sible.
Calligraphy fountain pens
are usually sold with
a traditional
are just starting out.
an ink
filled
with
over
amount
of
Dipping
pens give the sharpest, cleanest
Calligraphy fountain pen set
writing
pen
line,
and are capable
of producing extremely fine
Because they are more
cartridges can also be used in
details.
calligraphy fountain pens, but
delicate
the ink tends to be less dense
some getting used
and thus not as suitable
and
for cal-
it
good
ligraphy artwork.
.
'*"fao
fits
under the nib and allows the
extra ink in reserve.
ink and used over and over again. Disposable fountain
means a
in this context
nib to hold a small
reservoir— a removable tubelike device that can be
plastic
While
also
is
a
writing are also available.
tend to write a bit less cleanly
of the nib
cal-
and
takes
flexible,
more
they take
to,
however,
practice to get
results.
ii
u^fBfl
m**§ o^rfUH
Dipping pens •ft**"*
c^ir^i^
Calligraphy fountain pens, reservoirs, and cartridges
Tools
and Supplies
9
—
Round-hand nibs
Nibs
for
dipping pens are available in myriad
shapes and
sizes.
To avoid confusion when trying
know what kind
to
choose a
is
used to create the style of lettering you want:
nib,
it
helps to
Round-hand nibs chisel-tip nibs)
(also called
broad nibs or
have a writing edge that
rather than angled.
They
are
of nib
used
for
is flat
most
cal-
•Ua»£5-i
if -\
#
ligraphy styles where the lettering stands upright. For the
book
three alphabets presented in this
first
(Foundational Hand, Uncial Hand, and Gothic
Hand), round-hand nibs of various widths are used.
Slanted nibs (also called nibs) have a writing
Italic
edge that
rather than straight across.
sloped writing such as
is
nibs or angled cut at a slant
These nibs are used
Italic
Hand, and
for
for styles of
Italic
nibs
alphabets having very angular or slanting features. In this
book
Hand"
chapter. Note:
Italic
nibs are used only in the "Italic
you may come across certain
nibs,
for
handwriting
While these nibs are not used
styles.
labeled "Italic Pens"— look closely at the tip to see
projects in this book, you
the nib
pen
will
can use
is
in fact slanted— often a regular
be marketed it
broad
as an Italic pen, because
you
kinds of writing nibs other than those mentioned
A majority of these will be nibs flat
ending
in
or slanted tip
these are called "Copperplate" or "Spencerian" Calligraphy 101
Italic
for
any
to try
of the
them out
Hand, of which
the Copperplate and Spencerian Hands are more recent relatives.
to write in Italics.
a distinct point rather than a
may wish
once you have learned the
Other types of nibs and pens. There are many
here.
in the old-
fashioned Copperplate or Spencerian penmanship
calligraphy fountain pens and markers that are
if
10
and are used
Various companies ers
sell
nibs designed for post-
and other forms of lettering— for example, the
Speedball company's "A" series nibs, which can be
used is
for
monoline
lettering (lettering
no variation of thick and thin
lines)
where there and "C"
1
f.
Lite:
• ^-
Copperplate and Spencerian nibs
series,
which has larger nibs designed
of ink for
drawing
letters for signs
to hold a lot
and posters.
"Automatic" or "Coit" pens are designed to
A and C
hold very large amounts of ink for posters and large-format work.
You may
also
come
small nibs, often labeled as "crow "artist,"
or
"map"
nibs.
series
v*
Speedball nibs
across very
quill,"
"drawing,"
These nibs require a smaller
nib holder and are designed for fine lines and
cross-hatching required in tion.
You may wish
to
mapmaking and
illustra-
:>7
experiment with these nibs,
but they are not needed for any of the projects in this
book.
.UTOMATIC
Automatic pen
Pfct*
hAJH IMEflQlAK'
Automatic pen
Map and crow
quills
Tools
and Supplies
11
Markers A wide variety of calligraphy markers The others
used more
are
are available, although veiy few are really suitable for finished work.
for practice or novelty
purposes. Most calligraphy markers use inks that are dye-
based and tend to fade over time and with exposure to to
use them
The
in a piece you'd like to last for a
light,
which
is
the main reason you wouldn't want
long time.
positive aspects of cal-
igraphy markers are that they are extremely useful for trying Zig and Staedtler markers
out ideas and sketching out
rough layouts, and in circumstances
for practicing
where a
dip-
ping pen and bottled ink would be impractical. Two very good brands of calligraphy marker are the Zig Pigment-Based markers,
which use ink
that does not fade
and are available colors, ers,
more than 40
and Staedtler Duo mark-
which have
marker
a large
and small
tip at either end,
good
and well-wearing
quality ink, tips.
in
When at
all
possible, try
I
out a calligraphy marker before
you buy
marker
it,
I
as the quality of the
tips
from brand
can vary immensely to brand.
Parallel
Pens
The recently introduced
Pilot Parallel
Pen
is
a
blend of a calligraphy fountain pen and a combination-tip marker. Available in a
range of flat-tipped
nib widths, the nib can also be turned to
draw
their
thin, straight lines. Parallel
own
special ink cartridges,
of the colored inks
is
calligraphy ink: that
on
its
side
pens require
and the quality
closer to marker ink than
is.
less
dense and prone to
bleeding. However, a Parallel Pen used with a black ink cartridge lines,
12
is
capable of writing very dense, crisp
and has excellent
Calligraphy 101
Parallel
ink flow.
pens
and Reed Pens
Quills
These writing instruments made from natural materials— the
pen from a length
hardened bamboo— have enjoyed
of
quill
from a turkey feather and the reed
a long history in the art of calligraphy, as they are
durable and easily produced. Although not required for any of the projects in this book, you
may
ing them out once you've begun to master the basics of using a calligraphy pen. There are also publications available that teach you
how
to
make your own
quill
enjoy
try-
numerous
and reed pens.
Brushes Brushes play an important role in calligraphy. For brush (preferably synthetic,
used
also
details
to
which tend
make borders and
fill
to
be
stirrer
and more durable
in areas of color,
and decorations. For "Illumination" (page no) you
mark you want
this
book we use
to
make
flat
so
and lA"
(3
and 6
small (sizes 00,
brushes
mm) and
for detailing,
long-bristle liner.
0, l
brushes are
will find a description of the different types of
it's
important to
you can purchase exactly the right brush
for
know ahead
of time
what
sort
your needs. For the projects
in
brushes
(sometimes called "brights") Va"
for lettering) is ideal. Flat
bristles
while small, round-tipped brushes are used for adding
brushes and the marks that they make. Just as with nibs, of
brush with medium-long
lettering, a flat
in
widths,
Assorted brushes
round
2)
and a
brush called a
soft
script
A Chinese writing brush
(maobi) in the smallest size you
can find
is
also a fun option, fctw*. ,,,.,, artiiaj
.,
as you'll see in the chapter
on
"Brushwork and Gilding." Wider
1ft****KJ
MM.VWJ
brushes and foam brushes (as
used ors)
for painting
house
1tt Wfl
interi-
can be used for moistening
paper and laying down large
washes of to
color. You'll also
have a few inexpensive
brushes
for
V&O eJ£tf** itftfw,.*fr£- FCf.nfcAflWBWiMM
want
craft
£Q
£f~iiltr
I*
4ttt.ll
applying glue.
Tools and Supplies
13
Inks and Paints There are as
many
and paints
kinds of ink
calligraphy as there are projects. to set
out
to
first
choice
use with a dipping pen or calligraphy fountain
Make
pen.
sure the ink "
ligraphy ink
is
specifically labeled "cal-
which means the ink has a higher
density of pigment and thus a stronger,
permanent ink,
color. Calligraphy ink is
more
an all-purpose
While most calligraphy inks can be used
in
calligraphy fountain pens (check the bottle), avoid
leaving ink in the pen
A thorough
to
know what you want
when you
are not using
soaking of the nib and reservoir
remove any clinging
bits of
inked over. (For this reason, never use India
any waterproof
be washed
it.
will
pigment and reduce
out.) India ink will
is
when writing but
permanent black once it
is
cannot is
writings.
a similar permanent ink, which
appears light brown
India ink,
it
not fade and thus
documents and other important
Iron-gall ink
ink, or
ink, in a calligraphy fountain pen,
because once the ink dries inside the nib
ideal for
performing well with a variety of papers and
pens.
important
do before you buy a particular product
Calligraphy ink should always be your for
It is
that can be used in
it
is
exposed
to
turns deep, air.
Like
not suitable for use in calligraphy
fountain pens. Drafting inks can be used with
dipping pens, and certain brands also
offer
non-
waterproof formulations that can be used in
callig-
the likelihood of blockages forming. Metallic
raphy fountain pens. Drafting inks are usually very
gold and silver calligraphy inks are also available,
free-flowing and dense in color.
although these should not be used in calligraphy fountain pens since the metallic bits can clog
India ink
and
drafting ink
up the pen. Whenever possible, purchase your calligraphy ink from an art supply store or online
calligraphy supplier (see Resources) to be sure you are getting real calligraphy ink.
6
MCK ^*^ STA?
Vi-
**" fi
Acrylic inks can be found in abundance in craft
and
many
Calligraphy ink
supply stores, in a wide array of colors,
art
of
them
metallic or pearlescent.
They can be
used with dipping pens and brushes, but not with calligraphy fountain pens. Because acrylic inks are
India ink (also sometimes called "Encre de
Chine")
is
a dense, black, permanent ink suit-
able for use with dipping pens and brushes.
waterproof, which
run or bleed
14
means
the dried ink will not
when exposed
Calligraphy 101
It is
to
water or
when
it is
waterproof, they are very useful to layer
one color
when you want
of ink over another; however,
they tend to dry very quickly, sometimes right
on the
nib,
so
it is
a
good
idea to frequently rinse
and wipe your nib when using
acrylic inks.
When
ink
using acrylic inks with a brush, be sure to rinse the
is
rubbed on
a slate stone with a small
of water until the desired color
when finished, clean with comb to remove any dried
brush often in water, and
obtained. This can
soap and a fine-tooth
if
particles of ink from the bristles of the brush.
be an
With both types
and consistency
especially
you want to obtain a very
amount
good
rich, thick
is
ink to use
black ink.
of ink, use a dipping pen or brush.
Fountain pen ink
is
perhaps the most plentiful
type of bottled ink, available in a wide variety of colors,
and while
it
can be used with a dipping pen
or calligraphy fountain pen, generally these inks lack the density of color of calligraphy inks.
•<
I
bottled fountain
pen inks are sold
at gift
Some
and
statio-
nery shops and tend to be more of a novelty item, in Assorted acrylic inks
spite of
being labeled as suitable for calligraphy.
the other hand,
Sumi and Chinese
stick inks can be interesting
to use in calligraphy, especially
Sumi ink
where brushwork
Japanese liquid ink that
is
involved.
is
very dense black and can be thinned with water
to obtain delicate
is
a
that has a
shades of gray. Chinese stick
if
you
somewhat
On
are looking to create a piece
faded, romantic, old-letter-
found- in- the-attic look, fountain pen ink would be a perfect choice.
You may
also
have success increas-
ing the density of fountain pen ink by adding a
small
amount
of a similar color of calligraphy ink.
Sumi ink and Chinese stick ink with slate stone
Bottles of fountain pen ink
Waterproof vs. Non-Waterproof There are two types of inks and paints— waterproof and non-waterproof. Non-waterproof ink or paint— such as calligraphy
ink,
gouache, and watercolors— will dissolve, bleed, or run
if
touched again by water (or
ink
or paint) even after they have dried. Waterproof ink— such as acrylic ink, acrylic and latex paint, India ink, or any ink labeled "waterproof"— won't dissolve or bleed ideal for using
when you want
when
in
contact with
ink, paint,
or water, and so
is
to layer inks or colors.
Tools
and Supplies
15
and
Metallic pigments
pigments can be mixed with
distilled
water to an
inklike consistency to create metallic inks for use
with a dipping pen or brush. Often a small
gum
of liquid lic
particles
arabic
is
added
to
amount
keep the metal-
from separating. This type of ink
non-waterproof, and will dissolve or separate
good idea
also a
spraying of
Many
off
work with
It
dry.
come
"drawing
These inks are usually used
with brush or fine
nib, or in
watercolor painting.
Many
lac)
a light
is
color."
"ink,"
when
prevent the metallic
once the work
simply called
is
(check the label to see
liquid metallic inks are also available,
if
color.
density to flow well
ink," or "artist
for
drawing
conjunction with
of
them are waterproof
the ink contains shel-
and can be used successfully
backgrounds of
across ink
Many
for creating
of these inks lack the
when used with
a broad-nib
calligraphy pen, although they can work very well
with a brush.
and
widely in their amount of luster and water-
fastness, so if
artist's fixative to
from rubbing
particles
differ
to finish the
that
is
touched with water or applied to a wet surface. is
Artist colors. Often you will
Powdered metallic
inks.
possible.
it is
As
best to try them out before buying
a general rule, ink that contains
pigment should never be used
metallic
in a foun-
because the metallic particles can clog
tain pen,
Artist color inks
the inside of the nib.
Metallic pigment
powders and bottled metallic inks
'•
•
|
P
"-...
.•*
|
Inks and paints will last a long time
stored
in
when they
a cool, dry place with lids or tops tightly
screwed on. Avoid storing bottled ink
sunlight. As with
are
all art
supplies, paints
in direct
and inks should be
kept away from heat sources and out of the reach of pets or
young
16
Calligraphy 101
children.
Calligraphy gouache
mixed with for
distilled
is
packaged
in tubes
and
Tube watercolors,
is
use with dipping pens or brushes. With a basic
create dense,
gouache
paints,
permanent colors
in
shine to your color, you can add a drop or
dries to a flat finish, so
gum
watercolor will often appear somewhat washed
you want
a
two of liquid
colors are transparent, so lettering written with
any shade you
Gouache
little
used with a dipping pen or brush. Most water-
you can
desire.
if
amount
arabic or a small
gouache, can be thinned
with distilled water to an inklike consistency and
water to an inklike consistency
palette of calligraphy
like
out.
Watercolors are most useful for
and painting
details or for building
filling in
up
color
layers of
transparent color. Pan watercolors, while not very
of sugar
dissolved in hot water. Dried gouache appears a
practical for using with a dipping pen, can be used
shade or two darker than
with a brush in the same way as tube watercolors.
mix your colors to
it
does
slightly lighter
in liquid form, so
than you want them
Acrylic paint
appear on paper. Designer's gouache can be
used
in the
same way as
mention that stores,
it is
is
it
usually easier to find at art supply
of
whereas calligraphy gouache may have to be
very useful in calligraphy
when
thinned with water and used as a background
wash— once
calligraphy gouache, not to
is
dry,
you can
write on a
background
smoothly applied acrylic paint with either
waterproof or non-waterproof inks with no danger
special-ordered or ordered online.
of bleeding.
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Tools and Supplies
17
Papers There
is
such a huge variety of fabulous papers on the market today that
shopping
for paper
what you want
to
can
feel like
being a kid at a candy store! Knowing
do ahead of time
for
use with
ink;
they are
often labeled "Paper for Pens ," "Pen and Ink Paper,"
"Paper
for
Markers," "Designer Layout Paper" or
"Layout Bond." tial
A pad
of this type of
for practicing calligraphy, as
pen work
at its best,
it
paper
will
is
essen-
show your
with strokes appearing sharp
and crisp without bleeding. These papers are com-
monly
available at art
The downside it
is
and drafting supply
that they tend to
stores.
be expensive, so
helps to find an inexpensive alternative for prac-
ticing, especially
when you
are just starting out.
Practice paper. Finding a suitable, inexpensive
paper
for practicing
your calligraphy
is
the effort. Calligraphy practice pads are
monly
available,
for italic writing,
well worth
com-
18
heavy (80
Calligraphy 101
especially
when used with
for practicing,
acrylic inks,
which have
less of a
tendency to bleed on the paper. Graph
paper
also very useful for practicing, especially
is
the smaller-grid engineering-style graph paper.
Look
for
smooth
paper that
relatively thick
is
surface, without
Bristol. For projects
purpose choice.
It is
choice
for
finishes.
texture.
where card stock
acid
without bleeding, and
weights and
any coating or
gsm)
required, 100-lb (260
and has a
is
Bristol
free,
is
is
a good
all-
absorbs ink well
available in various
A smooth finish
is
the best
penwork.
Parchment and vellum.
In the past, these
two
writing surfaces were prepared from scraped
although most of these are ruled
and smoothed animal skins— parchment from
and thus somewhat
sheepskin and vellum from calfskin. Nowadays,
limiting.
Often thicker, high-quality ruled notebook paper or
help you to choose the right paper.
commercial paper works very well
Papers for ink. Several types of paper are manufactured specifically
will
lb or
higher [116 gsm]) text-weight
the parchment and vellum you will find at art and craft stores are of the
paper
variety,
both of which
can be useful
in calligraphy.
somewhat mottled
It is
and
color,
lending
itself
where the paper should look somewhat
to projects
aged.
finish
Commercial papers. Many
Parchment has a
available in text and cover weights, as
suppliers sell commercially
matching envelopes by the gram,
many
of
which
craft
and stationery
made paper and sheet or pound or
are inexpensive
and quite
well as in various colors. Vellum has a very fine
suitable for calligraphy. Purchase small
surface and
of
es beneath
problems
is it
translucent, allowing colored surfac-
to
show through. Vellum can present
for the
the ink sits
beginning calligrapher because
on the surface
than being absorbed; you
of the paper rather will
commercial paper and
try
amounts
out with various
it
inks (calligraphy ink, acrylic ink, gouache) before
buying large quantities. Pearlescent papers
(col-
ored papers coated with a pearlescent or sparkly
have best results on
finish) are especially
fun to use for calligraphy
vellum when using waterproof or acrylic ink and
projects,
being very sure not to overink your
adhere well to them. Calligraphy gouache or
nib.
Printmaking and watercolor papers. Also
acrylic ink is usually the best choice for
called "rag" paper, "100% cotton rag," or "artist's
papers," these are high-quality papers
cotton fiber that are
They
pH neutral
and
to painting to calligraphy.
pressed" paper has a relatively smooth
"Hot while
finish,
"cold-pressed" paper has a textured finish and often sold as "watercolor paper." cent cotton tioners,
bond paper
mainly
invitations.
for
use
is
you may
find
real joy to
you need
your nib from time to time, as the
will find a at art
papers,
handmade
supply
papers, origami papers, kraft,
and natural-fiber papers. Most
art
per-
for
work
craft
of
stores, including rice paper, decorative printed
keep sample books with hundreds
and
huge variety
and
is
also available from sta-
Cotton papers are a
with, although
One hundred
in creating stationery
Other art papers. You
papers not mentioned here
archival.
working
on pearlescent paper.
made from
are the papers of choice for fine art projects
from printmaking
but take note that certain inks do not
you
to
supply stores of swatches
choose from, and selections are always
changing. Papers that are not necessarily suitable for
writing on can be ideal for background mount-
ing, collage,
matting and framing, and so on.
to clean off
fine cotton fibers
can accumulate between the prongs of the
nib.
'•
TIP
Paper from
is
best stored
light
flat, in
and dust. A
store paper; a
a cool, dry place
flat file is
ly
is
to use an
Papers are extreme-
sensitive to changes in humidity, so avoid leaving paper
laying about to
an ideal place to
more affordable option
artist's portfolio for storing large sheets.
away
on muggy days— you may notice the paper
warp and bleed when you write on
start
it.
Tools and Supplies
19
Art Supplies
J
For calligraphy, the art supplies needed are very simple. The only things
you
need
really
to get started are
utility knife, scissors, craft glue, ink,
a cup
to
a T-square, a
ruler, pencil, erasers,
a
drafting tape, small containers to hold
hold rinse water, paper towels, and a tahletop or drawing -
hoard. Other items can he
added as needed.
small T-square, no more than 12" (30.5 cm) long, sufficient for ruling lines for most calligraphy projects. (A)
A
A
12" (30.5 cm) ruler, preferably clear and printed with a grid or guidelines. A steel edge on one side of the ruler makes it a useful tool for trimming paper with a utility knife.
(B)
is
(C) Pencils and erasers. Marks from #1 or H pencils arQ the easiest to erase. use a mechanical pencil with .5mm H lead. A gray kneadable eraser is essential for erasing pencil marks from your work. A white plastic eraser is also good to have for removing stubborn marks from the paper. It will also remove ink and gouache slightly, so be careful when using it. I
(D) Craft knife. A rubber-handled knife grip is comfortable to use and the least likely to slip. Have a good supply of blades (#11 is a good alt-purpose size) and change them often— cutting goes much easier with a fresh blade. (E) Scissors. Paper shears (shears with very long blades) will make the straightest cuts with the least amount of effort. Smaller scissors are useful for trimming delicate curves.
s
A
I
5-S
rw
ERASER --
{*
:-£
v
& *£
•••"=
»
5?
(F)
Bone
paper
folder. This is into crisp folds.
used with a ruler for scoring
(G) Craft glue. Craft glue is sold under a variety of names; PVA (polyvinyl acetate) or basic white glue are the most common and will not discolor paper over time. Use liquid glue (applied with a brush if needed) rather than glue sticks, which tend to form a weaker bond with the paper. (H) Drafting tape and artist's tape are low-tack tapes that can be easily removed from paper. Use artist's tape if you plan to get the paper wet or to paint on it while
taped down.
glass container for rinsing nibs and brushes — preferably iy neavy heavy ana andtfiot fio too large so it is not easily spilled. (J)
A
3 aper towels-lor even better, old cotton rags — are (K) Pa esse ntial for blotnncg and cleaning up ink spots.
Drawing board or tabletop. A drawing board is very useful for maintaining your posture and avoiding fatigue when writing, and can be something as simple as a piece of masonite propped up on a tabletop. (See page 24 for instructions on setting up a simple drawing board.) You can also purchase writing easels and drawing boards from art supply stores. Plenty of people just use a regular desk or tabletop, as well. (L)
Ink containers. Containers can hold small amounts of ink while you are working, so you don't have to dip directly into the ink bottle. The caps from old bottles of ink work well, as do many odd household objects such as salt cellars, or cups from children's tea sets. (I)
K
\
a
c
h
i
c
Making Marks Now
that you have the basic supplies,
to start
making some marks! In
you
learn
will
how
to
this
it's
time
chapter
use a calligraphy pen
to
create the basic strokes that form letters. You'll also learn
how
and work
area,
to set
up your writing surface
and how
to
get started using a
dipping pen.
23
The Writing Surface Whether you're working on a
an angled
have a
to
slightly padded surface
paper— the cushion of the padding helps You can make wide
(20"
a simple
35 cm]
will
accommodate most
drawing board can be carried to any location
Padding
a
Vb" (3
projects). Set
beneath your writing "bite" into the paper.
mm)-thick plywood or Masonite
up with permanent padding on
it,
this
Drawing Board 1=» «u
Cover your drawing board
1
work surface with several
or
padding about
sheets.
1" (2.5
Trim the sheets
2
Cover the padding sheets with a clean sheet of
smooth paper cut
to the
same
and use masking tape or
size
artist's
tape to secure the edges.
you can tape or glue
desired,
flat
sides.
all
a
ruler or a section of measur-
ing tape along the the board— this
is
left
side of
helpful
if
you
plan to use a T-square to rule lines
on your paper. Removable
artist's
tape along the edges
makes
it
easy to remove and
replace the cover sheet.
3
Cut
a
guard sheet out
of
card stock or other sturdy
paper the same width and half the height as your padded area and attach
it
to the
board
with tape, aligning the bottom
Calligraphy 101
£
in
cm) smaller than
the drawing board on
24
pen
drawing board,
for writing.
-
If
the
drawing board from a sheet of smooth
14" tall [50 *
*
such as a desk or tabletop, or
one, such as a drafting table or adjustable
important
is
it
flat surface,
m
edge
to the
bottom edge of the
padding. Use removable
artist's
tape to attach the sheet you'll
be writing onto the center of the board, positioning
it
so that
the place where you want to start writing falls just
above the
guard sheet Just one or two pieces of fice for
tape will suf-
artist's
attaching your writing
sheet— you want
move
it
to
be easy to
the sheet around.
QUICK REFERENCE Padding sheets. Padding sheets can be just about any kind of
paper as long as they are relatively soft
and smooth. Use any of the
following:
two
blotting paper, of 140-lb
to three sheets of
two
to three sheets
(300 gsm) cotton print-
making paper, eight to ten sheets of newsprint, or eight to ten sheets of old
newspapers ironed
When you
finish writing a line of text,
move your
writing sheet
up so
that your
hand
is
always positioned in the center of the board to write.
flat.
Guard sheet. The guard sheet protects your work from any ink or oils
on your hand.
Just above the guard sheet. As
you write,
you'll
writing paper up right so that
be moving your
and
to the left or
you are always writ-
ing on the center of the board just
above the guard sheet.
Left-handers
may
find
it
helpful to set
up paper and guard sheet
at
an angle.
Making Marks
25
Setting
Set
up your "wet"
nibs, brushes,
Up Your Workstation
supplies, such as ink,
pens and
water for rinsing, and paper towel or
blotting paper for wiping just off to the side of your
writing hand.
On
and other items you want
keep away from getting wet or ink-stained. To
avoid spilling ink, never dip or pour directly from the bottle.
Use an eyedropper instead
to
squeeze
out small amounts of ink into a small container— the smaller
container
and
lid
ink container to the tray),
heavier, the better.
makes
a
handy
(if it spills,
the
small plastic
tray for holding your spill will
and a few notches cut
creates a convenient place to set
26
A
be confined
into the rim
down your pen
at art
especially
supply stores are useful if
Your
to
light source
side of your writing
be hard
ink,
color,
to spill.
hand so that shadows
cast across your work.
A swing-arm
aren't
desk lamp that
has both a fluorescent and regular bulb (with both bulbs switched on
at the
closely lighting your
same
time)
is
helpful for
work and helping you
to see
your colors accurately. Regular diffused daylight is
good
also very
window
(if
you
for calligraphy.
live in the
provides the most even that
is
A north-facing
Northern Hemisphere)
light.
Avoid any lighting
excessively bright, which will strain your
eyes and cast shadows that
be purchased for
details
Calligraphy 101
holding
should come from the opposite
without getting ink on anything. Pen rests can also this purpose. Porcelain palettes
for
you are using more than one
and heavy enough
the other side put your T-square,
ruler, erasers, pencils,
to
sold
and
colors.
make
it
difficult to
see
Drawing Board Angle and Posture An
angled writing surface of about 45°
for lettering
and
will
is
their feet placed
ideal
help you avoid the back or
shoulder pain that can
whatever
your work. Drawing boards are available with special
frames that can be adjusted to various angles,
a flat
table.
Or
setting
A drafting
up a block
disturbed are
only disadvantage being that you'll need
your supplies.
things,
Whatever setup you choose, make sure your comfortable and that you
When working drafting table,
at
up
you may
find that sitting
Some people
are
movement
for
where you won't be
very helpful. Allow yourself time
it
takes a
to work. Like
little
any other
pen
artistic
time to get into the flow of
and often the best
results
happen when you
and just playing around.
It's
also
and walk around, stretch your hands and arms, your eyes, and look
a stool
your writ-
this will help
more comfortable with
Find a position where your back
also
important to take a break every so often to get up
straight.
on
of time
down
are very relaxed
an angled drawing board or
allows greater freedom of
ing arm.
sit
all
before getting
endeavor,
is
over
to doodle, scribble, draw, or just play with your
another table with a level surface nearby to hold
chair
far
inspiration, playing relaxing music, or simply
table with the top angled to about 45° also works well, the
you and keeps
for
important. Surrounding yourself with objects of
ing board in your lap and the middle of the board table.
a chair or stool— do
A peaceful, undisturbed environment is
a table with the base of the draw-
propped against the edge of the
most comfortable
others prefer to
your work.
drawing board with books on a desk or sit at
floor,
you from bending your back or neck too
but before making this investment, try propping
up
is
on the
on the rungs of
rest their feet
come from leaning over
flat
at
something else
for a
rest
while—
you avoid tension and fatigue— and
return to your writing with renewed energy.
is
straight
and you
aren't
bend-
ing your neck too far over your work.
Makina Marks
27
Trying Out Your Pens
For the exercises in this chapter you'll
need
3-mm
calligraphy fountain pen,
a broad-nib 2- or
a dipping pen with a nib,
2-
black calligraphy
3-mm
When
whole range of thick and thin widths that the nib
ink, a 2-
or
constant pen angle
ing paper, and plenty of smooth
letters,
such as designer's layout bond,
With the nib angled
smooth
drawn
straight
at 30°, the
pen
is
and exercises
examples
pen each
time.
that each kind of
ferent results,
You
is
and you
that a certain type of feel
may
pen
will
this
good
nature.
habit: before
find
pen angle on
a scrap of
by drawing a
vertical line.
will
your pen
a broad-nib
line will
The pen
is
drawn horizontally from
to right, creating a
medium-thick
left
stroke.
is
paper If
properly angled, the
have sloping points
either end.
l
at
The slope should be
in the direction of
between
check your
somewhere
and 2 on a clock
face.
constant angle— usually
about 30 °. this
it
write,
pen with the nib positioned at a
The good news
beginning to
of calligraphic letters are
a pen
requires
dif-
thick and thin strokes
made by using
first.
it
become second
Develop
most comfortable.
