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EXPERT ANSWERS TO
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 ART
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THE QUESTIONS EVERY
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 RT
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EXPERT ANSWERS TO
THE QUESTIONS EVERY
CALLIGRAPHER ASKS

CONSULTANT EDITOR:
MARYANNE GREBENSTEIN

Search Press
 A Quantum Book

Published in 2012 by Search Press Ltd.

Wellwood, North Farm Road,
Tunbridge Wells,
Kent TN2 3DR

This book is produced by

Quantum Publishing
6 Blundell Street,
London N7 9BH

Copyright © 2012 Quantum Publishing

All rights reserved. This book is protected by copyright.

No part of it may be reproduced, stored in a retrieval system,
or transmitted in any form or by any other means,
without the prior permission in writing of the Publisher,
nor be otherwise circulated in any form of binding or
cover other than that in which it is published and
without a similar condition including this condition being
imposed on the subsequent publisher.

ISBN 978-1-84448-797-4

QUMAAC4

Publisher: Sarah Bloxham

Editor: Sarah Constable
Design: Joyce Mason
Managing Editor: Julie Brooke
Project Editor: Samantha Warrington
Assistant Editor: Jo Morley
Production: Rohana Yusof

Printed in China by
Midas Printing International Ltd.
INTRODUCTION

CHAPTER 1

Tools and Equipment

CHAPTER 2
Organising Your Workspace 28

CHAPTER 3

Basic Strokes 38
CHAPTER 4

Calligraphy Styles 52

Flourishes and Swashes 90

Composition and Layout 100

CHAPTER 7

Using Colour 124

CHAPTER 8 ~
Free-form Lettering 146

CHAPTER 9

Embellishments and Borders 158

CHAPTER 10
Designing and Finishing 182

GLOSSARY 218
INDEX AND ACKNOWLEDGEMENTS 220
Jobo “aa BY MARYANNE GREBENSTEIN

Calligraphy, the art of beautiful writing,

is steeped in noble history and cultural
richness. At its peak, it was used to
create beautiful Books of Hours and
other religious, scientific, astrologic and
literary books during the fifteenth and early
sixteenth centuries. Previous to that, it was
seen in elaborately written and decorated
manuscripts such as The Book of Kells
and the Lindisfarne Gospels as early
as the eighth century. Were it not
for the innovative
calligraphy work
of Edward Johnston
eee
RES
(1872-1944), creator
of the Foundational
1S
SS
Shae
a
hand (see page 86),
calligraphy might not
have risen from the
dead following the
invention of movable
Left to right on both pages: A decorated
- type by Gutenberg
letter from the twelfth-century Winchester Bible;
Seer = (1398-1468). Thanks a passage from The Fall of Camelot; calligraphy
9 to Edward Johnston's using gouache, written in a unusual circular
_ work, calligraphy format; an example of sharpened-italic style —
resurfaced and was a fifteenth-century angled form of the script.
 § gfe sf
‘ a (Ses
6,4,
od
24OU we.
oy NSae
% 26g Via soos aS
Fa SERIO oy

set on a path of revitalisation during solve problems and design techniques for
the early part of the Arts and Crafts the more advanced. Photos and diagrams
movement and it continues to enjoy clearly illustrate the methods described,
popularity as an art form and foundation providing a reliable and useful reference for
for a multitude of design studies. many years to come as the reader advances
This book, in an easy-to-use, question- through new levels of expertise.
and-answer format, includes calligraphic One aspect of calligraphy that may come
examples from many lettering artists as a Surprise Is its therapeutic quality.
working today. You will find directions here Because of its careful, deliberate strokes,
for practising the basic strokes that make up it makes every calligrapher slow down,
each letter, full alohabets with instructions concentrate and let go of the day’s busy
for re-creating them and a section on tools demands. Therein lies one of calligraphy’s
and materials as well as suggestions on most gratifying attributes. When forced to
how to organise your workspace. There are slow down and focus on the task at hand,
expert tips throughout, advice on creating we discover how joyful the creation of a
embellishments, borders and decorated thing of beauty can be!
letters and some important guidelines for
the successful layout and design of your Happy lettering!
calligraphic work. Finally, there are projects
that will show you how to use and develop
wn
your lettering skills to create unique books,
posters, invitations and letterheads.
It is my hope that this book will provide
inspiration and guidance for the novice
calligrapher, tips to help the experienced
What kind of nib should | use?
What kind of pen-holder should | use?
What kind of pen do | use for writing in Copperplate script?
How does the reservoir fit on my nib?
How do | hold my pen?
How do | hold my pen if |am a left-hander?
Can | use a fountain pen for calligraphy?
What is a crow quill?
What is a poster pen?
How do | make a quill pen?
How do you cut a reed so it can be used as a pen?
How do | write with a reed pen?
What is a ruling pen and how do | use it?
How do | use a compass attachment with a ruling pen?
Can | use a brush to rule lines?
Can a ruling pen be used for writing?
What kind of ink should | use?
What is stick ink?
What is the best mixing dish to use?
What type of pencil should | use?
What kind of eraser is best for erasing pencil guidelines?
What type of ruler is best for calligraphy?
What sort of cutting tool should | use?
What kind of paper is good for calligraphy?
What kind of paper should | avoid using for calligraphy?
What is gold leaf?
What is gesso?
What is sandarac?
What is a T-square?
Is there another tool that could be used for lining up
my pencil guidelines?
 CHAPTER

Pee SFjap

Rye
10 CHAPTER 1

What kind of nib should | use?

Most calligraphers like metal dip pens, compare in size. When working through
the type with a dimple, as shown below. the alphabets and projects in this book,
The photo shows Mitchell roundhand hold your nib sideways and compare it
nibs that are made in sizes 0-6, including to the chequerboard or ladder (explained
some half-sizes: the lower the number, on page 42) to be sure you are using
the broader the nib. For left-handed the appropriate nib size.
calligraphers, you will find that oblique
nibs are also available. Removing protective coating
When nib sizes are quoted in this book With a new nib, be sure to remove the
they refer to Mitchell roundhand nibs. protective lacquer coating. Plunge it into
Check your nib sizes against the chart hot water, or hold it briefly in a flame
shown below to see how your nibs and then cool it in cold water.

MITCHELL NIB SIZES NIB SIZE CHECKER

TTT
 Fal Spam
What kind of pen-holder should | use?
The photo below shows a selection of EXPERT TIP
the holders that are available. Some a
calligraphers find rounded pen-holders Dip pens are recommended because
they produce superior results.
more comfortable to use than faceted ones.
Having to dip the pen to refill it is a
slight inconvenience but bottled
ink will yield more lightfast and
permanent work.

What kind of pen do I use for writing in

Copperplate script?
If you are a right-handed calligrapher,
you should use an ‘elbow’ pen or pen-
holder. This special device helps to keep
the very strong slope of the Copperplate
letters (55°) consistent. It is fashioned to
assist the right-hander to twist further to
the right; hold the pen with the handle
pointing roughly to your chest.
12 CHAPTER 1

How does the reservoir fit on my nib?

A reservoir is a small metal attachment pens; you will need to make sure that it
to the nib that holds a reserve of ink. is fitted correctly to the bottom of the
Most small clip-on reservoirs fit on the pen. You can do this by making some
bottom of the nibs used with assembled adjustments as shown here (below).

2 Try slipping the reservoir on 3 The reservoir should be loose

pull the side wings apart again, holding it by the wings. — enough to slip on and off
slightly — it is made of brass without force, but not so loose
and will not break. it may fall off and drop into
your ink.

fi

4 Take the reservoir off again 5 The point will be bent too
and check the pointed end; far over the nib, b ut this is nib, the point will be sprung
it may have moved out of intentional at this stage. against the underside of the nib
position following previous so it will stay touching the nib
manoeuvres. Bend it inwards. to allow it to feed ink to the slit.
Adjust it further down ifthe pen
discharges too much ink.
How do | hold my pen?
Hold the handle close to the nib with
your thumb and first two fingers. Twist
the handle a little between the fingers
until you can feel when the whole
width of the nib is in contact with
the paper; try a thick stroke, then a
sideways thin stroke.

How do | hold my pen if | am a left-hander?

Twist your wrist a little so that you
can hold the straight edge of the nib
at the required angle; if you have a
left oblique nib, you will not need
to twist far. You may find it more
comfortable to move the paper to
the left of your body, but make sure
you can still see what you are doing.

Left-hander ‘overarm’
If you normally write ‘overarm’, consider
writing the letters in a different stroke
order, from bottom to top, so that you
can still pull the ink.

EXPERT TIP .
When you are writing ‘overarm’, you
need to take care not to smudge the
writing with your arm.
14 CHAPTER 1

Can | use a fountain pen for calligraphy?

Although not recommended for high- reservoir and a set of interchangeable
quality artwork, fountain pens are useful nib units. It is best to avoid the cartridge
for practice for the beginner. There are refill as it limits the colour of the ink
various calligraphic fountain pens on the that can be used in your fountain pen.
market. Some are purchased as an integral It is better to buy one that has a
unit (that Is, a complete pen); others are squeeze-fill reservoir so that the colour
bought as a set and include a barrel, can be changed quite easily.

Left: Three kinds of fountain-

type pens. The top two have a
variety of interchangeable nib
units. The third art pen is a
complete unit available in a
number of sizes. The ink
holders, or reservoirs, are of
either the squeeze or piston
type and all three types of
fountain pens have an optional
cartridge ink supply.

What is a crow quill? What is a poster pen?

A crow quill is a very tiny pointed metal In contrast to a crow quill, a poster pen
pen nib. It is used for drawing very fine is a very large broad-edged pen nib. It is
lines and is also known as a mapping pen. used for writing large letters, such as
It is sometimes used for Copperplate writing. those used for posters, hence its name.

mm clasts Left: A crow quill.

