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With the start of the new school year, the Reed College Calligraphy Initiative is adding an "italic handwriting group" to the twice-weekly calligraphy-oriented "Scriptorium." This pleases me enormously. Handwriting is an "everyman's (and woman's) art." It's too important to leave to the artists! I am sure Lloyd Reynolds and Alfred Fairbank are smiling down from Heaven. In other news, The Calligraphy Initiative, which has been instructing Portland school children in italic handwriting for a few years, is now collaborating with the Portland Calligraphy Society in this venture. They have donated 500 Pilot Parallel pens to this program. David

I'm fairly new to the world of fountain pens, and I'm itching to try something with a good amount of flex that I don't have to apply too much pressure to to achieve a lot of line variation. I've tried the noodler's nib creeper, and while it of course had better line variation than a stiff nib, it really wasn't what I was looking for. I know that to get a really good wet noodle fountain pen I'd have to look for a restored vintage pen, but I really don't have anywhere near the budget for that. Given that, I had an idea. I know a lot of calligraphy nibs, although not meant for use in fountain pens, have a huge amount of flex, and I was thinking of getting a calligraphy nib and replacing the nib on one of my fountain pens with it. Does anyone have any ideas of what kind of nibs and pens to use, or want to tell me that this is a terrible idea? Any advice is appreciated!

This is a brand new pen. It isn't damaged. That is how it is supposed to look. It's a Duke Guan Yu Calligraphy Pen with an extra long tip. Gives new meaning to the "bent nib" or fude category. It can lay down a 4 mm line and is good for lettering as well as sketching. It isn't a general writing pen, but it can be tamed to write a 1 mm line. The overfeed keeps ink flowing nicely. Cool pen, eh?

And no, it's not a tremor. Backstory. For eight years I've worked in my hell hole at a corporate desk job at which the most handwriting involved is writing down my lunch order onto a Post-It once a week. I sometimes jot down 6-digit numbers too. Real intense. Handwriting has always been a passion of mine and I've been dismayed to watch mine give up the ghost. I committed fully to learning calligraphy in some serious way, but had no guidance and was subsequently clueless. In March, a stray comment changed my life and put a name to my penmanship journey. Copperplate. Copperplate and I evolved from strangers to lovers to sharing a very twisted BDSM relationship, all in a matter of weeks. I practiced, a lot. Drills and drills and drills. I drilled for weeks before attempting minuscules, even. Unfortunately my progress slowed down a LOT once I endeavored along with majuscules. I found myself contemplating a universe in which no capital B exists, but then how could there be no Beyonce. So with slowed progress I've practiced less. I haven't stopped. And I've practiced some other styles, more modern, since I do have an okay command of my dip pen at this point. (This may have been a huge mistake.) Completely against my will, fountain pens keep accumulating in my house. I feel bad for them getting tinkered with and not getting enough paper time. It's surprising how difficult it seemed to find anything to write about, but I slowly started to practice. Oh. The horror. I cannot write. It shakes, it trembles, it's confused. Whose hand is this? It's ten times worse than it's ever been in my life. What is going on here? My theories are that my muscle memory has been obliterated for small cursive. Well, actually that's my only theory. What can I do about it? I have some books on Spencerian but will likely need some videos to understand this rhythmic thing. Is this what I need, or do I need to just slow down and let my own unique hand return to me (most likely in a very different way than it used to be)? I know there's no right answer but any advice would be appreciated because I'm pretty stumped at this point. This photo shows my hand as steady as I can get and trying to experiment a bit. I'll respond with a better one shortly.

I'm in my 40s and am an artist wanting to learn calligraphy. I'm particularly interested in Copperplate. A recurrent issue is that I have a weird pen grip -- index and middle finger on the pen and thumb high -- a lateral quadrupod, from what I've been able to discover online. While I'm sure there are calligraphers who have the same grip but have found a way to work with it, I'm wondering if it's worth the effort to relearn holding my pen. Having the weird grip is making it difficult to fully enjoy some pens like the Lamy Safari. So has anyone completely changed their grip, and if so, how long did it take you to feel like you're as comfortable with the proper grip as your old one? My hand is currently feeling like a withered claw from practicing writing. It's only day one... thanks, Liora

This is a composition I did recently. The style is based on a modern script developed by a Calligrapher in Iran. The script is called 'Kereshmeh'. I could not find proper instructions for the script but I think I got the mood of it right with this attempt. The Arabic reads: Bismillah Ar-Rahman Ar-Rahim. This translates to 'In the name of Allah, the most gracious, the most merciful'. Here is a picture: It is hard to get a picture in the frame because of the reflections: This is one of the practice sheets where I am working out the shapes and ligature. There are several more of these :-) I have not been practising Arabic Calligraphy much lately so this was a good warm-up as well as a humbling reminder of how much work needs to go into it. One can't just wing it. - Salman __________________ Those who say it can't be done should get out of the way of those doing it.