The
first
differ-
way we hold
that with practice
quickly
will notice
pen yields
it is
everyday writing,
practice at
several times, using each type of
and because
ent from the for
chapter
in this
the
downward, creating a
thick stroke.
text paper. Try out the
is
step to creating well-formed
white paper to practice on,
heavy-weight
capable of producing.
is
Learning to maintain a
calligraphy marker, trac-
Bristol, or
held at a steady 30"
is
angle, the circular stroke shows the
3-mm
or
the nib
When
maintaining
constant angle, as the pen
travels
through the entire direc-
tion of a stroke, the width of the
stroke changes as the direction
the pen
is
As long
as the nib
the in
same
width
cally,
or
28
traveling changes. is
angle, the
will
held at
changes
happen automati-
without any special effort
movement on your
Calligraphy 101
part.
The left-to-right downward diagonal stroke produces the thickest right-to-left stroke will
diagonal.
line.
A
produce a thinner
Line drawn with an angled nib will
have sloping points
(left)
at either end.
The line on the right has a flat top and bottom— increase the pen angle.
.
\ I
I
••
P
To create a visual reference for your pen angle:
Draw
.-'
##i
3 very small square (on graph paper,
if
upper right
available), then, starting at the
corner of the square, angle your nib diagonally and draw a diagonal line through the square to the lower This positions your nib at a 45° angle.
Now
slightly
The exact angle
not important; what matters
settle
on
a
is
pen angle, to keep
it
corner.
angle the nib
downward ever so
clockwise— this
left
will
be about 30 is
.
once you
consistent.
How to Hold the Pen The position of the pen each you
individual; what's
the hand
in
most important
find a grip that feels
vary with
will
is
comfortable for you and
A
eral rule
to hold the pen
is
you angle the pen too steeply against the paper,
your the nib
that
allows you to keep your nib angled at 30".
If
gen-
is
will
scratch and splatter
ink;
if
the pen
angled to low, the ink won't flow well from the
nib to the paper.
between the thumb
and forefinger with some of the weight of the pen resting
on your middle
should be aligned so
it
edge of your shoulder to
page 30
finger.
The pen as
(if
you are left-handed,
for Tips for Left-handers).
out your fingers. Don't bear
paper; just
let
whole
points toward the outer refer
Keep your
hand relaxed— squeezing or gripping hard tire
a
will
only
down hard on
the
the pen write.
The angle of your pen
to the drawing
in relation
board should be somewhere between the 45" and 90" mark. Experiment with the angle a find the point
nib
where the
and the nib
a
travels
b
gh
(
: I
bit until
ink flows freely
you
from the
Angle your pen against the paper
like this
.
.
smoothly across the paper.
d
e
1
J
k
I
S
V
"V
a*
c r>
"fc
^
<>\, v*-
s
o>
not like
this.
Making Marks
29 .
Tips for Left-handers For most calligraphy alphabets, the strokes are written
in
downward
a
writing paper slightly to your
(pulled) direction rather
than upward (pushed). This
is
convenient for
write,
right-
handers, but presents obstacles for left-handed calligraphers. •
If
you are left-handed,
An oblique
try the following:
tip
designed so that
angled easily to 30" when held
in
can be
it
the
left
left
arm
drawn
in
too closely to
Left-hand hook position. Flex your wrist down-
ward
in
a hook shape and position your hand
your paper
hand.
isn't
so that as you
your body.
above the writing
nib (also called a left-handed nib)
has an angled
your
left
line.
It
may
help
if
you slant
slightly to the left in this position.
One drawback
of the hook position
Left-handed nibs for dipping pens are usually
hand covers the writing and makes
readily available at art supply stores; left-handed
see the work.
calligraphy fountain pens are also available,
by drawing the strokes
although you may have to place a special order
direction.
Some
left-handers in
is it
that the difficult to
overcome
this
the reverse order and
or order online (see Resources).
-FT*
Oblique nibs and left-handed pen are angled
in the opposite
direction of nibs for right-handers.
Hand
position. There are three specific left-handed
positions for calligraphy: the
hook •
position,
and the
underarm
position, the
as you comfortably can
can place the nib on the paper will
at a
until
30" angle.
help to use the slanted paper set-up for
right.
It
It
left-
left
to
might take a while to get a sense of
how your
you
handers pictured on page 25, and position your
30
with your writing lines at a 90° horizontal angle
and work from top to bottom instead of
vertical position.
Left-hand underarm position. Turn your wrist as far to the left
Left-hand vertical position. Set up your paper
position.
letters It is
should look from a vertical
a big help to practice your alpha-
bets with the example alphabets also turned to a
90
D
angle.
Calligraphy 101 .
Getting Started Start with a calligraphy fountain
pen and some paper
T-square to rule lines on your paper about
your nib
at a
cm]
desired, use a
apart). Position
30° angle and experiment making the following
Vertical lines should begin quickly,
Vz" [1.3
(if
and end with angled
moving your whole hand downward
points.
rather than
lines:
Draw moving Horizontal strokes should begin and end with angled points.
your wrist or fingers.
30" pen angle makes a thicker ner
line.
Draw
line;
a
flatter
A
angle makes a thin-
these quickly— lines will be straighter
when
you're
not concentrating too hard. Focus your eyes where you want the line to end, not
on the
line itself as
you are making
it
Try making diagonal lines that go up and down in one continuVertical lines with serifs: start with a small
get the ink flow started, then
upward movement
move the pen straight down-
The nib angle remains constant, and the change of direction in the pen determines the width of the line. If you are using a dipping pen, this is a good way to gauge how long you ous
to
Finish
with a small upward movement, maintaining the 30° nib angle.
stroke.
can write before needing
A row of dots
style of alphabet-
a very
good way
to practice
maintaining your
nib angle and establish a rhythm to your writing.
Ull Serifs can be sharply pointed, or gently curved, depending
is
to replenish the nib with ink.
on the
CC Try to make your curved strokes look
Keep the paper
straight to help
can be rounded, pointy, or
flat,
like little crescent
moons.
keep the straight lines vertical. Arches
depending on the alphabet style.
Making Marks
31
Table of Basic Strokes The following basic strokes are the essential components that make up calligraphy letterforms. Their shapes
all
and angles
will
vary somewhat
depending on the kind of alphabet, as well as on your own personal writing style. Practice these strokes, keeping your pen nib at a 30° angle and following the stroke direction indicated by the arrows.
Some
of the strokes
letters that
to
in calligraphy require steeper or flatter
have diagonal
steep pen angle
used
used
make
is
used
lines,
to
such as W, X, and, K, the pen
draw the upright stokes of the
the crossbars
on lowercase
/"and
is
pen angles— for example, when writing
angled more steeply,
capital letter N,
and often a
at
about 45°.
flatter
A very
angled line
is
f.
\ \ l
\
(left to right)
A
45" pen angle
is
used to draw strokes
very steeply for the upright strokes of the
•
TIP 32
N; a
M, W, K, A;
flatter
a 4.5
pen angle
is
also used to
make square dots;
nib angle used for the crossbar of a lowercase for
the nib
t.
•
Photocopy
"-..,
letter
for
this
vellum with a
page
3-mm
•* strokes and good
Calligraphy 101
at actual size
and practice tracing over the basic strokes on tracing paper or translucent
calligraphy fountain pen. Tracing
practice for maintaining a constant
is
a good way to get acquainted with the "feel" of the
pen angle.
is
angled
Using a Dipping Pen Calligraphy fountain pens provide smooth, clean lines and a constant
They are especially useful
flow of ink Once you
comfortable making the basic
feel
edge, you are sure to have problems easily
the basic strokes with a dipping pen and nib.
under too
Dipping pens are not always easy to use
carefully.
at first—
but with time and practice you will get the hang of
1
Here are
a few tips for using a dipping pen:
Use
Start with the right kind of nib.
nib that
you may
2 to 3
is
find
it
a broad-tip
mm wide. With a smaller nib
difficult to clearly
what you are doing. The
pressure, so handle
Nibs also become
dull
4
Use the
finish.
made
Papers
an old
nib.
Look
for
especially for calligraphy,
they tend to be expensive, look for high-quality
you
commercial papers that are reasonably priced and
are using a
will take calligraphy ink
but because
ideal,
without bleeding. Try out a
variety of these with your particular nib
hold extra ink so you won't need to load up on ink
of ink
Suggested brands are the Mitchell/Rexel Round
Round Hand nib "C" series
1.5
(sizes 1.5 or
nib, sizes
or
l),
and note which ones work best
and brand
for you.
often referred to as
a "round-hand nib" or "chisel-tip nib" (page 10).
Square-Tip nib (sizes
paper
thick with a smooth, uncoat-
reservoir— a small metal flap that allows the pen to
Hand
them
nib should be cut
and equipped with a
is
store
and worn out over
right kind of paper.
somewhat
that is
and
or put
markers, or pen-and-ink work are
straight across, not angled (unless
quite as often. This type of nib
Nibs can
later.
see the details of
tip of the
specially angled left-hand nib),
much
time, so avoid starting out with
ed
letters.
become damaged by being dropped
strokes with a calligraphy fountain pen, practice
it.
and
for practicing strokes
Leonhardt
2),
5 phy
Use the
pen, look for ink specifically labeled "calligraink."
dense
and Speedball
C-2 or C-3- The Speedball and
Mitchell nibs are also available in left-hand versions.
right ink. For learning to use a dipping
It
should be non-waterproof and provide
color.
Fountain pen ink can also be used, but
usually has a watery consistency that results in less
dense
color.
Avoid using
acrylic or waterproof inks
at first.
2
A brand-new nib sharp,
broken
in,
can be somewhat
and needs
before
also usually
it is
need
oils or shellac
to
to
be used
stiff
and
for a while, or
really at its best.
be "seasoned"
to
New nibs
remove any
remaining from the manufacturing
process (see page
6
Be
patient.
The dipping pen nib
specialized writing instrument,
time to learn write too
how
much,
to
for
handle
it.
is
and
make
sure your nib
isn't
When purchasing a nib, examine sure
it
isn't
bent or defective
closely at the tip of the nib to
takes
Don't attempt to
too long, setting up expectations
doodling and drawing and getting the
3
it
that are unrealistic for a beginner. Rather, start
34).
Check to make
a highly
make
in
damaged. it
closely to
any way. Look
sure the prongs
are perfectly aligned— if they don't form a straight
pen. Limit yourself at
first
nib held at a 30° angle
to
drawing
feel of
by
the
lines with the
and making strokes and
patterns rather than words. Learning to write with
a dipping pen
is
very
much
like learning to
play a
musical instrument.
Making Marks
33
Seasoning and Inking a Pen Nib 1.
Seasoning a
To remove any traces of
nib:
oil
or shellac remaining from the manufacturing
new
process, place a
nib in
its
holder and pass
the nib quickly through the flame of a match or
candle— one time with the time facedown. just pass
butane
Do
and one
nib faceup,
not hold the nib
in
the flame;
quickly through. (Also, never use a
it
lighter or
gas flame from a stove to heat Be careful! And
don't overdo
it.
the nib, and never hold the nib with your fingers while heating 2.
it.)
Inking a nib: Contrary to their names, dipping
pens are not dipped
into ink. Instead their nibs
are loaded with ink using a small pointed brush.
A good method until
it is
fully
is
to dip the brush into the ink
saturated (but not dripping), touch
the brush to the underside of the nib or reservoir,
and deposit
a blob of ink there.
also have a small indentation for
filling
a small
with
ink.
amount
If
Some
nibs
on top designed
needed, you can also brush
of ink onto the very tip of the nib.
For convenience, once you have loaded the
nib,
you can replenish the
ink a
few times by taking very small
dips into the ink container— just dot the surface of the ink with the very tip of the nib. After a few dips you will
need
to reload with the brush, but
longer and
you
will find
easier than dipping every time.
is
properly inked by looking at your
lines:
Be
that using a brush to ink the nib actually lets you write
careful not to over-ink your nib.
they should be crisp and
You can
when
tell
a nib
is
fine.
Dipping Pen Troubleshooting
If
the line
is
ragged on one
pressing the nib
side, try
more evenly onto the
surface of the paper.
Blobby
much
lines
ink
mean you have
on the
nib.
too
Make
properly inked.
diagonal will
34
Calligraphy 101
sure your nib
A
is
seasoned and
tiny back-and-forth
movement at
the start of stroke
often help the pen get started.
Skill Builders Exercise PATTERN PLAY WITH BASIC STROKES 1:
To learn
to
make
the basic strokes well, you will need to practice, which
However, focusing on one stroke Instead, try this
way
•
paper
3-mm
time and doing
it
over and over until
repeatedly.
perfect can be boring.
it's
of practicing:
WHAT YOU'LL NEED • lined
at a
means writing them
calligraphy
fountain pen or marker
1
Starting
on the left-hand
side of a sheet of lined paper, practice alternating
between two
2
For the second
new
line,
pick a
set of stroke pairs
going
repeat, again
way
the
all
and
you reach
to
the edge of the paper. Try not
the opposite edge of the paper.
to
spend too
The combination
one stroke—just
pairs of strokes until
you choose
is
up
of stroke pairs
let
yourself get
into a steady rhythm.
to you.
SMISSIISSIISSIISSHSMISS
much time on any
3 i
the
line,
the strokes you
first line,
line,
SSUSSHSSIISSHSMISSMSS 2
For the third
and
repeat
made on
for the fourth
repeat the strokes of the
second
line,
maintaining an
even rhythm and spacing strokes.
to
your
You can keep going
down the page this way or start the next line with a new combination of stroke pairs. Try out different
3
combinations of stroke
pairs to see
what kind
of inter-
esting patterns you can make.
SMISMISSIISMISSMSSIISS
QUICK REFERENCE Lined paper. You can draw the lines yourself,
«=u=«=«=a
about
apart, or use regular
ii
it
mvmvrt \vn vol \\
CO") COT CO) toi cc-» it
W
(1.3
cm)
notebook
paper, allowing two lines per
A
half-size sheet,
x 6" high
about 9" wide
(22.9x15.2 cm)
be easier to
line.
will
move around on
the
drawing board as you move from line to line.
^//^/n//3//vn/n/n//, Making Marks
35
Exercise Many
2:
FREEHAND
of the calligraphy projects
as text.
Taking some time
LINES, SHAPES,
you may want
to try will
have
lines, borders,
AND BOXES
boxes, and images, as well
freehand drawing will help you build your graphic
to practice
confidence with the calligraphy pen. Try out the following
(a
skills
and gain
calligraphy fountain pen or marker
is
ideal to
start out with):
WHAT YOU'LL NEED •
paper
•
3-mm
calligraphy
fountain pen or marker 1
1
OIZI
Boxes from lines and L shapes. Notice
pen angle
creates
how box
the 30° lines of
different widths.
2
Lines and swooshes. Practice
quickly and at
moving the pen
freely.
Don't look
the line as you're drawing
it,
instead keep your eye on the
point where you want the line
2
to end.
3
Strokes combined to
Mi
make
shapes/icons. Practice
drawing simple shapes, keeping
U
your pen angles and avoiding
upward
strokes,
which can makes
the pen nib skip or splatter.
3
36
Calligraphy 101 H
Exercise
3:
BORDER-BUILDING
Borders can enclose a space or embellish an edge, and can be almost any shape, including asymmetrical. Practice
making
WHAT •
paper
•
3-mm
the following types of borders, substituting
any stroke or graphic element of your choice.
Band
YOU' LL NEED
Start out
1
2
by marking your
outer lines lightly in pencil,
Fill
in
next,
middle elements
using your eye to
calligraphy
then
fountain pen or marker
fill
in the center
judge placement and keep
and end
ments evenly spaced. Draw the
elements.
outer lines of the border
oQo
oO>
ele-
last.
i
\
Start a
T P
various calligraphy exercis-
I
es.
c&>z&ZC®o%&&c&>
you
like
scrapbook of your
Or just cut out the parts
the best and paste those
By saving bits of your work,
2
in.
you'll
be
able to watch your progress over time
and have a store of ideas
for future
inspiration.
Box 1
Lightly pencil in your inner
and outer
lines.
Mark the
2
Add corner and
center
elements. Note that border
center points of each side in
decorations don't have to be
case you plan to put specific
confined to the inner or outer
graphic elements there.
lines of the border.
2
1
3
Fill
in the rest of the bor-
der elements. The inner
lines should
be added
last.
3
1
-s
fi
aggpyogggK
-
E3
riiraiminoK Making Marks
37
v
v.
Patterned Bookmark Here's a fun
way
to create
a handy item that makes use of the interesting
patterns you created during your basic stroke practice.
WHAT YOU'LL LEARN •
How make
•
in
paper
How
Starting at about %"
patterns,
interesting designs crafts
Begin
ICut a sheet of white paper to 6" wide * 9" high (15.2
basic strokes,
repeated for
Let's
(1.9
cm) from x
cm) apart
V2" (1.3
cm) unruled margin on each
(1.3
/z
22.9 cm).
the top of the page, use a
T-square and pencil to lightly rule 16 lines spaced across the sheet. Leave about
*
side.
to align pattern
repeats on paper •
How
to frame your
design with a precise border
WHAT YOU'LL NEED •
heavy-weight (110 lb [165.5 gsm]) white text
paper •
colored card stock
•
3-mm
1
calligraphy
fountain pen or dipping
pen wrT[T-PTWi
[7|rp|n|7p|i-iji(.|r|inip|ri|
,<:n"f r
•
calligraphy ink
•
craft knife
C*
Ctf 1
•
steel-edged clear ruler
•
cutting
•
glue and glue brush
•
wax paper
p
•|H<|'t>|'IM l l'l i ri' £|'i I'l'i'l'IM'j'll'i'l
J
rir
1
*
.
'V\
M it
Icr
,
*»
't*
null
I"
n
11
1
V4 v V m '
l \ '
1
"I
c •
»
*i5 >'
'
n,
1
V •'
»
t '
c£
*» »
T
*! :
'
I
4*
V
* ±I * '*,'•** »"««'' "**" -H -
*»
1 hl
V
fi,; 1 *«'* »"»<
€ >: 1 l" 1 : IT 1 I"" '' f|, « '"-'I »«** 1
l
mm?t?'*» 1
1
*-
I*
!**»
mat
penci •
kneadable eraser *•.
•
T-square
T P I
•
optional: paper cutter, Vb"
(3
mm)
hole punch,
ribbon or cord
If it's
ing,
not obvious by look-
mark the
of the
front side
paper with a small
pencil dot in the lower corner as there is
often a difference
in
the
way
ink
adheres to front and back of a sheet.
(continued)
Making Marks
39
Patterned Bookmark
2
Choose a combination
more
of two or
basic
strokes that you find graphically interest-
ing and repeat across the page.
come
strokes so that they
Draw
the largest
up to pencil lines use some smaller
right
without touching, but try to
2
&&&£&&&&
strokes, or pairs of smaller strokes, too. Feel free to join or overlap strokes, but
keep the overall
spacing loose and even. End the line with the same stroke
%
at the start of the line.
For the second
3
line,
choose a new combina-
3
tion of strokes and repeat to the end.
4 as
you used
For the third
made
line,
repeat the strokes you
for the first line.
Refer to the
first
line
you draw so you can recreate the same spacing.
4
QUICK REFERENCE Second
line.
When
starting a
new
line,
move
up (rather than moving your hand down). the paper slightly to the line,
so that your hand
of the drawing board is
40
always centered
Calligraphy 101
in
is
left as
the paper
Similarly,
move
you progress across the
always positioning
in
the center
and the space where you are writing front of you.
**./*
ml*:
*%
>
*+
5
(optional) Leave the fourth line blank start a
new pattern
of strokes
on the
and
fifth line,
continuing until you have four sets of three It
lines.
6
Allow ink to dry thoroughly and then erase pencil lines with a kneadable eraser. Trim
closely with a craft knife
and steel-edged
ruler.
often helps to do a few versions of the patterns
to get
warmed up and
also so
you can
try out varia(continued)
tions, colors, etc.
5
<^m >
6
Making Marks
41
Patterned Bookmark
7
Lay the trimmed pieces
facedown on a sheet of
paper and use a brush to apply a thin layer of glue to the
back
the paper. Brush
way up
all
the
of
and just beyond the edges
to
cover the paper
8
Handling
to
fully.
it
by the very
edges, place glued paper
onto card stock. (Note that card stock should not be trimmed to
Cover
final size at this point.)
with a piece of wax paper and
use a bone folder or your hand
smooth over the
to
surface,
making sure the paper gets
fully
stuck down. Cover with a differ-
wax paper
ent piece of
one may have glue on
(the it)
first
and
place a heavy object, such as a
book, over
until glue has dried
it
fully
(about 30 minutes).
9
When
(or a
dry,
use a craft
knife and steel-edged ruler
paper cutter)
to trim the
cardstock, leaving a border Y&" to
W
(3 to 6
mm)
from the edge of
the patterned paper.
ming with
When trim-
a craft knife, position
a line of the clear ruler
edge the inner piece
along the
of paper.
QUICK REFERENCE Border. A good rule of thumb
make
this
is
to
border the same width
as your widest stroke, but
you
can also experiment and see what looks good to you.
42
Calligraphy 101
Variations
You can vary
this project in
many ways,
for instance,
changing the
size to
make a
folded gift tag or card, punching a hole and adding
ribbon or cord, or adding a second color ink or paper backing.
Making Marks
43
Passe-Partout Picture Frame For this project a simple 4"
x
6" (l0.2
*
15.2
cm) black-and-white or sepia-
toned photo, or a black-and-white line drawing
will
work the best
You'll
be using dark ink on dark paper so that your decorations on the frame won't distract from the main picture. If you have access to a computer
image-editing program, you can convert a color photo crop the relevant part of the image to 4" the image, the better
it
will look in the
overlap the picture edges by lose
any important
W
(3
•
How How in
•
*
15-2 cm).
The simpler
decorated frame. The frame
will
mm), so make sure your photo won't
Let's
to transfer a template to dark paper
1
Begin
Using a photocopier or computer scanner and printer, print a
to cut a perfect rectangular opening
enlarged to 200%.
paper
How
6" (10.2
or
details by being cropped.
WHAT YOU'LL LEARN •
*
to grayscale,
copy
of the template
When
enlarged 200%, the inner
rectangle should measure 4" to create a subtle design
(page 237)
*
6" (10.2 * 15.2
cm).
on dark
paper with calligraphy strokes
Attach the template to the back of the dark-colored paper, using removable artist's tape,
and trace the
edges of the template carefully with a pencil.
WHAT YOU'LL NEED •
one sheet
814" x 11" (21.6
X 27.9 cm) black
card stock •
one large sheet 25W x 11" (65 x 27.9 cm) medium-weight artists' drawing paper in deep gray or chocolate brown
• 1.5-, 2-,
or
3-mm
2
Keeping the template
use a pin
in place,
each corner of the
to prick a small hole in
"picture cutout area," passing the pin through the
template as well as through your paper.
Do
not cut
out this area.
calligraphy fountain pen
(steps
and 2 shown on next page)
1
or nib •
black calligraphy ink
•
PVA and
•
wax paper
glue brush
QUICK REFERENCE Trace the edges of the template carefully. Lay a clear
•
clear steel-edge ruler
ruler over template, aligning the ruler
•
T-square
edge of the template, and use the tracing perfectly straight lines.
•
A
edge
ruler as a
to the very
guide
for
fine-point pastel or chalk
pencil pencil in a light color will help you better
• craft knife
and cutting mat
•
kneadable eraser
•
optional;
Ye"
(3
mm)
are tracing
on the dark paper, but
of the paper to
make
see the
test the pencil
lines
on
you
a scrap
sure lines can be erased completely.
hole punch, ribbon or
cord
Making Marks
45
Passe-Partout Picture Frame
3
Trim the paper, carefully following the outlines of
Use a ruler and
the template.
bone
folder to gently score the
four flaps of the template; fold
these to the back.
4
To mark guidelines,
first
orient your frame in
the direction of the photo will hold.
Using
it
and
a pencil
T-square, lightly rule lines,
beginning with a
line that inter-
Draw
sects the top pin holes. lines
%"
(6
mm)
apart
you
if
will
use a pen with a 1.5-mm nib, or
W
nib.
(1.3
cm) apart
for a
2-mm
Rule lines downward to the
bottom pinholes.
If
the last line
doesn't intersect the pinholes,
go back and adjust the
lines.
Continue ruling lines on the top and bottom, ending at the flap folds.
QUICK REFERENCE Gently score. A bone folder
dragged against the side of creates a small dent
which makes
46
it
Calligraphy 101
in
a ruler
the paper,
easier to fold.
5
Unfold the flaps and position the paper faceup
on
your drawing board. Create your pattern.
You might
start
with a
simple repeating line of strokes
and repeat the
line every time,
slightly offsetting the start of
each new 1.3
W W mm
line
to
(6
cm), then going back to
to
fill
in the beginning of the line with
whatever was cut
off at the end.
This gives a repeat effect
much by
like printed fabric. Or, start
creating a border of strokes
around the area and work out that.
The
less.
Try
to
be cut out
a pattern
around
possibilities are endto arrange
it
so that
the spacing between the strokes is
even and your writing goes
right to the
5
edge where the
fold.
And remember, you
have
to
draw anything
flaps
don't
in the
area that will be cut out.
6
When
the ink
ly dry,
use a kneadable
eraser to erase
all
is
thorough-
pencil lines
but the four lines connecting the pinholes. Place the paper
faceup on a cutting mat, making sure
none of the
flaps are
tucked
under the paper, and use a
craft
knife and a steel-edged ruler to
cut out the 4"
x
6" (10.2 * 15. 2
cm) opening. Use a pinhole starting point,
as a
making sure your
cut does not extend
beyond the
next pinhole.
(continued)
Making Marks
47
Passe-Partout Picture Frame
7
Cut a
5"
*
7" (12.7
*
17-8
cm)
piece of black card stock
(or other dark-colored card
stock
if
you
Turn your
prefer).
photo frame paper facedown
on
wax paper and
a piece of
apply a
V2" (1.3
cm) band
of glue
around the margins of the
and do not
let
cut-
amount
out area. Use a minimal of glue
7
the glue
go past the cutout edge. Lay the black paper facedown over
wax
the glued area, cover with paper,
book
and press under
heavy
a
until the glue is diy (about
thirty minutes.)
8 that
To trim
a
W
(3
mm)
border in the black paper
now
the frame window,
fills
position a clear ruler so that the
first Vs" (3
of the ruler
is
mm) vertical
line
aligned exactly
over the cut line of the frame paper.
Use a
fine-point pencil to
very lightly rule a line on each side of the window. Place the
paper on a cutting mat and use a steel-edged ruler and a craft knife to trim the
Vb" (3
mm)
border, taking care to begin
end your cuts
Vs" (3
mm)
and
away
from the corners. Use a kneadable eraser to gently erase any pencil marks, taking care not to tear the thin border (use a folder to
smooth out any dents
or ripples).
48
bone
Calligraphy 101
9
9
Turn the piece facedown, cut a piece paper
slightly smaller than 6"
8" (15.2
*
wax
of
*
20.3
cm), and place inside the frame. Fold in the two large flaps, applying glue to the area where they
overlap (the
wax paper prevents any glue from
accidentally sticking to the inside of the frame).
1 I
When the glue
f\
Km/ paper and
Cut
a piece of
tuck in one of the shorter
*
8" (15.2 * 20.3
sheet inside the frame it
lightly trace
window.
*1 *1
Remove
I
cm). Place this
needed, trim the sheet
and use a pencil to
around the inside of the black border
of the
I
(if
easily inside)
fits
the inside sheet and use these
pencil lines as guides for where you
to place
flaps.
100% cotton or other archival paper
just smaller than 6"
so that
has dried, remove the wax
want
your photo— anything falling outside the
pencil lines will be cropped out.
edges of your photo to extend
You want the
Ye" (3
mm)
over the
pencil lines.
"1 I
^\ ^—
Position your photo so that
covers the
it
rectangle lines you drew, apply a thin layer
of glue to the
back
of the photo, cover
it
with a
sheet of waxed paper, and press until dry (about
30 minutes). Insert the mounted photo into the frame and tuck in the upper
flap
by very gently
squeezing the two long sides of the frame to create
an opening. (Flaps are tucked rather than glued so you can Va" (3
easily
mm)
change photos.)
If
desired,
diameter hole through the top
loop ribbon or cord through the hole
for
punch a flap
and
hanging
the picture.
Making Marks
49
Foundational
Hand Foundational calligraphy
Hand
is
the traditional
and the of when they
style,
people think
writing style
most
think of calligraphy.
was developed in the early twentieth century by Edward Johnston, a British designer
It
and calligrapher who created
the simplified
letterforms inspired by the calligraphy in
English manuscripts of the Middle Ages.