Below: A poster pen.
 his ca
e :
How do | make a quill pen?
If you want to make your own pen, curve of the quill is important, so that
there are many excellent sources of the instrument sits comfortably in the
quills: the primary flight feathers of hand. Left-handed calligraphers should
geese, swans and turkeys are ideal. select quills from the right side of the
For delicate work, crow and duck quills bird and right-handed calligraphers
provide a very fine shaft. The natural from the left.

eh TO DRY AND CUT A QUILL

het eMeaee &
ae

1 Strip the barbs from the 3 Make an oblique cut, long 5 Work on a smooth, hard
shaft. Using the back of a and slanting, downward to surface, such as glass, for the
penknife, scrape the length the top of the quill. final shaping. There are two
of the barrel to remove the ways of holding the nib for
outer membrane. Rub the this stage. The first is to rest
shaft with a rough cloth. it on the edge of the glass,
underside down. Alternatively,
2 Before cutting, the quill must place the nib underside
be hardened and clarified. First, uppermost and hold it firmly.
cut off the sealed end of the Carefully make a clean cut
barrel, then soak the quill in down the nib tip in a single
water overnight. The next 4 Make another oblique cut vertical movement. Pare the
morning, heat some sand in a below the first to shape the nib finely and obliquely on
shallow tray or pan. Take the shoulders of the quill. This the top side to complete
quill from the water and shake gives the familiar stepped the quill.
it vigorously. The pith-like centre arrangement of shoulders
should be removed. Spoon hot and nib tip. Remove any pith 6 Use a brush to load the quill
sand into the barrel and, when remaining in the shaft. Make pen with ink, and begin to
it is full, plunge it into the a small slit in the shaft to aid write. If used often, the nib will
heated sand for a few seconds. the flow of ink down to the need to be recut.
Then cut the top off the quill. writing tip.
16 CHAPTER 1

How do you cut a reed so it can be

used as a pen?
A reed pen can be made easily and cheaply. length and shaped, using a sharp knife
Garden cane is available and provides to form a writing nib. Inspect the cane
an equivalent of the original type of very carefully to make sure it has no splits
reed. The hollow cane is easily cut to or imperfections.

MAKING A REED PEN

1 You will need a suitable reed 2 Shape the shoulders of the 3 Firmly hold the pen on the
or cane, a sharp knife, and a nib. Then, using the point of cutting surface and trim the
hard cutting surface. Soak the the knife, clean out any pith end to nearer the eventual nib
reed or cane for at least 15 inside the cane that has been length. Turn the pen through
minutes, then cut it while it is exposed by the first cut. 90° and make a small slit down
still wet to about 20cm (8in). the centre of the nib, at a right
The first cut is an oblique angle to the writing edge.
slash down toward one end.

4 If the nib seems too thick, 5 Make a small diagonal cut 6 The reed pen is now
very carefully pare it down to on the upper side of the ready to use. A brush is
make it thinner. Holding the nib, down towards the end. used to transfer ink on to
nib underside up, make a This will produce a fine the underside of the nib.
vertical cut across the nib end. writing edge.
 HEY is Gaupred

How do | write with a reed pen?

In comparison with the quill, the reed effective in poster work, headings, and
pen has less flexibility. It cannot sustain titles, and can be matched to specific
such fine and accurate shaping and the ‘one-off’ jobs where a particular nuance
overall effect of work written with this is sought.
pen may not be as elegant. It does have The cane, being a hollow tube, provides
excellent qualities, however, which make an excellent reservoir for ink. To ensure it
it a valid implement for many styles of does not flood the writing, work on a flat
writing. The calligrapher can select or only slightly inclined surface. As with
canes of different sizes and prepare a most calligraphic implements, the reed
varied range of nib widths accordingly. pen resists a pushing motion and you
The resulting bold letterforms are highly obtain best results from pulling the stroke.

USING A REED PEN

3 The lower-case letters (left)
are written confidently, and
show how a nib made from an
inflexible material can produce
very well the familiar
characteristics of calligraphy.

4 When working with a reed

pen, always keep the top side
of the nib clean. Take care
Bis not to overload with ink, as
this could result in blotting or
1 A reed pen has a different 2 The reed pen has the ability
smudging. This example shows
‘feel’ to a metal-nibbed pen; to produce both the extremely
an excellent balance between
because it is made all in one fine lines and the thick strokes
the thick and thin strokes and
piece, it feels almost like an required for calligraphy.
a fine hairline extension to the
extension of your hand and Holding the reed pen at the
last letter. This was performed
is very pleasurable to use. The prescribed pen angle, a fine
by dragging wet ink with the
width of the strokes made with line is extended from the tail
left-hand corner of the nib.
a reed pen is dictated by how of the letter. To complete the
wide the nib has been cut. line the right-hand side of
This illustration demonstrates the nib is lifted off the
the firm and solid strokes paper, and the left-hand
that this simple instrument is side of the nib drags wet
capable of producing. ink into a hairline.
18 CHAPTER 1

What is a ruling pen and how do | use it?

A ruling pen is an excellent instrument
USING A RULING PEN
for drawing up rules of various widths. It
can be used with ink or paint, so is versatile
for introducing or enhancing colour work.
The pen consists of a handle to which
two stainless steel blades are attached.
One blade is straight and flat, the other
bows slightly outward. The tips of the
blades almost meet: the space between
them forms a reservoir for ink or paint. 1 Use ink or paint mixed to a
By adjusting a thumbscrew on the bowed fluid consistency. Insert the colour
blade, you can alter the distance between between the blades of the ruling
pen with a dropper or brush. Wipe
blade tips, which dictates the thickness
off any excess medium from the
of the line made by the ruling pen.
edges of the blades.
Loading the pen
Load the medium into the pen with a
brush, or using the dropper supplied with
some ink bottles. No ink or paint must be left
on the outer edges of the blades, as this
could flood the paper if it comes into contact
with the ruler used to guide the pen. The pen
must be operated with both blades resting
2 Place the ruler flat on the
on the paper. Its movement discharges surface with the bevel edge sloping
the fluid held between the blades. inward and hold firmly. The thumb-
Although the thickness of the line can be screw on the curved blade of the
considerably varied by adjusting the pen, pen should face outward. Hold the
some rules may be of a thickness that is best pen at a slight angle to the ruler
achieved by drawing two parallel lines and to avoid paint or ink flooding
filling in between them with a small brush. underneath the edge. Keep the
For fine work, the ruling pen has perhaps drawn stroke light and steady,
been superseded by the technical drafting with the points of both blades on
the paper to ensure an even flow
pen (which is also available as a compass
of medium. It may be necessary to
attachment), but the ruling pen remains
do a ‘trial run’ to check that the
unsurpassed for the ability to produce
width of the line is correct.
rules of different weights and colours.
 sty ba Guprent

How do | use a compass attachment with

a ruling pen?
A ruling pen attachment is often found in a standard
compass set. It can be used in place of the pencil lead
normally inserted in the compass, so that you can
draw perfect circles of ink or paint.
Load the blades of the compass attachment with
liquid medium, place the centre pin of the compass on
to the paper and draw the blades over the surface.

Can | use a brush to rule lines?

Yes you can, but you need to be careful that you
avoid smudging. Smudging can be avoided by
holding the ruler at a 45° angle to the paper so
that the edge is not actually touching the paper.
Gently draw the brush along the ruler, keeping the
ferrule against the ruler’s edge to ensure a straight
line. When the line is completed, remove the ruler
carefully to avoid smudging.

Can a ruling pen be used for writing?

Yes, a ruling pen can be held in such a way that the (7(E
space between the two points acts as a broad-edged : YA
nib. This allows the calligrapher to write with the Y
ruling pen, once it is loaded with ink or paint. Look
at the example here (right) — this free-form lettering
has been written with a ruling pen. “4
20 CHAPTER 1

What kind of ink should I use?

To produce the clean, sharp strokes that EXPERT TIP
characterise calligraphy, your pen and
Never shake your ink bottle, as the air
your ink must be compatible. The inks
bubbles will make ink flow in your pen
used by medieval scribes were efficient and
difficult. Ink gets darker and more
durable. However, inks that had been permanent as it dries. Try leaving the
suitable for quills frequently corroded top off your bottle of ink for a few
metal pens and during the nineteenth days before using the ink, so that it
century alternative inks were developed. becomes darker.
Some calligraphers continue to make inks
from old recipes for creative purposes, INKS
but nowadays there are a great number Both the black calligraphers’ ink
of prepared inks from which to choose. you use and the coloured inks
should be non-waterproof, as
Types of ink the shellac in waterproof
It is fun to experiment with inks once inks can clog the pen.
you have gained confidence, but for now
there are only two factors to consider.
The ink must flow smoothly and be an
intense black, even when dry. Some inks
appear black at the time of writing, but
dry to a disappointing grey. For smooth
flow, the ink must be non-waterproof.
You can buy non-waterproof ink ready
for use or in a thick solution to be diluted
with water. Use distilled water, not water
from the tap, or the ink will deteriorate. LIQUID ACRYLICS
Remember to keep the lid on so that Only water-based inks are suitable
the ink does not dry around the top of foruse in the pen. Liquid acrylics
the bottle and flake into the liquid. Cee Ren
; , from the tube.
The introduction of colour in the pen
strokes or background opens up a vast
range of creative possibilities. The
paints generally used by calligraphers
are artists’ watercolours, gouache (an
opaque form of watercolour) and
some liquid acrylics.
What is stick ink?
Chinese stick ink is popular with
calligraphers because it does
not clog the pen. The ink is
sold in sticks (right) in varying
colours, which have to be
rubbed down with distilled
water. Ink stones are used for
this process.
To use stick ink, pour distilled
water into the central well of the je
rubbing stone (also shown om
right) and push the ink stick
back and forth in the water
against the abrasive surface of the stone. ink grinding. Don’t store stick ink when
You can vary the thickness of the ink by __ it is still wet as this will cause it to flake.
increasing or reducing the amount of Always wash your ink stone after use.

What is the best mixing dish to use?

