Learning Copperplate...

[fuchsiaprincess]

Salman - I received the Mitchell italic nibs that you recommended. Not sure when I will get the chance to play with them though.

[Hex]

I agree with Soki - new nibs shouldn't need any smoothing, the tines may have been mis-aligned during shipping. Try another nib if you have any extras and see if it behaves the same.

 

What size are you writing at? The 404 is a fairly stiff nib and you'll probably need to put down a lot of pressure to get the required shading for a 10mm x-height.

 

Salman

 

Thank you Soki and Salman.

 

It's 6mm x-height.

 

I took a new 404 and 303 nib out and, without putting them in the holder, dragged them over the same paper using the same background. They both are definitely smoother than the 404 that I just changed yesterday.

Quality control failed I guess.

 

I am going to practice with the 303 today and see how it goes.

One of these days I will be bold enough to post some of my chicken scratchings. :roflmho:

[ihtzazqamar]

Well, I am bold enough to submit this.

You must have noticed that I hardly write capital letters in my practice sheets. I have decided to include capitals in the practice and here is my first try. Will make it better.

 

 

Ihtzaz

 

Edited September 29, 2011 by ihtzazqamar

[fuchsiaprincess]

Well, I am bold enough to submit this.

You must have noticed that I hardly write capital letters in my practice sheets. I have decided to include capitals in the practice and here is my first try. Will make it better.

 

Ihtzaz

 

Ihtzaz,

 

That is beautiful! Thank you for sharing! I really love the green ink. Have you mixed up a lot? Where do you store it?

 

Regards,

Soki

[caliken]

Unfortunately there doesn't seem to be a method to it so requires a lot of practice for one to understand what works and what doesn't.

 

Salman,

 

Just a few thoughts on flourishing, for anyone interested in studying this aspect of Copperplate.

 

1) Never draw thick (shaded) lines across thick lines. It just doesn’t look good.

Cross thin lines over thick or thin lines over thin, or thick lines over thin.

 

2) Cross lines at as close to right angles as possible.

 

3) Aim for well-balanced shapes with clear, open spacing. This is very subjective, but I’m sure

that you know what I mean.

 

4) Good flourishing flows evenly from start to finish. Have a clear idea of the shapes you’re aiming for, before you start. Any hesitancy in flourishing shows up with jerky lines. This can easily

be avoided with a little preparation. On a separate piece of paper, draw your flourishing a few

times until you are happy with its appearance. Draw over it several times with a dry nib, until it

feels comfortable, and then once committed to memory, draw it in ink, incorporating the

appropriate shading. If you do a lot of Copperplate flourishing, you will eventually develop a

‘mental’ library of some of your favourite shapes. These can then be utilised, straight on the

page, but this take a lot of learning practice and a lot of confidence. It’s so easy to ruin an

otherwise good piece of lettering with ugly or uncertain flourishes.

 

5) Whether the shape is oval or circular, always aim to produce even, smooth turns.

Flourish at an even pace; neither too fast nor too slow.

 

6) Create interest in the flourishing by varying the weight of the shading strokes to provide an

attractive result. This is in direct contrast to Copperplate letters themselves, where consistency in stroke weight is an absolute.

 

 

Sorry to go on at such length, but once I start, I sometimes forget to stop!

 

 

Ken

Edited September 30, 2011 by caliken

[Hex]

 

Sorry to go on at such length, but once I start, I sometimes forget to stop!

 

 

Ken

 

Ken, don't you ever stop commenting, no need to apologize, and comment all you want to any length you want.

I feel fortunate to have you here. :clap1:

[ihtzazqamar]

Unfortunately there doesn't seem to be a method to it so requires a lot of practice for one to understand what works and what doesn't.

 

Salman,

 

Just a few thoughts on flourishing, for anyone interested in studying this aspect of Copperplate.

 

1) Never draw thick (shaded) lines across thick lines. It just doesn’t look good.