Foundational is
easy both
Hand
to write
is
a simple style that
and
to read,
and
is
a
great place to begin learning the basics of calligraphy.
51
!
The Foundational Hand Alphabets
A ft C 2
i i i
1
1
i
1 1
0P
Tii 1 1
1
*'3 ,6
1
:$
9
\
Uppercase Foundational Hand
52
Calligraphy 101
",C
,
*// 1
I
1 1
k
5
c .p 4
i
l-nfa
'
i
V.W/ 3
s
^
i
a- ,e 3
*r &
4
'//
4
>A? 1
1
12
o # *%@
Lowercase Foundational Hand
Foundational Hand
53
Skill Builders Exercise The purpose
1:
TRACING THE ALPHABET
of this exercise is to
by the pen when
it is
become
familiar with stroke order, stroke direction,
and the shapes made
held at a constant 30 ° angle.
WHAT YOU'LL NEED
IFor this
and
all
other trac-
ing exercises in this book,
2
Holding your nib
at a
30° angle, begin tracing
•
tracing paper
photocopy the alphabet pages
the letters of the alphabet,
•
2-mm
and tape them
following the stroke order and
calligraphy
fountain pen or marker • artist's •
tape
photocopies of alphabet pages
to
your tabletop
or drawing board before tracing.
stroke direction for each letter
Use removable
shown
artist's
tape to
in blue.
Concentrate on
secure the alphabet page to your
maintaining a constant 30 ° pen
writing surface, then tape your
angle and following the strokes
sheet of tracing paper over the
with a smooth,
alphabet page so that every-
Notice
thing stays in place.
the stroke combined with the
how
fluid
motion.
the direction of
it is
unchanging angle
of the
pen
that creates the interplay of
thick
and thin
lines.
Keep your
writing hand poised lightly on the paper, and follow the strokes
by moving your arm from the
AB CDl
wrist or elbow, not
by moving
your fingers or flicking the pen.
QUICK REFERENCE Tracing paper
is
your friend.
Tracing over examples of cal-
ligraphy you admire
is
one of the
best ways to get a feel for piece
how
was done and
to
for learning
size nib
this,
was used
them by measuring of a stroke
determine to
make
the widest part
and selecting
a nib that
matches that width. Tracing great
way
to get the feel for
particular strokes
made.
54
Calligraphy 101
the
execute the strokes with
confidence. To do
what
how
is
a
how
and curves are
C i
3
For the diagonal strokes indicated by the
dashed arrows on the
M, N,
letters
V,
ABCDEf
and W,
angle the nib slightly upward to about 45 °. This
makes will
the diagonal stroke a
°
help you feel the difference between the 45
5
o>LS^
and 30 ° angles.
4
4
Don't worry about making perfect tracings.
The point
of this exercise
to relax
is
and
n)VJ>1
feels (literally!) to
it
proper pen angle.
make
your tracing and compare sheet.
Look
the letters using the
When you have
for areas
it
WXYX?
I
3 4-5 6-7
-7? 6
remove
finished,
photocopied
to the
where your tracings don't
match up with the original— these pay extra attention
?
^ 'So
let
your pen follow the path of each stroke and learn
how
llJKLMr
r.P
thinner. Tracing
little
to
when
be areas
will
to
practicing.
Foundational Hand: Key Points •
Foundational Hand letters should stand upright and not straight on the writing surface— do not cant
left-handed, however, you •
A
broad-tip nib
find
A 2-mm
Hold the pen so that the nib
is
•
one of the key
is
Each
letter in
helpful to
nib
is
good
a
pen angle
tion
and
written
*•
T P I
down
it
you are
left.
creates the characteristic thick and thin
size to begin with.
particular thick
and
thin qualities of line,
made up of two or more separate strokes, and you lift each stroke. On the alphabet charts on pages 52 and 53,
in its
own proper
is
direc-
essential for creating
is
calligraphy.
Always check your pen angle before beginning each stroke.
When
wrong, often slightly.
the paper slightly to the
If
order. Following the correct stroke
order and direction
good
tilt
for writing in cursive.
essentials for success with calligraphy.
the Foundational Hand alphabet
is
helps to keep your paper lined up
one side as you might
what creates the
is
the pen from the surface of the paper after every stroke
It
angled at 30° and remains at that angle throughout the length of each
stroke. Maintaining a consistent
and
it
to
generally used for Foundational Hand, as
is
strokes of this alphabet. •
may
it
slant.
it's
letters
come out looking
because the pen angle shifted
Constantly checking your pen angle can slow you
at first but
soon
it
will
become second
nature,
you'll notice the strokes of your letters joining
as you maintain a constant pen angle.
and
up perfectly 30° pen angle
Foundational Hand
55
Exercise
2:
PRACTICING LETTER GROUPS
Instead of practicing writing the alphabet straight through from a to practicing groups of letters that share a ruler
and pencil
to lightly rule lines
common
and proportions. If you wish, you can use across your page about %" (1.9 cm) apart. Aim to fill each page with strokes, shapes,
repetitions of each particular letter group, concentrating
the strokes the
same way each
2-mm
1st
stroke
calligraphy 2nd stroke
fountain pen or marker •
on establishing a steady rhythm and repeating
time.
WHAT YOU'LL NEED •
exercise introduces the idea of
z, this
Arched Letter Group
writing paper
3rd stroke
ahlmnruy Round
Letter
Group Notice
oabcdegpq
how
stems of the
of the letters in the Foundational
alphabet echo the curves of the letter
The
letters in the
stroke practiced
round group
all
rely
o.
on the crescent moon
on page 32. Notice that the crescent moon
stroke doesn't begin at the top of a
The crescent moon letters.
56
Hand
Calligraphy 101
stroke
is
used
letter,
in
letters.
of the arch, pull the
As you come over the round pen in straight, downward
front of
serif.
Align your paper squarely
you (don't angle
it);
this helps
keep
in
vertical
strokes from leaning.
The
hrst
and second
strokes of the lowercase a
the baseline to keep the
letter
Keep
the arches the
sit slightly
from appearing cramped.
but slightly below.
most of the round group
up on the
motion, ending with a very slight upward angle to create the
Most
the arches join fairly high
same distance
apart.
below
Diagonal Letter Group
Miscellaneous Letter Group
kywxyx Sometimes with diagonal
fgiist
strokes, the 30°
pen angle makes the strokes look too wide. For example,
for the letters v, w,
more toward 45 °
and
is
angle the pen
x,
Keep the pen
at a
traditional to
use an angled dash over the lower-
case
i
and; rather than a
for these letters. It
dot.
to get a thinner line.
The lowercase
A 45° pen angle
30 ° angle
s is written slightly larger so
it
doesn't appear
cramped.
keeps the diagonal lines from splaying out
too widely.
ah Lmnruij ahmnruy
ahlmnr Uy ahmnruy kv w xyzkv w xykvwx
yzkvwxyzkvwxy For practicing
letter groups,
graph paper
is
an inexpensive option, and useful
for
helping you learn
to
keep your lines straight and
letters
uniformly sized.
QUICK REFERENCE Round group. Foundational Hand arches, with the lowercase
is
often called "Round Hand," because almost
being a nearly perfect
circle.
of other letters of the alphabet as well, which should be
m
all
the letters in this alphabet contain circles or
The width of the lowercase
more
or less the
same width
provides a guideline for the proportions as the lowercase o, with the exception of
and w, which should be about 50% wider.
Foundational Hand
57
58
Calligraphy 101
Two-Tone Place Cards Use contrasting colors of paper and black ink card. You
to
can use folded place cards available at paper shops,
your own from your choice of card
name or make
jazz up a simple
Two-tone card stock was used for
stock.
these place cards, providing lots of options for intermixing colors.
WHAT YOU'LL LEARN •
How
to determine grain
direction • •
How
How
in
Let's
1
card stock
to score card stock to write
names
Begin
Study the directions on page 63
marking out card
card paper.
Mark
How
to layer paper
out and cut 3%"
of
line,
grain direction and
Determine the grain direction * 5" (8.9 * 12.7
the shorter sides parallel to the grain direction.
pencil in the fold •
stock.
for finding
of the place
cm) rectangles, with Use
a ruler to lightly
bisecting the card. Place the card on a stack
paper and score the fold line with a scoring wheel held against a
panels steel-edge ruler. •
How
to attach brads
(continued)
WHAT YOU'LL NEED •
three contrasting colors of card stock pencil
T-square, ruler
scoring wheel craft knife craft glue
2- or
3-mm
calligraphy
fountain pen calligraphy ink small hole
punch or
bookbinder's awl three contrasting colors of paper brads (four
brads per card)
Foundational Hand
59
Two-Tone Place Cards
2 (8-3
Cut contrasting color panels 3%" wide
card in
5-7
*
*
2 1A"
high
cm). Write the place
names on the small panels
Foundational Hand.
3
Lay the finished panels facedown on a large sheet
of clean scrap paper.
Apply glue
back of one panel
to the
at a
time, taking care to cover
the
way
to the
edges
(a
all
it
brush
is
helpful for this).
4
Center a glued panel on the lower front panel of
an unfolded scored card in a contrasting color. Cover with a sheet of paper, smooth gently to
make
firmly,
sure the panel sticks
and then press under
heavy book minutes).
a
until dry (about 30
You can stack your
entire batch of unfolded glued
cards this way
if
you interleave
paper between each card and stack
them
neatly.
QUICK REFERENCE Interleave paper. is
Wax paper
very useful for interleaving
between glued sheets and can be pulled
away
bits of glue
60
cleanly
happen
Calligraphy 101
if
any stray
to stick to
it.
4
5 in
When the
cards are dry,
use a pencil to make a dot
each corner of the small panel
about
Vq" to
A
l
n
(3 to
6
mm)
in
from the corner, depending on the size of the brads you will use.
Use a small hand-held hole
punch or bookbinder's awl to punch holes in each corner.
6
Fold the card, lay
down on
7
face-
a clean surface,
and smooth over the
bone
it
fold with a
folder.
Position one contrasting color brad through the
hole in each corner. Bend back the prongs of the brads diagonally toward the corners of the
card so that they don't
from the
show
front. (continued)
Foundational Hand
61
Variations Choose two for
your next party. Your guests
party
62
or three bright colors of two-tone card stock so
memento.
Calligraphy 101
will appreciate
you can mix and match cards and name plates
your calligraphy
skills
and treasure
their place cards as a
How
to Find Grain Direction
Card stock bends easily parallel to the grain direction of the
You
paper (indicated by arrow).
against the grain.
IHold two parallel lightly
will feel
more
resistance
when
trying to bend the paper
edges of a sheet of card stock
between your
fingertips
up
the edges of the paper
and gently push
into a slight
the paper bends easily, that
means
U shape. If
the grain direc-
tion follows the direction of the two sides
you are
holding.
2 line for
Use a T-square and pencil of the folded card
to rule out the size
you want, aligning the
fold
with the grain direction. Mark a dashed line
the fold line exactly in the middle of the card.
3
Place card stock on a stack of several sheets
to
Align a ruler against the edge of your fold
it.
of paper, or any a surface that has a bit of give
With
a scoring
wheel or a narrow-edge bone
line.
folder,
press a groove into the paper, following the ruler
edge as a guide. Be sure Repeat as
many times
the hardness
4
to
hold the ruler firmly.
as necessary,
and thickness
depending on
of the stock.
Gently bend the paper along the fold and
smooth over the
fold
with a bone folder.
Foundational Hand
63
Floating-Layer Thank-You Notes These thank-you notes use decorated paper and layers of paper
up a simple "thank you" into something special You of papers
and embellishments
to
build
to
a myriad
will find
choose from at specialty paper and art
supply stores.
WHAT YOU'LL LEARN •
How
Let's
Begin
Measure the width and height
make paper panels seem to float
1
above the surface
and add lA"
to
of the card
when
On
folded.
the
reverse side of the decorative paper, rule out the width and height, (6
mm)
to
both sides and the bottom edge. Then cut
out.
* 1
•
How
to glue paper layers
(continued)
without making a mess "
•
How when
to prevent rippling
'1
•!
gluing paper layers "1
-,_"-!
WHAT YOU'LL NEED •
:*
pre-scored folded card
and envelope '
•
•
one sheet of decorative paper
'
one small sheet of card stock for text panel
•
one small sheet of contrasting color card
stock for backing panel Hin*yyyuif;
^'J'-.i
|
ii
•
embellishments of your choice
-_i
f_
n
|
|*J«*'MI f
.
HJii,
t
1
1
—«
1
,!
,,r
~T^
IIV -.
Tn-rj—
f '*— *—-
1
r L
FZu
M
i
*""* .
»
~-
M rpHl
t
T
T
,*
1*
r
:
J
foam dots
•
self-adhesive
•
scrap paper
•
steel-edge ruler
•
craft knife
•
bone folder
•
glue stick
•
2- or
3-mm
calligraphy
fountain pen •
calligraphy ink
Foundational Hand
65
Floating-Layer Thank-You Notes
2
On your work
surface, lay
two sheets of clean scrap
paper larger than the unfolded card.
Lay the card, unfolded and
on one
faceup,
Apply glue
of the sheets.
stick thoroughly
to the lower panel (card front),
taking care that glue right
up
covers to the
applied
is
to the score line
Move
edges.
all
2
'V,
and
M
the card
second sheet of scrap
paper and place the decorative /<-
paper onto the glued area,
_
taking care to line the top of the paper right
up to
(but not
Cover with
over) the score line.
a sheet of clean paper and rub
with a bone folder to ensure that the
paper
thoroughly
is
glued down. Cover with a sheet
on a
of paper, place
weight
surface,
it
clean, flat
down with
heavy book or two
a
until dried
completely (about an hour).
3
If
you already know what you want the
size
text
panel to be, cut out a few pieces of this size from the cover stock
you have chosen. Make
several
versions of text so you will have
options to choose from. Another
approach
is to
several times
write your text
on
a larger sheet
of paper, leaving plenty of space in between, and decide the size of your panel based of the text
you do
it
you have
this way,
on the
size
written. If
use a clear
grid ruler and pencil to lightly rule the lines for the
the panel.
66
Calligraphy 101
edges of
\
T P I
If
you are making multiple cards, interleave each card with
a sheet of paper and stack the cards neatly under several
.' books
until dry.
4
Use a
craft knife
and steel-edge ruler
to cut
out the text panel, and then glue to the back-
ing stock you have chosen. Press for 15 minutes or
JW<*
4
until
completely dried. For a thin border as shown,
use a craft knife and a steel-edge ruler (3
mm)
from the
tions below,
text panel. Or, as
you might use a
backing panel shape that
is
to trim Ve"
shown
in varia-
scissors to cut out a
freeform.
Remove
the
paper backing from one side of each self-adhesive
foam dot and
affix to the
5
the paper backing from the other
Remove
side of the
back
foam dots and
of the text panel
affix to the front
panel of your card.
Variations
The shapes and
colors you see in various
decorative papers can provide inspiration
and ideas
for the
shapes and colors of your
floating panels.
Foundational Hand
67
Tiny Artist's Book Tell
a
story or joke, write a poem or a song
little
.
.
but keep
.
brief!
it
This small book has only four panels. Here's your chance to be as fun
and funky as you
like— that's
WHAT YOU'LL LEARN •
How
to plan spacing on
How
trations
if
Do
up.
WHAT YOU'LL NEED
up roughly feel like
several sheets of 110 lb
mined
gsm; medium thick) text-weight paper
of
•
black calligraphy ink
how block
•
12" (30.5
one sheet decorated
(165.5
cm) length
of
thin ribbon or cord for
about
size, just
few times
all
Decide the
if
*
how your
*
3%" high
will
is
your writing into a
four blocks of text shape
styles.
3"
high
(7.9
*
(6
8.9
Based on the way
this story
covered by writing) was deter7-6
*
cm).
cm), with a trimmed page size
An extra
sides but the folded side, and will be of text
fit
necessary, trying out different letter sizes,
live area (area
be 2 3/s" wide
3%" wide
see
size of the folded page.
shaped up, the to
into four similar-sized panels. Include illus-
Rather than trying to
it.
page breaks, and writing
2
•
you
this a
cover stock
•
it
predetermined page
book
is all
IOn a sheet of text paper, write out your text quickly and casually, breaking
to bind a paper
book
artist's
Begin
Let's
book pages •
what an
is
mm)
(6
trimmed away
placed slightly to the
appear centered when the book
W
left of
the
is
later.
page so
added
to
(Note that
it
trimmed.) (step 2
shown on next page)
binding •
2-mm
calligraphy
fountain pen
»*
penci grid ruler
steei-edge ruler
bone folder craft knife
bookbinder's awl (or corsage pin)
two
large paperclips
cutting
"•
TIP ••...
.-*
mat
See Resources to find handheld scoring wheels and
table-top scoring machines.
Foundational Hand
69
Book
Tiny Artist's
3
Cut two pieces of text-weight paper and one piece of cover stock 6%" wide * 4" high (17.2 *
10.2 cm).
When
cutting cover stock,
so the fold runs the
same
be sure
to cut live
direction as the grain
area of the
page 2%"
of the paper (page 63). Fold the two text pieces in
cat'*
namf /H*
8.9
X 3" (7.9 x
cm)
.
using a bone folder to get a crisp edge. Nestle
half,
the two folded pages one inside the other, and
use a pencil to lightly number the odd-numbered
pages
in the
fremiti
2
lib
mAi*
lower right corners. Use scrap card
stock to cut a rectangle the size of your live area (in this case,
2%" wide
use as a template
*
3"
high
[6 * 7-6
cm]) and
/
\
where
to lightly outline in pencil
the live area will be on each of the
I
odd-numbered
fold line V*"
pages.
Remember
to position the live area closer
to the fold than to the right side, since will
be trimmed from the
W
right side of the
mm)
(6
page
in
the end.
4
Lightly pencil in your text based
rough layouts. Or
try
it
without pencil
guidelines and see what happens.
hands are is
clean.
Make
sure your
and your work surface
free of ink spots
Have
on your
a scrap of the
same paper you
are
using for the pages handy to try the pen before
you begin
a line.
Use
a small piece of
vellum posi-
tioned under your writing hand so that your skin
does not come into contact with the paper. Once you've finished a panel, allow plenty of time for the ink to dry before working on the panel on the
opposite side of the page.
QUICK REFERENCE Cover stock. This project uses some of the "pattern-play" paper created on pages 35 to
37.
It
pays to hold onto your
scraps and test papers.
Clean. Oils from your fingers can be easily transferred to the calligraphy paper, making areas where the ink refuses to stick.
Always wash your hands well and avoid hand
lotions before writing.
It's
also a
good idea
to clean
and
dry the barrel of your pen to remove the chance of ink getting onto your fingers and then onto the paper.
70
Calligraphy 101
(6
mm) added
on
three sides for trim-
ming
later
trim size
Z%" x 354(7-9 x 8.9 cm)
5
On the inside of the exactly
down
cover, pencil a line
the middle where you want the
facedown on a clean surface that
fold to be. Place
has some give, such as a cutting pad or several sheets of blotter paper. Position a steel-edge ruler just next to the pencil line (not directly
and draw the of the ruler
tip of
of
it)
the bone folder along the edge
and over the pencil
to hold the ruler firmly
the bone folder.
on top
line. It is
and press
You may need
fairly
important
hard with
to repeat this a
few
times to obtain a deep score, especially on very
heavy stocks. Fold the cover, then smooth over the fold
6
with the bone folder. After your pages have thoroughly dried, use a
kneaded rubber eraser
marks from your
lettering.
marks from where there
is
to
remove any pencil
For removing pencil
no
ink,
use a white rub-
ber eraser, which actually removes microscopic bits of the
yk yw, * Wowtill
w
W"
paper surface, and
ink too, so handle with care!
will erase calligraphy
Smooth over the
folds
with the bone folder for crispness. Position your
pages
(in
the correct order) inside your cover,
using paper clips to ensure that the folds of the
paper are positioned tightly against the cover
Use a bookbinder's awl or corsage pin
to
fold.
poke
cm)
holes through the folded layers about
V2" (1.3
from the top and bottom edges. Cut a
12" (30.5
cm)
length of your chosen binding material and thread
through the holes so that both ends come out on the outside of the book.
7 and
Tie cord and trim off excess. Position book on a cutting
mat and use
craft knife to trim
W
a straight-edge ruler
(6
mm)
from
top, bot-
tom, and right sides. Be sure to hold the ruler very firmly while doing this, cutting slowly
and
cleanly.
Don't rush or push hard; you will need to
make
several light, even cuts to get through
the layers
all
of paper.
Foundational Hand
71
ibyUVJOfl^
v\\*^
fUVt^ xV^* betw
^or
»t*»9 betoA
-w,
erf* sup
^"^ a* 4 i*
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6^>
Proportion 9 Color,
and
Ornament In addition to
making well-formed
letters,
the art of calligraphy also involves skillfully
proportioning those letters
in relation to
one
another and arranging lines and blocks of text to
form a balanced, attractive composition.
Building on the basics of Foundational
Hand
shown on pages 52-58,
show
this section will
and techniques that will help you fine-tune the size and spacing of your letters. We will also explore fun ways of using color and ornament to liven up your text and add accent and interest to your work.
you
the skills
73
Ruled Lines and Ladders In calligraphy, a simple system of measurement based on the width
and ruled
of the nib you are using with a pencil
and
lines (straight lines lightly
which are later erased)
ruler,
is
used
drawn
to establish
the appropriate letter size. To set up ruled lines that are correctly
proportioned
How 1
to the size nib
Make
to
Choose the
size nib
you are
2
1" (2.5
you want
cm) high, creating
Turn the paper go
°
(in this
example, a
2-mm
is
90 °
vertical line
clockwise,
1
is
just touches the corner of the
the pen up and back, again
over,
first
make
a square
Make
mark
that sits
sure not to angle
iti
full
nib width. Next,
it
and draw another square
square. For the third square,
making a square
move that
move
that touches the corner
of the last square.
3
The
final
height of the ladder will depend on the style of alpha-
bet you are writing. For Foundational Hand,
squares,
making sure the corners
gaps or overlaps. Return paper
4
line 5 nib widths
from the second
line,
one
up line
2 nib widths up from the third line,
and one
line
nib width
A clear
up from the fourth
line.
grid ruler will help
you keep the
lines straight.
74
l
Calligraphy 101
line to rule lines as
ruler lines are positioned precisely
nib widths from the bottom
one
11 alternating
any
to original position.
top of the squares: one line 3
line,
make
of the squares touch, without
Use the ladder and horizontal pencil
making sure your
»1
and with your pen nib lined up
exactly one
pen one nib width down and
i
YVUUS
to position the nib straight against the vertical
mark
i
v.'/.'.'/.y.
exactly in the corner of the two pencil lines.
pencil line so that your
called a "ladder."
.
nib
a corner.
straight against the vertical line,
pen nib—you want
is
Ladder
a
of the line, use a set square or grid ruler to rule a
about
the
make what
used). Start by ruling a single pencil line across a page. At the far
left
the
using,
O
shown,
on the
2
s *
:
1
ascender
8 ophia Using the
tioned Foundational
Some •
and ruled
11 nib-width ladder
lines,
you have
set
of
capital line (c)
x-height line (x) baseline (b)
descender
up the guidelines
for
each lowercase
and x-line— this width
properly propor-
is
you
practice:
should rest between the baseline
letter
referred to as the "x-height" or
"body
height" of an alphabet. •
The Foundational Hand alphabet
is
generally written with an
Turn the paper 90° clockwise. you
will
down
your pen nib straight cally, rather
be pulling verti-
than sideways. You can
see your work better and you
nib widths. Capital letters
sit
on the base
line
nib width short of the ascender letters
QUICK REFERENCE In this position
x-height of 5 or 4 nib widths, with ascenders and descenders of 3
•
line (d)
Hand letters.
points to take note of as
The body
line (a)
not to
make them
and reach
line.
to the capital line—
Take care when writing
will
have much better control of your strokes.
capital
too large.
Ladders for Various Alphabets Calligraphy alphabets have traditionally
been written
using established nib width to x-height proportions.
relationship of the nib
the
example, the graphic information for Foundational
looks like
this:
size of
along with the pen
angle used, alphabet
proper proportion. For
between the width
used and the
letters,
The
in its
its
is
what gives each
distinctive look.
Hand
This graphic shows at a glance
what the proportion
of capitals,
x-height, ascenders,
and descend-
ers of the alphabet should be.
To write the alphabet size,
in a larger
simply build a ladder the
same number
of nib widths
using a larger nib, then rule out the guidelines accordingly.
Often a graphic symbol of nib
result will
width and pen angle
with the same proportions.
is
used to
visually
convey the information
needed
for writing
an alphabet
be larger
letters,
As each new alphabet
The but
is
introduced, refer to the graphic
symbol that appears with examples of the letters and indicates
Sophia
the nib width to x-height ratio
and pen angle used. With
this
information you will be able to re-create the proportions of that
alphabet using any nib
Proportion, Color, and
size.
Ornament
75
Ruling Lines for Practice
and Projects The best way is to
develop your
to
practice writing
skills for letter proportions
full lines
and spacing
of text on paper that has been ruled
and style of alphabet you want to write. Calligraphy practice pads are readily available and can be helpful for this, but one big drawback is that the ruled lines may not correspond to the nib size and alphabet you want to practice. A quick and easy way to rule out pages according to your specific needs is to make a ruling gauge, specifically for the size
How 1
Make
to
Gauge
a Ruling
Decide on the nib size and alphabet style you
want
to use. In this
example we
will
make
a rul-
ing gauge for a 2.5-mm nib writing in Foundational
Hand with an
x-height of 5 nib widths. Cut a piece
of sturdy card stock measuring about 3"
(7.6
cm)
square and use a T-square and a fine-tip pen to
%"
rule a vertical line
(1.9
of the paper, running
all
cm) in from the
the
way from
side
left
1
the top to
bottom. Next rule a horizontal line that intersects
and runs
at a right angle with the vertical line
the
way from
2
the
left
all
side to the right side.
Starting in the very corner where the two
2.5-mm nib
lines meet, use a
der of square marks
11
nib widths high. Use the
fine-tip
pen
widths
for descenders, 5 nib
3 nib
widths
to create a lad-
to rule the rest of the guidelines: 3 nib
for ascenders,
widths
and
the baseline for capital height.
only extend about
W
(1.3
for x-height,
7 nib
These
widths from lines
need
cm) or so from the
lad-
der squares. Rule pencil lines for trimming Me" (1.6
mm)
from the ascender and descender
and about
W
(1.3
the ruled lines.
A
and bottommost margins, and
another light color can be used to
between the baseline and
Calligraphy 101
of
light-colored pencil can be used
to color in the top-
76
7/<;„
lines
cm) from the ladder and ends
2
x-line.
fill
in the area
'?-
3
Use
a steel-edge ruler
trim. For reference
the nib used to
make
3
a craft knife to
you can write the
the ladder in the
You have now created for ruling lines for
and
a ruling
size of
margin.
left
gauge designed
Hand with an
Foundational
x-height of 5 nib widths to be written with a
2.5-mm
nib.
With
gauge, the spaces between
this
the lines of text will be of the ^e" (1.6
mm)
Ye" (3
space
mm);
at the
that
is,
the
sum
top and bottom of
the gauge.
How
to Use Your Ruling
Gauge 1
Position the right edge of the gauge flush
against the left-hand edge of the paper. Use a
fine-tip pencil to
go.
Use dots
and
to
2
line,
Match
lines will
mark the outermost spacing
capital line,
x-height
mark where your ruled
lines
and dashes to mark the baseline,
ascender
the top
line,
edge
and descender
of the
gauge
line.
to the bot-
tom dot and continue making marks down
the page.
3
Align a T-square
to the
dash marks you made
with the gauge and use a
rule the lines. For the dots that
between
lines,
draw a small
fine-tip pencil to
mark the spacing
x. It is
not necessaiy to
rule the capital line, just use the dot you've
marked
as a visual reference.
•
*
Make
"TIP
a ruling
gauge
for
each of your frequently
USG d nib sizes and alphabets. Especially when
you are trying out a new nib size or alphabet, a ruling
gauge
will
help you get started writing letters that are
properly proportioned.
'JI'I'iM'l'I'ltlM'MI'I'I'i'lJI-IM'I'I'I'I'lJiM'l'I'lM'I'til'I'I'I'I'I'I'mM'l'Vj
."Imiliiilnii icilii"
"Tuil
1
ii.Im
ii'
lin
iillllil
ml
mil
.iji'i'
1
.nl"j^r|tlllH
Proportion, Color, and
Ornament
77
.
Skill Builders PRACTICING BLOCKS OF TEXT Practicing lines and blocks of text on ruled paper ters.
