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Learning Spencerian...


texaspenman

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Welcome to FPN Estefa. Your practice sheets look good - you have good control of the pen and the shading is well balanced. You'll have the hang of it in no time.

 

Mickey's advice above is spot on - you would do well to pay attention to it.

 

Salman

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Thank you Mickey for your welcome and detailed critique! I appreciate it very much!



About the hand thing that's good to know. On some of the old drawings it looks like they were levitating their hands ;)! So I am going to try just to keep it light. - I will take to heart also your comments about the 2 slants (of which I was aware but not sure how to put more attention to it in practice) and the spacing problem. So l's and e's! The idea to practice shades without shades sounds good - I will do that as well.



I will post again when I have more to show! Thanks again!



Hello Salman, I thank you also very much for your welcome and advice!



Stefanie


I am an illustrator & graphic designer learning calligraphy :: instagram :: blog

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Once more, trying to work on my over-slanting...

 

http://farm4.staticflickr.com/3695/9713332882_ae20d68770_h.jpg

 

BTW, that's the second verse of "Volver", one of the greatest tangos ever written. The most famous version was recorded by Carlos Gardel:

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  On 9/9/2013 at 9:33 AM, Estefa said:

Hi there, I am jumping in. I am quite new here i.e. that's my first post, but I have been reading here now for quite some time. Great site and wonderful thread - thanks to all for so much interesting, beautiful input and advice!

 

I have started trying to learn spencerian some weeks ago.

 

My materials:

I started with the "Spencerian System of Practical Penmanship", a Century Oblique holder with a Brause Rose, and iron gall ink. In the meantime I switched to a Gillot 404 and sometimes other ink (just for a change). I am now also waiting for the Michael Sull books to arrive from Johnnealbooks (and for a beautiful holder from Brian (Musinkman) ;)).

 

What I learned:

1. I filled quite some pages, before I found out - mainly on this site! - that it will not work without really learning the arm movement techniques. I must admit that it was quite mysterious to me because I couldn't imagine to form controlled letters without even the side of my hand touching the paper / table. I now usually start working some time with the first exercise sheet from "Spencerian Script, taken from Real Penwork, 1881" (from Iampeth) and then work with the copy sheets in the booklets. One by one now.

I still think it's really hard and I tend to either get too fast - then everything gets sloppy and uncontrolled and ugly - or I go slow but then I mostly start working too much with finger movement, and touching the paper with the hand, and everything gets shaky and ugly …

2. It is also hard to keep the slant. It tends to get too extreme in the downstrokes is what I think.

3. Shades. I have difficulty to start shading later in the downstroke - you can see it in the Capital stems for example. I have Copperplate practice, maybe that is a problem.

4. Spacing. When I concentrate on letterspacing, lines get shaky because I get too slow - and when I get too fast, I loose control of the spacing.

5. Coffee is not very helpful … beeing tired either.

 

I post here some of my current work sheets. If anyone has some wonderful idea how to make this much easier and faster would be great! - I guess I know that the simple answer will be "Practice, and then practice, and some more practice" ;).

 

I am sorry if something sounds strange - i am not a native speaker and surely make mistakes!

 

It seems I cannot upload pictures from flickr for some reason. So I try to attach them hope that works!

 

attachicon.gifSpence_SW-1.jpgattachicon.gifSpence_SW-2.jpgattachicon.gifSpence_SW-3.jpg

Nice work there Stefanie!!! I love those dainty swirly lines!

Maker of Custom Oblique Pen Holders

 

Visit me at http://uniqueobliques.etsy.com

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  On 9/9/2013 at 8:27 PM, mvarela said:

Once more, trying to work on my over-slanting...

 

http://farm4.staticflickr.com/3695/9713332882_ae20d68770_h.jpg

 

 

 

Martin! Heyyyyy dewd!!!!! How goes it? Did u get my last letter yet bro?

 

Regarding your worry about over slanting; did you know that the great Madarasz slanted at 45 degrees?

I wouldn't sweat about 'over slanting', brother! :-). Just have fun...that's what we're all in this to do.

Edited by MusinkMan

Maker of Custom Oblique Pen Holders

 

Visit me at http://uniqueobliques.etsy.com

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  On 9/9/2013 at 9:24 PM, MusinkMan said:
  On 9/9/2013 at 8:27 PM, mvarela said:

Once more, trying to work on my over-slanting...

 

 

 

Martin! Heyyyyy dewd!!!!! How goes it? Did u get my last letter yet bro?

 

Regarding your worry about over slanting; did you know that the great Madarasz slanted at 45 degrees?