The best mixing dishes are white ceramic Below: Mix your paint on a
because they don’t stain. They come in palette or mixing dish. Use
distilled water if you plan to
a variety of sizes and shapes, such as the
store the paint.
ones shown here (below).
22 CHAPTER 1

What type of pencil should | useé

There are two types of pencils suitable and pencilling in your text before inking.
for calligraphers. The first is a standard The other type of pencil is a mechanical
drawing pencil, such as the ones shown pencil (below left) that is used for drawing
here (below right). They are used for pencil guidelines. A lead thickness of .5
drawing rough and thumbnail sketches or .3 is best for this purpose.

What kind of eraser

is best for erasing
pencil guidelines?
White plastic erasers are best for this work,
like this one (right).

What type of ruler is best for calligraphy?

A metal ruler, preferably with a cork backing, is the best type (below). The cork back
raises the metal edge off the surface of the paper very slightly, which
prevents the ink from being drawn under the ruler
 Toh Epupmerl 2
What sort of cutting tool should | use?
A surgical scalpel is useful and has an on the blunt top edge and push it
exceptionally sharp edge. Replacement home. Be sure to keep your scalpel
blades are sold in units of five per packet. stored safely (see Expert Tijp below).
Do be careful when changing the blade
— it will be extremely sharp and should
be treated with great respect. Always
remove the blade by lifting it first from
its retaining lug and then with your thumb,
push the blade away from the body.
Keep your fingers well away from
contact with the cutting edge. When Above: A retractable knife is an
fitting a new blade, slide it carefully alternative tool to a scalpel for
on to the retaining lug, grip the blade precision cutting.

CHANGING A SCALPEL BLADE EXPERT TIP

When the scalpel is not in
use, use a cork to prevent
accidents and avoid blunting

1 Ease the scalpel blade 2 Pull the blade from the

from its mounting using handle mounting by
your thumbnail. grasping the blunt edge.

3 Place the new blade on 4 Push the blunt edge of

the handle mounting. the blade firmly on to the
mounting gripping.
 24 CHAPTER 1

landmade paper
What kind of paper is good
for calligraphy?
There are many kinds of art paper on the market,
including handmade paper, cold-pressed, hot-pressed
‘old-pressed paper
and other types (/eft). When choosing paper, you need
to consider its weight and its surface carefully. The weight,
which indicates the thickness, is especially important
when using painted backgrounds.
Jot-pressed paper Surfaces are graded as hot-pressed, cold-pressed, or
rough according to the processes used to dry the paper.
Porosity is affected by the addition to the paper of a gluey
substance known as size. Unsized or poorly sized papers
allow ink or paint to spread, or ‘bleed’ into the fibres,
and too much size can make the surface too resistant.
Test a paper's suitability by trying it out with a pen: if
the surface drags or catches in the nib, or the ink bleeds,
it is probably unsuitable. However, certain surface
difficulties can be overcome. Highly coated, glossy papers
astel paper should be rejected because the ink is likely to stand in
blobs on the surface.

PAPER SAMPLES

Build a collection of paper samples that interest you, storing

them in a folder. Label each paper and add observations on how
it affects nib movement and how it interacts with ink and paint.
 ee

What kind of paper should | avoid

using for calligraphy?
Becoming familiar with different types of — causes of paper problems can be helpful
paper will enable you to choose the best = _— these examples (be/ow) show common
surface for your work. Knowing the ones that you may encounter.

SURFACE TOO ROUGH = SURFACE TOO SLIPPERY TEXTURED PAPER

tne the the

Ink flow is impeded and this The nib cannot be controlled. Surface bumps may distort
makes it difficult to guide the —_In this situation, ink builds writing and may contain
nib steadily and smoothly. up on the surface and may hairs that are picked up by
run into lower lines. the nib.

UNSIZED OR UNEVEN SIZING GREASY SURFACE

WATERLEAF PAPER

¢ the the
Absorbs ink or paint like This causes the letters to This resists the writing
blotting paper. ‘bleed’ in patches. medium. Grease spots can
cause the same problem.
 CHAPTER 1

What is gold leaf?

Gold leaf (right) is very thinly pounded
gold, sold in small booklets. It is used
for decorated letters and for border
illumination (see pages 180-187 for details
of the technique and types of burnishers).

What is gesso?
Gesso is a medium and is used for many purposes. It is
the substance gold leaf adheres to in decorated letters.
Acrylic gesso, sold in cakes in most art stores, is mixed
with distilled water to soften and then applied to the
area to be gilded (left).
You can also make gesso by following medieval
recipes. If the gesso has been made to the traditional
recipe containing white lead, take care to wash your
hands afterwards and store the unused gesso safely.

What is sandarac?
Powdered gum sandarac, applied to the it will roughen the surface slightly,
paper through a porous bag, makes a which may help if the paper is slippery
writing surface more resistant to ink; if (below right).
sandarac is rubbed rather than dusted,

Left: Gum sandarac is bought

in crystals. Grind these to a
_ fine powder with a mortar
Band pestle.
What is a T-square?
A T-square |s a ruler in the shape of a ‘T’
and is used to help you rule guidelines.
The ‘T' portion rests against the side of
your drawing board. As the T-square is
moved up or down the drawing board,
it provides a straight edge with which to
draw parallel lines. You need only mark
the line depths along one margin.

Is there another tool that could be used

for lining up my pencil guidelines?
Yes, you could use a ruler and set square spaced lines to guide your writing. The
to help keep the lines parallel. They will sequence of photographs (below) will
help you to rule straight and accurately show you what to do.

USING A RULER AND SET SQUARE

aoe | i

Piet

1 Place the ruler along the 2 Place the ruler along the 3 Place the ruler along the
left-hand edge of the paper. top edge of the paper. Slide ruled left margin. Slide the set
Hold the set square against the top edge of the set square down the ruler until
the ruler and slide it up to square along the ruler until the top edge is in the position
the top edge of the paper. the left-hand edge of the in which you want to place
If the top edge of the set set square is in the position your first writing line. Lightly
square does not align with in which you wish to place rule a line. Continue to move
the paper, the paper is not your left margin. You can the triangle set square down
square and should therefore then lightly rule the margin the ruler and rule as many
be trimmed accordingly. in pencil. lines as you want.
What should | consider if | buy a drawing board? 30

Alternatively, can | make an adjustable 31

one myself?

What is a freestanding board and can | make one? 32

How do | pad my freestanding board? 33

What is the best angle (slope) for my drawing board? 34

What is the best writing position? 35

How important is lighting at my work station? 36

 CHAPTER

(oe ae fomWorky ACC

Ss
30 CHAPTER 2

What should | consider if | buy a

drawing board?
a

Above: A True-line drawing board with parallel motion.

A drawing board with adjustable angles consider is the size of the work surface
can be purchased from most art shops. —a small area will limit the paper size
There are many varieties of drawing you can comfortably work on. It is
boards available for sale. One important generally recommended that a minimum
consideration is whether you want a board of 450 x 600mm (18 x 24in) work
with a parallel motion (also known as surface will be required.
parallel rule), as shown. This added tool Additionally, the construction material
eliminates the need for a T-square, but should be considered if the drawing
not all calligraphers prefer the attached board is to be ordered over the Internet
ruler. It is a matter of personal preference. and shipped to you. If it is very heavy
The most important consideration is the or too fragile, shipping could be
sloped writing surface. Another factor to problematic or expensive.
 Se i a
Cin. AFUISTH foo ii, pti 3

Alternatively, can | make an adjustable

one myself?
Yes, it is possible to make your own
professional-looking board (below left and Drawing board
right) if you have good woodworking top
skills — alternatively, you could find a
carpenter to make one for you. This Hinge
style of home-made board adjusts at the
Support
back to three angles so that you can battens
alter it to suit your needs.
For a board like this, you will need to
buy laminate board and cut two pieces
for a base and top. From the same
material, cut another piece for the Base Table stop
board support. You will also need some
softwood for support battens, table Board-
stop and board-base spacer. All of these oe 4
items measure the same width as the
drawing board. In addition, six butt
hinges and some chipboard screws are
required to complete the board.

Above left and right: A home-made drawing board with three adjustable angles.
32 CHAPTER 2

What is a freestanding board and can |

make one?
A freestanding board is an alternative to = The board can be supported on your lap
an adjustable board — and you can make _ and leant against the edge of a table or
one yourself. Laminate shelving board is desk (below), making an angle of about
quite adequate. A suitable board size is 45° with the desk top.
450 x 600mm (18 x 24in). Apply iron-on
laminate edges to give a clean finish.

Board should be padded

(see page 33). Use a
guard sheet when writing
to prevent perspiration
from your hand affecting
the paper.

No tape overedges
fy
where T-square runs.
 Re rei |fonekemace =33

How do | pad my eet, board?

For writing comfort, many calligraphers their drawing boards. It’s an easy
prefer to letter on a surface with a little process — the steps here (below) show
‘give’ to it. For that reason, they pad how it is done.

YOU WILL NEED

Drawing board
2 sheets blotting paper or several
sheets newspaper
One sheet white paper
Masking tape
lron, if using newspaper

1 To pad the board, use two sheets

of white blotting paper or several
sheets of newspaper with creases
ironed out, covered by a sheet of
white paper. Cut them to fit the
board, allowing room for the tape.

2 Fix the paper down all round 3 The final touch is a narrower sheet
with masking tape. Take care not fixed across the board with the top
to go over the edge with the tape edge at writing level. Tape it at the
if you intend to use a T-square. sides and leave the bottom open
for your writing paper to be slid up
and down.
34 CHAPTER 2

What is the best angle (slope) for my

drawing board?
In calligraphy, work is carried out with the drawing board
at an angle. Never work on a flat board.
You should be positioned in front of the work so that
you can see it clearly without stretching. Writing on
an angled board gives you a good overall view of your
work as it progresses and will moderate the flow of
ink when you come to write with the pen. A raised
board will also discourage you from leaning over
your work,
For most writing, the board needs to be raised at an
angle of 30-45°; you should find the position that
1 Prop the board against the front Suits you best within these guidelines. Four ways of
edge of the table and rest the raising your board are shown (left and below).
base in your lap.

2 Place one end of the

board on the table and lean
the other end on books or
covered bricks. Secure the
board against the table
edge with a thin strip of
wood held in place at each
end by two small clamps.