I went to NYC for the 1st time last January. Loved every single minute in that fantastic city, even the outstading experience of the greatest blizzard since 1869! I visited the MET Museum three times in five days, since I wanted so badly to see Rembrandt's paintings. In the first day (January 23th) the museum closed earlier because of the blizzard. The next day many of the museum employees were not able to work because of the snow, but on Monday, my last day in the city, I could see what I wanted. I also saw and took these pictures to post here that I was able to do today. Books on writing and calligraphy from the 17th and 16th centuries: http://i260.photobucket.com/albums/ii33/mmmcosta/Pens/20160124_130921_zpsr9sr2f8n.jpg http://i260.photobucket.com/albums/ii33/mmmcosta/Pens/20160124_131124_zpsyfjychnu.jpg http://i260.photobucket.com/albums/ii33/mmmcosta/Pens/20160124_130752_zpslezgwoz7.jpg http://i260.photobucket.com/albums/ii33/mmmcosta/Pens/20160124_130729_zpsdov1h6ql.jpg http://i260.photobucket.com/albums/ii33/mmmcosta/Pens/20160124_131108_zpskf11ttlq.jpg I hope you like it. Marcelo

Hi all, I am excited to announce my upcoming class on Copperplate Calligraphy. This 6-hour class will be held at Wonder Pens in Toronto. This is a Level-1 class where we will start our study with the structure of the minuscule letters. Both beginners and practitioners of Copperplate are welcome. The class is limited to 10 students. This ensures that I will be able to spend plenty of time with each participant. Further details are available at: Copperplate Class with Salman Khattak I hope to see some FPN'ers there. - Salman

Hey folks the Miami Pen Show is just around the corner and it's bigger and better then ever. I have a new hotel with plenty of room to grow and a social media marketing campaign that will bring in new dealers and customers. For more information please check out my blog posting. http://bertramsinkwell.com/blog/ Thanks

Last year I became fascinated with the notion of new and old technology being used together. With that thought in mind I purchased a 3D printer and began to design and fabricate dip pens from ABS plastic. Once I had a CAD design I was happy with (there was a lot of trial and error there), I started to experiment with different finishes. As you may know, 3D printed items generally have a cold, rigid feel to them. The process I developed leaves them feeling smooth and warm in your hand. They weigh just 1/8 oz. and are available in a variety of colors including glow in the dark (the glow in the dark ones almost look like light sabers). Thanks for looking!

I have always loved fountain pens and generally use a Pilot or Lami for writing. I was an exchange student my junior year of college in Germany and was amazed that the young students learned cursive from the beginning (and not printing first) and used "junior" models of fountain pens. As a matter of fact, you will still see " beginner" fountain pens among office supplies in a grocery store! I am into calligraphy in a major way and use a Pilot Parallel pen for my practice and have all four sizes. I do not like some of the ink in the Pilot cartridges, especially the black. It feathers and soaks through many types of paper, and I wonder why they don't improve it. There are a lot of complaints out there! I load my Pilot handle with ink or refill cartridges with a syringe. I just tried Noodler's bulletproof black in my Pilot pen and it is wonderful. I also have two Osmiroid pens that I have cleaned up and am using again. Hope to hear from other calligraphy fans.

We have the Visconti Rembrandt Calligraphy Set Fountain Pens discounted at 50% in the black color. The set comes complete with the Visconti Rembrandt Fountain Pen, booklet, ink, and 2 nibs. https://www.penchalet.com/fine_pens/fountain_pens/visconti_rembrant_calligraphy_fountain_pen.html

Sharing a transcription of a poem by Chuang Tzu, translated by Thomas Merton.

Hi everyone! I've compiled a list of online resources for Canadian calligraphers that you can view here! This time I've posted a link to the document on my website, so that I can update the list without creating new threads here and on Reddit. Highlights: 29 March 2016 Articulations in Toronto will soon be offering the Finetec pastels palette, various nib pens, walnut ink, and sumi ink online!