I wouldn't sweat about 'over slanting', brother! :-). Just have fun...that's what we're all in this to do.

Hi Brian! Things go well, though busy :)

The last letter I got from you included some lovely Tomoe River paper samples. That one crossed one of mine on the way, and there was another one after that... did you get any?

 

Regarding the slant, I do like the more slanted aesthetics more, personally, but I do take Mickey's advice to heart because 1) he does know about this stuff and 2) I should be able to maintain the darned slant according to the guidelines! (and for some reason I tend to go lower...)

 

This was done with a 52º guideline (2mm x-height)...

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  On 9/10/2013 at 5:11 AM, mvarela said:

Hi Brian! Things go well, though busy :)

The last letter I got from you included some lovely Tomoe River paper samples. That one crossed one of mine on the way, and there was another one after that... did you get any?

 

Regarding the slant, I do like the more slanted aesthetics more, personally, but I do take Mickey's advice to heart because 1) he does know about this stuff and 2) I should be able to maintain the darned slant according to the guidelines! (and for some reason I tend to go lower...)

 

This was done with a 52º guideline (2mm x-height)...

You have another letter that should arrive any day now. Probably tomorrow. I did receive yours as well. Got some cool paper from you too!

Well, the slant degree isn't as critical as you might think, as long as it's consistent. Spencerian masters took outrageous liberties with such things, yet their work was always stunning. Not to say that you should abandon all of the rules of course...but if you slant more than 52 degress, it won't be the end of the world. It must be consistent though, that part is true. Lord, I'm learning all about that from my new Spence "teacher". Lots of eye-opening stuff for sure. I was stressing about the wrong things...and not stressing about the things that really mattered. And was too stupid to realize the difference. hahaha But I'm learning, and hopefully I will turn the corner soon! Let me know when your letter gets there brother! I shared a couple of tips with you, I hope they are a help!

Maker of Custom Oblique Pen Holders

 

Visit me at http://uniqueobliques.etsy.com

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  On 9/9/2013 at 8:27 PM, mvarela said:

Once more, trying to work on my over-slanting...

 

 

There is one basic thing I suggest to write any script at any pre-determined slant.

 

Whether it's Italic at 9 degrees or Copperplate at 55 degrees or Gothic at 90 degrees I always rotate the paper counter-clockwise so that the slope line is at right angles to the edge of my desk. This technique assumes a normal body-position facing the desk directly. In this way, I am always writing straight up and down, regardless of the style of script. It does mean that I am writing more 'uphill' with the more sloping scripts as I follow the baseline but it only seems strange at first. Incidentally, this helps with flex-nibbed writing because the tines open evenly when used with an oblique holder. This isn't carved in stone of course, but I find that it does help control the slope of writing. Give it a try.

 

This, of couse, is supplementary to the exccellent advice you've been given by Mickey and others.

 

Ken

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  On 9/10/2013 at 7:50 AM, caliken said:

There is one basic thing I suggest to write any script at any pre-determined slant.

 

Whether it's Italic at 9 degrees or Copperplate at 55 degrees or Gothic at 90 degrees I always rotate the paper counter-clockwise so that the slope line is at right angles to the edge of my desk. This technique assumes a normal body-position facing the desk directly. In this way, I am always writing straight up and down, regardless of the style of script. It does mean that I am writing more 'uphill' with the more sloping scripts as I follow the baseline but it only seems strange at first. Incidentally, this helps with flex-nibbed writing because the tines open evenly when used with an oblique holder. This isn't carved in stone of course, but I find that it does help control the slope of writing. Give it a try.

 

This, of couse, is supplementary to the exccellent advice you've been given by Mickey and others.

 

Ken

That's actually how I try to work, but I think I'm somehow failing somehow.

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  On 9/10/2013 at 6:17 AM, MusinkMan said:

You have another letter that should arrive any day now. Probably tomorrow. I did receive yours as well. Got some cool paper from you too!

Well, the slant degree isn't as critical as you might think, as long as it's consistent. Spencerian masters took outrageous liberties with such things, yet their work was always stunning. Not to say that you should abandon all of the rules of course...but if you slant more than 52 degress, it won't be the end of the world. It must be consistent though, that part is true. Lord, I'm learning all about that from my new Spence "teacher". Lots of eye-opening stuff for sure. I was stressing about the wrong things...and not stressing about the things that really mattered. And was too stupid to realize the difference. hahaha But I'm learning, and hopefully I will turn the corner soon! Let me know when your letter gets there brother! I shared a couple of tips with you, I hope they are a help!