You can use paper you have ruled
paper that or
any
is
keeping
find interesting,
mind the
in
and write
between
be compact, but not too
tight.
from having a
little
they don't get
lost.
for
may
find
let-
graph paper or notebook
Choose a paragraph
of text, a
poem, song
lyrics,
should
letters
Rounded
verticals like lowercase
with an eye
or you
make well-proportioned
out on a sheet of ruled or graph paper in Foundational Hand,
letters
lowercase e and o need closer spacing,
whereas
size,
to learn to
following:
Letter spacing: spacing
like
a specific nib
it
way
the best
ruled in increments that suit your purposes.
you
text
for
is
i
and
/
benefit
extra space around
Learn to scan your
how
the shapes
than the meaning of the
fit
them
so
letters
together rather
text.
Quitotiens socios* totiens exterruit hostes, Creditur annosum pertimuisse senem.
Letter widths: allow yourself to write letters at their natural widths, especially
m and w, and
avoid the inclination to compress letters to get
them
to
fit
ters tend
into a space. Foundational
Hand
let-
toward being wide and round, so when
in doubt, err
on the side of making
letters too
wide rather than too narrow. Interlinear spacing: allow
between
enough spacing
lines so that the ascenders
and
bump into each other. On too much spacing between lines
descenders do not the other hand,
can make lines look
lost.
for
it,
instead
uncomfortable gaps and
spaces between lines and
and
are the letters
allow them a lot of room
.
Get into the habit of
scanning your text without reading keeping an eye out
W widest
tn'
Quo \nc (ixit Amor; quo me violent!u$
letters.
uteit,
Hoc melior
tacti vutnerfc ulta QUICK REFERENCE Graph paper. Graph paper ruled with 10 squares inch (2.5
2.5-mm
cm)
is
very handy for practicing letters with a
nib because each square of the grid
mately 2.5
mm
to the
wide.
is
approxi-
erot Non e$o, Phoebe,
data* ate tmhi mentiar artes,Mec nos> ariae voce . .
78
Calligraphy 101
Color Color can be used work, or in larger
in
small amounts
amounts
to
gouache, and watercolor can
to
add accent and
make a bold all
be used
interest to
your
creative statement. Ink,
for pen, brush,
and background
work, with ink being the easiest starting point for beginners.
nk With the primary blue,
colors of red,
and yellow calligraphy
ink,
slightly brighter red.
The reason
for this is that calligraphy inks,
you can mix almost any color
being water-based, are more
you need. White and black ink
transparent than paints, so the
can also be used
stronger pigment in a mix will
to lighten or
darken ink colors as needed. It is
a good idea to purchase
dominate, sometimes extreme.
When you
with the lighter color
same brands
of these basic
ink, start
colors, since ink
formulas vary
(like
the
work a it is
lot in
If
are
you plan
to
purple and green,
also helpful to purchase
mixing
yellow or white) and then
add the stronger color
between brands and do not always mix well.
to the
(like
black, red, or blue) in very small
amounts
until
you have your
desired color.
those colors as premixed inks.
Look
for ink that is specifically
labeled as "calligraphy ink."
many colored inks on market, many of which are
There are the
formulated for fountain pens
and tend
to
be too watery and
transparent for calligraphy.
The
color wheel provides a
visual guide to mixing colors:
mixing red and yellow ink
make low
will
orange, blue and yel-
will
make
and blue
will
green, and red
make
purple.
Be
aware, however, that mixing
calligraphy ink as
is
not the
same
mixing paint— for example,
equal amounts of red and yel-
low calligraphy ink will not add
up
to orange, but rather just a
Proportion. Color, and
Ornament
79
ft
•^sS^g
..%,
V
You can also add a very small amount of a mixed color to opaque white ink, creating a lighter tint, or small amount of black to create a darker shade. Use black ink sparingly; some-
times only a tiny amount on the mixing brush (less than a drop) is
needed.
Tube watercolors can be mixed
to
an
inklike consistency
and
many colors tend to be transshow up well when used for writing smaller
used with a dipping pen, although parent and thus don't letters.
A
fun
way
to use tube watercolors
is
for filling in letters,
shapes, or borders, and for building up layers of transparent
yellow
color. Watercolors
>*
can also be used
to create a
background wash,
although some inks applied over watercolor washes
may bleed
azure + white Test out your color with a clean, dry nib on a sheet of paper rather than trying to
judge the color by the way
it
looks in
liquid form. Transparent colors like yellow or light blue look
much
lighter
amount
of
on paper than they do
opaque white
to
as ink.
*•
You can add a small
reduce transparency.
'
|
|
"*...
P ••"
When working
with acrylic ink or gouache, use
only a dipping pen, never a calligraphy fountain pen, which can
become clogged when
filled
with
anything other than non-waterproof ink. Clean nibs well after using gouache or acrylic ink, using a stiff-bristle brush to
remove any dried clumps of pigment.
80
Calligraphy 101
Acrylic inks are available in a wide range of colors that are acrylic ink is useful for layering
and backgrounds, but can be
very quickly, so
make
a little too thick for use with a
sure to rinse and wipe your nib often
Gouache on DARK.
dries to a
flat finish
surface.
Because
one color on top another without the danger of the two colors combining. Pearlescent
nice for borders
Gouache
opaque and generally nonbleeding on any
You can get very
pale tints to use
on darker
papers.
interesting effects
to
add a
little
is
waterproof,
acrylic inks are
water. Acrylic inks dry
when using them.
v N
and usually somewhat darker than
the mixed color.
nib— you may need
it
by mixing
Calligraphy gouache can be mixed with water to an inklike consistency
and used with a
nib, giving a
the nib with a brush dipped in
adding more water
if
flat,
opaque
gouache and
color.
Load up
test the consistency,
needed, drop by drop, until the gouache
flows smoothly from the nib.
Proportion, Color, and
Ornament
81
Ways
to Use Color
Color can be used sparingly or generously, depending on the look you want to create. Avoid using too
many
colors
on a
single page,
which can
distract the eye
and make the piece look busy. Contrasting
colors— colors positioned directly across from one another on the color wheel, such as red and green— used together will draw attention and give a bold, energetic look to a piece; whereas analogous colors— colors that sit next to
each other on the color wheel, such as blue and purple— used together
harmonious, subdued
will create
more
effects.
Examples
Calligraphy gouache can be used to lay
down opaque color
that will
show up on
a dark background.
^ P 'AMORS qui m'a
tola a moi^v \| Vt soi ne me viaut retmir%> mc plaint) Ornaments done
in a different color
can liven up blocks of
text.
tAKCEK When 82
A1C1 4^
inking a dipping pen, alternating between two colors, such as yellow and green, gives you graduated shades of both.
Calligraphy 101
WAS
HERE: OMCtZ
a shoemaker, who, thtmigH no fault
of his
own,
be
came 50poor that at last he ha<£ nothing left butjust
cnouah icdiherio make one p&iroftfaoes. Traditional calligraphy often uses red for an opening initial or line.
Arum macuiatum -Anemone cokonaria Bryonia dioica Centaukea cyanus •
DIGITALIS PU
Pllf
HeP£-RA HeLIX*
MY050TI5 5YLVATICA MORUS NIC.UA ALTHEA R05A LONICERA CAPtflEOLI UM PELUS PEKENNIS- Laurus mowlisSlLENE LATIFOLIA- )T|5 VlNIFErA•
•
In this example, analogous colors are used to create subdued contrast between words.
Proportion, Color, and
Ornament
83
1
Fun with Color Wet-on-Wet Wash Background all
four sides of a sheet of heavy-weight
(75 lb or
300 gsm) watercolor or printmaking
ITape
paper to your work surface. Use a large,
brush to saturate the paper,
soft-bristle
partially or entirely,
with water.
2
Pick a few colors of acrylic ink, used
full-
strength or diluted with water, and use a soft
brush to
blot, swirl, or splatter the ink
onto the wet
paper. (Artists' acrylic paints thinned with water
can also be used.) You'll notice interesting bleeding and patterns forming as the pigment flows into the moistened areas of paper. (Note: working with lighter colors will
make
it
go over with
easier to
ink in the end.) Allow the paper to dry thoroughly
before removing tape.
It
helps to press the semi-
dried sheet between two sheets of paper under
heavy books so that
3
When
it
the sheet
dries completely
is
dry, write
on
it
flat.
with water*
proof calligraphy ink or acrylic inks.
•
•
*
*
Ai
i -A M u / \
Pastel-Shaded Letter
1
Write your text
fairly large
watercolor or drawing paper.
- ff 1
Fills
on
a rough-surfaced
Unwrap some
knife to scrape a fine layer of pastel over the work.
2
a cotton swab, rub the pastel dust into
the open areas you wish to
in.
fill
where you don't want pastel color
For areas
to stick,
blow
the particles into a trashcan or sink (not onto your
work surface or
into the
open
air).
unwanted color using a kneadable
You can remove eraser,
but
make
sure you don't accidentally erase color from the areas
84
where you want
Calligraphy 101
it.
'
1
4 ~u
*-^^H 1
1
i
"L
'
km w I
of the paper from a pastel crayon, and use a craft
With
M
a
4.
1
iiT 1 11 ^^H
1
" I 1 11 \ v^- w-
'
1 1L~'
*
"* ^1 ^H ,
>\
1 ir
Watercolor Pencil
Leaver v
^
Fills
You can use watercolor pencils
to
fill
in spaces
inside of letters, as well as the insides of outlined letters or borders. 1
They are easy
use and a
to
more forgiving than regular watercolor
IUse a watercolor pencil to lightly inside of a letter or border.
The
lot
paints.
fill
in the
pencil tip
should not be too sharp. Use a regular back-andforth
movement
2
Use a small brush dipped
so the color
the color around.
Once
evenly distributed.
is
in
the
water to spread layer of color
first
has dried, you can go back and add additional layers.
Leaves
Freehand Gouache or Watercolor Borders
IMix two analogous colors of watercolor or gouache to inklike consistency— it should be
more watery than
Examples of analogous
thick.
colors are: yellow + green; purple
green; and orange
2
Use
red;
will
blue +
+ yellow.
a pencil to lightly outline
paper
of the
+
be trimmed. Tape
where your four
all
edges
paper to your work surface and use a wide,
soft-bristle
brush about
Vz
(1.3
cm) wide
to quickly
paint a loose, flowing border that extends inside as well as outside of your pencil lines.
keeping your brush strokes
3
fast
and
When the first layer of paint brush to apply the second
exactly tiy to
what you did the
first
have the colors overlap
alone in others.
and trim
When
ink
to size following
Work
quickly,
fluid.
is dry,
layer.
use the
Don't repeat
time, but instead in places
is dry,
and stand
untape the paper
your penciled guidelines.
Proportion, Color, and
Ornament
85
Ornament Ornament plays a calligraphy, by
decoration
vital role in
adding
style
and
a page, dividing up
to
space graphically, or balancing a composition or line by in
gaps.
filling
An ornament can
be
<#
x
something as simple as a few dots placed in a row to a complex
*
pattern of interlaced arabesques.
Almost any graphic mark you
make can be into
and refined an ornament, and combined stylized
>%
^
-f
with lines, borders, or other
ornaments
in
many
Try out some of these historic calligraphic ornaments
ways.
your text
It
helps to practice drawing the ornament out
pencil before going over
Ways
dxxcA e to q\±ii
satfimmo
WXl)Z Sa
six,
prituo e lo sccondo,
A6 CDEFGHl
imto cHVvidi de
le
cose belle
JKLMNOPan
porta "l ciel, per tin pcrtumo tondo. cfie
5TUVWXYI
Z qu'Wi usciwmo a riveder
le
* -*r at the
to the piece.
86
Calligraphy 101
sidle.
*
*
Ornaments
kl j i
mno p q r stuv
ne chiaro wondo £ sanza. cura aver aWcuti riposa cl
in
in ink.
abedef 9 H
camnuo ascoso intrawma ritormr
per
first
Ornament
to Use Lo
it
*
/ r
-x-
bottom of the page give a sense of completion
12 345
6
You can combine ornaments with lines
up
to liven
7690 to divide areas of text
V£T*DU+VAR VAR+GIAD Ornaments on each side
of a
word
Non enim
i((a,
quae
futura sunt, subrto existunt,5ecUst,
quasi rudcntis ex
or phrase showcase it
plicato, sic traductio
temporis nihil novi cfficicntis
primum
quidque
rcplicantus Groups of ornament can be combined
to
Ornaments
form patterns or
end of a
borders.
or flourishes
ei
can be used
to
-8*4*H*
fill
up blank space
at the
line of text.
Adding Details with Small Nibs and Brushes Using a small nib to add narrow
and ornaments can add extra Try using a nib that
is
lines to letters,
borders,
visual interest to a piece.
about one-third the width of your
regular nib for outlining or adding small details.
cs •A
(TTN *%
Brushes are very useful for ruling
two
pencil lines
example, a size with
ink,
1
filling in
borders— try
and using a small brush
or 2 round) to
fill
e
the space
lightly
*•
(for
in
between
gouache, or watercolor. You can build up the
border by adding more details with a narrow
nib.
Proportion, Colon and
Ornament
87
i-S***^-'
Decorative Spice Labels Although these labels are designed with spice jars
make them
into labels for storage boxes, folders,
in
mind, you can easily
packages, or just about
anything that needs a label
WHAT YOU'LL LEARN •
How
to
make and use
ITo figure out what size label to make, cut a small strip of paper
a
and wrap
template to create several
•
it
around the front of your jar— usually about halfway or
uniformly shaped labels
a little less
How
the point where the label should end, and use that as a guide for the
to plan spacing of
words within the same shape different
•
begin
Let's
How
around
is
the right size for a label. Fold the strip to
mark
label size. (continued)
to enliven a project
with a watercolor border
WHAT YOU'LL NEED •
crack-and-peel label stock with a woven or
matte
finish (glossy label
may
stock
not take the
ink well) •
l
calligraphy ink and
watercolor
in
assorted
colors
mm
•
2
•
small nib (about for
nib for lettering 1
mm)
adding details
mm)
•
Vs"
•
pencil
(3
flat
brush
'•
• ruler •
T-square
TIP
Check the back
of your
label stock to see
in
which
direction the crack-and• craft knife •
spice jars or containers
peel lines run,
and then position your
template on the paper so that the crack-and-peel lines run vertically
from the top and bottom of your piece. This will
make
it
a lot easier to
remove
the label backing.
Proportion, Color, and
Ornament
89
Decorative Spice Labels
2
Measure your guide
strip
and
rule out a tem-
on sturdy card
plate of that size
Use
stock.
a
steel-edge ruler and craft knife to cut out the tem-
making sure
plate,
your template
to
Use
that your cuts are straight.
make
on a small
light outlines
sheet of label stock. Keep plenty of space between
each
outline, or
you
if
wish,
stock even smaller so that
you can cut the
it is
bigger than the template on
3
Use *
¥
mm)
all
in
cm)
l" (2.5
sides.
and pencil
a clear ruler
lines Va" (3
about
label
to lightly rule
from the template outlines.
*
This will be the area used
for
the border.
parsley
*
4
Choose
the size nib
'
you want
to use. It is
1
helpful to *
make
a small ruling
gauge
(just
a
sage
ladder of the x-height with lines for baseline and x-height)
Doing
and use that
a trial
for ruling
run on paper
your writing
will also give
lines.
rosemary
you an
idea of the width of the different words, so you can easily center
them when you're writing them on
thtjme
the labels.
5
Ink in your
After the ink
you can cut the paper
wish,
(leave
letters.
some space around each
is
dry,
if
you
into quarters
label) to
work on
each label individually.
/
1
\
..-[.,.
>^
•"W
parsley
4
|
A.
*
»
—
90
-
Calligraphy 101
5
rosemary
sage
6
To paint the borders, apply
a small
watercolor to the brush, keeping
it
possible. Start at a corner of the border
the brush in
one smooth continuous
additional thin layers of color
of
as "dry" as
and draw
stroke.
Add
desired.
7
Use
8 9
Use a sharp scissors to trim the
a small nib to
add
if
amount
details.
labels, cut-
ting off just a tiny bit of the colored border.
Apply the
labels to your spice jars.
T-
Variations Use the techniques you've learned tags, nameplates,
and
to
make
gift
labels for lots of items
around the house.
Proportion, Color, and
Ornament
91
p
Award
Certificate
Everybody deserves recognition developing calligraphy
skills to
your friends and family
for just
WHAT YOU'LL LEARN •
How
Let's
for
something, right? You can put your
use by creating certificates awarding
about anything.
Begin
Use calligraphy markers
to use a rough
to
do a rough
layout.
1
layout to design a
(continued)
complex project •
How
to rule lines for a
complex project •
What order
to
work when
making a multicolor project
WHAT YOU'LL NEED •
8*4"
x
11"
(21.6 x 27.9
cm)
1
parchment paper •
pencil
•
kneaded eraser
•
ruler
•
color calligraphy markers
•
calligraphy nibs (2, 3.5,
and 5
in
3 sizes
mm)
•
calligraphy inks
•
W (3 mm) flat
•
crack-and-peel label
brush
stock pinking shears red acrylic ink
ribbon to
make the sea
Proportion, Color, and
Ornament
93
Award
2
Certificate
Referring to your rough layout for letter
heights and line widths, rule guidelines in
on
pencil
a sheet of
When you get
writing the individual lines of text.
you are
line
marking
satisfied with,
vertical lines at
well as in the center.
measure
each end of the
Trim
to a
narrow
Use a pencil and T-square
strip
and
text.
to lightly rule out
on the center of the
strip into position
with a
sheet.
3
When you
of each line, stick little
rolled piece of
tape or masking tape on the back of each
Use
a pencil to
where each
5
line as
aligning the vertical lines of the strips to the
artist's
strip.
ruler,
through the center of the entire page.
happy with the placement
each
2
Line up your letter strips on the ruled sheet,
vertical line
are
a
the border of the certificate. Lightly rule a
vertical line
4
with a
it
continue this process for each line of
3
tetittrcreby be Known that the
parchment paper and practice
mark small dots showing
line of text
Remove
begins and ends.
the strips of stuck-on text.
T-square aligned against the
left
With a
edge
of the
paper, use pencil to lightly rule guidelines for writing. Start
with the left-hand dot, and stop the line
when you if
reach the right-hand dot. Note:
it's
okay
let
the dots don't line up perfectly—just keep your
T-square aligned to
same length as
indicated
hereby be known thaltta
SUPER-FRlfeND AWARD
your paper edge and draw your
guidelines that are the
it
has been
by
the dots.
4
ERIIC for being ^
5 (
c
94
i
.
., j
«
j., ,.|l
Calligraphy 101
«
.|.,f|..f«i'»i'i'.^H.:-vi"g« i-ri"
''"J*
"'Ut
••'•"
"!P*"*'-'i
awarded to
6 Let it l\creby be known that the a
"has been Awarded to
6 for being
a really super friend/
v
Do
lines of all
one color
changing colors
at
each
first
line.
guard sheet under your hand
7
Do (3
rather than
Remember to use
to protect the paper.
the other text colors, and then use the
mm)
ders. Try to
flat
brush and red ink to
fill
Vs"
in the bor-
keep your brush strokes as smooth as
possible, drawing your
arm down the page
rather
than moving your fingers.
8
To make the
seal,
ink to paint a 2"
*
use a brush and red acrylic 2" (5.1 * 5.1
cm) square on
crack-and-peel label stock. Apply the ink in several layers so the paper
Let it hereby bekiown that the
When
SUPER-FRIEND AWARD
round object
has been awarded to
ERXJC for be (109
a.
really
super friend/
the ink
square.
is
9
densely coated with ink.
thoroughly
Use black ink and
use a compass or a
on the painted
a small nib to write or
seal.
Cut lengths
of ribbon
Use pinking shears
then peel
dry,
to lightly trace a circle
draw inside the
7
is
off the label
about
to trim
2" (5-1
cm)
around the
long. circle,
backing and stick the two
ends of the ribbon diagonally against the back of the label,
making sure the ribbon
this to the certificate
lies flat
Stick
and trim the ribbon ends with
sharp scissors.
Seaiof AFFWVAl
8
9
Proportion, Color, and
Ornament
95
!
Mosaic-Style Greeting Card For this project you to
will
use acrylic inks
and a wet-on-wet wash technique
create a colorful swirling background for your letters. The instructions
make a 5Y2" (14 cm) square
for this
design
spaces
for sixteen letters for the greeting.
Let's
WHAT YOU'LL LEARN •
How
make
background paper calligraphy using a wet-on-wet method
for
to
top-folding note card with
colorful
•
How
to cut small squares with precision
•
How
to glue small pieces in a precise grid
(Note: cover your tabletop or
part of this project,
•
140-lb
which can be a
or watercolor paper (page
cm)
of newsprint or scrap
(300 gsm) hot-pressed printmaking
paper
down
all
wide brush with
•
medium-sized brush with
soft bristles
printmaking
cut to about
in size. Place several sheets
four sides of the paper to a
soft-bristle brush,
soft bristles
19),
messy.)
paper underneath and tape
using masking tape or
•
little
Start with a piece of hot-pressed
7" * 10" (17.8 * 25.4
WHAT YOU'LL NEED
work surface with
newsprint or scrap paper for the wet-on-wet wash
1
pattern
Begin
artist's tape.
flat
surface
With a
thoroughly saturate the taped-
down paper with water. Use
a large brush to drop
a few blobs of acrylic ink (or acrylic paint •
large,
mixed
three colors of acrylic inks (or acrylic paint)
with water to a creamy consistency) onto the wet •
water
•
paper towels
•
masking/artist's tape
•
newsprint or scrap paper
•
black calligraphy ink
•
2-mm
•
scoring tool or bone folder
•
pencil
•
T-square
a spray bottle
in
surface of the paper. (continued)
l«»fc!H iiy^n,
I
V
Jilfiii
1.
Jfa
il f
nib
• ruler • craft knife •
cutting
• 5"
mat
x 5" (12.7 x 12.7
cm) piece
^11 1
of colored
I
I
-
card stock for backing sheet •
5W
x
11"
for card •
(14 x 27.9
cm) colored card stock
Iri'i .'£
:"M*:^z.i'n iftlttf?
WEKM t
..
.itaife-.
-I
base
envelope Proportion, Color, and
Ornament
97
Mosaic-Style Greeting Card
2
Let the ink blobs spread for a few moments,
!
B1SHI.JI
II^M^'I «..^i?
i
then drop random blobs of your second color
of acrylic ink or paint. Sssf.
3
Allow some time
for the
second color blobs
to spread out, then use a medium-sized brush
to splatter a third color of acrylic ink or paint onto
1:«
the paper. After these blobs have spread out a
1
i-A
little,
use a large slightly
damp
blend the colors until there
soft-bristle
mist the paper slightly
like,
4
When
if
of colors
and pencil
across,
and four down,
I
l" (2.5
will
be used
flat
for a total of
Lr
to
24 squares. it
Do
I
1 «i*
11 T l' « 1 3 I'l 1**
cm).
rule six squares
not rule the remaining paper— instead, trim it
H
to lightly rule a grid
and
1
remove the tape
measuring approximately
Start at the top of the sheet
3
you
the paper has dried completely
a T-square
of squares
if
needed.
(allow several hours for this)
and use
to
no white space show-
is
You can keep adding blobs
ing.
brush
1
1
*
>
* *
~ *.
ri
...
I :'#
III 1
1
i-i»«^"
iH»asM»?
wt.vw k-
1
Is.
off-
u^b
later in the project.
1
.
•
2
B»mii>
s *'* I
t
1
•'
s
£****
mw
ma
.
-
_**
i
i.2S-i;£
mill
-m. i m »
III?
1
*
Mi
r
1 Im
98
*
mmmmmmmm^m*
Calligraphy 101
t
;
—
5
Use a dipping pen and ink
to write the letters
of your greeting in
all
capitals,
center each letter inside
its
square. (Note:
taking care to if
your
greeting has less than sixteen characters, you can *
also leave
5
<
A Y
/
some
of the squares blank, or
fill
them
with ornaments.)
6
Working on a cutting mat, use a edge
and a
ruler
clear steel-
each
craft knife to trim
square approximately 1£g of the pencil grid lines.
(l.6
mm)
You can
in
from each
calculate this
distance by eye while holding the edge of the ^ 1
•
*
-
ruler against the pencil line,
•
and then moving
it
»
-
in *
*
toward the
lettering.
Trim each square
this way,
*
including any blank squares you intend to use. 1
HAP
7
To glue
letter
squares to backing sheet, start
by sticking down two lengths
along the upper and
left
of artist's tape
edges of the backing
sheet, forming a 90° angle.
Use a brush
to apply
a thin layer of glue to the back of the squares,
-
placing into position. Press
down
paper to make sure the square
To ensure glue the
by the
nice,
first
first
gently with
is fully
wax
glued down.
even spacing between the squares,
two squares of the
first line,
two squares of the second
work outward from
followed
line,
and
there, alternately gluing hori-
zontal and vertical squares. (continued)
Proportion, Color, and
Ornament
99
Mosaic-Style Greeting Card *
8
Remove tape and use
a steel-edge rule and
¥
1
I
4
»
craft knife to trim the
mately
V4" (6
mm)
\
backing sheet approxi-
from the
letter blocks.
Use
another ink to add ornaments.
*
•
^L
*
*
• i
9
Trim your
on-wet wash paper to
5W §W 0-4
cut a
and use a
window
craft knife
in the 5V2"
*
(14
*
«
*
1
*
•
•
14 cm).
and steel-edge rule
5%"
*
>' *
Measure the area covered by your grid of mounted letters
a
>'*
leftover piece of printmaking wet*
*
t
.
*
L
*
p
to
1
*
*
1
*
t
1
*
1
t
»
14 cm) sheet 1 lb
just slightly larger than this
L
r^B
measurement. 1
•
.
"
1 /"\ I
\*S
Fold 5V2" n
to $¥z
x
x
11" (14
*
27.9
5V2" (14 x 14
trimmed the sheet with
cm) card stock
v v
•
.,;-l
cm) and glue the
letters to the center of
_"1
the card.
^2,
100
Calligraphy 101
1
I
I
Variations
A
simple, easy greeting.
A
block of text cut up
into squares
becomes
an abstract collage.
Proportion. Color, and
Ornament
101
Uncial Hand and Illumination Uncial is
Hand
(from the Latin word "inch")
a script with a rich history that still holds
an appeal
for calligraphers today. It
was
developed around the fourth century AD as a style of lettering
used by scribes of Christian
manuscripts and became the standard "book
hand" of the early Middle Ages. Uncial
letters
are generally written large
and
and easily lend themselves
to decoration.
The Book of Kelts, created by
fairly quickly,
Irish scribes of
some of the most famous examples of Uncial hand text combined with profusely decorated letters and Celtic ornamentation, and provides some of the the early ninth century, contains
inspiration for the projects in this chapter.
103
2
The Uncial Alphabet
A> a. j*
,€,
Ac
&
i
ft l
I
*
m n ha a
))?" i 1
2
8 ^/
>A 104
Calligraphy 101
2
'
££ 1
¥ $ s
;©
3
Milti f
T!
M
ft'
#1
?!
**S3
Hand Key Points
Uncial •
h, •
Hand
Uncial
m,
t,
u,
letters are upright
and w. Keep the spacing between
There are no capital letters p, q, y, d, h, in
•
and extremely rotund, characterized by the arched form of the letters loose to provide "breathing room."
letters in the Uncial alphabet. All of the letters are the
and
k,
letters d,
same
height, except for the
which have very short descenders and ascenders (no more than 2 nib widths
length).
Uncial hand can be written with a 30° pen angle, or Historic Uncial scripts look.
If
you choose
if
you choose you can use an angle of 20° or
were written with a pen angle of 10* or
to use a flatter
pen angle,
is
15",
creating their signature "fat and
less. flat"
very helpful to keep a separate nib or pen that you use
only for writing Uncial Hand. The flatter writing angle will
cause the edge of the nib to wear
down
make it easithe lower angle (and more difficult
differently,
er to write at
and over time
will
to use for other scripts that call for a steeper
pen angle). •
The
traditional x-height for Uncial letters
nib widths, but heights of
4 or 5
nib widths are
also acceptable, as well as being easier to
age when
it
comes
ZVi
is
to ruling Out lines.
manUncial
Hand ladder/pen angle
Uncial
Hand and
Illumination
105
Skill Builders Exercise PRACTICING LETTER GROUPS 1:
In this exercise, Start
pen
you
will practice
by ruling one pencil
make
to
When the
a ladder
ink
two pencil
lines,
and
on
a sheet of paper.
2-mm
On
rule out the rest of the
1st
calligraphy
writing paper
•
pencil
the far first
left
strokes, shapes,
and proportions.
side of the page, use your calligraphy
step of the ladder precisely on the pencil
line.
page using that measurement.
Diagonal Letter Group
stroke
AkNvwxyfz
2nd stroke
fountain pen or marker •
common
share
another line at the very top stroke of the ladder. Measure the width between the
WHAT YOU'LL NEED •
letters that
4 nib widths high, positioning the
rule
is dry,
line
groups of
3rd stroke
For diagonal lines, use a steeper pen angle—you 4th stroke
• ruler
want the diagonal strokes
to
be only
slightly
thicker than the upright strokes. Notice that the
Round
letter
two upright strokes of the n are written using a
group
steeper angle as well.
ocbzecpqsz
The two upright strokes are made
first
using a steeper pen
Many
Uncial letters are rounded in shape, with the
o being slightly
elliptical. If
you are using a
angle; the diagonal stroke
is
flatter slightly
pen angle, the thin strokes
of
curved
letters
start at the
^^"^^^ _
letter.
top of the
The ascender
of
the d and the descend-
^k|^^
ers of the
p and
first
and second
w are
written with a steeper
pen angle, while
q
the third
should be kept very
and fourth
strokes are slightly
s ^ ort—no
fH^
more than
nib widths in length.