A Somewhat Informal Press Release 23 March 2016 for more information, please contact either Carolyn Haines — or — Catherine Russell Carolyn’s Email: carolyn@chirography.org Catherine’s Email: catherine@chirography.org http://chirography.org Time to let you know about a new project out there in the world, and to ask for your support in spreading the word with editorial and/or social media coverage. Time is of the essence, too, because we’re currently in the midst of a Kickstarter campaign. There’s a new organization starting up, one that focuses on some very old skills and some very contemporary problems: The Chirography Alliance If that one word there is unfamiliar, for today’s exercise in endangered basic skills, look it up in the dictionary. “Chirography.” Not chiropractic. Or chiromancy. And really not chiropody. Though the word does share a Latin root with all those other words: chiro, meaning “of/by the hand.” And it isn’t calligraphy or cursive, either, those these would be included. Chirography: writing by hand. There’s more at our website and our Kickstarter page, but here is the basic info: The Chirography Alliance is a community that connects and supports those who believe in the art and science of the handwritten word. Yeah, yeah, sounds all warm and fuzzy, cute, and maybe unnecessary, but it’s really none of those. You see, we have noticed that lots of people and organizations are currently thinking about and trying to address our imperiled ability to write with our hands. And imperiled it is, so don’t go kidding yourself. Check out your own handwriting, or try to read someone else’s. Better yet, just think about Leonardo da Vinci’s notes, the letters of John and Abigail Adams, war letters in museums around the world, Hemingway’s jottings, or that one deeply treasured love note you’ve kept stashed away for years. What if those things never existed in the first place? Handwritten lasts for centuries; digital is designed to evaporate. There is a place in this world for both. So, maybe you’ve noticed a few cultural and economic trends related to this, as we have. There are groups that write letters to strangers, teach penmanship, employ handwriting as art, advocate for cursive in the classroom, and create and sell fine and fantastic writing supplies — each of which is a great idea in its own right. — Page 1 of 2 — Well, The Chirography Alliance is a way to bring all those people and groups together: bloggers, moms, dads, journalists, grade-schoolers, business people, college students, authors, nonprofits, YouTubers, creatives, and individuals. It’s a gathering place, and a canopy under which all these worthy organizations can reside alongside individuals who care about the future of chirography. Let’s get everyone together, pool our energies and our knowledge, creating a multi-faceted partnership. We believe that — together — we can preserve the handwritten word. And yes, we are fully aware of the irony: We are using digital to help preserve that which is not digital at all. Gotta love it. For a more complete version of all this, a cool video, and for a chance to join, support, and participate, visit: chirography.org — OR — Kickstarter Read, watch the video, enjoy — and please share this information with others, in your pages, tweets, and posts. We’d love to talk with you, too, so feel free to contact either of us at the numbers above. Oh, and we do have art, lots of it, if you want it. Chirography. Is it all just one big throwback, designed to fade into dubious history in the company of Pet Rocks and 8-track tapes? We think not, in fact, quite the opposite. Chirography is something that we all need, especially as we move forward in this terribly complex, blazingly fast, sometimes exhausting, very digital world. We hope you’ll talk it up, and we hope you’ll join us, too. Thanks, The Chirography Alliance #### end ####

I have a bunch of fountain pens around the house, and I've started using them again so I thought I'd plug myself into the community. One thing I've notice is how highly prized a flex nib is. I think a distinction needs to be made between writing and calligraphy. We write with pens (fountain or otherwise). Calligraphy is something else. Sure one can ape calligraphy with a fountain pen but if you are "old school" you do it with a goose down quill. A good example is the St. Johns Bible. http://www.saintjohnsbible.org/promotions/process/dream.htm#

Hey all, my name is Nate and I'm an amateur fountain pen enthusiast, and calligrapher. I'm still very new to everything and would love your help getting further into the art. I have a full set of Pilot parallel pens that I love, and a hand made wooden fountain pen that a friend made for me as a gift, as well as a set of dip nibs. One of my biggest questions is how or if I can change the nib on my fountain pen? I know nothing of the brand or size as it was made as a gift. I have a bottle of Parker Quink that my friend gave me with my pen and was wondering if it will work in my parallel pens or will it clog the receiver, if I can't use it what ink would you suggest? (or more so what ink should I avoid on a functional level, since ink is such a personal preference)

Thoughts about this? Would you give it a flex nib? http://gizmodo.com/this-is-the-handwriting-robot-ive-always-needed-1764683921