Glad the mailman did his work this time! Looking forward to reading yours!

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  On 9/9/2013 at 8:27 PM, mvarela said:

Once more, trying to work on my over-slanting...

 

http://farm4.staticflickr.com/3695/9713332882_ae20d68770_h.jpg

 

BTW, that's the second verse of "Volver", one of the greatest tangos ever written. The most famous version was recorded by Carlos Gardel:

Thanks for the Gardel. I am a (not quite rabid) tango fan, but have seen only one of his movies, his last, El Dia Que Me Quieras. (I don't dance, don't ask me...)

 

The Spencerian is looking much more stable. Here are a couple of little (but difficult) things to focus on going forward.

 

1. Be careful that upstrokes, especially on the r and s, aren't too straight. They are subtly curved. If written too straight, they look as if they are intended to be on the primary slant line and thus convey unevenness. Remember, down strokes are (generally) straight and up strokes are (generally) curved. Look at the letter i. (You might also observe that only the very short part of the r and s above the x-line is on the primary slant.)

 

2. Be careful of the wedge on the d, p, and t. It is easy for them to appear over or under slanted. Look especially where these letter are close to the letter i. You'll see what I mean. Don't feel bad. This is just plain hard to do.

 

3. The majuscule S in Sentir would be more attractive if you confined the shade to the area below the center of the letter so that the loop crosses at very top of the shade, not in the middle. Look at http://www.iampeth.com/artwork/Madarasz_study_as_much.jpg (Also look at his d, p, and t. Note that it is the left edge of the wedge that is on the slant line.)

 

4. Keep the shade on a and o high and subtle. This is hard to do, (I fight the battle myself), but try to confine the shade to the upper 1/2 of the ellipsoid. Two things that help are keeping the ink thin enough and cleaning the point frequently. Remember, the lead in stroke and the shade should not merge. (This is very tough to do consistently.)

 

5. Don't try to shade the down stroke of the letter s. It looks heavy. It arrests the eye. Not shading this stroke at all is sufficiently difficult that whatever inadvertent shade you produce will look correct and elegant. Similarly, don't over-shade the letter r.

 

Well done.

The liberty of the press is indeed essential to the nature of a free state; but this consists in laying no previous restraints upon publications, and not in freedom from censure for criminal matter when published. Every freeman has an undoubted right to lay what sentiments he pleases before the public; to forbid this, is to destroy the freedom of the press; but if he publishes what is improper, mischievous or illegal, he must take the consequence of his own temerity. (4 Bl. Com. 151, 152.) Blackstone's Commentaries

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  On 9/10/2013 at 2:03 PM, Mickey said:

Thanks for the Gardel. I am a (not quite rabid) tango fan, but have seen only one of his movies, his last, El Dia Que Me Quieras. (I don't dance, don't ask me...)

 

The Spencerian is looking much more stable. Here are a couple of little (but difficult) things to focus on going forward.

 

1. Be careful that upstrokes, especially on the r and s, aren't too straight. They are subtly curved. If written too straight, they look as if they are intended to be on the primary slant line and thus convey unevenness. Remember, down strokes are (generally) straight and up strokes are (generally) curved. Look at the letter i. (You might also observe that only the very short part of the r and s above the x-line is on the primary slant.)

 

2. Be careful of the wedge on the d, p, and t. It is easy for them to appear over or under slanted. Look especially where these letter are close to the letter i. You'll see what I mean. Don't feel bad. This is just plain hard to do.

 

3. The majuscule S in Sentir would be more attractive if you confined the shade to the area below the center of the letter so that the loop crosses at very top of the shade, not in the middle. Look at http://www.iampeth.com/artwork/Madarasz_study_as_much.jpg (Also look at his d, p, and t. Note that it is the left edge of the wedge that is on the slant line.)

 

4. Keep the shade on a and o high and subtle. This is hard to do, (I fight the battle myself), but try to confine the shade to the upper 1/2 of the ellipsoid. Two things that help are keeping the ink thin enough and cleaning the point frequently. Remember, the lead in stroke and the shade should not merge. (This is very tough to do consistently.)

 

5. Don't try to shade the down stroke of the letter s. It looks heavy. It arrests the eye. Not shading this stroke at all is sufficiently difficult that whatever inadvertent shade you produce will look correct and elegant. Similarly, don't over-shade the letter r.

 

Well done.