3 Buy a ready-made
designer's drawing board
and adjust it to the angle
you require.
4 Place your table against a wall
and lean your board on the wall
at the desired angle. Secure the
board against the table edge
with a thin strip of wood held
in place at each end by two
small clamps.
 =

Re rem Dia
refanisin our iG Jee 35 Q

What is the best writing position?

The way in which calligraphers sit and hold CORRECT POSITION
their pen varies from person to person, but
it is important when beginning calligraphy
to sit correctly and use the recommended
pen hold. The way you sit will be directly
reflected in your writing. If your body is
tense and angled, your hand and arm will
be restricted and your writing will not flow.
A poor writing position produces awkward
and inconsistent letterforms and this can
be very disheartening. You need a posture
that optimizes controlled but fluid
movement. This means considering the
position of your body and the angle of
your board (right).
Use a table and a chair whose relative
Above: The height of your table and chair
heights enable you to keep your board at
should be adjusted to allow you to work
the chosen angle. A table that is too low with both feet placed side by side on the
or a chair that is too high will place you floor. This will ensure steadiness and reduce
in an uncomfortable position and will, in tension. By angling your board, you can
effect, flatten the angle of the board. work without leaning forward.

xX CROSSED LEGS xX LEANING TOO FAR

Crossed legs and a twisted body Avoid the temptation to lean forward,
angle make it difficult to achieve as doing this will inhibit your arm
good writing. This position may movement and affect your writing.
seem extreme, but it is not unusual.
36 CHAPTER 2

How important is lighting at

my work station?
Correct lighting is as important for the sunlight, should be avoided, as excessive
eyes as posture is for the limbs. Tired eyes glare from the usual white surface being
and limbs are not conducive to clean, worked will make lettering difficult.
crisp calligraphy. Ideally you should work You will also need artificial light from a
in daylight. If you are right-handed, the desk-lamp — an anglepoise or similar — or
light source should be from the left, and a wall-mounted or floor-standing unit.
if left-handed, from the right. Light, The direction of the light source is the
correctly directed, should ensure that you same as for daylight. The advantage of
are not working in your own shadow cast an anglepoise lamp is that of ease of
by the writing hand. Lighting therefore direction or position; for intricate work,
plays a key role in the laying out of the light can be directed to the point required
working area. Strong direct light, such as by simple adjustment.

LIGHTING CHECKLIST
The type and direction of the light by which
you work will affect the quality of your
calligraphy. The aim is to have good lighting
without shadows cast over your work.
Take note of the following guidelines:

“ Good daylight is preferable.

Jv Artificial light is best provided by an se Light from left; no shadows
adjustable desk-lamp. on work.
/ ‘Daylight’ bulbs give the best artificial
light, especially for work in colour.
"A Position your light source to avoid
shadows on your work. Light should
come from your left if you are right-
handed (see diagrams, right) and from
your right if you are left-handed.

Light from right; shadows

on work.
 Ds

ee ee fooMokeace 37

ARTIFICIAL LIGHTING OPTIONS

A selection of lamps suitable for
this are shown here. The two angle-
poise lamps are the best options as
they can be adjusted and brought
in close to your work. The floor-
standing anglepoise lamp (1) offers
good flexibility for positioning and
saves desk space.
What are the different parts of the letters called? 40

What does the nib width mean and why is it important? 41

How do | make a ladder or steps to use the nib width 42

for pencil guidelines?

What is the x-height? 43

What are ascenders and descenders? 43
What is the cap height? 43
What is the pen angle and why is it important? 44
Why are the weight and direction of the stroke relevant? 45
Should | lift the pen after each stroke? 45
Are there exercises | could do to familiarise myself 46
with 0° and 30° pen angles?

Are there exercises for 45° and 90° pen angles? 47

What is the double-pencil technique? 48

How can the double-pencil technique be used for 49

drawing letters?

Can the double-pencil technique be used for flourishes? 49

What are broad-edged pens with multiple points used for? 50

Why does my ink skip and my pen feel dry? What can be 51
done to prevent this from happening?
 CHAPTER

USIC <7 cs
40 CHAPTER 3

What are the different parts of

the letters called?
In order for you to fully understand letter throughout the alphabet and are not
construction, you will need to become necessarily confined to a specific letter.
familiar with the terminology used to The parts and names illustrated refer to
describe various parts of the letters. Study the Quadrata capitals (majuscule) and a
the chart below to learn this nomenclature. complementary lower-case (minuscule)
Many descriptions are repeated from letter alphabet, although most of the terms
to letter as these terms are used generally can be employed to define other forms.

Pointed Counter
serif Z Bracketed
serif Spine
Inner —
counter ) Diagonal
main stroke thin stroke Curved stroke an
Cross or stem forming the bowl
stroke Main stroke of the ‘R’
or stem
Diagonal Counter _
thin stroke

Sheared terminal
forming serif

Sheared serif Counter

Main stroke or stem Inner Curved stroke forming the Maximum point
Cross
bowl of the ‘g’ of stress >
terminal
Arm stroke

Cross stroke
Inner
44counter
Bracketed serif é ‘Curved stroke = LIGATURE
two letters joined
Terminal

Curved stroke
forming the loop
 Susie Lee 41

What does the nib width mean and

why is it important?

Nib width is the measurement of the nib size. The size of the nib and the
width of the nib — in other words, the number of nib widths determine the
width of the writing point (or chisel shape). density (or weight) of the script. There
Nib width is important because it are recommended letter heights for each
determines the letter height — or the x-height script based on historical examples. It is
as it is Known (see page 43). Letter height advisable to gain experience with these
Is measured in nib widths of your chosen scripts before exploring alternatives.
42 CHAPTER 3

How do | make a ladder or steps to use

the nib width for pencil guidelines?
A ladder or a chequerboard (or steps or a and rule your lines accordingly, your
Staircase) is a set of squares made by a letters should come out with the same
pen at its full width. A ladder of nib widths weight characteristics as the one you are
will be your guide to how far apart to copying, irrespective of the size of your
rule your lines for writing. The alphabets pen nib.
in this book all have a ladder pattern to Making a a ladder allows you to check
indicate how many widths of the nib were you have not overlapped, by putting your
measured to get the height of those letters. pen in the white gap to see if you have
If you create your own ladder pattern room. If you make steps instead, ensure
to make the same number of squares you double check them for overlapping.

MAKING A LADDER
1 The full width of the nib must 2 Measure carefully with a
be used to mark accurately ruler to the number of nib
multiples of the nib width. You widths you know you need
may have to practise this several for the style you are writing
times to get precise marks. (right) or, if you prefer, use a
Make several ladders and pair of dividers (below).
measure them all to get an
average. Check that you have
not overlapped or left gaps.

. OR STEPS Make steps (or a staircase)

instead of a ladder if you find
this easier.
 Susie Stoke 43

What is the
a sald
The x-height is the height of the
K ma 7] Ascender
Capital || \——J Te main part, or body, of the letter—
height || > | TD x-height excluding the ascenders and
t \I descenders (left). For example, in
Descender the word ‘won’, the bottom of
the letters is the baseline and the
top of the letters is the x-height.

What are ascenders and descenders?

Ascenders are the parts of aletterform that extend #& Ascender
above the x-height (right). For example, in the word
‘fragmented’, the tops of the ‘f’, ‘t’, and ‘d’ are the
ascenders. Descenders extend below the baseline.
<1yblay-X>»
In the word ‘overlap’, the bottom of the letter ‘p’
is the descender. Descender

What is the cap height?

Cap height is the term that applies to the height of
a Capital letter, as opposed to the height of the body
of a lower-case letter. This illustration uses the
ladder (or chequerboard) to show the cap height
of an Italic ‘A’.
44 CHAPTER 3

What is the pen angle and why

is It important?
Pen angle is the angle at which you hold
your nib in relation to the writing line (or
baseline) and it affects the thickness of your
stroke. The pen angle, in combination with
the stroke direction, determines how thick
or thin a stroke will be, as shown (below). Therefore a style that is formed with the
The pen angle is important because it is the nib angle at 30° to the writing line will
angle that determines the weight of each have a different visual appearance than
stroke and the stress of the round letters. that lettered at 45°.
Because the angle is maintained from letter When the pen angle is 30°, a vertical
to letter, with the exception of one or stroke will only be as wide as the image
two strokes, a certain quality and rhythm the nib will make at that angle and not
is created throughout the letterforms. equivalent to the full nib width. In a round

Arrows denote
direction of stroke
es
 =

Sutic we (es 45

letterform, there is a point at which the round letterforms would appear thinner
whole of the nib width is used due to than vertical ones of the same weight.
the pen travelling in a semicircle. Indeed, when letterforms are freely
The maximum width of stroke — ‘the constructed with a pencil and filled in with
Stress’ — will be exactly 90° to the thinnest a brush, compensation has to be made
stroke, which is fortunate for the round to the curved thick strokes, increasing
letterforms because, if the type of tool them in weight to give an optical balance
used did not produce this automatically, with straight strokes.

Why are the weight and direction of

the stroke relevant?
The weight of stroke is determined by vertical, horizontal, diagonal and curved
the angle of the pen and the direction strokes. Letterforms within the alphabet
of travel. Diagonal strokes will vary in have common likenesses and, although
weight depending on the direction of there are twenty-six characters, the strokes
the stroke. Strokes made from the top that are repeated within the capitals and
left to bottom right are thicker than lower-case are frequent. This repetition
those formed top right to bottom left. makes the task easier: once the basic
Horizontal strokes are of a uniform width. strokes used in letter construction are
These variations are acceptable in pen mastered, the forming of individual
lettering and they give the forms their letters is relatively simple. The ability to
characteristic thick-and-thin appearance. produce the strokes with confidence comes
The alphabet is constructed from common from practising them on layout paper.

Should | lift the pen after each stroke?