Cross thin lines over thick or thin lines over thin, or thick lines over thin.

 

2) Cross lines at as close to right angles as possible.

 

3) Aim for well-balanced shapes with clear, open spacing. This is very subjective, but I’m sure

that you know what I mean.

 

4) Good flourishing flows evenly from start to finish. Have a clear idea of the shapes you’re aiming for, before you start. Any hesitancy in flourishing shows up with jerky lines. This can easily

be avoided with a little preparation. On a separate piece of paper, draw your flourishing a few

times until you are happy with its appearance. Draw over it several times with a dry nib, until it

feels comfortable, and then once committed to memory, draw it in ink, incorporating the

appropriate shading. If you do a lot of Copperplate flourishing, you will eventually develop a

‘mental’ library of some of your favourite shapes. These can then be utilised, straight on the

page, but this take a lot of learning practice and a lot of confidence. It’s so easy to ruin an

otherwise good piece of lettering with ugly or uncertain flourishes.

 

5) Whether the shape is oval or circular, always aim to produce even, smooth turns.

Flourish at an even pace; neither too fast nor too slow.

 

6) Create interest in the flourishing by varying the weight of the shading strokes to provide an

attractive result. This is in direct contrast to Copperplate letters themselves, where consistency in stroke weight is an absolute.

 

 

Sorry to go on at such length, but once I start, I sometimes forget to stop!

 

 

Ken

 

Thanks for sharing you experience. We need to note it down for permanent reference.

Ihtzaz

[ihtzazqamar]

Well, I am bold enough to submit this.

You must have noticed that I hardly write capital letters in my practice sheets. I have decided to include capitals in the practice and here is my first try. Will make it better.

 

Ihtzaz

 

Ihtzaz,

 

That is beautiful! Thank you for sharing! I really love the green ink. Have you mixed up a lot? Where do you store it?

 

Regards,

Soki

 

Thanks a lot.

Well, I trnsferred about 10 ml of fp ink to a small bottle and added gum. Since it is just a single ink, I can always make it again.

Storage? Never thought of storing in some controlled environment. The bottle just stays on my desk. Do I need to do something special?

 

Ihtzaz

[smk]

 

Just a few thoughts on flourishing, for anyone interested in studying this aspect of Copperplate.

 

 

Ken, thank you so much for sharing these pointers. You clarify a lot of things and I can immediately see some of the mistakes that made my attempts less that pleasing. I will start with renewed energy and hope to share some examples very soon.

 

Regards,

Salman

[fuchsiaprincess]

Well, I am bold enough to submit this.

You must have noticed that I hardly write capital letters in my practice sheets. I have decided to include capitals in the practice and here is my first try. Will make it better.

 

Ihtzaz

 

Ihtzaz,

 

That is beautiful! Thank you for sharing! I really love the green ink. Have you mixed up a lot? Where do you store it?

 

Regards,

Soki

 

Thanks a lot.

Well, I trnsferred about 10 ml of fp ink to a small bottle and added gum. Since it is just a single ink, I can always make it again.

Storage? Never thought of storing in some controlled environment. The bottle just stays on my desk. Do I need to do something special?

 

Ihtzaz

 

Hi Ihtzaz,

 

As long as your bottle has a lid to prevent evaporation, that is all that is needed. Which gum did you use?

 

Regards,

Soki

[ihtzazqamar]

Well, I am bold enough to submit this.

You must have noticed that I hardly write capital letters in my practice sheets. I have decided to include capitals in the practice and here is my first try. Will make it better.

 

Ihtzaz

 

Ihtzaz,

 

That is beautiful! Thank you for sharing! I really love the green ink. Have you mixed up a lot? Where do you store it?

 

Regards,

Soki

 

Thanks a lot.

Well, I trnsferred about 10 ml of fp ink to a small bottle and added gum. Since it is just a single ink, I can always make it again.

Storage? Never thought of storing in some controlled environment. The bottle just stays on my desk. Do I need to do something special?