You're most welcome for the tango... I'm not a huge fan, but good is good, regardless of the style and personal preferences :)

 

Thanks for all the tips, as well. I'll try and incorporate them. One question regarding the wedges in t, p and d, do you have any tips on how to align the right side of the wedge with the main slant? I have a feeling that the way I do it, the main slant line is approximately bisecting the wedge. I basically do them in a single stroke (I rarely go back and fix them), by splaying the tines and then pushing down and off the paper (or the opposite way for the p), but that results in a wedge roughly symmetrical around the main slant "line".

As for all the rest, I guess it's a matter of practice and more practice.

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  On 9/10/2013 at 2:19 PM, mvarela said:

You're most welcome for the tango... I'm not a huge fan, but good is good, regardless of the style and personal preferences :)

 

Thanks for all the tips, as well. I'll try and incorporate them. One question regarding the wedges in t, p and d, do you have any tips on how to align the right side of the wedge with the main slant?

It's the LEFT side that should be on the slant line. I believe one technique is to select the correct starting point for the down stroke, ground the left tine first, so the right tine slides right, then track the left tine while gradually letting off pressure on the right. Similarly for the p wedge, lean just a little harder on the left tine as you pull the stroke, the left tine tracking your original trajectory while the right tine gradually slides right.

 

That may be what's happening, but it's probably easiest to simply concentrate on the left side of the wedge and let the firmware write itself. Repeat a few thousand times and your hands will do it naturally.

The liberty of the press is indeed essential to the nature of a free state; but this consists in laying no previous restraints upon publications, and not in freedom from censure for criminal matter when published. Every freeman has an undoubted right to lay what sentiments he pleases before the public; to forbid this, is to destroy the freedom of the press; but if he publishes what is improper, mischievous or illegal, he must take the consequence of his own temerity. (4 Bl. Com. 151, 152.) Blackstone's Commentaries

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  On 9/10/2013 at 2:57 PM, Mickey said:

It's the LEFT side that should be on the slant line. I believe one technique is to select the correct starting point for the down stroke, ground the left tine first, so the right tine slides right, then track the left tine while gradually letting off pressure on the right. Similarly for the p wedge, lean just a little harder on the left tine as you pull the stroke, the left tine tracking your original trajectory while the right tine gradually slides right.

 

That may be what's happening, but it's probably easiest to simply concentrate on the left side of the wedge and let the firmware write itself. Repeat a few thousand times and your hands will do it naturally.

Yes, I meant "right" as in "correct". Sorry about the confusion. Anyway, I'll do a few sessions of ascender and descender wedges, and see if I come to grips with it.

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  On 9/10/2013 at 2:57 PM, Mickey said:

It's the LEFT side that should be on the slant line. I believe one technique is to select the correct starting point for the down stroke, ground the left tine first, so the right tine slides right, then track the left tine while gradually letting off pressure on the right. Similarly for the p wedge, lean just a little harder on the left tine as you pull the stroke, the left tine tracking your original trajectory while the right tine gradually slides right.

 

One technique that Madarasz used was he would write the 't' in three strokes. He would come up as if he were writing an 'i' and then he would stop before coming down. He would then lift the pen and follow the slant line and then '7' out his wedge and follow it back down to the baseline. After you do that you can either draw in the shade manually or you can snap the shade down with sufficient practice. The 7, when properly done, will form the right-most and upper part of the 'wedge' leaving only the right side to be drawn or snapped in. (This sounds confusing, but it's pretty simple if you see a drawn diagram of it)

 

http://www.iampeth.com/lessons/ornamental_penmanship/del_tysdal_lessons/DelOPInst02.pdf

 

Look at the very last two images of here. You see that, when writing his 't' he comes up in three strokes. The first, the lead in, is i height. The second is the start of the top and then back down in a hairline and then the third is the '7' part where you draw out the proper width, etc, for the snap shade. You do this so that the left side is always perfectly formed and on the baseline. In the first example image, the lines are separated for visual clarity.

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Here's a couple of bits from tonight (please excuse typos and corrections... I'm sleep deprived).

 

http://i.imgur.com/099A0NX.jpg

 

And a nice quotation from Saint Exupéry:

 

http://farm8.staticflickr.com/7366/9743717716_871c23f346_o.png

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  On 8/9/2013 at 5:36 AM, Scribe_Not said:

Day 2 of practice drills.

For some reason that "can't walk and chew gum" saying comes to mind.

I'm gonna be counting slinkies tonight... at 200 beats per minute.

Wow! Does that ever take me back to third and fourth grades. We had to practice like that when learning cursive writing. Yes, I'm old! LOL

 

Interestingly, earlier today, I printed up some Spencerian guide sheets and just wrote my usual cursive style. My handwriting is still pretty even and Grade four was about 50 years ago.