O should be
written as round as possible.
r S There are several alternate versions of Uncial letterforms that can be used to add variety
Calligraphy 101
The
strokes of the
J^.
106
curved swash.
should
M
The Uncial
written as a
to
your
text.
2
curved and swashlike.
Arched Letter Group
Straight Letter
FtT
BbcnnRuiu If
you
are using a flatter
of the arch will
pen
angle, the thin part
be at the top of the
care that these strokes are not
letter,
made
but take
too thin.
Arches should be wide and generous, echoing the proportions of the letter
Group
A pen
angle that
is
less than
30 °
to the vertical strokes. Practice
curving upward
rounded
movement
will
add width
making
of the
pen
a gently
to create
serifs at the start of the vertical stroke.
o.
ik. The The
same
stroke
is
the
as for the letter
o,
and the
first
The
alternate
different feel
arches are spaced equally.
w
has a very
from
its
diagonal version.
crossbar
letter /"has a
that should
sit
just
above
The
first
slightly
stroke of the
/
rises
above the headline h and
A
the baseline, and a short
(similar to
descender, like the letters p
pen angle gives a thinner
and
line to the
q.
k).
second
flatter
stroke.
QUICK REFERENCE Rule another
line.
them. However,
if
Because Uncial Hand has only
you would
like to
do
it,
rule
a
few ascenders and descenders,
descender and ascender
lines 2 nib
it
is
not necessary to rule guidelines for
widths apart from the baseline and headline,
Uncial
Hand and
Illumination
107
Versal Letters Versed letters are large capitals used
mark the start of a paragraph or line, and are an excellent way to
add decoration
to
your
to
They
text.
Q
are referred to as "built-up letters"
because the technique used
them
is to
draw
to
make
the letter line by line,
creating an outline. The letter can
be
left in
filled in
outlined form, or
can be
it
and decorated. Lombardic Lombardic Versals
Versals borrow letterforms from both
Roman and
Uncial alphabets. They were widely used to decorate pages
of medieval manuscripts,
and combine very
nicely with Uncial
Hand.
Lombardic Versals Key Points •
Use
a small nib to outline.
letter.
A
general rule
as the nib you use to •
It
is
The exact width of the nib
make the
large
you want
to
make the
outlines.
that the angles and proportions
made
depend on how
that the white space inside the vertical strokes should be about twice the width
helps to sketch out the letter lightly
the letters are
will
first
will
in
be
pencil before you start so
correct.
The inner strokes of
so that the counters (the spaces enclosed
either entirely or partly by
the lines of the letters) are
Here a l-mm
well-proportioned. The outer
nib was used to
edges of curved strokes are
added
next, followed
and decorative
by
draw the
outlines for a
serifs
letter l" (2.5
flourishes.
measuring
cm)
in
height, with
A
calligraphy pen with a fine-
tip nib
is
inside the
very useful for free-
hand drawing and embellishing—let the decorations flow!
108
the white space
Calligraphy 101
stem
about 2 nib widths wide. Notice
that
is
how
the two vertical strokes are slightly
Starting with the inner strokes ensures
adequate white space inside the
letters.
"waisted," narrower at the center than at
In this example, black strokes are drawn
the ends.
first,
followed by red and green.
Skill Builders VERSAL SKETCHING Any
style of letter
can be developed into a Versal
letter,
and often sketching with pencil
pected and exciting ideas for Versals. Take some time with a pencil and paper the technique of building
and adding
details as
any way you
like
you
up by go.
outlines.
It
You could choose one
particular alphabet to sketch, or just
When you've
version in ink: use a narrow nib to build your outlines, then
details.
like,
letters
fill
and inked-in versions
letters for inspiration
draw the
sketched a letter you really in with ink or paint.
using
and future
letters
like, try
Keep adding
allowing the ink or paint time to dry thoroughly before adding a
Save your sketches and finished
Various sketched
to sketch out letters,
helps to draw the letters large and loosely, sketching over
and see what you come up with.
decoration as you
will yield unex-
as
new round
out a
much of
projects.
B*# Uncial
Hand and
Illumination
109
Illumination The history of calligraphy
rich
is
with examples of precious metals
and pigments used to lavishly decorate and illustrate texts. In the past, the term "illumination" referred to manuscript decorations
made from gold leaf polished high shine, and
to
a
be the owner of
to
an illuminated manuscript was a sign of status
term
is
and
wealth.
used more broadly
and
decoration in gold
Today the to
mean
other colors.
Tools and Supplies for Illumination For the projects in this section, effect of shiny
you
use metallic gouaches and pigments that create the rich
gold and are more affordable and easier to use than gold
see "Brushwork and Gilding" page acrylic inks to
will learn to
add color
191.)
to your work.
You
will also learn to
Here are some basic
Metallic Pigments These are sold
in
powdered form and are made
from pulverized metal or minerals (usually bronze or mica) and a binding agent.
When mixed with
water to the right consistency, they can be used with a dipping pen or brush to create the effect of writing or painting with gold. Schminke Tro Col
Dry Gouache Bronze Powder the Rich
Gold color being
is
an excellent brand,
a near-identical
to the color of real 24-k gold.
To mix, add
match
distilled
water gradually, a few drops at a time, stirring with a brush until the powder
is
completely absorbed
by the water. Mix only small amounts, just prior to use, as the consistency of the
prolonged exposure to arabic will help
if
you
air.
Calligraphy 101
A drop or two
of
gum
find the metallic particles
separate from the water. 110
mix changes with
leaf.
(For projects with gold
leaf,
use gouache, watercolors, technical pens, and
facts you'll
need
to
know about
these materials:
in distilled water to
Metallic Watercolors
gouache These are
also sold in
powdered form and mixed
with water for use. Not
enough
for
all
brands are ground
fine
use with a dipping pen, and must be
make
it
shiny. Designer's
also available in metallic colors,
is
are useful for brushwork, but not
all
gouaches perform well when mixed
which
metallic to the inklike
consistency needed for writing with a nib.
used with a brush. Avoid using metallic watercolors in tube or cake form,
because they usually lack
Tube Watercolors
the density needed to produce rich metallic tones.
Like calligraphy gouache, watercolor paint in tubes
can be mixed with water for writing with a nib.
somewhat METALLIC WATE.RCC
The
an inklike consistency
colors tend to be
transparent, which can be used to great
advantage when you want
to create rich, built-up
layers of color. Conversely,
you can mix
amount
Copper
to
of white into
your watercolors
a small
to lighten
your color somewhat but also to increase ity.
Tube watercolors are
brush
ideal
its
opac-
when used with
for illumination to create rich jewellike
a
tones
or built-up layers of delicate color.
Calligraphy Gouache This extremely dense gouache
is
sold in tubes
and remains opaque when mixed with water inklike consistency.
Gouache
is
to
an
The Schminke Calligraphy
a very good brand, available in
many
colors as well as in a non-tarnishing metallic gold
(gold pearl) that looks really shiny.
gouache
is
a
calligraphy
not readily available, try designer's
gouache, which finish,
If
is
similar.
Gouache
which may not always be
drop or two of
gum
dries to a
desirable.
flat
Add
arabic, or sugar dissolved
Acrylic Inks Many
different
brands and colors of acrylic inks
have become available
in recent years,
many in
pearlescent colors. They can be used with a brush or with a dipping pen, but be warned: acrylic inks
dry very quickly, often right on the nib as you are writing!
If
you use
acrylic ink with a
pen, you will have to rinse and wipe
dipping
down
the nib
frequently to keep clumps of ink that can interfere
with ink
flow.
A toothbrush is very
useful for (continued)
Uncial
Hand and
Illumination
111
brushing ink really
inks
off the
tends to
is
aren't overinking the nib) or
The
of particle clinging to the nib. In this case,
stick!
great advantage of acrylic
that they are waterproof, so
you can
brands of pearlescent acrylic inks are a use with a nib—warning signs are
if
bit
few drops of
layer
Some
one color over another without any bleeding.
for
you are seeing clumps
nib in this case, as acrylic ink
too thick
the serifs on
you
find
one that flows
There are many brands of
Acrylic ink
vary in quality and suitability
for
of
which
use with nibs. Try out as
ink,
and
if
that
many
well.
Never use
acrylic ink
in a calligraphy fountain pen, as the ink will start to
dry inside
many
water to the
doesn't help, try another brand of acrylic ink until
your strokes come out consistently blobby (and you
acrylic inks available,
distilled
mix a
it
is
as soon as the
useful for building
pen
up
is
not in use.
layers of colors that won't
bleed into each other.
as you can.
Safe Handling of Pigments and Paints •
When
mixing pigment
in
powder form, wear
to avoid inhaling the fine particles.
of pigment from
become •
Do
its
container. Avoid
not eat or drink
tools with a
remove •
mask or
tie a
kerchief over your nose
a small palette knife or similar object to
dumping
it
and mouth
scoop small amounts
out or making any motion that allows the pigment to
airborne. in
the area where you are working with paints, inks, or pigments, and
wash your hands and face and
Use
a surgical
all
damp
after handling.
cloth;
When you
are finished working, wipe
make
sure to
down your work
surface
water containers, brushes, and pens need to washed and rinsed well to
traces of metallic particles, which tend to cling.
Take extra care to avoid ingesting or inhaling fumes from any paints containing cadmium, barium, or
lead— these heavy metals can produce toxic side effects with prolonged exposure.
If
any
art supply
you
are working with smells noxious or gives you a headache, ventilate your work area immediately and dis-
continue using the product.
112
Calligraphy 101
brush (see Tips about Brushes on page
Brushes
it
you
For illumination
and adding
details to letters
purchasing brushes,
marks you want
money on •
need various brushes
and
a long time.
for
colored areas, painting lines and borders,
filling in
really
will
will last
114)
a
it
When
and ornaments.
helps to
know what
sort of
make, so you don't spend a
to
lot
of
brush that ends up being not what you
needed
in the
first
place.
Here are some
tips:
To make small dots: a short-handled brush with short bristles forming a rounded labeled as "round" or "spotter."
sizes— 20/0 (very small), 10/0,
2 round
is
the largest you are
usually
tip,
Look
0,
1,
for small
2— a number
likely to
need. The '**>
round
bristle
brush can also serve as a genera!
all-purpose brush, used for color,
drawing
lines,
filling in
areas of
v
shapes, etc.
To make
straight,
blocky
and borders use
lines
a
short-handled brush with short to medium-long bristles
.••:
20/Q
°Gi^*^*^
r.^
•
"flat
and
flat tip,
usually labeled as "shader,"
shader," or "lettering."
The width of the brush
should be slightly narrower than the width of the
lines
press
you intend
down
expand
slightly
to paint,
because when you
on the brush, the
to create a wider
line.
Keep
bristles will
in
mind that
you can also hold a flat-tipped brush at a 30° angle to paint letters using exactly the
same
kind
of strokes you would use with a calligraphy pen. )2/0
To paint leaves,
stars, flower petals, swirls,
<$&£&
or
shapes having sharp corners or points: a shorthandled brush with short pointed Sizes this
tip,
or
1
bristles
forming a
usually labeled as "pointed round."
are
good
sizes to begin with.
type of brush, a high-quality version
worth the expense (look for sable
recommended
With is
bristles,
(continued)
H\
/w
well
often
as a watercolor brush) since inex-
*.
pensive pointed rounds usually lose their shape very quickly. Take
good care
of your sable-bristle Uncial
Hand and
Illumination
113
•
To make long, skinny
lines
use a short-handled
brush with long bristles ending ally
labeled "script
more
You
10/0 or
The long
bristles allow
be taken up on the brush, creating
ink to
long, flowing lines; with.
liner."
a point, usu-
in
20/0
will rarely
is
a good size to start
need any
size larger than
1.
Tips about Brushes •
Expensive
isn't
or other animal fibers (except preferable, as they are "craft" or •
When
necessarily better.
more
in
starting out, steer clear of brushes
durable, flexible, and readily replaceable.
said, for fine, detailed
then treat yourself to a high-end version of
Make if
it
a habit to thoroughly
in
bristles.
especially
wash the
A soapy toothbrush
where the
bristles
you
settle
on a specific size and shape you
is
bristles of
useful for
meet the
really like,
your brushes with dish soap after each use— especially acrylic inks,
combing out the
which tend to quickly
particles that
can collect
in
gum up
the bristles,
ferrule (the metal collar that holds the bristles to the handle). After
gum
brush into
washed brushes
natural shape. Place
real joy to
it.
washing, apply a small amount of its
to check out any available
inexpensive assortments.
you have been working with metallic pigments, gouache, or
brush
Be sure
work, a well-made natural-fiber watercolor brush can be a
use. Try out various synthetic-fiber brushes until
•
with sable, squirrel,
the case of the pointed round brush). Synthetic bristles are generally
"hobby" brushes, which are often packaged
That being
made
arabic to the tip of each brush, using your fingertips to shape the bristle-end
up
in
a jar or brush holder to dry,
making
sure that the bristles aren't touching anything that might cause them to dry into a distorted shape.
114
Calligraphy 101
are
Papers
good
full-size
The paper you choose
for illumination projects
should be thick enough to hold paint and ink without buckling, and smooth enough so that you
can write clean lines with the
nib. Ideally
be archival (often labeled "100% cotton,"
it
should
will
"pH
neutral"),
not discolor or fade over time. Smooth-finish
Bristol or hot-pressed cotton
Bristol offers
absorption of
also
want
to
experiment with watercolor
papers, which are very thick (and thus can absorb
and pigment) with a textured
a lot of water
finish.
Textured finishes can be tricky to write on with a
"rag," "cot-
which means the paper
in single
sheets as well as in smaller pads or blocks.
You might
nib,
ton rag," or
and can be purchased
choices,
but you
may
find
a textured surface
is
one
that
works
for
you. Often
ideal for pieces intended to
have a more rustic or arts-and-crafts look.
printmaking paper
one of the smoothest writing surfaces with good ink.
Watercolor and cold-pressed papers have textured surfaces,
which can create
*•
"TIP '•...
.•*
a rustic or
Many
more hand-touched look
of the best-quality art
you work.
papers are sold
only as individual full-size sheets, and
many
of
the best brands (Arches, Fabriano, Strathmore,
Canson) offer individual size pads. Get to
supply store
sells
before you invest
full-size sheets as well as smaller-
know what kind
will
of
papers your
local art
by the sheet and try out various sheets in
an expensive pad or block of watercolor
or hot-pressed paper-especially
the paper
to
perform with your
when you're not sure how inks, nibs,
and paint.
Hot-pressed printmaking papers have a luxurious weight and texture slightly
and absorb ink
on
well,
although certain inks
may bleed
certain papers.
Uncial
Hand and
Illumination
115
Skill Builders ILLUMINATED LETTER PRACTICE
Blocky Lomardic Versals
116
Calligraphy 101
for Illuminating
1
WHAT YOU'LL NEED
Choose a build
letter
up an
paper
pencil,
•
pencil
line in ink. (You letter.
this Versal alphabet,
and then use a narrow nib to draw the
Make
out-
can also design your own Versal
sure to leave a lot of space between
the pen outlines so there •
and
outline. First sketch the outline in
•
• ink
from
is
room
for color
and
paint decoration.)
2
Fill
in the outlines with ink or paint,
using
solid fields of color, patterns, shapes, or
anything else that comes to mind. After the ink or paint has dried,
you can go back and add more
decoration. Note: you will have ing color
on
color
if
more success
you use waterproof or
layer-
acrylic
inks instead of regular calligraphy ink.
2
Uncial
Hand and
Illumination
117
Illuminated Holiday Card makes use of red, gold, and white create a sumptuous holiday effect
This simple design
cotton paper to
WHAT YOU'LL LEARN How
to illuminate letters
Let's
How
mm)
and
together with ribbon
not using precut card stock, cut or use a steel-edge ruler
to tear a rectangle of cotton (3
to layer papers
Begin
Ilf you are
with calligraphy gouache
2.2
inks on luxurious
printmaking paper to a size that
smaller on each side than your envelope. Using a T-square
pencil, lightly
draw rectangles, measuring
cm), spaced about
Vs" (3
mm)
l"
wide by %"
apart for each illuminated
WHAT YOU'LL NEED •
is Vs"
tall (2.5
*
letter.
(continued)
100% cotton hot-pressed printmaking paper or card stock
•
matching envelope
•
red card stock or heavy-
weight text paper for backing sheet •
red calligraphy ink
•
metallic gold
•
white gouache
•
red
•
6" to 12" (15.2 to 30.5 of
gouache
gouache
3
/s" (1
cm)
cm) red ribbon
•
3-mm round-hand
•
small round-tip/spotter
nib
brush • Vb" •
(3
mm)
optional:
hole punch
photo corners,
decorative-edge scissors, additional
gouache colors
Uncial
Hand and
Illumination
119
Iluminated Holiday Card 3-mm nib and red ink to Uncial Hand that are centered Use
a
2 When 3
by outlining the edge
in the blank area until
edge of the onto the the
letter.
most
easily.
not to pile
clump.
4
you
to
and
work
3
in
make
will
any
direc-
apply the gouache
as quickly as
it
at a
the gold
gouache
the
you
can,
and
try
which can tend
to
gouache with the brush from time
keep
When
to
white space between
layers of gouache,
Stir the
to time to
filling
Try not to overlap the gouache
letter is preferable
Work
and
you come right up
that allows
up
in the squares.
fill
the red letters "pop." Turn your
needed
each square.
of a square
letter itself— a little
gouache and
tion
in
ink has dried, mix gold gouache to a
creamy consistency and
Start
write letters in
to a
uniform consistency.
gouache has
dried,
mix white
creamy consistency and use
the round brush to add details as desired. For dots, swirl the
brush
down
much gouache
5
so
in a small circle,
Mix red gouache and add a second
that
to a
it
avoiding laying
forms a bump.
4
creamy consistency
layer of detail after the first
layer has dried.
5
120
Calligraphy 101
€
Broadside As
a calligrapher, you will be called upon to create a broadside— a single
page of display
text,
often a well-loved,
poem, saying, or quote, suitable
for framing.
WHAT YOU'LL LEARN •
How How
to
10"
make ornamental
opening •
How
to
left,
interesting
*
8" (25.4
*
20.3
and bottom, and
your
initials
make
Begin
IUse a T-square and pencil to lightly rule out margins on your
to create an
attractive broadside •
Let's
cm) sheet as
1V2" (3.8
cm)
"live area" for writing text,
follows: 2" (5.1
at
the top.
The
cm) on the
inside space will be
providing ample room for matting
and framing. Rule out a few sheets of practice paper
in the
How
same way. (continued)
decorative elements •
right,
to produce well-
spaced text
WHAT YOU'LL NEED •
10" x 8" (25.4 x 20.3
piece of
cm)
100% cotton
heavy-weight printmaking or watercolor paper •
sheets of practice paper
•
assorted calligraphy inks
•
3-mm pen
•
metallic
nib
pigments or
watercolors •
small round-tip brush
•
pencil
• ruler •
T-square
Uncial
Hand and
Illumination
123
Broadside
2
Do
a few
text
trial
runs of your
on the practice
As with the Award project (page 93),
sheets.
Certificate
it is
often
helpful to trim out strips of your
best lines of text and paste them
up
in a layout that looks
Pay special attention
to you. to
your opening
make
good
it
if
^LORiqR,
you
larger, or in Versal style,
proportion
enough
initial:
to
it
so that
it is
large
stand out, but not
overly large in relation to the
other letters.
3
Take measurements from this layout
and use them
to rule guidelines
on your
final
J
:
sheet.
4
,
t
When writing text, remember
to
keep
letters large
and well-spaced. The idea
is
for
the words to be easily readable,
drawing the eye from a distance.
^^^^h
4
GLORiq^ 124
Calligraphy 101
J^osa. yuiwcar>b)ojn
Uuo canbjbjo^,
f
5
Add ornaments and
decorative elements to the
initials at
seonpzcp.
wee
other
helps to
the end, as needed.
first
It
pencil in the areas
for illumination
small brush to
and then use a
fill
in with color
or pigment.
6 is
If
your piece
is
going
to
be
matted or framed, a border
not generally necessary,
because a mat and frame
will
serve as borders to the piece.
Variations
Try your hand at adding small
Broadside with traditional Celtic
illustrative
more
elements to provide
visual interest to a piece.
ornament
Uncial
Hand and
Illumination
125
i
;
Illuminated Initial Medallion Illuminated lettering can be really lovely when paired with jewelry, transforming your calligraphy into wearable art Look for blank
medallion pendants and dimensional adhesive at local bead and jewelry suppliers or online— be sure to get a glaze that will adhere to metal
WHAT YOU'LL LEARN •
How
to
make
jewelry
with calligraphy letters •
•
How
to
make
a curve-
Let's
Begin
Ilf the
inside area of the medallion
that can easily tiny
smear
is
not a square or rectangle
be measured, make a template as
of glue to the center of the medallion
follows:
and allow
apply a
it
to diy
almost completely. Cut a piece of tissue paper and press the center of
shaped template using tissue paper
the paper onto the glue spot. Use a bone folder to very gently rub the
How
tissue
to use
diamond
flat,
gradually working your
way
to the edges.
When you
get to
curved or irregular edges, gently use the point of the bone folder to
glaze
work the
WHAT YOU'LL NEED
tissue along the edges,
smoothing
flat
not to poke holes in the tissue with the bone
any
folds.
Be careful
folder. (continued)
•
medallion pendant
•
water-based dimensional adhesive (often called
diamond •
glaze)
smooth-finish text-
weight (or thinner) paper • tissue
paper
•
heavy vellum
•
bone
•
glue
folder
• acrylic inks •
metallic
powdered
pigment •
calligraphy ink and nibs
•
small brushes
•
small scissors
Uncial
Hand and
Illumination
127
Zodiac Accordion Book The accordion book
(also called
book-artist's format that
You
will
is
a traditional
one of the easiest kinds of books
to construct.
need a paper sheet that measures at least 32" wide and 20" high
50.8 cm). Take care to handle the long sheets gently so they don't
x
(76.2
is
a "concertina book")
get scuffed or dented.
WHAT YOU'LL LEARN •
How and
•
•
to
make mountain
valley folds
•
blue,
making an accordion book
inks
to protect finished
How
to
make
designs for the zodiac
all
•
medium-size brush
• soft-bristle
medium-weight
100% cotton
text
•
metal-edge
•
bone folder
ruler
• craft knife
cut to •
5V*"
round-hand
polyvinyl adhesive
(PVA
cm) foam brush
or soft bristle brush for applying glue
tear-bar •
2-mm
glue)
long metal T-square or
two pieces
flat
calligraphy nibs
paper
artist's
and
• 1" (2.5
•
V (6 mm)
#0 pointed round brush
• 1-
printmaking paper, 80 to 110 lb (131 to 161 gsm) •
soft bristle
brush
WHAT YOU'LL NEED or
and aqua calligraphy
white calligraphy gouache
illuminated
the signs of
olive green, sky
•
•
•
pearlescent blue acrylic ink
Basic instructions for
How
tape
• red, blue,
pages while working •
• artist's
•
24" (61 cm) length of %" (6 mm) or Vs" (1 cm) ribbon
•
scissors
book board (13.3 cm) square of
80- to 100-lb (131 to 150.5 gsm) text-weight colored paper for cover
(continued)
Uncial
Hand and
Illumination
131
— Zodiac Accordion Book Let's
Begin
IOn a large work surface, position your paper so that the widest
edge faces the top and
refer to
the diagram below. Cut (or use a long T-square or tear-bar to tear) three sheets that (78.7
*
measure
31" * 5"
cm). Use a T-square and pencil to lightly
12.7
where the diagram shows
rule vertical lines
light-
gray dashed
lines: the first line is ruled Vz" (1.3
from the
edge
left
of the paper, followed
by
cm)
six lines
ruled 5" (12.7 cm) apart, and ending with a final line rule
2
y-i
(1.3
cm) from the
right edge.
Refer to the diagram below for
how
to fold
each section. Heavy dashed lines represent
"mountain
folds,"
where the
fold points
up toward
you; light dashed lines represent "valley folds,"
where the
fold points
folder to fold
all
5 inches
la
2a
132
Calligraphy 101
away from you. Use
a
bone
three sheets in this pattern.
5 inches
5
inches
-5
inches
-5
inches
-
-5
inches
-
3
For inking in the pages, work on two open
panels at a time, keeping remaining panels
folded together and loosely tucked into an
envelope. Use
tape to secure the tops and
artist's
bottoms of the panels you are working onto your
work
surface. In this example, panel
blank. For panel
2,
use the %"
(6
l
mm)
remains
brush
flat
to paint a square of pearlescent blue acrylic ink
and allow
to dry.
Do
the lettering next, and
that has dried, use white calligraphy
the #0 brush to paint the stars.
when
gouache and
When
remove
dry,
the tape, slip a piece of paper in between the two
panels to act as a guard sheet, then
flip
and turn
to
the next two panels.
4
The next two panels sequence: tape
follow the
down
same
edges, paint the blue
pearlescent ink square, follow with calligraphy inks,
then do the white gouache
dry, insert
stars.
When
ink
is
guard sheet, fold the page, and tuck into
envelope with previously finished panels.
5
When you first
lightly all
finish the last
section, fold
under a book
two panels
of the
up the entire page and press
until
you are ready to attach
the pages together. (continued)
Uncial
Hand and
Illumination
133
Zodiac Accordion Book
6
For the rest of the
you
will follow
book
the
same
sequence, creating different text
on each page. The fourth panel is
where you can write your dedi-
cation, signature, date, or
CAl)C€R
L€0
THE CRAB
THE LION A> 25 JULY -23 AUGUST
22JUNE-22JULY
any
other special marks of your own.
7
To assemble the three
indi-
vidual sections of the book
do the following: with the
first
section folded and facedown,
VIRCO
place a sheet of scrap paper
underneath the ed
Vz" (1.3
strip at the far left
cm)
fold-
THE VIRGIN
and coat 24 AUGUST- 22SEPTEMBER
the strip with a light layer of
PVA or craft glue, making sure way
to get all the
THE SCALES
*
23SEPTEMBER-250CT0BER.
*
to the edges,
but not going over the fold line
on the
left.
Remove
the scrap
paper from underneath, and lay the
first
%"
(1.3
cm)
flap of the
second section, folded under,
on top
of the glue, lining
CAPRICOR1)
up the
two sections evenly. Cover with a sheet of
THE SEA-GOAT
THE WATER-BEARER.
22D6CEMBER-20JANUARY
21JANUARY-18 FEBRUARY
wax paper and press
under a book
until dry.
*'* *
SCORPIO THE SCORPION 24
0CTOBER-22N0VEMBER
SAQICCARIUS THE ARCHER, 23 AJOVEMBEJUlDECEMBEJt
6d *
134
Calligraphy 101
*
8
Flip over the glued-together sections
glue
down
and
the strip to the back of one of the
pages. To glue the strips between the end of section two
and the beginning of section
steps 7 and
9
8.
Trim two pieces (13.3
of
book board
to
5%"
cm) square and cut two sheets
ored cover paper to a 6V2"
foam brush or front of the
layer of
three, repeat
l"
(2.5
cm) square. Use the
cm)-wide brush to cover the
one piece
PVA
(16.5
of col-
of
book board with
a thin
glue. (continued)
Uncial
Hand and
Illumination
135
Zodiac Accordion Book
g\ \J
"1 I
Lay a cut sheet of cover paper facedown
on your work
surface,
and place the book
board, glue-side-down, onto the paper,
making sure
it
is
centered on the sheet. Flip the board over so
it
is
faceup,
and use
a
bone
folder to
smooth over
the cover paper, working from the center outward,
making sure the paper *1
1
I
I
Trim
is
glued
down
flat.
corners of the decorative
off the
paper diagonally, about
14" (6
mm)
from
the corners of the board. Flip the board over and,
working one side of cover
at a time,
paper and fold
apply
PVA to
a flap
up and over the edge
it
using the bone folder to press the
of the board,
paper firmly against the edge of the board. Use the pointed tip of the
bone
folder to press the
little
corner folds of paper tightly against the edges of the board. Repeat steps 9 to 11 to
make the
cover
and place the two glued boards between sheets of
wax paper and
hours (overnight
at least 8
1 ^\ ^I
very
press under several heavy books for
To mount the pages trim
left
away the %"
of the
first
the
and lay
first
cm)
strips
Use
from the
panel and from the very right
page facedown on the
a clean sheet of scrap
panel.
11
to the covers, first
(l-3
of the last panel. Place the table
best).
is
a
paper beneath
foam brush and PVA glue
to
quickly apply a thin but thorough layer of glue to the back of the
136
Calligraphy 101
first
panel.