Yes, unlike handwriting, where the pen used with a pulling action towards the
is lifted from the paper only occasionally letterer. Horizontal strokes are made
between words or necessary breaks in from left to right. The nib should glide
form, calligraphic lettering dictates that across the sheet. Don't be afraid to
the pen is lifted after each stroke. It is apply pressure — you will not break the
the combination of strokes that creates nib and you will be able to achieve a
the letterforms. The pen is nearly always more consistent stroke.
46 CHAPTER 3

Are there exercises | could do to familiarise

myself with O° and 30° pen angles?
Yes, the exercises illustrated below (and in Use a protractor to help you establish
the following question) will help you to the pen angles on your practice sheet.
develop your skills in producing consistent Carefully copy the strokes shown here,
strokes at accurate angles. You need to checking your writing against the
practise holding the pen at a constant angle examples and making corrections to
to achieve these thick and thin strokes. them where necessary.

PEN ANGLES: 0° and 30°

0° Establish the angle. 0° Downward vertical pull. 0° Left-to-right horizontal. 0° Vertical and horizontal.

30° Establish the angle. 30° Downward vertical. 30° Left-to-right horizontal. 30° Combined vertical
and horizontal.
 | Susie Stoke 47

Are there exercises for 45° and 90° pen angles?

PEN ANGLES: 45° and 90°

45° Establish the angle. 45° Downward vertical. 45° Left-to-right horizontal. 45° Vertical and horizontal.

33
90° Establish the angle. 90° Downward vertical. 90° Left-to-right horizontal. 90° Vertical and horizontal.

To achieve a clean-edged stroke

you need to make sure both
edges of the nib are in contact
with the paper. If you have a
ragged edge along one side of
the stroke (far right) it may
indicate you are applying uneven
pressure when you write. In this
case, more pressure is being
applied to the right side of the a :
pen than the left. Correct Incorrect
48 CHAPTER 3

What is the double-pencil technique?

This is a very good technique for learning the cut areas level and not exposing
about the ‘thicks and thins’ that are the lead — before binding them
made using a broad-edged pen. The firmly using masking tape with the
technique also helps with learning to points aligned. (For left-handers,
apply equal pressure. It consists of the right point of the pencil
attaching two pencils together (right) should be slightly higher.)
and forming letters with them. The To write accurate calligraphy strokes
imaginary line that connects the two with a nib you have to keep its entire
pencil points acts as the pen nib. edge consistently in contact with the
Make your own double pencils by binding paper. This can feel awkward at first
together two HB pencils with a rubber and it may help to spend time practising
band or masking tape. The points can be with a double pencil whose twin points
brought closer by shaving one side of each produce the same effect as the edged
pencil with a sharp craft knife — keeping nib with an outline form (below).

MAKING LOWER-CASE LETTERS

The two pencil points represent the
edge of a broad pen and are aligned at
a 45° angle. Follow the example shown
(right) and try making an alphabet of
lower-case letters using this technique.
It will help you understand how the
broad-edged pen works.

MAKING CAPITAL LETTERS

Continuing to hold the double pencils so
that the imaginary line between the two bY SEGRE
EUS CAL

points acts like the pen nib, try making the

upper-case letters as shown (right).
 Susie es hokes 49

How can the double-pencil technique

be used for drawing letters?
Versals and Roman caps are often drawn Then using a brush, you fill in between the
and painted, rather than made ‘off the pen’ —_outlines with ink or paint, creating a drawn
and the double pencil technique can provide —_letter, as shown in the final black ‘Q’.
a good base for drawing these letters.
Imagine the red lines in the ‘Q’
shown here are your pencil lines
created using the double pencil
technique. You then ink over
the pencil lines using a crow
quill or other fine-point pen,
creating an outline for the letter.

Can the double-pencil technique

be used for flourishes?
Yes, the same principles apply in making turning and twisting with soft curves
flourishes with the double-pencil (below right). If the curves become
technique as making letters with the square or angular, then some of the
double pencil — that is, the pencil points | movement and flow of the flourishes
represent the two ‘corners’ of the broad- will be diminished.
edged pen. Practising with double pencils
is a good way to improve fluidity in your
flourishes (below left). Remember too, that
flourishes should remind you of ribbons,

eae
q .
— be
i ie
3
; i
Crearea
.
he A a
50 CHAPTER 3

What are broad-edged pens with

multiple points used for?
Broad-edged pens with distinctively notes, but are now used for
separate nib points are used to create decorative effects. The striped
‘striped’ strokes. Two-prong and five- strokes can stand alone as a
prong pens are shown here (right). decorative element, or they
These type of pens were originally can be filled in with gold or a
designed to facilitate writing musical contrasting colour.

Left: The letters (from left to right

in photo) have been written
using a three-prong nib that
creates a thin-thick-thin pattern;
a five-prong nib that produces
five thin strokes with one pen
stroke; and a two-prong nib that
creates a thick and thin stroke.

Above: Try another interesting

technique by loading different
colours of paint into your pen _ Multi-prong nibs can add interest,
nib as you letter. This method |but are best used with large lettering.
produces a gradual change _Some of the effect is lost if the
in colour that creates very _ lettering is too small.
lively letters.
 : Susie Stokes 51

Why does my ink skip and my pen

feel dry? What can be be done to
prevent this from happening?
There are four main reasons for your pen. The same resulting ‘dry’ feel can come
pen to feel ‘dry’; that is, not allowing from too much or too little water mixed
the ink to flow smoothly. with the gouache. Experiment with varying
amounts of water and gouache to get
1 New pens are often very temperamental
the proper consistency.
and feel scratchy until they are broken in.
When using a new pen, it is especially 4 The nib is creating uneven edges.
important to get the ink flowing smoothly Keep the nib in complete contact with
before attempting any writing. Moderate the paper to avoid writing with ragged
pressure on the nib and short practise edges. Be sure to apply even, consistent
strokes on scrap paper help to get the pressure to the nib while writing.
ink flowing.

2 If the reservoir is fitted too tightly, SPARSE INK FLOW

it will impede the ink's flow.
Check that the reservoir is in contact with
the pen, but not fitting so tightly that it
separates the two prongs of the nib (see
page 12). When the pen is not in contact
with the paper, the two prongs should
be touching. If this is not the case, the You may not be pressing hard enough.
reservoir may be too tight. Also, if the Check that the fit of the reservoir is not
reservoir point is not touching the metal too tight and that it is not too far from
the edge of the nib.
pen, the ink will not flow from the
reservoir to the pen. CORRECT
INK FLOW
3 If you are using gouache, rather than
ink or acrylic colour, the consistency may
be too thick or too thin.
Gouache is used because of its opaque
colour and is made from pigment. If the
pigment pieces are too large and/or not The pen is working well and produces a
properly mixed with distilled water, they dense and sharp-edged stroke.
will block the flow of colour through the
Which script should | use? 54 Can Versal Capitals be made to 71

What do Roman capitals look like? 56

look lighter?

How do | write in the Roman style? What are Lombardic capitals? 71

57

Can | make my Roman capitals 58

What does Gothic lettering look like? 72

look heavier? How do | write in a Gothic style? 73

Can | make my Roman capitals 58 Are there variations for Gothic die
look lighter? capital letters?
What does Uncial lettering look like? 59 Can | make my Gothic letters 74

How do | write in the Uncial style? 60

look heavier?

Can | make my Uncial letters 61

Can | make my Gothic letters 74

look heavier? look lighter?

Can | make my Uncial letters look lighter 61

What does Batarde lettering look like? 75

What does Half Uncial lettering How do | write in the Batarde style? 76
62
look like? Can | make my Batarde letters look heavier? Hida

How do | write in the Half Uncial style? 63 Can | make my Batarde letters Td
look lighter?
Can | make my Half Uncial letters 64
look heavier? What does Italic lettering look like? 78

Can | make my Half Uncial letters 64 How do | write in the Italic style? Zo
look lighter?
Can | make my Italic letters look heavier? 80
What does Carolingian lettering look like? 65 Can | make my Italic letters look lighter? 80
How do | write in the Carolingian style? 66 What does Copperplate lettering look like? 81
Can | make my Carolingian letters 67 How do | write in the Copperplate style? 82
look heavier?
Are there any variations in the 84
Can | make my Carolingian letters 67 Copperplate style?
look lighter?
What does Foundational lettering look like? 86
What does Versal lettering look like? 68
How do | write in the Foundational style? 87
How do | create Versal letters? 69
Can | make my Foundational letters 88
In the Versal alphabet, how are the two 70 look heavier?
separate strokes made and then filled
with ink? Can | make my Foundational letters 89
look lighter?
CHAPTER
54 CHAPTER 4

Which script should | use?

With so many scripts to select from, it versatile than others — for example, with
can be difficult to make a choice. Personal its many variations, Italic can be made to
preference, the purpose of a piece and suit almost any occasion. If the project
the meaning of the words will affect your is formal — a certificate, for example —
decision. Gothic, for example, is difficult dignified, regular letterforms may be
to read so would be an unwise choice called for, like Roman capitals, Versals,
for an urgent notice. Formal Italic or some Uncials. The more
It is usually best to confine yourself to restrained versions of Copperplate,
one or two related styles in any one piece decorative elements or a flourished initial
of work. Several variations of the same letter could be included for visual interest.
style are more likely to unify a piece of work The summary of the hands and the
than the same number of unrelated styles. samples shown (right) provide a quick
You need to decide first if the project reference to the scripts that are covered
is formal or fun. Some scripts are more in the following pages.

he

Cfoetrutps
sy ere
main
oT ete, dana

Above: This is an example of a very formal style of script lettering. It would not
be effective in a light-hearted invitation to a casual birthday party, but would be
perfectly at home on a traditional wedding invitation.
 Clipe Sie 55

Roman capitals — classical; Roman capitals

timeless quality. AB CDEF G 5 I5) KLM N
Uncials and Half Uncials — these
are associated with Ireland, Scotland Uncials and Half Uncials
and Northern England in the early Ip)
Christian era. Narrower Half Uncials AB C O S jsCc ] J kkGa N
are an Anglo-Saxon form. Decorative Vercals

eee eOC OCHO Gln Nia Ginn

D tive Vi Is — th

are used as initial letters only and :

Plainer Versals
go with Gothic text.
Plainer Versals are more like A B Gi [) Ff F 6 H |3) kK e M
Roman capitals and so have broader
Carolingian
associations.
Carolingian — an elegant hand ciacele fghijLigne es
p q in
with French connections.
Foundational — a modern Foundational
interpretation of the tenth century, ae
late-Carolingian style: it is mainly ab cde fgh 1 Jklmn
used as a formal, contemporary hand.
Gothic — German; many German Gothic
calligraphers still use free-form o¢
versions, but the highly decorative a b C i)ety hij k lmnop {]
kinds have medieval associations.
Batarde — late medieval French; Batarde
a more cursive form of Gothic. ee
Italic — from the Italian Renaissance; ab ove fa Giz k ikem Wn
this style has become the most
popular hand for present-day use _ Italic

cppineivteosonn DCA fghijkl mnopgrst

owing to its versatility.

and eighteenth centuries; the most

ornate decorations are associated Copperplate
with Victorian England, which C27
combined them with Gothic forms. ec SB CDEF GHI
56 CHAPTER 4

What do Roman capitals look like?