Your life is the result of the choices you make. If you don’t like your life, it’s time to start making better choices.


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During my morning practice, I may have made a discovery, at least for myself, and I thought I might pass it along. I was working on the minuscule l, or more specifically the pairs ll, lk, and lh, also those pair in combination with vowels, both leading and trailing. I wasn't pleasing myself. Then I remembered reading about one of those 'secrets of Madarasz,' most of which I've been disappointed to learn are observations by some third person with no explanation of why the great penman did what he did. I put for the following theory for discussion.

 

This particular 'secret' concerned the writing of the l and similar letters. According to the author (sorry can't remember who), Madarasz wrote the first 1/2 - 2/3 of the up stroke with arm movement, the top fraction with the fingers, and the rest with the arm. All well and good, but why? The article didn't explain or at least not clearly enough to penetrate my skull. It also didn't state whether other skilled penmen might be doing the exact same thing or if this was in deed the sole property of the 'great one.' My belief now is the former is true, that every skilled penman eventually comes to grips with the same problem and for their best work employs a similar technique. Let me explain.

 

Most of the letter l is easily described by the 30 degree upstroke curve, the 52 degree straight down stroke, and following 30 degree upstroke, but little is said about the transitions between these lines, the top of the loop and the bottom curve. It is at these two points where I believe Madarasz' fingers took over. The transitions need to be gently rounded (to look correct) and at the velocity at which high quality work is produced, I doubt that arm muscles are competent. I believe the fingers nearly 'draw' these transitions or they exist as distinct but unstated finger 'principles'. (I favor the second possibility, as it allows for the transitions to be embedded for faster writing.)

 

If my theory is correct (more or less) the transitions also need to be considered in the writing rhythm. If you leave out the time slot for the transition, you get spiky top curves on your 'l', 'h', and 'k', variable loop width, and, quite possibly, heavy downstrokes. (Similar maladies can affect the descenders, as well.)

 

Not to pick on mvarela, (post 397 is simply convenient), but take a look at post #397. Look specifically at the shape of the (l, f, h, k) top curve, the width of the loop, and where the two arms of the l, f, h, and k, cross. One should also look for unintended heavy down-strokes. I believe all the 'mistakes' on these letters can be explained in terms of that transition at the top of the letter. The transitions should be separate from the principle strokes, needing its own time slice and special instructions, which should probably include lightening the touch.

 

At speed, the special instruction might become embedded, but at careful speeds, they need to be accommodated.

 

Thoughts anyone?

The liberty of the press is indeed essential to the nature of a free state; but this consists in laying no previous restraints upon publications, and not in freedom from censure for criminal matter when published. Every freeman has an undoubted right to lay what sentiments he pleases before the public; to forbid this, is to destroy the freedom of the press; but if he publishes what is improper, mischievous or illegal, he must take the consequence of his own temerity. (4 Bl. Com. 151, 152.) Blackstone's Commentaries

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  On 9/16/2013 at 3:55 PM, Mickey said:

During my morning practice, I may have made a discovery, at least for myself, and I thought I might pass it along. I was working on the minuscule l, or more specifically the pairs ll, lk, and lh, also those pair in combination with vowels, both leading and trailing. I wasn't pleasing myself. Then I remembered reading about one of those 'secrets of Madarasz,' most of which I've been disappointed to learn are observations by some third person with no explanation of why the great penman did what he did. I put for the following theory for discussion.

 

This particular 'secret' concerned the writing of the l and similar letters. According to the author (sorry can't remember who), Madarasz wrote the first 1/2 - 2/3 of the up stroke with arm movement, the top fraction with the fingers, and the rest with the arm. All well and good, but why? The article didn't explain or at least not clearly enough to penetrate my skull. It also didn't state whether other skilled penmen might be doing the exact same thing or if this was in deed the sole property of the 'great one.' My belief now is the former is true, that every skilled penman eventually comes to grips with the same problem and for their best work employs a similar technique. Let me explain.

 

Most of the letter l is easily described by the 30 degree upstroke curve, the 52 degree straight down stroke, and following 30 degree upstroke, but little is said about the transitions between these lines, the top of the loop and the bottom curve. It is at these two points where I believe Madarasz' fingers took over. The transitions need to be gently rounded (to look correct) and at the velocity at which high quality work is produced, I doubt that arm muscles are competent. I believe the fingers nearly 'draw' these transitions or they exist as distinct but unstated finger 'principles'. (I favor the second possibility, as it allows for the transitions to be embedded for faster writing.)