I have had a photocopy of Arrighi's Operina for several years. For this who do not know, the "Operina," or "little work," of Ludovico Vicentino degli Arrighi, first published in 1522, is commonly regarded as the first of the Italic handwriting instructional manuals. The author is usually referred to as "Arrighi" these days, although, in his own time, he was more commonly called "Vicentino." This little book was addressed to anyone wishing to learn "Cancellaresche Corsiva," or "Chancery Cursive." That style of writing had been adopted by the Vatican for all diplomatic correspondence some years before Arrighi's time. In 1522, presses with moveable type were in use in Italy, but Arrighi's book was written entirely in the hand it was teaching and then carved into wooden blocks from which the book was printed. In his preface Al benigno lettore (To the Kind Reader), Arrighi admits that the wood blocks cannot reproduce hand written script with complete accuracy. He says he did the best he could and expresses the hope that his text provides clear enough instructions that the reader can forgive the limitations of the press to in tutti ripresentarte la viva mano (entirely represent the living hand). It has been my observation that many who have studied the Operina, rather than following the instructions, have adopted some of the errors introduced by the printing techniques and of which Arrighi warned the reader. They copied what they saw. These errors, in my opinion, largely consist of converting smooth parabolic curves into sharp angles. These occur when the movement of the pen changes direction, at entry and exit strokes and at the bottom of letters with bodies like the a, d, q, for example. This week, I received a copy of John Howard Benson's "The First Writing Book: Arrighi's Operina,"first published in 1954. This was, I believe, the first complete English translation of Operina, and Benson wrote out his translation in Arrighi's chancery cursive hand and in Arrighi's format. So, in effect, he created a translated reproduction of Operina for the English-speaking world. The Forward and Introduction to Benson's book are also written in a beautiful Chancery Cursive hand. Benson included a photocopy of a first edition of Operina, so that both the translated text and the handwriting can be compared to the original by the reader. This little book is a wonderful resource and is highly recommended for anyone interested in either the history of letters and writing or in learning to write chancery cursive. One other point: Benson's copy of Operina is a photocopy of Arrighi's first printed edition. Therefore, it has all the shortcomings of which Arrighi warned his readers. Benson's translation, on the other hand, is reproduced photographically from his hand-written original. It is free of the limitations imposed by reproducing hand written text by carving it into wood blocks. So, while Benson's writing cannot be absolutely identical to Arrighi's hand in every detail, it may be closer in certain important respects than the wood block copy represented in Operina. I wonder. David

Hey world! I'm a new member to the forums, and I thought I'd forgo the introduction forum and come straight here. I'm a bit of a handwriting experimenter, so I thought I'd just leave this here to show off a bit :] The railroading would probably get on a lot of nerves here, but I'm personally a fan of it. (Though i've been looking for solutions recently. It's been getting worse lol)

Father Robert Palladino passed away on February 26, 2016. It may be that, as he feared, Fr. Robert will be remembered only as the person with whom Steve Jobs studied calligraphy after he dropped out of Reed College. To me, he will be remembered as the person who filled Lloyd Reynolds' very large shoes when Reynolds retired from the Reed faculty. Fr. Palladino came to Reed after I had graduated, and I did not meet him until 2011. I am sorry I didn't know him better. Later, I will be uploading some of Palladino's instructional materials, in his beautiful italic calligraphy, to FPN, but, for now, I will provide some links to online materials that will give those interested an introduction to a significant person in the history of American calligraphic arts. Obituary of Fr. Palladino from The Catholic Sentinel Fr. Palladino Interview for oral history project (2008) Video of Reunions 2011 calligraphy demonstration by Fr. Palladino David

Hi I need help identifying some Targa nibs that I have . The ones on the left and right came from an incomplete Targa set that I purcahsed through Ebay. I'm pretty sure the smallest one is the file but I'm not sure if the other one (the one on the left) is the medium or the borad. The nib in the centre was purchased NOS from a local pen dealer. He wasn't sure which it was. I also included a writing sample of each and one from a Targa medium and a Targa fine for reference. I greatly appreciate anyone's help!

Hi all - it is time for another workshop. This time I am going to go over the process of carving a holder with basic tools. All supplies will be provided. You just need to show up with some enthusiasm and walk home with a holder crafted with your own hands. I am going to demonstrate the complete process with the participants following along at each step under my guidance. We will only be using basic tools like knives, files and pliers so no special skills are required. I am looking forward to seeing some FPN'ers there. Oh - and the details are at: wonderpens.ca - Salman

Hi everyone I have loved fountain pens since secondary school bk in early 2000s with my huge lamy since then I have always wanted to reown one but alas life happened so im a complete noobie and would love to learn more on them One day my partner surprised me with a hand made custom pen to which he won't tell me where or how much but it did kick my fountain pen hand into wanting more I have Parker vector with 3 nibs and the 4 pilot parallels now looking into lamy as that was my first pen but like the look cross watermans Twisbi pilot I have natural slant joined handwriting but I write with the paper landscape and write up if u get me I'm wondering if there is anyone who could advise me on techniques to write calligraphy or copperplate as there are no fountain pen clubs groups closer to me than 40/5 miles as the videos I've seen write with paper portrait I tried that omg it was funny my natural slant was backwards all different hights I have since bought learn calligraphy by Margaret Shepherd looking to buy her copperplate book too Think it's a case of practice practice practice Sorry for the essay Speak soon HROBERTS_08

Greetings, All -- I wanted to share some calligraphy samples with my Desiderata Mercury Flex Pen -- the Zebra G nib is a lot of fun! Great line variation in a cheap nib. https://www.youtube.com/watch?v=snyUjb2-imo