[Columba Livia]

I remember reading somewhere that what we now call copperplate was originally written with a broad cut quill and it was rotated as you wrote in order to make the hairlines. I have been practising with the pointed pen, but I thought I'd like to see what it's like to write as Bickham and the like did. I used a feather from a wood pigeon (Columba Palumbus) which I had found on a green while I was out cycling and which I hardened in sand.

Although the feather is very thin, too thin for my liking, I found to my surprise that using a quill for this script feels much more natural and intuitive to me than the pointed pen. I'm not sure where to get a good supply of goose quills in the UK, but I shall look out for some, since I think I'd rather write this script with a quill than a pointed pen.


http://i38.tinypic.com/152yeeg.jpg
http://i36.tinypic.com/x3z3lz.jpg
http://i36.tinypic.com/zn56bt.jpg

I wrote a review of the pigeon feather here:

http://www.fountainp...howtopic=129983

If you're interested.

[Enai]

Oh my gosh, this is gorgeous! And with a pigeon feather! I am duly impressed. :)

[caliken]

c1733, George Bickham produced a small book entitled "Penmanship made easy" in which he gave clear instructions on lettering technique with a narrow, square-edged nib. He said "never turn your pen, nor alter the position of your hand. Make all your body strokes with the Full, & all Hair Strokes with the corner of your Nib" Unfortunately, it's his engraved version of his writing which we see, and most of these engraved examples are impossible to replicate with an edged nib. This must have let to considerable frustration by students.

The writing, produced by Bickham and the other writing masters of the time, must have been very different from the engraved version with which we are familiar through "The Universal Penman" as they are impossible to produce with an edged nib. The flexible nib came into being as the only way to replicate the copper engravings. This script we now know as English Roundhand / Copperplate (for obvious reasons)/ Engravers Script / Engrossers Script.

I applaud your very valiant attempt at replicating Copperplate writing with an edged nib, but IMHO you're probably attempting the impossible.

To write as Bickham and the other writing masters did, would be wonderful and a really worthwhile enterprise, but......no one knows how their original writing looked, as, to the best of my knowledge, no example still exists!

I made an attempt at something similar a couple of years ago here. In retrospect, it was just a bit of fun, and not very successful. Admittedly, it was with a metal nib and not a quill, but the principal remains the same, as do the difficulties.

This post has been edited by caliken: 04 November 2009 - 09:22 AM

[ashishwakhlu]

Lovely simply lovely.

Ashish

[Fernan]

Caliken is right.

Some thirty years ago, in his The Story of Writing (Chapter 8: Copperplate and the Writing Masters, pages 118 to 129), Donald Jackson explained very clearly why and how it is difficult, if not impossible, to write copperplate with a quill. A wonderful book. Reading it is a little like reading a novel. However, it should be read slowly to understand it thoroughly. It was written from a calligrapher's viewpoint. Writing is very physical, even in this "virtual" age.

[Columba Livia]

caliken, on 04 November 2009 - 08:59 AM, said:

To write as Bickham and the other writing masters did, would be wonderful and a really worthwhile enterprise, but......no one knows how their original writing looked, as, to the best of my knowledge, no example still exists!

Ah, what a great shame. I have a book which deals with documents related to education in England, from the 15th to the 18th centuries (things like school charters, letters of complain about teachers etc) and that reproduces the original document alongside a typeset transcript. Most of the "copperplate style" ones look very obviously like they were written with a broad cut quill (very broad in some cases) in the way of your sample of copperplate with a broad nib. However there are some where it looks to me like they might have used a very thin broad cut and used the natural flex perhaps. These are the ones I'm not sure about:

1702:

http://i50.tinypic.com/atm4qo.jpg

1708/1710:

http://i49.tinypic.com/2wez1xj.jpg

I presume with the d, the body was done first, and then the ascender afterwards from the left, if it was done with flex for the shade.

This post has been edited by Columba Livia: 18 November 2009 - 12:01 PM

[caliken]

Colomba Livia

Thanks for posting these two fascinating documents. For what it's worth, I think that the d was written in one stroke with a narrow edged nib - the ascender being produced last, from right to left. If you try this with any narrow, edged nib, you'll find that it's quite possible. Also, these documents were written at a fair speed, and I think that it's unlikely that the writer would have paused to produce a two-stroke letter......just my opinion, no proof, of course!

Ken

This post has been edited by caliken: 18 November 2009 - 01:32 PM