 

If my theory is correct (more or less) the transitions also need to be considered in the writing rhythm. If you leave out the time slot for the transition, you get spiky top curves on your 'l', 'h', and 'k', variable loop width, and, quite possibly, heavy downstrokes. (Similar maladies can affect the descenders, as well.)

 

Not to pick on mvarela, (post 397 is simply convenient), but take a look at post #397. Look specifically at the shape of the (l, f, h, k) top curve, the width of the loop, and where the two arms of the l, f, h, and k, cross. One should also look for unintended heavy down-strokes. I believe all the 'mistakes' on these letters can be explained in terms of that transition at the top of the letter. The transitions should be separate from the principle strokes, needing its own time slice and special instructions, which should probably include lightening the touch.

 

At speed, the special instruction might become embedded, but at careful speeds, they need to be accommodated.

 

Thoughts anyone?

 

I hadn't heard that bit about Madarasz's loops... I've always had issues with those long upstrokes (they tend to get a bit jiggly), but at the size I normally write, I have the impression that transitioning twice between arm movement and finger movement would probably result in visible "joins". That's of course just an impression (I haven't tested it, and with any new thing, practice would probably make for better results). I'll do some in my next practice, and see if and how it works for me.

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      chocolate is yummy
    • Bucefalo 17 Jan 9:59
      anyone sells vacumatic push button shafts
    • stxrling 13 Jan 1:25
      Are there any threads or posts up yet about the California Pen Show in February, does anyone know?
    • lamarax 10 Jan 20:27
      Putting coffee in a fountain pen is far more dangerous
    • asnailmailer 9 Jan 0:09
      Don't drink the ink
    • zug zug 8 Jan 16:48
      Coffee inks or coffee, the drink? Both are yummy though.
    • LandyVlad 8 Jan 5:37
      I hear the price of coffee is going up. WHich is bad because I like coffee.
    • asnailmailer 6 Jan 14:43
      time for a nice cup of tea
    • Just J 25 Dec 1:57
      @liauyat re editing profile: At forum page top, find the Search panel. Just above that you should see your user name with a tiny down arrow [🔽] alongside. Click that & scroll down to CONTENT, & under that, Profile. Click that, & edit 'til thy heart's content!
    • liapuyat 12 Dec 12:20
      I can't seem to edit my profile, which is years out of date, because I've only returned to FPN again recently. How do you fix it?
    • mattaw 5 Dec 14:25
      @lantanagal did you do anything to fix that? I get that page every time I try to go to edit my profile...
    • Penguincollector 30 Nov 19:14
      Super excited to go check out the PDX Pen Bazaar today. I volunteered to help set up tables. It should be super fun, followed by Xmas tree shopping. 😁
    • niuben 30 Nov 10:41
      @Nurse Ratchet
    • Nurse Ratchet 30 Nov 2:49
      Newbie here!!! Helloall
    • Emes 25 Nov 23:31
      jew
    • Misfit 9 Nov 2:38
      lantanagal, I’ve only seen that happen when you put someone on the ignore list. I doubt a friend would do that.
    • lantanagal 7 Nov 19:01
      UPDATE - FIXED NOW Exact message is: Requested page not available! Dear Visitor of the Fountain Pen Nuthouse The page you are requesting to visit is not available to you. You are not authorised to access the requested page. Regards, The FPN Admin Team November 7, 2024
    • lantanagal 7 Nov 18:59
      UPDATE - FIXED NOW Trying to send a pen friend a reply to a message, keep getting an error message to say I don't have access. Anyone any ideas? (tried logging our and back in to no avail)
    • Dr.R 2 Nov 16:58
      Raina’s
    • fireant 2 Nov 1:36
      Fine-have you had a nibmeister look at it?
    • carlos.q 29 Oct 15:19
      @FineFinerFinest: have you seen this thread? https://www.fountainpennetwor...nging-pelikan-nibs/#comments
    • FineFinerFinest 24 Oct 8:52
      No replies required to my complaints about the Pelikan. A friend came to the rescue with some very magnification equipment - with the images thrown to a latge high res screen. Technology is a wonderful thing. Thanks to Mercian for the reply. I had been using the same paper & ink for sometime when the "singing" started. I have a theory but no proof that nibs get damaged when capping the pen. 👍
    • Mercian 22 Oct 22:28