The structure of Roman capitals is unchanged for 2,000 years, and is still
based on strict geometric models — perfect for important titles, headings
mainly on squares and circles. This and signs, by themselves or combined
letterform has survived relatively with other hands.

e-
y 5

oe
ae

se
$
y
2
a

z
Sac
we
Ae

Above: Carefully proportioned Roman capitals (in the square of this

example) are overlaid to show their geometric relationships: these
provide a contrast to the three more freely written alphabets.
 Clyrly Shhe
Sh 57

How do | write in the Roman style?

Holding your pen at a 30° angle, as shown should have the thinnest parts at 11 and
in the illustration below, make the 5 o'clock. The exceptions to the 30°
strokes for the letters following the blue —_ angle are to flatten the pen to get a
directional arrows. If you have got it thicker diagonal on ‘Z’ and to steepen the
right, ‘T’ should have a thinner horizontal pen to get a thinner stroke for the first
stroke compared with its vertical and ‘O’ vertical of ‘M’ and first and last of ‘N’.

HIJKLMNOP
QRSTUVWw
XYZ EI? » FUE
1944667890
58 CHAPTER 4

Can | make my Roman capitals look heavier?

Yes, by changing the x-height from 7 to 5,
your letters will look heavier. As it is freely
written, make sure you do not sacrifice
good letterforms when attempting to
loosen up in this way.

SABCDEFGHUKLMN
OPQARSTUVWXYZ
me pp

&1?: EVE “©
Can | make my Roman capitals look lighter?
Yes, by increasing the x-height from 7
to 14, your letters will look much lighter
in weight. This style can show up any
hesitation. Use a small nib, and take care
how you blend the joints between strokes.

:ABCDEFGHIJKLM
OPQRSTUVW
XYZ
Gl?-FUF «26
What does Uncial lettering look like?
The Uncial style was developed from Roman __ that fortells its lower-case descendents
capitals, but with a shallower pen angle (compare it with the ‘A’ in Carolingian).
and only 4 nib widths high. It is sturdy and — Uncials appeared in the fourth century
round, with some Greek-looking letters and remained an important book hand
such as ‘A’ and ‘M’. Note how the stroke until the eighth century; in the seventh to.
of the ‘A’ is different from the Roman ninth centuries more complex versions
capital version and this shows how it evolved, with a flatter pen angle and
has evolved, through haste, into a shape requiring complex pen manipulation.

€¢

Above: This example shows characteristics of both Uncials and the

modified tenth-century style, but the overall effect is of an Uncial script.
60 CHAPTER 4

How do | write in the Uncial style?

Holding your pen at a 25° angle, make the — rotund hand requires some special
strokes for the letters following the blue attention. Each letter should be able
directional arrows. Check that you are to ‘breathe’. Use this angled version
keeping all the letters wide enough. (below) for modern and historic work
Spacing between the letters of this where a less formal effect is wanted.

XA BCOEECD
1JkKLMNOPG
RSTUVWXYZ
DENCY
BEelr?;eue
 — _ —— — > a me a - ~=
% iy Boy te eee se Re tod i :
aes a a % s) the E § " ‘ ¥ ;
- A kak AME Sead. Pe | ye a 8
* Way oe é i F, Gh Ry Ba ES A et le Ag te % Vive : Sy. ie 61
* 2 a © y soe a 1. Bere 1a & ARS He ua ard ; 7 ve F

2 he % BE! “24. Wee oo Pie RS SS AL ey ae Cs ae Lees

By decreasing the x-height, your alphabet

will look heavier. Only 2% nib widths high
makes your Uncial letters look very dense.
They are upright with open, rounded
shapes made by using a shallow pen angle.

FABCOECEChHIjklLoOw
OPpgGRSTUVWxyZ
8BoI7+;EUe a

Can | make my Uncials letters look lighter?

By increasing the x-height, your letters
will look more lightweight. Look at the
difference by changing the x-height
from 4 to 5.

OPGRSTUVWXYZ
Bei cur. x
62 CHAPTER 4

What does Half Uncial lettering look like?

Half Uncials have a very rounded, curvy and eleventh centuries, some versions
alphabet that stands on its own as a having quite pronounced ascenders and
complete alphabet. This style evolved descenders, showing the first sign of a
alongside Uncials between the seventh lower-case development.

Above: The rounded nature of Half Uncials lends itself to a compact design,
inviting play with colour in the shapes between letters. In this example, an
automatic pen has been used on textured watercolour paper in designers’
gouaches, with patches of gold leaf added.
 nel Sie 63

How do | write in the Half Uncial stylee

Holding your pen at a 5° angle, as shown, = The wedge-shaped serifs add weight to
make the strokes for the letters following compensate for that thinness; make
the directional arrows. Hold the pen them as a separate curved stroke and
very flat to make thick verticals and blend carefully into the stem. Keep the
thin tops and bottoms of curved letters. ascenders, where there are any, shallow.

$—aaocoeFry
ghiyktmwnop
qrstuvulx
YZ BAI2;ea6
1235456
7890
64 CHAPTER 4

Can | make my Half Uncial letters look heavier?

Yes, by decreasing the x-height, your letters
will look heavier. This example has been
epriaas OFFICE es
written at 3 nib widths and with wedge
vernum hoc qua U
serifs. The wedges of 'D’ and 'T’ require
some pen manipulation.

sadcoerecghyktm
NOPQGRSTUVUIXYZ
PAIZ;EGe +
Can | make my Half Uncial letters look lighter?
lf the x-height is increased from 4 to 6,
your Half Uncial letters will look more O1FY ei le est venum h
lightweight. This example has been
written with 6 nib widths, curved serifs gua lubet Crricl asc
and branching arches. Keep letters open car
and matching in width.

sabcdergGghyklm
NOpg RSTUVUIX YYZ
APAIZZéEGE 2s
 Gy S4 “S 65

What does Carolingian lettering look like?

Carolingian lettering was a ninth- to based on an extended ‘o’ shape. The
tenth-century standard book hand. It was __ interlinear space is large (almost three
a style that was pleasant to read and times the x-height of a letter), giving an
evolved in the court of King Charlemagne. open, flowing letterform across the
Carolingian letters are rounded and page. It is used today as a book hand.

Above: A simple Carolingian alphabetic design with an emphasis on

letter and colour harmony. It is written in gouache on black, pastel
paper. The capitals on the top and bottom are in gold gouache to
create contrast.
66 CHAPTER 4

How do | write in the Carolingian style?

Holding your pen at a 30° angle, as Roman capitals written at 6 nib widths
shown, make the strokes for the letters height. Note the springing arches at the
following the blue directional arrows. top of the ‘B’, ‘D’,’P’ and ‘R’ to relate
The modern capitals here are sloped to the minuscule (lower-case) arches.

2 ab cdefghijk
Imnoparseuy
WXYZ B&!e, he
ZZ

APCD ES OTK

VWXYZ
0123456789
 1a
. OR I a
eit Aaa Pa
on ea ne ne aer me rn me ia ba en
Re al i roe Bigg
f Sah Maeues aad\ ; ein iat y :
Bk ihahaa
ays rine i aie FO.
ot aeUa paa RT HG Sas Ne
aie & Daeme,
en Fae ; catalan bs he eee ae ae 4 ;
% p ; ey Peas # Ae PAE
evans Raa COala heh Fe F a is . ware Ly “
lier
a ieee ea) ‘ athe i 4 ; FAN Ae es : ‘
Yager SL ea ee Reha a ALRCH ae UeRLU aUbe alyhee RSS TS Dak SUI) Otel Ss :

Can | make my Carolingian letters

look heavier?
By decreasing the x-height, your letters
will look heavier. Look at the example
below and notice how different the
letters look by changing the x-height
from 4 to 3%.

rab cdefg hij nied

rsTUVWKYZ BI? E4¢e&
a

Can | make my Carolingian letters

look lighter?
By increasing the x-height, the letters will
appear more lightweight. You should
write with a small nib. This variation is
based on an extended ‘o’. It gives a
delicate, open feel with an emphasis on
the heavier ascenders.

j xbede fohiy yaar. i

STUVWX YZ Béclr. CUE

68 CHAPTER 4

What does Versal lettering look like?

Versals are capital letters and are built where they are used as headings or to
up with pen-made compound strokes. denote beginnings of verses, usually in
The finest examples of this hand are found __ red or blue. Today they can be used as
in ninth- to tenth-century manuscripts, complete text.

>

>

>

Above: These elegant Versal letters were drawn in red and yellow
gouache, on a background wash of coloured acrylic ink that gives a
sealed surface on which to write.
 Cui Sie 69

How do | create Versal letters?

Using a variety of pen angles, as shown, but with the pen held at a slight angle.
make the strokes for the following The stems are slightly ‘waisted’ for
letters using the blue directional elegance. The letter structures closely
arrows. Three strokes of the pen held follow the classical Roman letters. On
horizontally (0°) make the letter stem. heavier forms the letters can be outlined
Curved areas are made of three strokes with pen and painted with colour.