*1
X
I
vJ
Gently hold the page by the edges and it
over, positioning the
flip
glued back of the
panel centered on the back side of the book board.
Use a bone folder
to
smooth any bubbles, working
from the center outward. Cover with waxed paper
and press under
a
heavy book
MFor mounting cut two
Mark halfway cover,
end
until dry.
the back cover of the book,
12" (30.5
cm) pieces
of ribbon.
points on each side of the inside back
and use
a few
drops of
PVA to
glue each
of the ribbon to the sides of the book.
Cover
with wax paper and press until dry, then follow the
same procedure described last
in step 12 to
mount the
panel of the pages to the back cover. Press the
entire
book between two
layers of
several heavy
books and allow
When
the ribbons in a
dry, tie
wax papers under
to dry overnight.
bow
at
the front of
the book and trim the ends diagonally.
Uncial
Hand and
Illumination
137
^Botu it bob come to paf& that tfee king orbaineb afeetivai t6at
$bou£b Ust for three bay*, avfo to lubic ad the young women, of that country were bibben, £o t6at tfo ftingfeeon migfet cfeoo^e ^ tribe fromamon$ them. 'CH6m t6e ttuo Hepbaxi$kter$ kearb that thi\j, too, were 6i^cnto
appear, they felt very pteazeh
anb tfeeti
cartel
fto&mputttf,
" Ccnvt our Jxtlr, 6ru&b our *fc>t£, anfc makf our fcucMe* fast-, uw ctr £3011*5 to tfce uted&xwj-
fea*tatthekm$$
entitle."
Lowercase Blackletter Alphabet This particular Gothic alphabet
is
known as
"Blackletter" due to
its
and overall dark appearance. Notice how in some of (such as d, h, and Is) you can see remnants of the Uncial style.
broad, heavy strokes the letters
Pen angle
for Blackletter
alphabet
/jS
A
£
v.
/.
/ '
/
/.
z*y
a\
*
S\S
/O
140
Calligraphy 101
«,
Arched with Ascenders/Descenders
The
letters in this
group combine arches, which are kept narrow and pointed, with ascenders or descenders, which are
relatively short
in length.
The pointed arch of this letter brings dows of a Gothic cathedral.
to
mind the arched win-
It will
take a bit of practice to get the shape of this letter
correct— think of circular letter
o.
Counters (the white space
in
it
as constructing
an arched oval rather than a
Arched Group
The
letters in this
a solid, rectangular quality.
Each color shows
The m
the change in pen
the hrst one starting with a slight
direction for this
upward movement.
stroke.
142
group have
Calligraphy 101
is
comprised of
many strokes,
This
letter,
between strokes) are kept narrow.
as do
many
directional stroke
in this group, starts with the
shown
for the letter
m.
same
multi-
Vertical
Group *
The vertical group has
relatively short
i
ascenders and descenders. Cross-strokes on the f and
For the crossbar, turn your pen to a slightly steeper angle to
This
keep the stroke from becoming too wide.
sible to
letter also
has
f
appear on the top edge of the baseline.
many strokes,
combine several strokes
although you
into
may
find
it
pos-
one movement of the pen.
Miscellaneous Group
During the Gothic period several variation of the
letters
x and z
evolved,
no doubt due
to the increase of scribes
and manuscripts being
produced during that time.
Gothic Hand
143
Uppercase Blackletter Alphabet Originally no capitals existed in Gothic alphabets; instead a decorative
Versal or Uncial letter would be used. This can
your work. Avoid using
an
issue.
The
little
all
flags
added as
-^V
^-^3
^6
^7
letters,
the last strokes of a
©;m
Calligraphy 101
in
Gothic capitals in a word, as legibility becomes
is5
144
be a good option
appearing on the stems of the
the fine vertical lines, are
5
still
letter.
m 2
as well as
Magnetic Alphabet Set Here
is
a fun project that pairs the serious look of the Blackletter
alphabet with a splashy modern background. The process these magnetic letters
is
and when you
entertaining,
for
finish,
making
you can play
with them!
WHAT YOU'LL LEARN •
How
to layer translucent
colors •
How
in
a
background
work with paintable vinyl magnetic to
small spray-mist bottle
#2 round brush small metal
tin
two self-adhesive magnets
circular
sheet
WHAT YOU'LL NEED • 12"
x 24" (30.5 x 61
cm)
paintable magnetic sheet (with a vinyl not a paper
Let's
Begin
IUse a T-square and pencil to measure the section of your magnetic sheet that will lay
flat
on the bottom
of the tray.
with pencil, and trim with scissors (as close to
l" [2.5
Mark
lines
cm] increments
surface) as possible).
baking or tea tray with a flat bottom, at
• steel
least 6" x 6" (15.2 x 15.2
•
to press too hard,
acrylic ink for • •
pencil
• fine
sheet. Let
to
it
work
sandpaper
more
of a
all
the
damp paper
Mix yellow
to swirl slightly
scissors
and
sheet with a
the sandpaper.
T-square
fine
to
sand each sheet,
between swirling and diagonal motions. Make sure not
alternating
Wipe each
cm)
Use 220-grade
way
to the
edges of the sheets.
towel to remove any grit from
acrylic ink (add a small
mustard color) and use a
amount l" (2.5
of black
cm) brush
watered-down ink across the surface of the magnetic
sit for 5
minutes.
sandpaper, 220
grade •
yellow, black,
and white
acrylic inks •
metallic gold acrylic paint
• 1" (2.5
bristle
cm) wide
soft
brush
•
paper towels
•
2-mm
chisel-tip
calligraphy nib •
black calligraphy ink
•
steel-edge ruler
• craft knife
(continued)
Gothic Hand
147
Magnetic Alphabet Set
2
1
paper towel, removing a
little (If
.*..-«•
Blot the ink lightly with a
of the yellow, but not
all.
the ink has dried too quickly,
mist the paper towel with water.)
Allow
to
dry thoroughly.
remove too much can repeat
yellow,
this step.
If
you
you
Repeat
process and steps 3 to 6 on
this all
of
the sanded magnetic sheets.
3
Mix gold
acrylic paint to 4 f4
a watery wash consistency
and use swirl
it
l" (2.5
to 10 minutes,
desired.
You can add as many
smooth
layers of color as
you
choose. Load a small brush
with gray acrylic ink. Hold your outstretched index finger well
above the work, and
hit the
brush firmly against your finger to spatter the ink.
you hold your
The higher up
finger, the
wider
finer the splatter will be.
You can
blot off the drops with
paper towel
148
*
cm) brush to
then blot or swirl some more as
if
V
over the yellow layer.
Wait about 5
and
:;.:
to
necessaiy.
Calligraphy 101
tone them
down
id xepzauiuioo/sreura a
,
« — ***
ti
x
_.
4
1
9
When
sheets are com-
pletely dry, use a T-square
and
ruler to
(1.9
*
1.9
mark
off
%"
* 3
A"
cm) squares across the
surface of the sheets. Pencil in
a
two complete lowercase alphabets,
and two complete
capital
alphabets, using extra squares
i
for vowels,
%
numerals,
4
commonly used
con-
sonants, etc. Use a steel-edge ruler
c
punctuation marks,
(1.9
and
cm)
sheets.
craft knife to trim 3A"
vertical strips
from your
Use the 2-mm broad nib
and black calligraphy ink
to
write over your pencil marks.
5
Use sharp scissors letters apart
on the
to trim
hori-
J
zontal pencil lines.
6
If
desired, put the letters in
a metal tin with magnets
affixed to the
back and
stick
it
to
the fridge or other metal surface.
Adults and children alike will
have a
lot of
fun with
this!
5
QUICK REFERENCE Vertical strips. Working on a verti-
1
cal strip will help
m letter
you keeping each
centered within
its
square.
6
Gothic Hand
149
——*»•*1.M,
i
_A
-\
h
.
*
*
«
t
.
% %
;^»*. -
1^
fc
Spooky Signs Every now and then you need a spooky sign for Halloween decorations, or just to lend a sense of darkness
A
craft or
hobby shop
decorate with
all
How
to "age"
wood
with
How to a
to apply calligraphy
wood
Let's
ITo
needed.
sign blanks that you can
to find
Begin
give an aged look to your sign, brew a pot of strong black tea
(5 or
coffee and tea •
a good place
it's
kinds of spooky sayings.
WHAT YOU'LL LEARN •
is
and foreboding wherever
enough
6 teabags), steep well, then pour the tea into a bowl large to
accommodate your blank
sign.
Next add several cups of
very strong coffee. Submerse your sign in this mix, weighting with a
surface
heavy cup or bowl
to
keep
it
submerged
for at least
4 hours. (continued)
WHAT YOU'LL NEED •
approximately 6" wide 2" high (15.2 x 5.1 cm)
x
V
(6
mm) plywood
die-cut
sign blank •
black tea
•
brewed coffee
•
brown water-based
• fine
ink
(220 grade)
sandpaper • acrylic • 1" (2.5
matte medium
cm)
craft
brush
•
pencil
•
eraser
•
white Saral transfer
paper • •
2 or
3mm
M
f
jM-i
calligraphy nib
black calligraphy ink
FiilfiiR
APTS&OOHD0S 1
Gothic Hand
151
Spooky Sign
2
Remove sign blank and place
it
on
news-
a stack of
JOBS SENT TO YOUR EMAIL
bimlll|Hlfl-''^<'/il'i»lHHrM|fAMlMlW Ufa*" m-iM
i
cover with another stack
print;
of newsprint until dry, it
about 24 hours. Once
has dried, remove and mix a small
amount
water and use a brush to add
extra
brown age marks around
edges.
3
Use
fine
grade (#220) sand-
paper to sand the surface
of the sign
and
a
l" (2.5
cm)
brush to apply three layers of acrylic
matte medium, allowing
at least
30 minutes in between
applications for drying. After the last layer of matte is dry,
either
you can
medium
write your
text freehand with a 2- or
3-mm
calligraphy nib and black callig-
raphy ink or you can do a
trial
run of your text on paper and trace your results onto the sign
using white Saral tracing paper.
4 to
152
S
? 1 iV j 4 1
An, Wrv#f !'. Wt 1
MM
*
t
1
* 1 if
.
*
I.
vmmj
n 'fkt
t
I
.
•
*
.
.
and a heavy book
brown ink with of
:
•ucutri*
Decorate with dead leaves or other creepy elements
add a nice Gothic touch.
Calligraphy 101
Lprop<
Variations More creepy messages
Gothic Hand
153
^
inrde V and ~~A the
taroaster
154
Calligraphy 101
How
2
Logo
to Design a
When you come up with something you sketch a larger version of
graph paper and use the
3-mm
it
Do
looks.
as
many
nib and black ink to
hand you
variations as
how
to see
like and,
if
needed, use a smaller nib for details or ornaments. Don't be surprised slightly (or a lot!)
3
if
you
2
find the design evolving
with each version. •
When you have a version you like, scan make
and 25%. Check
looks odd at these reduced
see
to
sizes.
certain letters are hard to read at
may want
^tcirbfistet
anything
if
For example,
\
if
50% then you
redo those letters so they are larger and
more open. You may between
or
ana the
photocopies, printing out versions
at 75%, 50%,
also notice that the spacing
lines or letters
needs adjustment.
3
4
If
you need
to
make
adjustments, cut the
logo into individual lines
sary), lay the pieces
use removable as needed.
seem
on
artist's
If all
(or letters,
a sheet of
the elements of your final version
but sometimes
it's
re-lettered the capital
I
easier to read,
between
neces-
tape to reposition the pieces
you can skip
helpful to see
ways the layout can be improved. In
sion,
if
graph paper, and
perfectly in place to you, then
this step,
are
*&**
on plain paper or
ink over the pencil lines in Gothic it
like,
and
Vand
if
there
this ver-
S to make them
slightly increased the spacing
4
2$ ttmie and the
lines.
tarbttster
5
If
you have access
to a scanner,
you can scan
your pasted-up sheet and save the
future use. Otherwise, take
your paste-up
file for
measurements from
sheet, rule a sheet of white Bristol
Minnie and
accordingly, and re-letter the logo. Rather than
-
re-drawing the logo every time you need to use
make
it,
tarouster
several photocopies of your master version,
at various sizes,
and use these copies
projects. This will ensure that
ing with the
same version
for future
5
Minnie
you are always work-
of the logo at all times.
§larbasur§ 156
Calligraphy 101
the
*
How
to Print a T-Shirt IScan your logo (27.9 x 21.6
Minnie
and
set
up to
cm; landscape) page from a
printer. Follow the instructions included
inkjet transfer paper, setting
^tarbuster
recommended by
2 3 and
the
print an 11"
'_
4
8V2"
laserjet
with your
print settings as
the manufacturer.
Trim away unprinted transfer paper.
Peel off transfer paper backing. slight fold
the layers
K^tftroOster
up
*
and using
makes
Making
a craft knife to separate
this easier.
Position transfer right side up
on the
T-shirt,
and follow manufacturer's instructions
ironing.
Most
transfer papers
tive sheet that is
a
come with
for
a protec-
placed on top of the transfer while
ironing so the transfer won't be
damaged by
the heat.
>a 4 tarb
Gothic Hand
157
Italic
Hand Alphabets
2
1
3
1
1
1
Uppercase
160
Calligraphy 101
Italic
Alphabet
Skill Builders Exercise!: PRACTICING LETTER SHAPES Practice writing the letters in groups that have
common
strokes, shapes,
and proportions.
WHAT YOU'LL NEED •
2-mm
calligraphy
fountain pen or marker •
writing paper
Top-Arched Group The
top arches start farther
results in narrower
stem
down
the stem of the letter and
strokes.
m Bottom-Arched Group Lower arches also have the same upward angle of
a 162
Calligraphy 101
travel.
move upward
at angle.
Holding the pen
at a steeper angle (40° to 45°)
x Round The arch
Letter
at the
Group
bottom of these
x-height line, and are the
letters is not as steep as
same width as
with the bottom-arched
it is
To make the
may
These
letters.
letters all
between baseline and
italic
o
in pencil
Foundational Hand, the angle of the top-left to bottom-right diagonal slope should be steepened so that
it
doesn't
tice fitting the s into the oval of the
the
o.
letter
s. it
be helpful to
first
sketch an
fit
and then prac-
o.
Diagonal Letter Group As
in
become
too heavy.
w Vertical Letter A
Group
steep pen angle keeps the vertical lines from becoming too thick. For the lowercase
the
end blends with
t,
upward stroke
a small
is
drawn
first,
which
at
the crossbar.
i"7~f~ Italic •
Hand Key Points
35° to 45°.
A
nib with an angled writing
steeply angled strokes and Italic, •
Unlike other alphabet styles,
and
crisper lines
In Italic
Italic
Hand
is
Hand the
letter
O
are also elliptical
in
serifs.
Italic nib)
Five nib widths
written with few pen
serifs at
lifts
is
is
used as
well, usually
can be used to create more
the standard x-height for
between
Italic letters
strokes, with
many
circle.
are longer than
into graceful loops
in
Curved and arched
letters (n,
styles.
other scripts, usually 3 to 4 nib widths,
and curves.
the bottom of letter strokes are often elongated so that they flow into the adjoining
connecting the
letters in
a
way
that
we
of the
pen movement.
form and narrower than other alphabet
The ascenders and descenders of
The
called as an
takes the form of an ellipse rather than a
and are frequently flourished or extended •
and
flourishes written in a single continuous
d, p, h, etc.) •
finer,
edge (often
steep pen angle
with ascenders and decenders of 4 or 5 nib widths.
letters •
A
are sloped— anywhere from 5° to 12° from vertical.
Italic letters
letter,
think of as "script" or "cursive."
talic
Hand
163
Exercise
2:
Because many strokes of the practice
them
A mechanical
first
Italic
alphabet are done in one continuous movement,
with a pencil, which
pencil
AND SPEED
PENCIL PRACTICE FOR ANGLE
is
especially
easier to manipulate than a dipping
is
good because the
tip
it
can be helpful
pen and won't run out
wears to an angled point and
is
of ink.
easily renewed.
good
Practice writing lines of Italic text using a mechanical pencil (sizes 0.7 or 0.5 are
to
to start with)
on regular lined notebook or graph paper. Concentrate on maintaining a consistent slope to your
letters.
Don't worry about doing the strokes perfectly; you'll find that once you can keep a constant slope to the letters,
the shape of the strokes will
become more
consistent.
nt ofdi
hdjvrthi Italic
and (fit angular shapes Don't worry too
I fie
u
it:
muck alcut serifs
.
or small
mam tfimq tokttp m mind is the
details -tfie
slopt of
oj the
slopi>
letUnny
Klip your
litters
spaced well apart so you can really seo ike shapes.
Renumber that
hi rounded, like sfiapi %$m CAP //.w-
ayia
whin written
or
or "d' art
in Italic
a(so try
c*v ahh vi
V V
letters thai
would
oval in
Hand.
Hand mth
&
%maUw
btnci/
—
a* $ey>fs awd- oikcy small v\mcw$el p**i
ytn* a cb&fttt to
ill hi If ty»w
-
a {(on rlyie\ can a Is oat
.practiced -v/itk
tH
164
Calligraphy 101
/pencil
a,
before,
tr^no
Swash Capitals
Italic Italic letters
can be easily orna-
mented with swashes,
especially
C
the capitals. Try adding a swash capital letter to
your text every
so often, especially at the start of a paragraph.
As you develop
your
Italic
with
skills
can develop your
S\
<* <* 2> >- j
lb
Hand, you
own swashes
and make them as ornate as you please.
• *
A calligraphy fountain pen
'TIP **•..
is
very useful
how
••'
because
and
is
it
to
when
do swash
learning
capitals,
provides a constant ink flow
especially easy to manipulate
through curved or looped strokes.
The Italic/Cursive Connection Italic script
of is
Italic
is
script
make a
the forerunner of our present-clay cursive handwriting. The quickly written, flowing qualities
can
easily
point to use
be adapted to everyday writing
Italics
ing envelopes, writing letters
as often as you can
in
tasks.
A good way
your everyday writing— for
and notes, signing your name, and so on. This
opportunities to develop your
skills for
to practice your
writing Italic letters,
and
it
also
filling
will
makes
Italic
script
out forms, address-
provide you with plenty of
a nice surprise for the
person
on the receiving end of your communications!
Italic
Hand
165
Informal Invitation Here's a simple project that uses just one size of Italic lettering that
is
understated and perfect for a casual get-together.
WHAT YOU'LL LEARN •
How
to plan and lay out
the text on a long, narrow
How
to ink text
in
more
How
to
ICut two pieces of text paper to 3%" piece, use a
mount
fold line
bone
cm)
folder
sides.
and angling
in,
and
Use
*
10V2" (7.9
ruler to fold a
*
26.9 cm). For each
l" (2.5
cm)
flap
on each
scissors to snip corners, starting at the
on each corner
of the sheet. (continued)
than one color •
Begin
of the 3Ve" (7-9
invitation •
Let's
a text
panel using slot and tab
method
WHAT YOU'LL NEED •
warm
white text-weight
paper •
light-gray 80-lb (218
gsm) cover stock •
dark-gray 80-lb (218
gsm) cover stock •
matching gray #10 (4!4" " [10.5 x 24.1 cm]) x 9 /2 envelope 1
gray and green calligraphy ink
1-mm
Italic
nib
ruler
T-square pencil
eraser scissors craft knife
glue
wax paper optional: white label stock, decorative
paper
talic
Hand
167
5
Following the dots you marked as a guide,
between the top two
align a steel-edge ruler
dots and use a craft knife to cut a
two
dots.
6
slits
bottom two
dots.
cut into the decorated paper. Apply a dot
under each of the
flaps
and press down.
Turn faceup and use a steel-edge clear grid ruler to trim the
down
8
for the
between the
Slip the folded flaps of the top sheet into the
of glue
7
Repeat
slit
to Va" (3
edges
mm) wide on
Cut base paper
to
3%"
paper
of the decorated all
*
four sides.
9%"
(9.9 * 23.6
Turn upper panel facedown and apply
cm).
few
a
small dots of glue to the top, bottom, and side
edges
of the decorated paper.
and place
wax
carefully
Then turn faceup
on top of base
sheet, cover with
paper, and press until dry.
I
'
—
-) I-
'
.
_ i" 1
It
?H
7m h
O-J talic
Hand
169
Stationery with Cross-Writing
Borders and Lined Envelopes Back
in the
days when people corresponded solely by writing
letters,
was often used as a way to fit as much information on a sheet of paper as possible. This project uses cross-writing as an "cross-writing"
ornamental pattern
for
a border and envelope Let's
WHAT YOU'LL LEARN •
A
way
fun
How
to
to use calligraphy as a design
ments
How
to
make
a calligraphy-embellished
liner
liner,
place the envelope on a
make
truly personal stationery
flat
A6
•
several sheets of matching 9"
4 3/a"
object under the lower
[16.5
x
12.1
flap.
Use
a gentle
back-and-forth sawing motion, keeping the blade against the envelope. (continued)
•
x
flat
corner of the envelope's glued
WHAT YOU'LL NEED
30.5
the
opener, or similar thin
flat
(614"
for
surface and slip the blade of a palette knife, letter
envelope •
Begin
ITo deconstruct your envelope to take measure-
element •
liner.
cm]) envelopes x
12" (22.9
x
cm) text-weight paper
•
palette knife
•
one 11" x 14" (279 x 35.6 cm) sheet of heavy-weight vellum
•
pencil
•
eraser
•
drafting tape
• grid ruler • craft knife •
glue stick
•
bone
•
two colors
•
metallic gold
•
small (approximately
•
#0 round brush
• Vb"
(3
folder
mm)
of calligraphy ink
gouache
flat
1
mm)
italic
brush or #1 script
nib
liner
Italic
Hand
171
.
Lined Envelope
2
Use drafting tape
tape
to
the unfolded envelope to
a flat surface (don't tape over
you
the corners of the flaps, as
need
will
make
to see these to
your template). Use a clear grid
mark lines
ruler to Vb" (3
*
as follows:
mm) below the
3
glue line
on the top
flap, 3/a" (l
from other
flap edges. For the
cm)
in
side flaps, have the two lines
meet
in a gentle curve. For the
corners of the envelope, draw a gentle concave curve as shown.
3
Trim along the pencil
lines
and use as a template,
tracing the outlines onto a sheet of 11"
*
14" (27.9
35-6
*
cm)
text-
0^0 -per Ct*nfce*3o ^chA*'*-, C rtyi>U*uU,
ho, €s
weight paper. Align your grid ruler along the angle of the flap
and
lightly rule pencil lines that
follow this angle at XA" (6
mm)
intervals until the template
is
covered. (Note: Extend the lines
only about
Va" [6
mm] beyond
the template outline.)
4 the
Use the guideline
to
fill
the template with text in
first color.
Leave gaps from
time to time where gold orna-
ments
5
will
be drawn
later.
When the
ink
is
dry, align
your ruler
to the
opposite
side of the top flap and rule lines Va" (6
mm)
apart across the
template, creating a lattice pattern of lines. Ink in text using
your second to leave
172
color,
making sure
open the gaps you
Calligraphy 101
left
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when writing the first leave a gap when you end
of a sentence or
color.
Also
reach the
phrase—
these gaps will later be
filled in
with gold ornaments.
6
Use
a fine-tip
pen
edges of
line the template
your sheet, then erase lines.
to out-
pencil
all
Mix gold gouache
to a
creamy consistency and use a #0 round brush to paint gold
ornaments
in the gaps. Paint
borders about
Va" (3
mm) wide
along the edge of the top
7
flat.
Trim just inside the penned-in template out-
lines.
Center the envelope liner
on top of the envelope you took apart and use a bone folder and ruler to score folds, lining the ruler
up just inside the
folds of
the envelope.
8
Fold in
all
but the top
and gently
envelope.
When
about halfway
flap
slide into the
the liner
in,
is
apply a dab
of glue to the side and lower flaps.
to
Use the
push the
way
in,
flat
end of
a ruler
liner the rest of the
then apply glue stick
sparingly to the back of the top flap
and press
until dry.
talic
Hand
173
4
Erase your pencil lines,
then carefully remove
the drafting tape.
and grid ruler (1.9
Use a pencil
to rule lines 3A"
cm) out from the edge
the inner box on
These
will
all
be your
of
four sides.
trim
final
Double-check your mea-
lines.
surements; the trimmed size of
kw,
the sheet should be 6V4" wide by 9"
high
5
>-
(15.9
*
22.9 cm).
Use gold calligraphy gouache and
brush
to paint
round
a #1
borders along the
Keep
inside edges of the box.
your strokes long and even, and focus your eyes on the point
gar
where you want the
Mi
#1 SgraT
6
Use a #0 round ornaments
with gouache.
gouache ruler
line to end.
and a
••
TIP
If
in the corners
When
is dry,
to paint
the
use a steel-edge
craft knife to trim.
you are planning to
produce multiple copies of envelope
liners
and lettered
paper, prepare one liner and ter sheet, omitting the gold
one
let-
gouache.
These can be scanned and printed, or taken to a printer, and gold gouache VvVvT
can be added by hand
later.
talic
Hand
175
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£p?i?c
Layered Heart Valentine
2
up glued sheet by the edges and lay it down on Pick
top of the red sheet. Cover with
wax paper and smooth with bone
folder,
a
working from the
center to the edges,
making sure
there are no bubbles or wrinkles.
Press with a heavy
book
thoroughly dry (about
3
hour).
Trace the templates (opposite) and cut
them
them on card
stock,
out. Print
and
1
until
trim. Trace the outlines of
the Outer Heart template onto the backing sheet
4
and
trim.
Trace the outlines of the Inner Heart template onto
Bristol or cotton card stock
and
lightly the rule pencil lines for
your greeting. tering
Do
the large
let-
first.
(continued)
7v\inc.
178
Calligraphy 101
Layered Heart Valentine
5
Add
a small
amount
of
make
red ink to white to
a
pale pink, and use a #0 pointed
round brush the
first
add details
to
ink color
is
after
thoroughly-
dry. Trim.
6
Use gold ink or gouache to paint a 2"
*
2" (5.1
*
5-1
cm)
square on Bristol or cotton cover stock.
When
outlines of the
on
it
hole
and
trim.
dry, trace the
Crown template Use an awl or
punch to punch three holes
evenly spaced
Ve" (3
mm)
from
the bottom of the crown. 1
7
Use
a few dots of glue to
attach the lettered panel
to the
backing panel, and a few
more dots
of glue for the crown.
Use the awl
to
poke through
the holes of the crown, going
through
all
the layers. Poke
the brads through the holes
and
180
fasten.
Calligraphy 101
\ \
Faux-Vintage Scrapbook Page
2
Print out (or
make
color
copies) of the photos and
other materials you want to use,
experimenting with the reduction
and enlargement setting to
make
different-sized versions
the images. Leave white space
around your prints so you can try out different kinds of borders using decorative-edge scissors to trim.
You can
also
experiment with printing photos or other elements onto colored papers. This can be especially interesting
when
black-and-white photo
on a colored paper this
is
a
printed
stock. In
example, vintage clip-art
frames and handwritten letters
were scanned and printed on
parchment and
different colored
paper stocks.
3
Choosing from the various prints
you made, decide
which pieces you want
and
to use
print out final versions,
trimming and cropping as needed. For trimming with decorative-edge scissors,
make
sure to position the scissor
blade correctly so the next cut of the scissors
matches with the
previous patterned line cut.
184
Calligraphy 101
4
For pictures that will be
mounted under paper
frames, trim
windows
in the
frames carefully with a craft knife. Place the
the photo, to
frame on top of
and use a
fine-tip
pen
mark the edges where photo be trimmed so
will
it fits
exactly
under the frame. Trim photo just inside
pen
to the
back edges of the frame-
make
sure not to get the glue
lines,
too close to the
where
it
apply craft glue
window edge
can ooze out onto the
photo— and place frame
directly
on top of the photo. Press under
wax paper until
dry,
about 30
minutes.
5
Lay out your page by positioning your prints
and other items on with removable
masking tape place.
a test
artist's
to hold
Remember
page
tape or
them
in
to leave plenty
of space for captions.
If
you plan
to use photo corners, position
them on the corners tos,
of the pho-
but don't glue or stick them
down. Use a white charcoal pencil
to
rough in the captions. (continued)
Italic
Hand
185
Faux-Vintage Scrapbook Page
6
Test your white ink and calligraphy nib on a
same black paper used
scrap sheet of the
the scrapbook page.
If
7
your
the
first
test page,
6
photo to have a caption from
and position
it
into the
same
place on the actual scrapbook sheet. Lay a sheet of paper underneath your writing
hand
to
keep
skin oils from marking the scrapbook page.
As you
write your caption, refer to your test version for size
and spacing.
If
you
with connecting the
like,
Italic
you can experiment
strokes and developing
an old-time handwriting.
8
Continue adding captions, working from the top to the bottom of the page, placing
one photo
at a
time on the sheet as you write
the caption.
