Practice With Copperplate

[youngdanf]

I was doing some practice yesterday with a dip pen. Still need to get my letters more consistent, but I love the white ink on the red board.

ps, where could I go to get some help with my embelishments?

Edited March 21, 2013 by youngdanf

[Pchi]

Love the "white on red" effect; that's unusual.

 

Re embellishments, flourishing etc, I have a great book called "New Calligraphic Ornaments and Flourishes" by Arthur Baker, which has some really unusual, striking flourishes, embellishments, patterns - all sorts.

 

I also get a lot of inspiration from odd places - tattoo parlours are a great example, or searching out "tattoo writing styles" They, of course, are only working with a hair-line they build up, but I've seen some fine tattoo embellishments I've used in calligraphy projects. Just try and stay away from the "Oi luv moi Mum" end of tattoos; these are not, generally, helpful. Although endlessly entertaining.

 

Another tip is to use unusual nibs - scroll and music nibs, which are split in the middle can produce unexpected effects. I've only just acquired one so am at the stage of just seeing what comes out. I'm sure other people are vastly more organised than me, but I "doodle" and play endlessly. I don't so much get inspiration, I think fate just takes pity and every ten pages of scribbling whatever words have fallen into my derelict brain are rewarded with the odd good idea that drops in from somewhere.

 

Hope some of this relentless drivel helps...

Edited March 27, 2013 by Pchi

[akustyk]

I am in the same boat! I am having trouble with loops, beginnings and ends of letters, mostly capitals, I wonder if there's some way, a technique for learning these. BTW, I really like the sample you posted!

 

http://i1297.photobucket.com/albums/ag32/akustyk/CAM00473-1_zps19c666f9.jpg

[caliken]

I am in the same boat! I am having trouble with loops, beginnings and ends of letters, mostly capitals, I wonder if there's some way, a technique for learning these?

 

Before trying to extend capitals with flourishing, have a look at this example.(It was inspired by the flourishing in "The Universal Penman".)

http://i226.photobucket.com/albums/dd289/caliken_2007/flourishedelement400.jpg

Note a few basic "rules"

 

Never cross a thick line with a thick line - it never looks good.

Try to cross lines at a high angle - as close to 45 degrees, as possible.

With curves, aim for parallels where possible and practicable.

Try to produce adjacent shapes which visually balance in area.

 

This classic flourish fulfills all these requirements.

 

When applying flourishing to lettering, let the flourishing flow naturally into the letter shape and similarily. emerge naturally from the letter, and never look "stuck on".

Avoid complicated flourishes until you can confidently produce simple figure-of-eight shapes smoothly and evenly without the tell-tale "beginner's wobble"!

 

Avoid over-flourishing letters within text which can easily lead to legibility problems. Occasional flourishing has greater impact and is usually more effective. IMO flourishing should enhance lettering, not obscure it.

 

Experiment with the above shape. Apply parts of it to various letters and see how it works out. When learning, it's easier to try flourishing the letters with descenders as they naturally lend themselves to extension.

 

Ken

Edited March 29, 2013 by caliken

[ljkd13]

After years of practicing, I'm just starting to get a feel for what really works with flourishes attached to letters (ends of words etc) - this is something that comes with tons and tons of practice, as well as looking at a lot of really good examples. I have also found that even when I feel like I've really hit on something great, in another 3 months, I easily see where it could be improved/changed.

 

Moral of the story - get the letters and standard style down really well before adding lots of flourishes. It will look better to have really great lettering and simple/no flourishes, than it would be to have great flourishes, but writing you still didn't feel comfortable with.

 

For good examples, I often look another wedding calligraphers' websites to get inspiration and ideas for how to spice up my lettering, for exmaple : No affiliation

 

http://2.bp.blogspot.com/-5QVRWe0D3BM/USeU4kGyHDI/AAAAAAAACh8/IEIfOVNLdBg/s1600/JaneFarrLavish.jpg

[caliken]

Another example of flourishing.

 

Ken

http://i226.photobucket.com/albums/dd289/caliken_2007/Flourishingword600.jpg

Edited March 29, 2013 by caliken

[akustyk]

http://i1297.photobucket.com/albums/ag32/akustyk/CAM00481_zps39f5434f.jpg

[MusinkMan]

akustyk, I'm not sure if this will be a help to your or not. I figured I'd throw it in the hat just in case. It's easy, and I hope it's something that you can use. Another tip...stop using graph paper because it throws your slants all catawampus (at least it does that to mine). LOL! Better to use some regular lined paper or best something with some slant guidelines drawn in for ya! Here are some "top loops":

 

[coyotewhisper]

Very impressive work everyone. Question, is copper plate, a form of penmanship? Also is it done exclusively with a dip pen?

Edited April 6, 2013 by coyotewhisper

[MusinkMan]

Nah, I did mine with a flexible Waterman fountainpen. Of course the dip pen will do a much more impressive job in the right hands. Fountain pen stuff is very forgiving and lots of fun.

[Pchi]

Very impressive work everyone. Question, is copper plate, a form of penmanship? Also is it done exclusively with a dip pen?

 

I have no idea if it qualifies as "penmanship" - certainly not my amateur wigglings!

 

Dip pen vs fountain pen....hmmm. Bucking the trend, I actually find dip pens much easier in terms of the letters themselves because there is such line variation. Even though I have a good Waterman vintage flexy, the hairlines will never be as fine as a dip pen; to get anywhere near means so little pressure it's hard not to get wobbles, whereas dip pen nibs are so fine this isn't an issue. But I find flourishes and practicing flourishes much easier with a fountain pen because it's smoother. I've only just started learning this style though and I'm totally comfortable with all sorts of pens from doing calligraphy; maybe I find the dipper easier simply because I have a "knack."

 

I actually find the fountain-pen copperplate harder to do, so I'm focussing on that for the challenge. I'm sure my technique is hideous, especially compared to some of the consummate artists on here but for me it's about enjoyment and personal satisfaction. I'm more pleased to be mastering the fountain pen because that's the new thing to me - whatever you choose to use, the most important thing is that YOU enjoy it. Because if it becomes a chore to fit into a certain niche, what's the point? Dip pen, fountain pen, stick in puddle - whatever gives you the greatest satisfaction.