L-oh “ABCD EEG

H IJ KLMNOP
QRSTUVWX
2345678
70 CHAPTER 4

In the Versal alphabet, how are the two

separate strokes made and then filled with ink?
The unusual feature of Versal capitals is to ensure that the counter shape is the
that they are built-up, not written letters. correct proportion (below).
Most of the strokes are formed in the same A metal nib, a fine pointed brush or
way, whether they are curved or straight. quill can be used to construct them —
As a guide to height, base the letter on the instrument is manipulated at various
eight to ten times the width of the letter’s angles to achieve a balance of thin and
stem. The inner strokes are drawn first thick strokes.

1 In this Versal capital, the inner 2 The two middle cross strokes
stroke is drawn first to establish start at the width of the nib and
the shape of the counter, and are splayed in the two flaring
then the outer stroke is drawn. strokes at the end to produce a
(On straight downstrokes, the stroke wedge shape.
is slightly waisted in the middle.)

3 The enclosing downstroke is the 4 The skeleton lettering is filled

next stroke to be drawn. These in with a single stroke. It is also
hairline strokes should be lightly possible to do the filling in with a
drawn with the pen held at a 90° fine sable brush.
angle to the paper.
 Ce mie Er paactina
bc he y
Soe
aimae |
UAT ee ec WK Vu She
on
tas Whos, Micdowae ReMi
; Reh SS
F coh Merete. Gf
:foes ; LA . 71
apis ¥ fy
AD Sy ay Wate iS ote ceOS ieee ya See
i
* Wer Cees Yor rey cue RSME RCA, Babstkeue
§ LO
Nae Eco Le
ERY Rast 1) eh regia

Can Versal capitals be made to look lighter?

Yes, by increasing the x-height. Draw
with three pen strokes of a small nib at
24 nib widths height, with hairline serifs.
Note the compressed shape of the ‘D’
1c .G 0 and "Oe

IABCDEFGHIJKLMNO
es te Aaki:
GE Se ae F
What are Lombardic capitals?
Lombardic capitals are a variation of Versal
capitals. They are based on a twelfth-century
Versal. They are used as the beginning of
decorative letters and used singly. Draw
with a small nib and ‘flood in’ letter shape
with colour.

ABCDEFG HUB
a NOPOQBSTAY
CUXYZ&Py €UE & 4"=
72 CHAPTER 4

What does Gothic lettering look like?

Gothic lettering has dense, angular strokes from the Carolingian minuscule and by the
and diamond heads and feet. With narrow __ thirteenth century it was well established
counters (1/4 nib widths), it is very textural as a prestigious book hand, continuing in
and difficult to read. The Gothic style evolved —_ its many forms until the sixteenth century.

Above: This is an example of Gothic alphabet in black Chinese stick ink

written on a red-rollered background. An innovative contrast and use
of space is created by the larger lower-case ‘h’ and ‘s’, with diamond
inserts in yellow ochre gouache,
 —<
Guage Sie 73

How do | write in a Gothic style?

Holding your pen angle as show eated with manhahn liftsa nd manipulated
make the strokes ae letter ae #9 nde. Gothic letteringis usually written
the blue directional arrows. Letter at an x-heightof 4 to5nata

i ABCDESGS
JJALMMOPVOR
STUY WRUS
abcdcfahijkhlmn
opgrstuomenzfh
gil: cue
PO1I3 456.799
Are there variations for Gothic capital letters?

ABCDEFGHIIRUM
Yes, there are many variatio e from thefifteenth century.

NOPOLK STULXYZ
74 CHAPTER 4

Can | make my Gothic letters look heavier?

By changing pen angle and x-height, the
weight of the letters changes. See what
happens when you go from 5 to 4 nib
widths for the x-height and flatten out the
pen angle. This rounded letterform is a less
angular, more open style of Gothic lettering.

rabcodetq higkimn
opqrstuvumxyzs
BBWV:etie « % %
Can | make my Gothic letters
look lighter?
Yes, by increasing the x-height from 5 to 6
nib widths, your alphabet will look lighter.
This lightweight, fractured example has
many curved strokes and creates exciting
text. It can be used as a display script.

eabrdefghtijhlmnopg
rSCuDwEUs fgrl-eue ~
 yo a++ Eeat ee

Clirly So 75st

What does Batarde lettering look like?

Batarde lettering is a Gothic cursive hand versions of some of the letters have been
—a more freely written everyday style copied faithfully from French manuscripts
than the formal Gothic hand. Several of the thirteenth to sixteenth centuries.

Above: Here is a very fine historic version of the Batarde style. Cream-
coloured, handmade paper sets off this design of green and brown in
an interplay of overlays and contrasting sizes, emphasising the textural
effects of this attractive hand.
76 CHAPTER 4

How do | write in the Batarde style?

Holding your pen at a 35° pen angle, as were invented for the more flexible quill
shown, make the strokes for the letters pen. Drag the ink along the corner of
following the blue directional arrows. the nib to make the hairline strokes;
The lower-case is only 3 nib widths high twist the pen on the downward stoke
and has sharply pointed arches and needs ___ of ‘F’ and ‘p’ to get the tapering point.
a lot of pen twisting. Some strokes may Batarde capitals tend to vary a good
be difficult with a modern nib as they deal in height.

tO abe Vefaghi IKE

WH KHOVELKES STE
“yy WKY SS 6212: ene

ABCOVEFEH
hhjIsIk2,emn
Jo
LODO JdoaQK_SS
UDYWWEV SE
 Choy I
Mae i les ee. :

Can | make my Batarde letters look heavier?

By changing your pen angle from 35° to
40° or 45° and by applying more pressure
on the downstrokes, you will ‘swell’ the
thickness of the strokes, making the
alphabet look heavier.

rah DefarheyECL an
nopqrstdywx yz
LSE RR
Can | make my Batarde letters look lighter?
Yes, by increasing the the x-height. Look
at this example where the x-height was
simply increased from 3 to 5 nib widths.
Also note the curved tops to ascenders;
the plain ‘y’ form; and that the ‘f’ vertical biasFeel
: ?
is given weight with an extra stroke. 7¢,s

rabedefghty ea 5
ee Ge aii:
Balitue X&%
What does Italic lettering look like?
Based on an oval ‘o’, the compressed lie in the ninth- tenth-century Carolingian
letterforms of formal Italic have springing _ scripts. Italic capitals, based on Roman
arches (branching two-thirds up the stem). capitals, are compressed and sloped.
Italic evolved in the early fifteenth century __ Italic is the most versatile hand to the
during the Italian Renaissance; a cursive calligrapher and can be used for formal
hand developed from the humanist scrolls and certificates or for more
minuscules. The origins of both letterforms expressive forms of calligraphy.

Above: This delightful manuscript is a stunning example of Italic calligraphy.

An automatic pen and masking fluid were used for the ‘A’ here and fine
lines were created with the pen corner. The ‘swash’ capitals are written in
gouache on an acrylic ink background wash.
 Gbps Sie 79

How do | write in the Italic style?

Holding your pen at a 35-45° angle, as when writing in this style, keep the pen
shown, make the strokes for the letters angle at 45° and lift your pen between
following the blue directional arrows. In each stroke. By stopping and lifting your
this version of the Italic hand, there is less pen between strokes there will be less
pen lifting than with other versions. There ‘rounding’ of the corners of letters. The
are many variations to the Italic hand alphabet shown below lends itself well
and to achieve a more angular appearance to a cursive style of casual handwriting.

Lmnopqrstuyv
~~ wy

C D E F G H I J K
AB
LMNO P Q R S T U V
WXYZ
1234567890
80 CHAPTER 4

Can | make my Italic letters look heavier?

Yes, by changing the pen angle to 30°,
the weight of the letters changes. If you
decrease your x-height from 5 to 4, it
creates a denser letterform, making the
letters look heavier. The 30° pen angle
and expanded letters give a rounded
squat shape, similar to Carolingian.

s abcdefghijkimno
pqrstuvwxyz B&!
Ut X
Can | make my Italic letters look lighter?
Yes, the Italic letters can be made to look
lighter by increasing the x-height. Look at
what happens when you go from 5 nib
widths to 8. A pen angle of 30° will
produce a rounder, wider letterform.
Eight nib widths x-height makes it light-
weight and spacious. Note the small hook
serifs on this sample.

sabcdetghijklmnopars
tuvwxyz Bled oue %
oe 81>

What does Copperplate lettering look like?

Copperplate, also known as English script from the seventeenth century.
Roundhand, is oval in shape with a steep This script is used for formal occasions
slope and a flourished style that has been —_ and for projects that allow its decorative
developed from Italic as an engraver's aspect to be shown to advantage.

eeey

Above: The complexity of this Copperplate lettering design becomes

increasingly apparent as you follow some of the decorative outer flourishes
and find where they originate.
82 CHAPTER 4

How do | write in the Copperplate style?

Using a pointed pen (see page 14), make your hand so that the pen is directly in line
the strokes for the letters following the (parallel) with the steep 55° writing slope.
blue directional arrows. You hold the Pull down towards you while applying
special flexible pen totally differently from pressure for downstrokes and use very
the broad-edged kind. Turn the paper and _ light pressure for the upward strokes.

—
 Clg Sie 83

The ascenders and descenders are twice

the x-height of the lower-case letters Ris SGoLLetubiale soe
sae
and the capitals are about the same “il
height as the ascenders. Changing stroke
direction often requires lifting the pen.

1 This letter is being written with a fine

pointed nib and begins with a hairline
stroke with virtually no pressure on the nib
so that it glides over the page. Gentle
pressure is applied to the first downward
stroke, which finishes with a square end.