      @FineFinerFinest: sometimes nib-'singing' can be lessened - or even cured - by changing the ink that one is putting through the pen, or the paper that one is using. N.b. *sometimes*. Good luck
    • Bluetaco 22 Oct 22:04
      howdy
    • FineFinerFinest 21 Oct 5:23
      I'm not expecting any replies to my question about the singing Pelikan nib. It seems, from reading the background, that I am not alone. It's a nice pen. It's such a pity Pelikan can't make decent nibs. I have occasionally met users who tell me how wonderful their Pelikan nib is. I've spent enough money to know that not everyone has this experience. I've worked on nibs occasionally over forty years with great success. This one has me beaten. I won't be buying any more Pelikan pens. 👎
    • FineFinerFinest 21 Oct 4:27
      I've had a Pelikan M805 for a couple of years now and cannot get the nib to write without singing. I've worked on dozens of nibs with great success. Ny suggestion about what's going wrong? 😑
    • Bhakt 12 Oct 5:45
      Any feedback in 100th anniversary Mont Blanc green pens?
    • Glens pens 8 Oct 15:08
      @jordierocks94 i happen to have platinum preppy that has wrote like (bleep) since i bought it my second pen....is that something you would wish to practice on?
    • jordierocks94 4 Oct 6:26
      Hello all - New here. My Art studies have spilled me into the ft pen world where I am happily submerged and floating! I'm looking to repair some cheap pens that are starving for ink yet filled, and eventually get new nibs; and development of repair skills (an even longer learning curve than my art studies - lol). Every hobby needs a hobby, eh ...
    • The_Beginner 18 Sept 23:35
      horse notebooks if you search the title should still appear though it wont show you in your proflie
    • Jayme Brener 16 Sept 22:21
      Hi, guys. I wonder if somebody knows who manufactured the Coro fountain pens.
    • TheHorseNotebooks 16 Sept 13:11
      Hello, it's been ages for me since I was here last time. I had a post (http://www.fountainpennetwork...-notebooks/?view=getnewpost) but I see that it is no longer accessible. Is there anyway to retrieve that one?
    • Refujio Rodriguez 16 Sept 5:39
      I have a match stick simplomatic with a weidlich nib. Does anyone know anything about this pen?
    • The_Beginner 15 Sept 16:11
      dusty yes, glen welcome
    • Glens pens 11 Sept 1:22
      Hello, Im new to FPN I'm so happy to find other foutain penattics. collecting almost one year ,thought I would say hello to everyone.
    • DustyBin 8 Sept 14:34
      I haven't been here for ages... do I take it that private sales are no longer allowed? Also used to be a great place to sell and buy some great pens
    • Sailor Kenshin 1 Sept 12:37
      Lol…
    • JungleJim 1 Sept 1:55
      Perhaps it's like saying Beetlejuice 3 times to get that person to appear, though with @Sailor Kenshin you only have to say it twice?
    • Sailor Kenshin 31 Aug 21:06
      ?
    • Duffy 29 Aug 19:31
      @Sailor Kenshin @Sailor Kenshin
    • Seney724 26 Aug 22:07
    • Diablo 26 Aug 22:05
      Thank you so much, Seney724. I really appreciate your help!
    • Seney724 26 Aug 21:43
      I have no ties or relationship. Just a very happy customer. He is a very experienced Montblanc expert.
    • Seney724 26 Aug 21:42
      I strongly recommend Kirk Speer at https://www.penrealm.com/
    • Diablo 26 Aug 21:35
      @Seney724. The pen was recently disassembled and cleaned, but the nib and feed were not properly inserted into the holder. I'm in Maryland.
    • Diablo 26 Aug 21:32
      @Seney724. The nib section needs to be adjusted properly.
    • Seney724 26 Aug 18:16
      @Diablo. Where are you? What does it need?
    • Diablo 26 Aug 16:58
      Seeking EXPERIENCED, REPUTABLE service/repair for my 149. PLEASE help!!!
    • Penguincollector 19 Aug 19:42
      @Marta Val, reach out to @terim, who runs Peyton Street Pens and is very knowledgeable about Sheaffer pens
    • Marta Val 19 Aug 14:35
      Hello, could someone recommend a reliable venue: on line or brick and mortar in Fairfax, VA or Long Island, NY to purchase the soft parts and a converter to restore my dad's Sheaffer Legacy? please. Thanks a mill.
    • The_Beginner 18 Aug 2:49
      is there a guy who we can message to find a part for us with a given timelimit if so please let me know his name!
    • virtuoso 16 Aug 15:15
      what happene to the new Shaeffer inks?
    • Scribs 14 Aug 17:09
      fatehbajwa, in Writing Instruments, "Fountain Pens + Dip Pens First Stop" ?
    • fatehbajwa 14 Aug 12:17
      Back to FPN after 14 years. First thing I noticed is that I could not see a FS forum. What has changed? 🤔