9
After the ink for the captions has dried,
remove
them. To
all
mount
the photos and prepare to a
photo using photo corners,
place a photo corner so
upper if
left
mount
it fits
snugly on the
corner of your photo. (And remember,
your scrapbook page has any layered images,
you'll
want
to
mount
the
bottommost
layers
first.)
Moisten, apply glue, or remove backing from photo corner depending on the type of photo corner. Stick the upper left corner to the page,
you are sure the photo
is
and once
straight, press
your finger
down on the photo corner until it is stuck firmly. Once this photo corner is on, you can easily add the others, and the photo will remain in position.
186
Calligraphy 101
cal'ltyrayluf acucktjloxo) \oelC
J$e carefui not to oi'er-ink,
try acrylic
white ink or white calligraphy gouache.
Remove
White
regular white calligraphy
opaque enough,
ink doesn't appear
for
l
tfte ni(*
Wden Mjpna white ink!
1 I
f\
For items not using photo corners, glue
\m/
dots are
recommended
because they are easy
to
(rather than glue)
apply and allow the future
option of removing the photo from the page
To properly apply glue
essary. to
turn the strip so the
roll,
positioned in the place you want
on the dot with your
The glue dot
will
finger,
strip of dots
first
it
*1
I
I
and then
the
lift
applied as
it
many
strip.
on.
dots as you
need, turn the artwork over, place it
is
be attached to the back of your
When you have
you want or
glue dot
to stick, press
artwork in the place that you pressed
1
nec-
dots, turn the piece
be mounted facedown, cut a short
from the
if
it
where
be mounted, lay a sheet of paper
to
wax paper over
the artwork,
and press
firmly.
Items stuck on with glue dots can be removed
if
necessary, but will usually take a bit of the page
they were mounted on with them, so
make
position your artwork accurately the
first
A
12
sure to
time.
sheet of decorative glassine or vellum
bound
into the
scrapbook as an overlay
QUICK REFERENCE First this
photo to have
a caption.
If
you are right-handed,
should be a photo from the upper
page, and
upper to rest
if
left
part of the
you are left-handed, this should be from the
right part of the page. In this order,
you won't have
your hand on parts of the page that you've already
finished.
One photo
at a time. Photos can be set in place without
you wish-the idea
masking tape
if
tos get in the
way
repositioned
is
not to
let
the pho-
of your writing— they can always be
later.
Italic
Hand
187
How
to
Make Photo Corners
You can make your own vintage-style photo corners by tracing the template below on decorated weight paper. For the scrapbook page
in this project,
I
scanned and printed out a
handwriting on colored papers, reducing the template to 50% of
1
Print the template onto card stock, cut out,
pencil to trace
it
and use and
on text-weight
paper.
/ \
2
Use sharp scissors or
\
a
\
craft knife to trim the
\ straight sides of the tracing
3
188
Fold the smaller inner flap
first.
Calligraphy 101
first.
its
original size.
letter in
my
text-
mother's
4 fold tly
Turn the photo corner so the front faces you and
over the left-hand
pulling
it
corner lines
4
inner
5
gen-
flap,
so that the right
up with the folded
flap.
Fold a small piece of
wax
paper into a square and
tuck inside the photo corner.
Use glue
amount flap
stick to apply a small
of glue to the inner
and pinch the outer
flap
between your thumb and finger to
make
sure the glue sticks,
then remove the wax paper.
6
Apply glue
stick or craft
glue to the backs of your
photo corners when you are ready to use them.
Italic
Hand
189
Brushwork and Gilding Brush lettering has
its
Roman
origins in the
alphabet, as well as in ancient Chinese
Egyptian writing.
Roman
and
look at
It is interesting to
and realize that and terminals we see
inscriptions in stone
the serifs, sheared lines,
originated from the attempt to reproduce the original lettering designs that were
done with
a brush.
Although the connection between calligraphy
and brushwork may not be obvious
at
first,
we
have seen throughout the chapters of this book that brushwork does indeed play an important role in calligraphy. bristle flat
You
will find that
brush can be used
way as a calligraphy nib, as even more expressive ways.
a
stiff-
in just the
same
well as in other
191
Beginner Brush Lettering Italic
Hand
script,
the
is
one of the easiest
use a small
to
learn to write with a brush. For this
(W [3 mm] wide)
Rat brush with firm
bristles,
held
same way as you would hold a calligraphy pen.
You can work
in ink or gouache, but either way,
make
sure you don't overload the brush.
a folded paper towel on hand to blot off extra ink or paint until the brush
minimal amount
you would with
of paint
on
a pen, until
it).
is
nearly dry
Practice "writing" Italics with the brush, following the
you get a sense
use a thick paper with a soft
finish,
of
how much
ink or paint
is
(i.e.,
having just a
same stroke order
the right amount.
such as a 100% cotton printmaking paper, which
helps to keep
It
will
It
absorb the ink or
Brush Letter Samples
abcdcfghijklmno
Merd
Thankyou
Vdkommen RSVP 192
Calligraphy 101
as
also helps to
paint well.
Italic
in
Advanced Brush Lettering Once you get a lettering, to,
feel for
writing with the brush, you can tiy your hand at the
where the brush
once you learn
is
you'll find
more
held nearly perpendicular to the paper. Although
it
traditional
takes
some
form of brush getting used
you can use the brush very expressively.
Informal
Roman
Capital Brush Alphabet
abcdefghij
klmnopqrs
tuvwxyz^ Brushwork and Gilding
193
Key Points •
One important
Brush Lettering
for
characteristic of brush lettering
that the brush
is
held perpendicular to the paper, with
is
your fingers gripping the ferrule (the metal collar of the brush). Your pinky finger should extend lightly •
touch the paper, providing a means of support.
For starting out, use a wide lightly inked,
ting used to •
almost
dry. Don't
For
this alphabet, the
to your
in
advantage
to give
slightly (or a lot) at the
end
of a stroke for an interesting effect (at right).
you have more than one
variety of brush
on hand,
them out
how
to see
write. You'll
that
194
for
strokes are depending
You can also twist the brush
there
to
you run out of
W
(1
to
1.3
cm)
in
ink mid-stroke; for
width.
now
Keep the brush very
just concentrate
on get-
brushwork, since they lend themselves well to a dry-brush
height of the capitals
dynamic, freeform look.
If
if
/a"
water and stroke the surface of the watercolor
your brush lettering a more
•
worry
3
until
the brush
is
just
covered.
how wide your
•
brush about
making the stroke shapes.
technique. Dip your brush
•
flat-tip
Pan watercolors can be very useful
lightly
down
is
one
works
try
they
probably find that specific brush
really well for you.
Calligraphy 101
is
about 7 brush widths. You
will
have a
lot of control
over
on how hard you bear down on the brush, which you can use
to
Skill Builders GETTING THE FEEL FOR THE BRUSH Because a brush
is
much more
flexible
than a calligraphy nib,
can
much harder
feel
brush strokes at
first.
it
to control
The key
is
to not try to control the brush,
but to learn
how
make the marks
to let the it is
brush
designed to
tceccco:>^~>:>:>
make. The best way to learn how to
do
this is
simply by doodling
and playing around with ent brushes,
much
the
differ-
way you
did with the calligraphy pen.
Assemble sizes
of few different
and types of brushes,
along with a few different colors of ink in small containers.
/VW"SVI
On
OOO
a large piece of Bristol or other
thick stock, ink
and
just play
up
a brush,
around making
marks— loops,
squiggles, waves,
whatever. Notice which strokes are easy to
ones tend to break apart or unstable.
y^^x^Tv\\\\\>\\\\\\>mu\vvu\wv\m\\\\^
make and which
Change
feel
colors each
time you change brushes, and write
which brush you used
for
each set of marks. This practice will
help you work with your
brushes instead of trying to control them.
These are the brushes used for this
sample: orange,
green, #4
flat
%"
flat.
flat;
shader; red, #1
round; blue, #1 script black,
W
liner;
and
4W*?*?<* Notice how the
flat
brushes work best
for creating the
kind of
strokes used for calligraphy.
Brushwork and Gilding
195
Experimenting with Different Brushes There are brushes of
have a
•
lot of
many more shapes and
fun experimenting with
them
ones introduced so
sizes besides the
far in this
book, and you can
to create decorative paint effects. Here are just a few to try out:
Chinese writing brush (maobi)
Squirrel hair brush
..
i
-
The long,
soft fibers of the
Chinese writing brush allow
it
to
be
pushed, pulled, or swirled in any direction-
soft
Fan and angled shading brushes
"N. *
Similar to a Chinese brush, the squirrel hair brush
ral
•
/
and
flexible,
and especially useful
for soft
is
extremely
washes and natu-
shapes like flower petals and leaves.
Color shaper
%
ft^:*^
«*
\
* *
"'.
Brushes with angled edges can be used texture or
196
making repeating
Calligraphy 101
patterns.
for ftlling in areas
with
Not
really a
brush but more like a small rubber stamp on a brush
handle; a color shaper can be used to
make
lines or patterns.
About Gold and Silver Leaf Working with gold or to start to
silver leaf can
be challenging at
first It is
and designed
out with small, modest projects that are easy to do
yield successful results.
It also
important
helps to understand the physical
components of the gilding process. substance called sizing
First, a
Although sizing or paint.
It is
the sizing
is
very
is
painted onto paper or whatever surface
generally water soluble,
much
is
the
first
down and
to receive the
different is
step to achieving
good
become tacky
results with gold
excess
leaf.
The
final
(a
step in the gilding process
and
Therefore,
silver leaf.
The excess If
you want
of time for sizing to dry completely) before
which
leaf (that
to
be more
brushing away any
to gently rub the gilded areas with a hematite or agate burnisher
highly polished stone with small rounded tip for reaching small areas) to increase shininess in the metal
leaf.
Unless you are working with pure gold or silver
bing motion of the burnisher
198
is
leaf.
to
(usually within 30 minutes or so),
gently rubbed onto the sticky area.
you can wait 24 hours (the length
leaf.
any re-working you do
that
doesn't stick to the sized areas) can be gently rubbed off with a brush right away. careful,
metal
from working with ink
blobs that can be seen under the metal
painted on a surface and allowed to
pieces of metal leaf are laid
it
and one of the downsides
will result in ridges or
learning to work skillfully with sizing is
has a stickiness that makes
like painting with glue,
you have painted
After sizing
it
is
will actually
process
is
optional.
With pure
metals, the rub-
cause the metal to melt slightly and take on a lustrous, liquid
ish.
With aluminum- and copper-based metal
use
in the projects that follow), the
Calligraphy 101
leaf, this
leaf material
burnishing process
(which
may
is
fin-
more commonly used and what we will
cause the metal leaf to separate from the sizing.
Gilding Tips •
For gilding on paper, make sure your paper relatively
smooth and
Have plenty
•
of scrap
free of dust, grit, dirt, etc.
paper on hand to place
Start with small brushes, doing projects with
small lines
and narrow borders, because
areas tend to be
you
more
cover
difficult to
work with
thicker
one
in
you
below each piece of paper to which you are
go. As
applying sizing, and renew the scrap sheet each
develop a sense of how to cover large areas
time any of the sticky sizing gets on
evenly
Wooden
it.
surfaces should be well sanded with fine
sandpaper and wiped clean with a damp •
is
Working with
sizing
is
very
with quick-drying glue, so to lay
down
the
amount
that
show up beneath
leaf.
It is
it is
very important
want
in
and re-working should
this will result in ridges
the metal surface of the
useful to use a brush that
size of the stroke
working
like
of sizing you
single layers. Overlapping
always be avoided, since
much
cloth.
you want
to
it
Many
in
learn to
one
sizing,
layer.
kinds of sizing
will
set
up within 30 min-
utes and remain tacky for 24 hours, so
possible to apply sizing to a project
go back and apply the
make well
will
leaf later.
If
dust, pet
thing that might cause
fur,
and then
you do
sure to store your sized pieces
away from
it is
this,
somewhere
breezes, or any-
unwanted material to
stick to the sizing.
exactly the
make so you
don't
have to go back and add an extra layer of sizing to anything
you have painted.
Brushwork and Gilding
199
Script Notes on Pearlescent Paper makes use of pearlescent cover stock, which is available in a wide range of colors (see Resources). Be sure to test your inks on a scrap of pearlescent paper before starting, because certain inks do not absorb well into the coated surface of the paper (calligraphy gouache works the This project
best on this type of paper).
Let's
WHAT YOU'LL LEARN •
How
IFind the
to apply letters
grain direction and cut cover stock to 5V2"
*
8V2" (14
x
strokes
Lightly rule a pencil line exactly halfway through the longer side.
How
the
best to work with
pearlescent cover stock
21.6
cm), with the grain running in the direction of the shorter side.
and designs with brush
•
Begin
same
side, pencil in the
soft pencil (too
cent stock). J
On
design with watercolor pencils or other
sharp a pencil point will leave dents in the pearles,
..
..
(continued)
WHAT YOU'LL NEED •
cover stock
•
pencil
•
watercolor pencils
• Ve" (3
mm)
flat
brush
•
white acrylic ink
•
scrap paper for practice
•
#0 round brush
•
pearlescent white acrylic ink
•
#0 pointed round brush
•
#00
•
red acrylic ink
•
#2 round brush
1
pointed round brush
• script liner •
scoring wheel or
bone
folder • ruler •
text-weight pearlescent
white paper glue
Brushwork and Gilding
201
on Pearlescent Paper
Script Notes
2
Use a
flat
W
and white
(3
mm) brush
acrylic ink to
paint lettering, being careful not to overload the brush. to
It
helps
have a practice sheet of the
same paper nearby
to try out
your strokes on.
3
Use a #0 round brush
to
paint dots for flowers.
With
a circling motion, start
from the
outer edge of the dot and swirl inward.
4
When
white ink has dried,
use pearlescent white
and a #0 pointed
acrylic ink
round brush to add accent strokes to the wide parts of the letters.
When
you come
to the
widest part of a stroke, push
down
slightly
on the brush so
the bristles flare out a
5
little.
Use a #00 pointed round brush and red acrylic ink
to paint the stems. single,
Work
in
long continuous strokes.
When the
stem
lines are dry,
paint the leaves, starting at the leaf tip
swoop
202
and making a graceful that
meets the stem.
Calligraphy 101
6
Mix pearlescent white acrylic ink a
make
to
touch of red
light pink.
Use a #2
round brush to paint dots
for
the flower centers. To build up a raised flower center, re-ink the
dot several times, allowing to dry completely each time.
7
Use a
script liner to paint
the ribbon with white
acrylic ink,
and then use
pearl-
escent white acrylic ink and a
#2/0 pointed round brush to do the ribbon details.
8
When gouache oughly
dry,
is
thor-
use a scoring
wheel or a bone folder and to score the fold in pencil
on the
marked
ruler
earlier
front side of the
card.
9 '
Ha
*
*
#
**+
iWicA/*
8
"*
A
sheet of text-weight
pearlescent white paper,
cut to 5 1/*"
x
8%"
(13.3
*
21
and folded, can be glued
cm) in
to create a lighter surface for
_
writing on. Just use a few dots ft
of glue
on the
fold
and a dot on
each corner.
1 I
f\
Re-create a simplified
V»y
version of the flowers
on the back if
flap of the
envelope
you wish.
Brushwork and Gilding
203
Gold Leaf Treasure Box Once you get the hang of gold leaf, you'll hndyou can apply it to almost any surface, provided it is flat and prepared properly. You could try this project on a wood or metal box. Begin
Let's
WHAT YOU'LL LEARN •
How
IMix acrylic paint with water to a thick consistency and use a l"
to transfer a
(2.5
calligraphy design to a
small box
cm) brush
inside of box
lid.
to paint the surface of the
Then paint
the inside of box,
How
to reproduce your
calligraphy
in
gold
the outside edges of the
itself.
box and
When
wood
lid,
and when these have
to the
dried,
use a
if
lid
you see thin areas of paint
and box
after
it
top.
Repeat
has dried. (continued)
lid
paint (any color)
cm)
soft brush
•
!4"
•
three or four large cotton
(1.3
the entire process
or cardboard
box with removable • acrylic
way down
leaf
WHAT YOU'LL NEED small
the
the paint has dried, paint
smaller brush to paint the narrow rims of the
•
all
lid
base, but don't paint the base •
box beginning with the
balls •
7"
x
7" (17.8
*
17.8
square patterned fabric to
cm) silk
or
match paint
•
one piece of cover stock
•
compass
•
pencil
• ruler •
scissors
•
hot glue gun
•
tracing paper
•
one sheet
-
artificial
gold
.-
.
(iAf^MSMSBSiBi
leaf •
water-based gold
I
leaf
mi*!
sizing liquid •
#0 round brush IS
•
#2 round bush
•
3-mm
•
hematite or agate burnisher
•
optional: Saral brand
flat
F Ml
P
;
;
:
r*
_
-"
1
brush
white transfer paper
Brushwork and Gilding
205
5
Gold Leaf Treasure Box
2 box
Measure the diameter of the base of your in this
box
(the
example measures
2 3a/." A [7
cm] across) and use a com-
pass to draw a circle that has over twice this diameter on
little
card stock (in this case,
Trim the template with
cm]).
scissors; trace the
and cut the
fabric
3
template onto fabric to size.
Pull three or four cotton balls apart slightly
them
and
into the base of your
so they
way.
6W [16.
fill
box about
the
Remove
box
half-
the cotton mound,
and place on the facedown ric circle.
fit
Wrap
fab-
the margins of
the fabric over the cotton, small
sections at a time, and glue in
place with a hot glue gun. (Note:
be careful
to
never touch either
the hot glue or the tip of the
glue gun
4
when
Add
it is
plugged
in.)
hot glue to the inside
base of the box and set the
cushion inside.
5
Trace the outer edge of the
box
lid
on tracing paper
and use a pencil to work out the initial design
do
in
gold
leaf.
you want
Remember,
to this
can be a simple ornament or initial,
rather than a complicated
scheme
6
If
of letters.
you want, you can do
a test run of your chosen
design by tracing the design
206
Calligraphy 101
5
onto a darker-colored piece of
paper through a layer of white Saral transfer paper,
which
will
not leave grooves or imprints in the final surface
easily erased.
and can be
Use your Saral
tracings as an opportunity to practice using different kinds of
brushes with your gold leaf size
and applying gold
7
leaf.
When you have
settled
on
a design and particular
brush and technique to use, transfer your tracing paper
design through a layer of the Saral transfer paper onto the
box
lid.
(Note: because tracing
lines tend to thick,
it
come
helps to
slightly with a
out rather erase
first
them
kneadable eraser
so you have only very fine lines to follow.)
8
Use your selected brush
to
apply sizing, without allow-
ing layers of sizing to overlap,
and
let
it
set for
30 minutes or
according to manufacturer's
Variations Make sion.
instructions.
small gift boxes in different shapes and colors to suit the recipient and the occa-
Apply imaginative gilded designs you've created with
calligraphy.
9
Apply gold leaf 198): cut a
small
(see
page
amount
of leaf to cover area, gently rub
with orange protective sheet,
then move on
When
all
ered with to
to the
next area.
areas have been covleaf,
use a small brush
remove excess.
Brushwork and Gilding
207 1
1
Brush-Lettered
Name Plaque
and simple craft plywood shapes. Because acrylic paints are generally opaque, you can add color details over other color layers. Decorate and embellish with paint as much as you like! makes use of bright
This simple project
colors of acrylic paint
Let's
WHAT YOU'LL LEARN
IUse #220 grade sandpaper to lightly sand the
•
How
•
Cute and clever ways to decorate a name plaque
to apply brush letters
in acrylic
paint
child's
4" (3
•
12" (10.2
x
mm)
x
30.5
cm) plywood
wipe away dust with
sheet,
W
damp
2" (5.1
cloth.
cm)
of bril-
yellow green onto a palette or mixing plate,
wet the to
a
1
V2
'
(1.3
mix water
cm) brush with water and continue
into the paint until
it is
thick and
thick
creamy. Use the
light,
cadmium
orange,
cadmium
brilliant
and back
V?."
(1.3
of the sanded
cm) brush
plywood
more intense background
yellow green, permanent light green, turquoise blue, medium magenta, and brilliant
sheet, then
liant
acrylic paints in titanium white,
yellow
edges, corners, and surfaces of the plywood
Squeeze out an approximately
WHAT YOU'LL NEED •
Begin
of green after the
first
color,
to
paint the front
sheet.
add
a
If
you want
second layer
layer has dried. (continued)
blue
(#220 grade) sandpaper
fine
plastic paint palette (or old plate)
111
large jar for water 1/'
A" (6
l
mm)
y2 " (1.3
wide
cm) wide
flat flat
H
mmm
brush brush
#8 pointed round brush
I
1
1'i
#1 round brush
die-cut
pi
wooden shapes
Ill
white chalk pencil
m
ruler
wood
#E
iffiijSf
glue or craft glue
small coping
m
'^S.VI
nrwiTi:
'*8
tl
iH I
I
saw
v
;
IKfttf
^Il-flifi'BM!
Bill
n
III!
Hi
36" (91.4 cm) length of decorative ribbon stapler or staplegun with short-prong [3
mm])
(14"
staples
QUICK REFERENCE
scissors optional: clear gloss
polymer medium
Paint the front
and back. You do need
of the board, otherwise
it
will
to paint
both sides
warp.
Brushwork and Gilding
209
I
Name
Brush-Lettered
2
Add
a small
amount
of
permanent
Plaque green
light
paint to the brilliant yellow green paint and
mix together— it should be
just a
shade or two
deeper than the green you painted on the plywood
Make
sheet.
so that
it
sure to add
enough water
to the paint
flows well from the brush. Use the #8
brush to paint a border on each side of the ply-
wood
sheet. Let the lines of your border
and curvy rather than perfectly after paint
be loose
straight. (Optional:
has dried, use the #8 brush to go over
the border with clear gloss medium.)
3
When the border has amount
of the brush so of the wood.
use a minimal
of paint to paint the ¥b" (3
wood— use
of the
dried,
a
light, side-to-side
mm)
edge
movement
you just catch paint on the edge
Check the
front border
when you
are
finished and use the brush to blend in any paint
may have oozed
that
4
over the edge.
Sand any rough edges of die-cut wood
flow-
and shapes and wipe clean. Paint them with the %" (1.3 cm) brush using medium magenta, ers
cadmium
When to
orange, and
cadmium yellow
paint the backs and edges.
dry,
change the water
in your water jar
light.
Make
sure
and wash
your brush well with each color change. This will
keep the individual colors as bright as they can be. (Optional: after painted has dried, use the [6
mm]
V2"
brush to coat with clear gloss medium.)
ill! 1
5
Use the white charcoal pencil letters
onto the plywood
to
1
A"
cm) margin on each side where flowers shapes
will
be glued on.
6 the
%
water to brilliant blue paint until
loose H
(6
enough
mm)
flat
to flow well
it
is
from the brush. Use
brush to do the
jj
ing the brush at a 30
raphy pen. (Optional: when lettering
is
callig-
thoroughly
TT»r
mmsm -
210
Calligraphy 101
.033
t
Irf-
mm
1
)
I
i_r'
_6»*JiS
'P?
-' 1!
Ili
V. Itl
i
IrW*W
m>6d
lettering, hold-
angle as you would a
r
i^P-t
T*
°
III
I
'-'
Mi-K
I
3
(4.5
Add
nLJAl
sketch your
sheet, leaving
fr
1
1
iM
r )
**J*+J>1* b# )*to"*
\
\
-
y"
to
& V &* *uy v *^* yP &TJ * ^ ,m
&>
1*
oV
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£v >Vs
*^ *V
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**
9*
*
« ; *
\
<*
<*>
;SK
r*"
c>
M 3
Jp
^°^r>
Wedding
Invitation Suite
This invitation project combines calligraphy with simple decorative
painting techniques
to
create a Let's
WHAT YOU'LL LEARN •
How all
for
to design and
make
memorable piece
invitations
ICut the top sheet to 5"
*
8" (12.7
*
20.3
layout with the text you want to use. (2.5
a memorable event
Begin
the pieces necessary
wedding
for
to 3.2
cm)
of the left
margin blank
cm) high and do a
Be sure
for
to leave
l"
to
trial
lW
the flower painting. Lightly
sketch in flowers and stems with pencil. •
How
to embellish the (continued)
invitation with a brush-
stroke
floral
design
WHAT YOU'LL NEED •
aqua 801b (218 gsm) cover stock
•
white 801b (218 gsm) cockle-finish cover stock
•
white square petal-flap
&-
envelope •
brown
•
pearlescent white acrylic
calligraphy ink
Arthur L.JlusUrftdz iCih
fo
cute joiniiwn
tf
'
ink tfo> •
white acrylic ink
•
titanium white acrylic
uCein
1 j
ic
n of their rftddinj
jm\)\ uamiK
tid
paint
at •
1-mm
calligraphy nib
•
#000
squirrel brush
•
#0 pointed round brush
TWo o'clock in Uw aHinxconJt.
louts C*tfodnU
jjtw •
green and blue calligraphy ink
•
Orteanj
jleccpU
white sticker stock 1
•
A8
(5%"
8 5/4" [14.6 x 22.2 cm]) aqua envelope
• craft
x
1
glue
•
wax paper
•
pencil
• ruler •
T-square
• craft knife •
scissors
Brushwork and Gilding
213
Wedding
2
Invitation Suite
Taking measurements
from your rough layout and
making adjustments
as needed,
use a pencil to lightly rule lines for writing.
3 a #4
used
Use
a
narrow nib
to
main
text. In this
example
(l
mm)
4
Leonhardt nib was
for letters
ofVs" (3
do the
with an x-height
mm).
For a response card, a similar
make
rough layout and
use those measurements to rule pencil lines.
3
214
Calligraphy 101
5
and ink
size nib
color, ink in the lettering for the
response card.
Thtf&tfor of ureylu
Jriday.SipUmberZl, lOXL
—
M
With the same
5
6
For the flower petals, mix equal amounts metallic white and white acrylic ink. Tiy out
the consistency of the ink on a scrap of aqua paper J^ttmberitt thirty.
V
with the squirrel brush, adding a small
amount
of
titanium white acrylic paint to slightly thicken the ink
if
tion
necessary.
Do
a practice version of the invita-
and response card by penciling
in
stems and
drawing the flower petal shapes. Push down on the
brush to make the wide part of the the brush inward to
7
make
petal,
then
flick
the point.
Lightly in pencil stem lines, leaving blank
areas for flowers, and paint the petals. (continued)
&r Arthur L
l\u
invite yen to join will* tUtm. in ttu
> nttcn cf that weddUta
7
JruUy, $eam&erZt ZOiZ, t
at ttfo
o
clock tntfa (bfttmoon-.
Brushwork and Gilding
215
Wedding
8
Invitation Suite
Pencil in the stem lines
and paint petals
for the
response card.
9
To do stems, erase pencil marks on the
and response
invitation
Add
card.
drop
a
or
two of blue ink and green ink
to
white ink to
make
light aqua,
and use the #0 pointed brush
make
thin
stem
to
Repeat the
lines.
process for the response card. *1 I
^^
To mount
\mS
cut backing sheet card
stock to 5V2" wide
invitation,
*
8V2" (14
cm) high. Use a brush
21.6
to apply
glue to the back of the invi-
craft
tation,
way
*
making sure
to
go
to the edges. Place
the
on back-
ing sheet, smooth under paper,
all
wax
and press under a book
until dry,
m*)i~
the afebrafi
about 30 minutes.
ttytmtfi f&frith*
11
Follow same process to
JrUay, ft at t\)o o'doc
petal
mount response card to envelope. You can make
your
own
I
I
petal envelope
it
onto card stock,
and scoring the sides with a
bone
ruler.
216
flaps
Calfigraphy 101
on
folder
,
by
enlarging the template on page 238, tracing
!
3
•
all
four
and
1
615 'Pere
v
;j„n^//i*:
^
^^ ^Q ma ce fa e sticker to
*1 I
j
^—
seal the response card,
paint a layer of the
same ink
used
stems on a
for the flower
piece of sticker stock.
When
dry,
paint the flower petal design in
white and trim to a small square. Include this sticker with backing
still
on
it
inside the folded
response card.
1 X "
I
With the
sticker inside
\mJ the folded and unsealed
response card, address the front of the petal envelope. In the
United States, square envelopes require extra postage.
MUse
the
same ink and
nib to address
A8
size
envelope.
w
14
A{& vmea Jty intuit*
Brushwork and Gilding
217
3
Using a page-layout program, create a new
document
place the jpg
point
how
it is
it
file
wide
and
*
8Y2"
scale
high
down
(27.9
21.6
cm)
to 35%. At this
a good idea to print out the page to see
looks.
disappear
ll"
x
if
Keep
in
the piece
mind is
that very fine lines can
reduced too
much
4
A larger red box is placed behind the image eyedropper tool was used to sample the
(the
red color from the calligraphy) and another box
with a yellow (the yellow color was also sampled
from the image's paper color)
is
added.
in size.
