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I've called this a "variation" because, although it derives from Copperplate script, there are major differences.
I've decreased the slope by 5 degrees to make flexing easier. The downstrokes are heavier that those with Copperplate and the letters are wider. Instead of squaring off the ends of heavy strokes (in 'i' and 't' for example) I've deliberately left them rounded for a softer look. I know that it doesn't begin to compare with the beauty of conventional Coppperplate - it's just a bit of fun!

It was written with Blot's Iron Gall ink on Kodak Bright White inkjet paper.

As this writing is a "variation" it seemed appropriate to add my "variation" on the Keith Jarrett tune "Memories of Tomorrow" I recorded this some time ago for a BBC broadcast.

Well, I think it looks pretty great. Not better or worse than Copperplate, just different. It's not as ornamental, but that also makes it more readable. It would be a good alphabet for a wall hanging or something like that.

I also really liked the music.

You're just mister multi-talented, aren't you? What's next? We find out you own the patent for magnetic tape and discovered your own mineral? Ken von Goethe?

Thanks, Songwind

I am mesmerized...

Very pretty. I especially like how the combination of even letter spacing, generous interletter distance, and very carefully formed connections between letters all combine to hint at italics (in my mind at least).

I'm attracted by copperplate variations (maybe because I'm new in FP flex style and one of my skills is to find a beautiful/personal style to write with), and this is delightful. One of my difficulties is to write wide letters, and this example is very useful for me.
Thank you again for share, Ken.

Wow, thanks for posting this. And I loved the playful, improvisational, variations of your piano playing! I don't know if your music is accompanying your calligraphy, or your calligraphy is accompanying your music. Either way, they keep each other fine company.

I like the way the writing is laid out on the page. Boy, did I not know what was going on when you started the L in "Leonardt". But aha, it was all part of the plan, wasn't it? It would be great to see a static scan of the final if you get around to it.

Again, thanks!

Doug

Doug,

Thanks for your comments.

In writing for video, I position the tripod directly over the paper and poke my writing arm between two of the legs. I am always aware of the danger of coming into contact with the tripod and bringing the whole lot down! Writing like this, along with file-size and time constraints, creates added tension and the results, whilst good enough for video IMO, do not stand up to scrutiny as still objects - but thanks for the suggestion.

Ken

Hello caliken,

the script looks very nice, especially when taken as a whole. That is, alone some of the letters seem to be somehow disproportionate - like the capital L, or the n's or even the first w (I cannot help thinking that there is something wrong with the connection between the w and r...) - but as whole, the writing looks as if taken from an old manuscript that was not written by a professional calligrapher but rather somebody with a graceful hand... Thus - and this may please you to hear caliken - this writing has a very human touch to it in my eyes! And I place it among the best contemporary scripts with flex nib I have seen.

And the music variation is very nice too - it really surprised me to read that you record variations on Jarret for a BBC broadcast - I only miss Jarret-like humming from you to accompany both your writing and playing

Regards, Zed

goodyear : Daosus : tipstricks : zed : Songwind : HDoug

Thank you all for your kind comments and constructive criticism - much appreciated, as ever.


caliken