    • Kika 5 Aug 10:22
      Are there any fountain pen collectors in Qatar?
    • T.D. Rabbit 31 July 18:58
      Ahh okay, thanks!
    • Scribs 29 July 18:51
      @ TDRabbit, even better would be in Creative Expressions area, subform The Write Stuff
    • T.D. Rabbit 29 July 11:40
      Okay, thanks!
    • JungleJim 29 July 0:46
      @T.D. Rabbit Try posting it in the "Chatter Forum". You have to be logged in to see it.
    • T.D. Rabbit 28 July 17:54
      Hello! Is there a thread anywhere 'round here where one can post self-composed poetry? If not, would it be alright if I made one? I searched on google, but to no avail...
    • OldFatDog 26 July 19:41
      I have several Parker Roller Ball & Fiber Tip refills in the original packaging. Where and how do I sell them? The couple that I've opened the ink still flowed when put to paper. Also if a pen would take the foller ball refill then it should take the fiber tip as well? Anyway it's been awhile and I'm want to take my message collection beyond the few pieces that I have... Meaning I don't have a Parker these refills will fit in 🙄
    • RegDiggins 23 July 12:40
      Recently was lucky enough to buy a pristine example of the CF crocodile ball with the gold plating. Then of course I faced the same problem we all have over the years ,of trying to find e refill. Fortunately I discovered one here in the U.K. I wonder if there are other sources which exist in other countries, by the way they were not cheap pen
    • The_Beginner 20 July 20:35
      Hows it going guys i have a code from pen chalet that i wont use for 10% off and it ends aug 31st RC10AUG its 10% off have at it fellas
    • T.D. Rabbit 19 July 9:33
      Somewhat confusing and off-putting ones, as said to me by my very honest friends. I don't have an X account though :<
    • piano 19 July 8:41
      @The Devil Rabbit what kind of? Let’s go to X (twitter) with #inkdoodle #inkdoodleFP
    • Mort639 17 July 1:03
      I have a Conway Stewart Trafalgar set. It was previously owned by actor Russell Crowe and includes a letter from him. Can anyone help me with assessing its value?
    • Sailor Kenshin 15 July 17:41
      There must be a couple of places here to share artworks.
    • T.D. Rabbit 15 July 12:45
      Hullo! I really like making ink doodles, and I'd like to share a few. Anywhere on the site I can do so? Thanks in advance!
    • Sailor Kenshin 6 July 17:58
      Pay It Forward.
    • AndWhoDisguisedAs 6 July 16:59
      where would I post wanting to trade bottle of ink straight up?
    • JungleJim 3 July 16:14
      @Bill Wood-- just look at the message below you that was posted by @PAKMAN. He is a moderator here on the forums.
    • Bill Wood 2 July 14:24
      Just checking on a classified section and where we are with that. Many thanks. Bill
    • PAKMAN 29 June 1:57
      @inky1 The software for the classified stopped working with the forum. So no we don't have a sales section anymore at FPN
    • inky1 28 June 16:49
      I am not sure which is the classifieds section
    • inky1 28 June 16:46
      IIs there a Fountain Pen Sales board anywhere on here?
    • dave c 25 June 19:01
      Hi. Anybody ever heard about a Royal Puck Pen. Very small but good looking.
    • Eppie_Matts 23 June 19:25
      Thanks! I've just ordered some #6's to experiment with.
    • Al-fresco 21 June 12:11
      @Eppie_Matts Shouldn't be a problem - I've just put a Bock #6 Titanium into a La Grande Bellezza section. Went straight in without any problem.
    • Curiousone11 21 June 4:35
      Any recommendations on anyone who specializes in original pen patents?
    • Eppie_Matts 20 June 1:32
      Hi all - I'm new to experimenting with pens and nibs. Can I put a bock 6 on a Pineider? Thanks!
    • penned in 16 June 17:33
      Hi, I'm new to this forum and was wondering where is the best place to sell a Montblanc ballpoint pen? Are ballpoints allowed here? It's a beautiful pen that deserves a great listing. Thanks.
    • ChrisUrbane 9 June 3:16
      I havent logged in here for a while. I have moved and when I try to change my location on my profile, when I go to save it, it sais 'page not found' and that I do not have authority to change that.
    • Dlj 6 June 20:19
      I am looking for someone who can repair a Waterman Preface ballpoint that won’t stay together
    • Penguincollector 30 May 14:59
      I just noticed that the oppsing team of the game I watched last night had a player named Biro in their lineup. He must be part of Marsell the oily magician’s cadre
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