(continued)
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etpuntes
10
bac Ucju
craRua) valie ei a,€rco, aDvocaca jos cj*a,rtios cuos a)iseKicoKDes oculos aD 00s coo vetfe ec lesuo), i^eoe dictum FKuccuoi wocjus aiux>eis pose boc exilmco ascenDe- o cleaieos.o pia, o dulcis virco awiapRa pro ooims saoccadei geoeRarRix ut Digoi en 1 •
t
3
virA.Oulcedo.ee .spes i*wt» saIw ad ce clao iaojus. exul es pil iev<\e Ad ce siispijiAO >us,ceo »e n c es •
1
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1
1
.
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).
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Calligraphy and
Modern Methods
of
Copying
221
Scanning and Inkjet Printing Your Calligraphy
5
The red
box, border, and yellow frame are
grouped, duplicated, and placed on the
second half of the page, using guidelines to assure they are lined up exactly. Guidelines are also used to set (3
up the red crop mark
mm)
lines that extend
Vs"
in from the margins of each piece, indicat-
ing where the edges will be trimmed.
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vie a. OuLcedo.tsc spes noscm salve afc cc cL\o\\a;us.
exuLes piLu bivdtf.iAd cc
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5
in
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mm
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CiAOiuR- pkooiissu'wifuis ^f++CbjilSM + + + +
222
Calligraphy 101
mnac Iackl 0)AKUm VALU* Mrl&.tRCO, ADVOCACY WST-KAJHaS WOS
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osteite
•
o clowns, o put.
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cwwvwx utdicni em CtikpuK L>ROOX5Sionir>tui ++++
CHRIS XA+++ +
6
Use an
inkjet printer to
print multiple copies onto
a slightly textured natural white
paper.
7
Trim
final
pieces to
size,
following crop marks.
Nflhr a?
>
mica >U1)
Calligraphy and
Modern Methods
of
Copying
223
Helpful Hints for Inkjet Printing A home
inkjet printer
make
raphy. To
some •
is
a great tool to
have
for easily
reproducing your
callig-
sure you are getting the best results from your printer, here are
tips:
Use the best quality ence
in
quality
ink cartridges
between various
you can
find.
There can be a vast
which
is
considerably less expensive than purchasing
drawback of es can
this,
be quite
however,
dull or
is
that
muddy
shop around. Many
ink cartridges brands, so
drugstores and office supply stores offer ink cartridge
differ-
refilling services,
new
cartridges.
sometimes the color from
The
refilled cartridg-
looking. For special projects, consider pur-
chasing new ink cartridges— these can be removed from your printer before they are used up and stored
in
a plastic bag
until
you are ready to use them
again. •
Use papers suitable
for inkjet printing.
Most
printers will handle a
ety of papers, from text weight to cover stock,
and uncoated
wide
vari-
to high-gloss
photo paper. Take the time to check out the various paper and ink settings for
your printer and use the ones that are appropriate for what you are
printing.
Papers with gloss or pearlescent coatings (especially
weights) can present
paper prevents the find
your ink
is
difficulties for inkjet printing, since
ink
from being properly absorbed
smearing on coated paper,
in
the coating on the
into the paper;
try using a lighter-weight
or adjusting your printer settings for glossy (photo paper) stock.
224
Calligraphy 101
heavier
if
you
paper
Tips for Photocopying and Laser Printing •
If
you have black-and-white calligraphy that you
want
or laser printing
an easy and readily available
is
option. For photocopying,
can be very useful
there are thickness and texture limitations to the
types of cover stock you can use. Paper that too thick or has a highly textured surface
the finished size you want, and then reduce the
not print well.
when photocopying— reducing
crisper,
Always do your
work
original
on
finished piece printed
example,
if
a colored paper. For
you are planning to do something
if
how
a version on green paper to see will
have a
photocopies from
terrible it,
it
will look,
time trying to
since the copier
the color of the paper and print
will
mode
color
Color photocopying
scan of
you
instead of
will
is
RGB.
not the best
way
to
slightly grainy,
screened look to the page, which can make tering
appear
pick
If
you plan
copies,
fit
might be
just
let-
some
what you want.
reproduce a piece by making color
to
as
However, for
less readable.
projects, this look
many
Photocopiers and laser printers can print on
can onto a single
many
11"
kinds of paper stock, including card stock,
printer,
may
reproduce calligraphy, because the color pho-
make
as gray.
it
CMYK
digital
is
you save the scanned image
if
tocopying process imparts a
do
helpful to
it's
you are printing a
have better color in
you plan to have the
with black ink on green paper,
but you
lettering.
black ink on
in
If
your calligraphy on a color laser
give a
will
more "tightened up" look to the
bright white paper, even
•
As with
to create your original piece slightly larger than
size
•
it
a pearlescent or coated cover stock.
black-and-white laser printers and photocopiers,
photocopying
to print, black-and-white
on
versions of the piece as you *
SVfc"
x 17" (27.9 x 43.2
11"
(21.6 * 27.9
cm) page, so
that
cm) or you can
get more than one copy per sheet.
but there are limitations to the thickness and texture of the paper you can use. Often anything
heavier than an 80-lb (218
become jammed
gsm) cover stock
Some
the machine.
in
will
photo-
copiers and laser printers also have problems
CMYK
with printing on textured cover stocks— the card
stock
will
go through the machine
the black toner
off the paper, or
This
is
be
will
easily
just fine,
an indication that the toner
properly to the paper because of or rough surface.
In this
or less textured paper.
If
but
brushed or rubbed
disappear altogether is
its
places.
in
is
rubbing
off,
and
digital
instead of RGB. Computer monitors, scan-
cameras use small bands of Red, Green and
Blue (RGB) light to generate the images
most
inkjet printers
bright colors seen on an
lot of
undamaged copies
inks to reproduce colors
accurately
is
•
in
and
craft stores
reproducing calligraphy that
color— especially
if
and
a well-ventilated area.
Color laser printing can be a very for
RGB monitor cannot
streaming through the colors.
RGB
A color image
need to be converted to
will
on paper.
When an image
may
and
be reproduced
is
that
CMYK mode
converted from
shift a little or a lot; this
a light source is
scanned
in
to print properly
RGB
to
CMYK,
can be corrected with
artist's fixative. Artist's fixa-
available at art supply
should be used only
a backlit
on paper. Often the very
on paper because paper does not have
image-editing software.
tive
see on
use Cyan, Magenta, Yellow and blacK
thickness
you've printed a
we
screen. Printing presses, color laser printers and copiers,
colors
can be sprayed with
mode
(CMYK)
case, try using a thinner
the
ners,
color
not fusing
copies of something, only to discover later that the toner
QUICK REFERENCE
you want to
is
good option done
print
in
between RGB and CMYK
good idea
On many home isn't
always discernible, but
to convert your color
home-and
printers, the difference
images to
CMYK
shifts
a
for printing at
absolutely necessary for images that
on a printing press, where color
it's still
will
be printed
can be very pronounced.
your work
Calligraphy and
Modern Methods
of
Copying
225
Having Your Calligraphy Project Professionally Printed For a project that you need to
a professional printer
may be
methods of printing used do some research
answers so they
to print in large quantities, taking your
to find the right print
to the following
print shops will not take
thing less than 500 pieces).
Take the time
cater to individual clients
and don't be hesitant
will
have
to
Have
for your project
when you speak with
the
the printer
can provide the services you need.
Digital printing (sometimes called "online" print-
and
ing)
Some
usually the least expensive option. Digital printers
print shops will,
to find print
same
as for
shops that
and smaller print runs,
is
readily available via the Internet
generally offer
make
to
is
color" (four-color process)
around time. To use
for the printer.
lot.
"full
no minimum
printing,
you need
to ask for a cost estimate,
since prices can vary a
you
on "short runs" (any-
but the printing costs will be nearly the a larger run.
if they
need printed? Some
I
shop
questions ready
can accurately determine
IHow many copies do
many
a good option. Because there are
for very specific purposes,
work
quantities,
and a quick turn-
digital printing successfully,
sure your
file is
set
up
correctly
Request a copy of their printing
guidelines and follow them. Be sure to ask ques-
2
Is
my artwork
in digital or hard-copy format?
Most print shops work from
which you e-mail digital
file
digital files,
directly to them.
of your artwork,
it's
If
work is
will
look
its
best
when
will
important to find
printed.
If
file
art
calligraphy on
it), it
will
find
almost always need to
also
be
at the actual size at
it.
it
to
one
in
extra charge.
If
like), for
which
you have never
a digital printer before,
it is
helpful to
your area and show your artwork to him
being asked to do and hes
The work should
which you want
may be an
look
what he
in person. This will help the printer see
be done on white paper so that the printer can accurately scan or photograph
there
will
you
if
sample that shows
a "proof" (a single
worked with
hard copy form (an actual piece paper with
in
be sent
what the finished piece
so your
your
you don't
understand. You should also ask the printer
you have a
out in what form the printer needs the
tions about any of the guidelines that
will
better advice about setting
be
be able
to give
is
you
up the work.
may be an option, although many may not take on small print runs.
Offset printing reproduced, or slightly larger, in which case you offset printers
must
tell
the printer what you want the final size
Check the telephone book
or the Internet for print-
to be.
ers in your area,
3
What kind of printing do want? How much money do I want to spend? There are many
ducing calligraphic work, which can vary greatly
226
Calligraphy 101
find the
ones that
offer invita-
tions or stationery printing, because these are the
I
kinds of professional printing available for repro-
in price.
and
types of shops that are accustomed to working
with individuals on smaller projects. Again, a personal visit with a sample of your artwork idea,
and
will
is
a
good
help the printer determine exactly
Score. To draw a thin, hard object (like a bone
Uppercase. See "capitals"
folder or metal wheel) across paper, usually
using a ruler as a guide, to prepare the paper
Vellum. In the past, vellum was a writing surface for
being folded Serif.
A
be
flat,
main
stroke
rounded, square, or
diagonal letters like
n, o,
and
Z,
letter; in
a
the diagonal line
considered the stem
A A
line, either
straight or curved,
drawn
swash
is
a wavy, curved,
looped or oth-
erwise embellished stroke that forms part of a letter. It's
an additional decorative stroke added
to basic the letterform. Tail.
A
R,
Q, and y
Terminal. The end of a stroke that does not end in a serif
Uncoated (paper). Paper
that
coated with any substance
230
A
large, decorative letter, often
used
at the
Calligraphy 101
Weight
(letter).
The
size
and thickness of
a letter,
determined by the relation of nib width to
letter
Weight (paper). The thickness
of a sheet of paper;
measured by
in
most countries
in
grams per square meter (gsm),
States
it is
this is
its
in the
weight
United
measured by pounds per carton
X-height. The height of a lowercase
letter,
(lb)
not
including ascenders or descenders; also called
diagonal or curved stroke that connects to
a letter at one end, as in
with
a very smooth translu-
height
with a pen or brush
Swash.
is
and had a smooth,
beginning of a sentence or chapter
Stem. The main vertical stroke of a
Stroke.
it
calf,
cent paper Versal.
pointed
is
the skin of a
velvety texture; today
small stroke that finishes the
of a letter; can
made from
is
not varnished or
body height Waterproof. Ink or paint that water
when
dried
is
nonsoluble in
Anatomy
of Letterforms
OJ
c
c
— co *-
— c i
-C-
a*
a/
—
in
nj
(T3
<1>
Of
0-
8
i/>
iff
•
U
g 2 .&•
XI OJ Iff
o c 01
OJ 1/1
o c
qj
ra
*
£ o
K
u
c u
o.
a
1;
Qj
CD
0)
c
C
O
O
OJ
Qj
OJ
c c
o
QJ
"5
Iff
Anatomy
of Letterforms
231
Products Used Pattern
Bookmark
Mosaic-Style Greeting Card
•
Calligraphy paper: Pentalic Paper for Pens
•
Backing paper: Canson cover, assorted colors
•
Color-washed paper: Medieovalis by C. M. Fabriano
•
Backing sheet: Murano cover
Passe-Partout Picture Frame •
Photo frame paper: Murano cover stock.
•
Photo paper:
•
Photo mounting paper: Arches hot-pressed 300-
HP
Illuminated Holiday Card Paper and envelope: Mediovalis by C. M.
Laserjet glossy photo paper
gsm printmaking paper
Fabriano •
Backing paper: Savoir Faire red cover
•
Ink:
Two-Tone Place Cards Paper: Sorbet duplex cover, Legion paper
•
Brads:
Broadside
Success
•
Floating-Layer Thank-You Notes •
Paper and envelopes: Rossler Papier Paperado line;
ink,
Schmincke gold and white calligraphy gouache
•
EK
Winsor & Newton crimson calligraphy
Lime Green, Olive Green, Denim
Paper: Arches cold-press 300-gsm watercolor
paper •
Ink:
Schmincke calligraphy gouache, assorted
colors
Blue,
Cappuccino, White (available from www.
Illuminated Initial Medallion
roessler-dueren.com) •
Vellum: Bee Paper 68-lb tracing vellum
Decorative Paper: Shizen
Acrylic Ink:
Tiny Artist's Book
green; Daler
Paper
•
Cover: Canson Mi-Teintes, 80-lb. cover, Poppy
Red •
for pages: Pentalic
(available from
Leather Cord:
Paper
Pens
•
for
Permanence
Rowney
liquid acrylic,
moss
FW
Acrylic Ink: Daler
Rowney FW, emerald green
Metallic Pigment:
Schminke Tro-Col-Broze Dry
Gouache Reichgold
www.canson-us.com)
Diamond
Camp Hoochee Coochee by toner-
Glaze: Judi-Kins
Diamond Glaze
Medallion: Patera pendant finding by
plastics.com
Design
(available
Nunn
from www.nunndesign.com)
Decorative Spice Labels
Zodiac Accordion Book •
Label stock: Strathmore Writing 70-lb label stock, soft white
Award •
•
Decorative paper for cover:
(120 ssm) cold-press text
Lama
Li
Magnetic Alphabet Set
Parchment: Panache beige parchment, Speedball
Seal:
Strathmore Writing 70-lb label stock, soft
white
232
Book pages: Arches
Certificate
Art Products •
•
Calligraphy 101
•
Magnetic
sheet:
Paint-A-Mag paintable surface
magnetic sheet by Magnetic Specialty (available from
www.magspec.com)
Inc.
Gold Leaf Treasure Box
Spooky Signs •
Craft
plywood sign blanks: Michael's Crafts
Band Logo •
•
Round paperboard
•
Gold
T-Shirt Media
Schlagmetal faux-gold leaf from Pen &
Ink Arts
Inkjet thermal transfer paper: Papilio Light
T-Shirt Transfer
leaf:
box: Michael's Crafts
(available from
Color
www.
papilio.com)
•
Sizing: Rolco
•
Liner fabric:
Labs Water-Based Aquasize
JoAnn
Fabrics
Brush Lettered
Informal Invitation
•
Craft
Name
Plaque
plywood base and shapes: Michael's Crafts
Text paper: Crane 100% cotton 8o-lb text
•
•
Lettering paints: Liquitex acrylics
Backing paper and envelope: Paper Source
•
•
Gloss polymer medium: Golden Gloss Polymer
•
Decorative paper: Lohkta
Medium
Stationery with Cross-Writing
Borders and Lined Envelope •
Wedding •
Gold ornaments: Schminke calligraphy gouache
Backing sheet paper: Paper Source Luxe 8o-lb cover
Paper: Bee Pen and Ink Sketcher Paper, 8o-lb •
Top sheet paper: Paper Source
•
Petal envelopes:
text •
Invitation Suite
8o-lb cover
Waste Not Luxe 8o-lb cover
petal envelopes
Layered Heart Valentine
•
Sticker stock: Strathmore writing
25% cotton
label stock, soft white •
Backing paper: Paper Source 80 cover •
•
•
Bristol:
Brads:
Strathmore 100-lb smooth Bristol
•
Scanning and Inkjet Printing Calligraphy
EK Success
Faux-Vintage Scrapbook Pages
Envelopes: Waste Not 70-lb text
•
Paper: Strathmore Pastelle 80-lb cover
•
Inkjet printer:
HP
Deskjet 952C
Paper: Savoir Faire, black French ribbed kraft
paper
HP laserjet photo
•
Photo paper:
•
White
•
Black photo corners:
ink:
paper, glossy
Schmincke white calligraphy gouache
NuAce photo
corners by
Ace Art Company
Script Notes
on Pearlescent
Paper •
Paper: Stardream 8o-lb cover
•
Envelope: Stardream 70-lb text
Products Used
233
Arches
Pearl Paint
www.arches-papers.com/en
www.pearlpaint.com
High-quality cotton printmaking, watercolor,
and drawing
Art Materials
www.artmater ialsonline.com
papers
Joann Rives
BFK
www.joann.com
www.rivesbflc.com
Fabric, books,
and
craft supplies
High-quality cotton printmaking, watercolor,
and drawing
Michael's Crafts
www.michaels.com
papers
Art and craft supplies, papers,
Canson
mattes, frames, jewelry supplies
www.canson-us.com Papers, envelopes, scrapbooking,
and
Bobby Bead www.bobbybead.com
craft supplies
Fabriano
Organizations
www.cartieremilianifabriano.it/
Association for the Calligraphic
uk/_prodotti.html High-quality cotton papers, envelopes, and stationery
Arts www.calligraphicarts.org International organization based
Stardream Metallic and
in
Rhode
Island,
United States
Pearlescent Papers Society of Scribes
(Legion Paper)
www.legionpaper.com/OurCollection/By-Brand/Stardream,
City)
www.societyofscribes.org
Calligraphy & Lettering Arts
htm
Society (UK)
Paper Source
www.clas.co.uk
www.paper-source.com
Commercial paper, and envelopes
(New York
stationery,
in a great
of colors, styles,
and
range
sizes
Art and Craft Supplies Daniel Smith Art Products
www.DanielSmith.com Arch-San Francisco www.archsupplies.com
Washington [DC] Calligraphers Guild www.calligraphersguild.org Society of Scribes and Illuminators (UK)
www.calligraphyonline.org Friends of the Alphabet,
Calligraphy Guild of Atlanta
www.friendsofthealphabet.org Society for Calligraphy
Dick Blick Art Materials
(Southern California)
www.dickblick.com
www.societyforcalligraphy.org
Utrecht Art Supplies
www.utrechtart.com
Resources
235
Dedication To
my grandfather,
Harold Frank Gauthier, who
first
me to
introduced
calligraphy,
and
to Julo Gauthier
and Tim Gartman, two gentle and creative souls who unfailingly nurtured and celebrated the
artist
and
individual in me.
Acknowledgments Special thanks to Eric Dregni, Joey Brochin, Erik
(Thank you
also to Francis
and Sassafras
was
Mattheis, Nick Hook, Jeannine Bourdaghs, Linda
being so patient and well-behaved while
Neubauer, Deb Pierce, Jim Walsh, Kris Manion,
working, for not chewing or scratching too
Pete Semington, Brenda Broadbent at Paper Arts,
and
to
wonderful
Darin Rinne, Verra Blough, and
staff at
Wet Paint— thank
&
Ink
all
the
you, for your
pieces of paper, and for believing
you
that
it is
I
for
me when
many I
told
very important that kitty cats do not
drink the calligraphy water.)
generous advice, support, and encouragement.
About the Author Jeaneen Gauthier studied Chinese
art,
summa cum
custom-made
laude in 1991. In the
illustration,
photography, and textile design. She
Design Workshop, a letterpress and book
custom-made
and
arts
invitations, calligraphy,
and posters. As the principal designer
at Lunalux,
Jeaneen designed many product lines
of stationery
featuring her calligraphy and illustrations, as well
as products and commissions for
including
236
many
others,
Martha Stewart Living and Martha
Stewart Weddings.
Calligraphy 101
artist spe-
cializing in
early 1990s, she co-founded the Lunalux Art
studio for
She currendy works as a self-employed
Minnesota, where
at the University of
she graduated
anthropology, and
invitations
and stationery, sells
her line of handcrafted jewelry, barrettes, and greeting cards that feature her calligraphy and tions
on her webstore
illustra-
at www.JoyologylOl.etsy.com.
Jeaneen also writes and performs alternative easy-listening music under the stage "Jan,"
name
of
and has released three CDs of original music
to date.
She
lives
and works
in her
home
studio in
Minneapolis, Minnesota. Visit her website at
www.jeaneengauthier.com
Passe-Partout Picture Frame Enlarge
200%
Templates
237
Wedding Response Card Enlarge
200%
s
X
s
238
Calligraphy 101
Index Accordion books, making zodiac, 130-137 Acrylic inks about, 14-15
Calligraphy gouache, 17, 111 Calligraphy ink, 14. 79-80
Acrylic paint, 1Z
Alphabets 140-144 Foundational Hand, 52-53 Gothic Hand, 140-144 Italic Hand, 160-161 ladders for, Z5 Uncial Hand, 104, 105 Alphabet set, making magnetic, 146-149 Angled nibs, lO Blackletter,
Artist colors, 16 Artist nibs, 11
books, making
tiny,
68-71 Art supplies, 20-21 A series Speedball nibs, 10 Automatic pens, 11
Award
92-95
T-shirt,
making,
154-157 Blackletter alphabet letters, skill
92-95 Chinese stick
ink, 15
140-144
CMYK
color Coit pens, 11 Color
modes, 225 using, 82-85 Commercial papers, 19 Copperplate nibs, 10
Crow quill nibs, U C series Speedball
204-207
Broad
10
nibs,
Broadsides, making, 122-125
Brushes
nibs, 10-11
Decorative spice labels, making, 88-91 Digital printing, about, 226 Dipping pens. See Calligraphy fountain pens Drawing boards, 2Z nibs,
11
Encre de Chine, 14 Engraving, about, 227
Faux-vintage scrapbook pages, making, 182-189 Floating-layer thank-you notes, making, 64-67 Foundational Hand about, 51 alphabets, 52-53 key points, 55
Z5
builder exercises, 54-57
Fountain pen
ink, 15
Freehand gouache, 85 Freehand line exercises, 36
making, 208-211
Brushwork about, 191-194 painting tips, 197 skill
builder exercises, 195
umination builder exercises, 116-117 tools and supplies, 110-115 India ink, 14 Informal invitations, making, skill
medallions, making illuminated, 126-129
Initial
color,
Gilding, 198-199
Glossary,
228-230
Gold leaf treasure boxes, making. 204-207
79-80
types, 14-16 Interleave paper, using, 60, 66 Invitations, making informal,
166-169 Invitations,
making wedding,
212-217
Hand
about, 159 alphabets, 160-161 with brush, 192 builder exercises, 162-164
swash
skill
plaques,
uminated holiday cards, making, 118-121 uminated initial medallions, making, 126-129
skill
adding details with, 87
name
Guard sheet, 24-25
Italic
ladder,
types, 196 Brush-lettered
freehand, 85 Graph paper, 78 Greeting cards, making mosaicstyle, 96-101
Inks
about, 13 for illumination, 113-114
colors, 80, 81
166-169
builder exercises, 145
treasure, Bristol, 18
builder exercises, 145
mode, 225
making, 79-81
Drawing
Books, making tiny artist's, 68-71 Books, making zodiac accordion, 130-137 Border-building exercises, 37 Border width, 42 Boxes exercises, 36 Boxes, making gold leaf
skill
Chisel-tip nibs, 1Q
making,
certificates,
B Band logo
Card stock, folding, 63 Certificates, making award,
Cross-writing bordered stationery, making, 174-175
Artist's papers, 19
about, 139 alphabets, 140-144
Gouache
using, 33
colors, SO, 81 using, 111-112
Artist's
Calligraphy fountain pens about, 9 swash capitals and, 165 troubleshooting, 34
Gold leaf, working with, 198-199 Gothic Hand
capitals, 165
Italic nibs,
10
making decorative, 88-91 Ladders and ruled lines, 74-75 Labels,
Layered heart valentines, making, 176-181 Left-handers, lettering tips for, 30 Lettering. See Strokes, basic Letterpress printing, about, 227 Letters anatomy of forms, 231 establishing size, 74-75
pastel-shaded fills, 84 watercolor pencil fills, 85 Lined envelopes, making with cross-writing, 170-173 Lined paper, 35, 76-77
Index -
Lines ladders and ruled, 74-75 ruling,
Partout, 45-49 Place cards, making two-tone,
76-77
starting new, 4Q. types, 75
Lombardic Versal
58-63
letters,
108
M Magnetic alphabet 146-149
Map
making,
set,
nibs, 11
Markers, 12 Medallions, making illuminated initial, 126-129 Metallic pigments 110-112
and
inks, 16,
Mosaic-style greeting cards, making, 96-101
N
Name
Photo corners, making, 188-189 Picture Frames, making Passe-
plaques, making brush-
Plaques, making brush-lettered, 208-211 Poster lettering, 10-11 Practice paper, 18 Printmaking papers, 19 Professional printing, using,
226-227
adding details with small, 87 seasoning and inking, 34 size and alphabet, 76-77
Q
ideas,
86-87
Rag papers, 19 Reed pens, 13 RGB color mode, 225 Round Hand. See Foundational
Scanning calligraphy
modes and, 225
interleave, £Q,
66
35
types, 18-19 Parallel Pens, 12 Parchment, 18-19 Passe-Partout Picture Frames,
making, 45-49 Pastel-shaded letter fills, 84 Patterned bookmarks, making step-by-step instructions,
39-42 variations,
43
Pearlescent paper, script notes on,
200-203
working with, 198-199 Sizing, using, 128, 199 Slanted nibs, 1Q Spencerian nibs, 1Q Spooky signs, making, 150-153 Staedtler Duo markers, 12 Stationery with borders and lined envelopes, making, 170-175 Strokes, basic pen angle, 28-29, 55 practice marks, 31 skill builder exercises, 35-37 table of, 32 tips for left-handers, 3D
art,
W Wax
paper, using,
Wedding
6Q
invitation suites,
making, 212-217 Wet-on-wet wash background, 84 Workstation setup, 26-27 Writing surface, 24-25
Zig Pigment-Based markers, 12 Zodiac accordion books, making, 130-137
inks, 15
20-21
basic, 8
nibs, 9-11, 12. 13
drawing boards, 22 inks and paints, 14-17
Personal computers, using,
papers, 18-19
218-225 Photocopying
pens and tips, 175,
Valentines, making layered heart, 176-181 Vellum, 18-19
Supplies
angle, 28-29, 55 cleaning barrels, TO holding, 29 types, 9-11, 12,13
240
builder exercises, 106-107 Versal letters, 108-109 skill
Watercolor borders, 85 Watercolor papers, 19 Watercolor pencil fills, 85
Sumi
Pens
Pens and
about, 103 alphabet, 104, 105
Bronze Powder, 110 Scrapbook pages, making faux-
Silver leaf,
39
Hand
Versal letters, 108-109
for illumination projects, 115 lined,
Uncial
220-224 laser printing and, 225 Schminke Tro Col Dry Gouache
graph, 78
front vs. back,
logo, 154-157
U
nibs,
vintage, 182-189 Script notes on pearlescent paper, 200-203 Shapes exercises, 36 Silkscreen, about, 227
Padding sheets, 24, 25 Papers folding tips, 46, 63
making
58-63
inkjet printing and,
Offset printing, about, 226-227
204-207
about, 12 using, 80, 111 Two-tone place cards, making,
Quill pens, 13
color
Ornament
leaf,
Tube watercolors
about, 219
types, 10
78
Tiny artist's books, making, 68-71 Tracing, benefits of, 54 Treasure boxes, making gold
10 Ruling gauges, making, 76-77
Nibs about, 9
of,
Thank-you notes, making floating-layer, 64-67 Thermography, about, 227
T-shirt,
Hand Round-hand
lettered, 208-211
Templates, using, 45 Text, building blocks
219
nibs, 9-11, 12, 13
writing surface,
24-25
Calligraphy 101 ' .
i
Jtlave you always wanted to learn
how
how
to
do calligraphy, but weren't sure
Also available:
to begin? Calligraphy 101 starts at the very beginning, teaching all the
and easy projects. Then, new and more difficult skills are introduced gradually through more practice drills and projects. Along the way, you'll gain confidence and be encouraged to develop your own artistic style. fane points
about calligraphy through practice
drills
You'll also learn:
©
How
to
choose the best tools for new calligraphers, the ones that deliver
consistent, high-quality results right out of the
box Modem
©
Fun and relaxing you learn
©
The techniques and materials you need to create unique stationery and one-of-a-kind gifts and home accessories— everything from holiday cards and invitations to spice labels and alphabet magnets
skill-building projects that will spark
Like other books in the 101 series, Calligraphy lOl
is
your creativity as
It
CATEGORY:
aimed
at helping crafters
Lettering
978-1-59253-644-3
features full-color
photos accompanied by detailed step-by-step instructions, invaluable all
Hand
a complete illustrated
guide to the basics, written for the absolute beginner. quick reference tools
Calligraphy and
tips,
and
INCLUDED
achieve success.
ISBN ISBN -
Art
13: 10:
978-1-58923-503-8 1-58923-503-7 5 2 49_9_
z < UJ
Creative Publishing international
www.creativepub.com
9
781589 235038
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