 

Ihtzaz

 

Hi Ihtzaz,

 

As long as your bottle has a lid to prevent evaporation, that is all that is needed. Which gum did you use?

 

Regards,

Soki

 

Well, I used local variety of what essentially is Gum Arabic. We simply call it Gum. The Acacia tree is common in Pakistan. The gum is mainly used in medicines.

Ihtzaz

[caliken]

Further to the above observations on flourishing -

 

If you are fortunate to have a copy of "The Universal Penman" you will find a great many wonderful flourishes throughout. Althogh they look effortless and spontaneous, a closer look at the intricate patterns, will reveal many of the same recurring shapes, albeit with modifications, produced by different calligraphers. In fact, these flourishes aren't instinctive creations, but are part of a learning process over a period of time.

 

This is my interpretation of one such pattern which occurs frequently throughout the book with subtle variations. I chose this one, because it was the first flourish which I was able to draw from memory. You'll see all the necessary attributes of good flourishing with lines crossing close to right angles. This produces a pleasing, open, light and balanced look to the shape. Shaded lines never cross other shaded lines and the curves are smooth with no jerkiness.

This is an enlargement - the original is 4" wide.

 

At its best, flourishing looks easy and spontaneous, but it is absolutely vital to have a clear idea where you're going before you set out, if the result is going to be smooth and even.

 

Ken

 

 

 

http://i226.photobucket.com/albums/dd289/caliken_2007/flourish600.jpg

Edited September 30, 2011 by caliken

[fuchsiaprincess]

Well, I used local variety of what essentially is Gum Arabic. We simply call it Gum. The Acacia tree is common in Pakistan. The gum is mainly used in medicines.

Ihtzaz

 

Thanks, Ihtzaz!

[sniper910]

looking very good ihtzaz. i haven't even attempted capitals yet but i've been thinking about it lately.

 

thank you ken for the pointers. i remember reading on those in your book. but in your case, don't forget to stop. the more you share with us, the more we'll understand the finer points of this script

[fuchsiaprincess]

Further to the above observations on flourishing -

 

If you are fortunate to have a copy of "The Universal Penman" you will find a great many wonderful flourishes throughout. Althogh they look effortless and spontaneous, a closer look at the intricate patterns, will reveal many of the same recurring shapes, albeit with modifications, produced by different calligraphers. In fact, these flourishes aren't instinctive creations, but are part of a learning process over a period of time.

 

This is my interpretation of one such pattern which occurs frequently throughout the book with subtle variations. I chose this one, because it was the first flourish which I was able to draw from memory. You'll see all the necessary attributes of good flourishing with lines crossing close to right angles. This produces a pleasing, open, light and balanced look to the shape. Shaded lines never cross other shaded lines and the curves are smooth with no jerkiness.

This is an enlargement - the original is 4" wide.

 

At its best, flourishing looks easy and spontaneous, but it is absolutely vital to have a clear idea where you're going before you set out, if the result is going to be smooth and even.

 

Ken

 

 

 

http://i226.photobucket.com/albums/dd289/caliken_2007/flourish600.jpg

 

Thank you very much, Ken! It is BEAUTIFUL! One of my confusion with flourishes (there are many!) is where to start.

 

Regards,

Soki

[sniper910]

what about approaching flourishes at the end of a letter or beginning of a capital?

[caliken]

One of my confusion with flourishes (there are many!) is where to start.

 

Flourishing elements can be used free-standing to add interest or colour to a page or, perhaps more effectively, as natural extensions to specific letters.

 

In example 1 this simple flourish is very effective from any descender. As with any flourishing into or out of a letter, it should look natural as an extension of the letter and not just

stuck on, like an afterthought.

 

Example 2 is a compound flourish linking a descender in one line to an ascender in the line below. Chance plays a big part in this, as it obviously depends on where the letters fall in relation to one another.

 

Example 3 shows the letter 'f' compiled with complex flourishing and the letter g continuing upwards in an open, flowing flourish. This flourishing counters the elaborate 'f' and produces a more balanced, open effect to the whole.

 

Example 4 again, depended on chance. In this case, I centred the wording to produce a gradual, triangular effect, moving in from both sides to the conclusion. The descender of the letter 'p' was perfectly placed for the addition of a flourish to "tie the knot" as it were. If the letter p hadn't been there, I'd have used the letter f of the word 'of' and re-structured the flourish to end up in the middle. The effect would have been similar, but it was much better using the 'p' which was ideally placed.

 

Example 5 is a bit over-the-top, but in my defence, I should state that this was at the request of the client. With mass flourishing like this the 'rules' are even more important - giving the spaces room to breathe by crossing the lines as closely as possible to right angles. Avoiding thick lines over thick lines and shading carefully to produce an overall even, texture.

 

If you look carefully at the foot, you'll see the same element as in my previous post. All of this flourishing is combining patterns which can be utilised in various ways in various settings.

 

I have posted all of these examples in the past, but for different reasons.

 

Ken

 

http://i226.photobucket.com/albums/dd289/caliken_2007/compilationb600.jpg

Edited October 1, 2011 by caliken

[sniper910]

thank you for the explanation ken. looks difficult, especially coming up with something that would add beauty but also not be too busy looking. definitely something to look into down the line.

 

todays practice sheet

Edited October 1, 2011 by sniper910

[fuchsiaprincess]

One of my confusion with flourishes (there are many!) is where to start.

 

Flourishing elements can be used free-standing to add interest or colour to a page or, perhaps more effectively, as natural extensions to specific letters.

 

In example 1 this simple flourish is very effective from any descender. As with any flourishing into or out of a letter, it should look natural as an extension of the letter and not just

stuck on, like an afterthought.

 

Example 2 is a compound flourish linking a descender in one line to an ascender in the line below. Chance plays a big part in this, as it obviously depends on where the letters fall in relation to one another.

 

Example 3 shows the letter 'f' compiled with complex flourishing and the letter g continuing upwards in an open, flowing flourish. This flourishing counters the elaborate 'f' and produces a more balanced, open effect to the whole.

 

Example 4 again, depended on chance. In this case, I centred the wording to produce a gradual, triangular effect, moving in from both sides to the conclusion. The descender of the letter 'p' was perfectly placed for the addition of a flourish to "tie the knot" as it were. If the letter p hadn't been there, I'd have used the letter f of the word 'of' and re-structured the flourish to end up in the middle. The effect would have been similar, but it was much better using the 'p' which was ideally placed.

 

Example 5 is a bit over-the-top, but in my defence, I should state that this was at the request of the client. With mass flourishing like this the 'rules' are even more important - giving the spaces room to breathe by crossing the lines as closely as possible to right angles. Avoiding thick lines over thick lines and shading carefully to produce an overall even, texture.

 

If you look carefully at the foot, you'll see the same element as in my previous post. All of this flourishing is combining patterns which can be utilised in various ways in various settings.

 

I have posted all of these examples in the past, but for different reasons.

 

Ken

 

 

Thank you very much, Ken

 

I love Example 5 actually :embarrassed_smile: Despite the fact that it is very busy, you have executed it perfectly!

 

I have to admit that I am still confused in spite of your comprehensive explanation. When you flourish, do you start with the flourish and continue into the letter, so do you write the letter first, then add the flourish?

 

Warm regards,

Soki

[caliken]

[quote name='fuchsiaprincess' timestamp='1317478587' When you flourish, do you start with the flourish and continue into the letter, so do you write the letter first, then add the flourish?

Thanks Soki,

 

It depends on whether or not the flourish is at the beginning or at the end of a letter.

 

It should appear to be a natural extension of the letter, either before or after the normal construction, depending on whether or not it leads into a letter or extends from it.

 

Ken

Edited October 1, 2011 by caliken