2 The second vertical stroke is preceded

by another fine hairline stroke. Observe
Uf f/
d where the hairline leaves the first vertical
Log Z Wy Uf Re. stroke. Notice the shape of the white
We VW 1, space formed by the two strokes.

the £2 WG
A nif LE ) )

2 Eine CAE GF
LEASE —e : fe
OG

s =
et
TA JE |Ff J/ 3 Unlike the first two vertical strokes,
which finished with a square end, the
final stroke curves around into a hairline.
This hairline is usually extended and
becomes the first stroke of the next letter.
84 CHAPTER 4

Are there any variations in the

Copperplate style?
Yes, but unlike the broad-edged pen styles Look at the samples on these two pages
the variations occur more by adding for some ideas. The first example (below)
flourishes or changing the width of the shows how modest flourishes can keep
letters. Because it is made with a pointed a variation comparatively simple. As an
pen, the pen angle is not relevant. added feature, the capitals in this sample
However, some nibs are more flexible have a pronounced dot at the left-hand
than others, producing a wider stroke. edge of their flourish.

An Bl 6 GU EF Gy Hb
ee W Ah LE Mm ee 0.
LG

ae Ua
vA
fe. WL
ELL ot

% Ly Oo OF: 2C4 é
2

Heavyweight: This version is trickiest;

weight is achieved by a double line and
filling in. The weight allows ‘B’ and 'D’
to have one joined flourish without

Au Bh bedbcBY pyMd
letter distortion.

WG
AS,flpies &In Cn
Y
 Fy ae ed eis y a eth aye het Ht. FS Tae, ee te:
ek
of ae a oe =) se
4 A
: NER , ae an
ABER a Aceh!vt oN Mai hen ee ak ah sy
ae ee si ietie a
bee a Mavs * te. tis te Age *

Se : NIM % et , ARR Bek Phat a ne iy Canines We Be

beige et, Ne 4 ; Cee + Se

Medium weight: For this variation you

need to make two strokes for the heavy
lines if you cannot achieve them with
pressure. The flourishes on the capitals
are short, self-contained curls and the
points of ‘M’ and ‘N’ are looped.

Aa BE be Gd O:
DL Py
/

Tj Hh Ll Mow eyfc,
Gy Kr ds Kt Ua bo Wa box
Wy yAGM G Le, Cae
Wider: In this sample, the letters are
slightly more open laterally. It is a
standard weight and the flourishes are
more open. The dots are small but
make an attractive pattern.

ete Bb Co Ld Ce Ff Go¢
i
AH fyc he MO I

LyKe aaoe Jo Wa ts
86 CHAPTER 4

What does Foundational lettering look like?

Foundational hand was invented by (see below) is slightly different from the
Edward Johnston (1872-1944). He based original manuscript and has formal
it on the study of ninth- and tenth-century characteristics. Calligraphers today have
manuscripts — in particular a Carolingian imposed rules on this hand to allow the
script. The modern Foundational hand script to be consistent.
Iq

Above: This example of foundational lettering is well proportioned and

uses the lower-case alphabet with controlled hairline extensions to ‘e’,
pave ithe
g’, ‘i’ and ’s’. It is written with an automatic pen and red ink on red ink
background washes that give it vibrancy.
 ee Sie 87

How do | write in the Foundational style?

Holding your pen at a 30° angle, as frequent pen lifts, beginning and ending
shown, make the strokes for the letters with small serifs. This gives the script its
following the blue directional arrows. formal characteristics. Classical Roman
Written upright at 4 nib widths x-height, capitals are used with this script — in the
at a constant pen angle of 30° (except tenth century, the capitals would have
diagonals), the letters are formed with been Uncials or Versals.

FX ABCDEFGH
IJIKLMNOPQ
RS TUVWXYZ
abcdefehit jk
Lmnopqrstuyv
WxyYZB&LCUE
1012343456789
88 CHAPTER 4

Can | make my Foundational letters

look heavier?
Yes, by decreasing the x-height from 4
nib widths to 3, or even 2, the alphabet
changes dramatically. This variation, shown
in the alphabet examples (right and below),
has wedge serifs for ‘h’, ‘m’ and ‘n’.

rabcdefghijklmno
PqrstuvwxyzBe& ?!;
eue KA

Left: This example of

heavier Foundational
lettering is from an
English manuscript of
the late tenth century.
 cate - aes es t Sow Ae ARE oe na Ne rerea aa ee meoreen eee:
Ae +

a). ee Rane ote AESdg a ru

“aly A
‘ w. eR ae aes ie
aeu) ae a Siege Ba 5 89
A Oa ee ig, isBEN as ae
bi, 3 ee a og Reng a '§
x SAE wt M4 Bee iyi 0) Selesae 28 x:

Can | make my Foundational ne look ighter?

Yes, by increasing the x-height from 4 % *...

el
=)
to 5, it becomes more lightweight. The se
>
5 nib widths x-height with the slab serifs <>?
throughout give this variation elegance ea
<l —
ll
rather than strength. ¥
i ee
a *<¢? ts,
a ly
mag
niall
BE th
age
pecos
8ee+- Pa
fey

sabcdefghijklmn
=n amelie’ fae
Ke ee as

ibis

awakening —
From winters icy grip, the Frozen earth thaws
revealing its emerald cover ~~ WS ek
caece

PRS eat 3 a SiS

~~ me
—*

2 li
:oe i hea ee...
i E
Above: A sample of lighter Foundational lettering that combines large- and
small-scale writing. The main word is written with a Mitchell No. 1 nib and
the subsidiary text is written with a No. 3 nib.
What are flourishes and swashes? 92

How do | create flourished capitals? 93

How do | create swash capitals? 94

How do | create flourishes for lower-case Italic? 95

Can you create flourishes on symbols? 95

Are there guidelines to follow when creating flourishes 96

and swashes?

Can you give me some tips on incorporating flourishes 97

into my work?

Does a flourish have to be a unique, spontaneous stroke? 98

Can flourishes be categorised as both traditional 98

and contemporary?

Can | experiment with my own designs? 99

 CHAPTER

Ps 5) Rasen

eo)
14 AR Op oe
92 CHAPTER 5

What are flourishes and swashes?

Flourishes and swashes are very similar, flamboyance, they can range from subtle
but a flourish is a pen-made, decorative stroke extensions to elaborate traceries of
addition to a letter whereas a swash Is an loops and lines. They can be a wonderful
elaborate flourish added to a capital letter. enhancement to calligraphic work,
Although the term ‘flourishes’ suggests provided they are carefully matched to
their context. Sign writing, certificates and
commemorative inscriptions, diplomas
and greetings cards are just some of the
areas in which they can be used with a
restrained or spirited effect.
Flourishes must appear to be an intrinsic
part of the letter, not a contrived addition.
They need to be written with flowing
movement, speed, directness — and
good pen control. In your enthusiasm for
writing flourishes, it is easy to neglect
the letter shapes themselves. These
must be accurate if letter and flourish
are to form a harmonious whole.

Finding creative ideas

Whether you find flourishes easy or not,
you must first understand the principles
of good flourish design. Remember that
the choice of flourish depends on the
design context and the purpose of the
calligraphy. Begin by learning some
basic flourish shapes, but also study the
creative ideas of other calligraphers,
past and present. Look for inspiration in
the wonderful, imaginative flourishes
of Renaissance calligraphers that you
can find in illustrated books — and in the
work of twentieth-century calligraphers
Above: Elegant flourishes form a natural who have developed innovative lettering
part of these freely written Italics. for contemporary needs.
 eee

om,
| fhe hresan <Swathes

How do | create flourished capitals?

Flourished capitals are usually the first alphabet with the aid of the four basic
letterforms to be considered when learning flourish types shown (below). Each
flourish design because of their role in group begins with a simple flourish and
titles and at the beginnings of text. You progresses gradually to more complex
can add flourishes to the entire capital and elaborate variations.

LEAD-IN FLOURISHES

EXTENDED DIAGONALS TO RIGHT

Se
EXTENDED DIAGONALS TO LEFT

PRACTISING FLOURISHED CAPITALS

1 Rule lines 7mm (‘Ain) apart, the equivalent 3 Copy flourishes from each group, in the
of 8 nib widths of a Mitchell No. 4 nib. order shown, until you have memorised them
2 Use a pencil at first, so that your hand and well enough to write without hesitation.
arm are not restrained by the resistance of 4 When you feel confident with your pencil,
the broad nib against the paper. Loosen up repeat the exercise with a No. 4 nib.
with some large, sweeping movements, such 5 You may need to make several attempts at
as the tail on the ‘R’. Be sure to let the each flourish to produce flowing lines.
pencil move lightly over the paper.
 CHAPTER 5

How do | create swash capitals?

Swash capitals are relatively simple starting point for beginners. To write
flourished letters that are ideally suited to these letters with both flow and control,
line beginnings — for instance, in poetry. copy the alphabet, following the stroke
The alphabet (below) provides a good order and direction indicated.

ABCDEFFG,
TVIKKLLIMNG
OP STUY
ORO
VWwryvz
PRACTISING SWASH CAPITALS
1 Rule lines to a height of 8 nib widths of a. 3: Take care with letter spacing, so that
Mitchell No. 2 nib. swashes do not overlap.
2 Practise the capitals in alphabetical order, | 4 When you have gained in confidence,
writing each letter several times before try writing some words with swash capitals
moving on to the next letter. in a text of your choice.
 | Gave ba Lae
rae oa:

How do | create flourishes for lower-case Italic?

Flourish design for lower-case Italic follows for Italic minuscules (below). You will
the same principles as for capitals. There find examples for ‘y’ and ‘h’, moving
are two main directions in which the from a simple flourish through to more
extension can travel. Practise flourishes complex designs.

PRACTISING FLOURISHES FOR LOWER-CASE ITALIC

1 Rule lines 5mm (sin) apart, the correct 3 Repeat the exercise using a Mitchell No. 4 nib,
x-height for a Mitchell No. 4 nib. omitting any flourishes that are too difficult at first.
2 Practise each letter several times in pencil 4 Make sure that the reservoir moves easily up
until you are familiar with the design. and down the nib, or the ink will not flow easily.

Can you create flourishes on symbols?

Yes. Symbols other than standard letter- An ampersand must harmonise with the
forms may also be flourished or written script being written and you may find that
in unusual ways. An example is the sign a simple design suits the context better
for ‘and’, known as an ampersand. than a flamboyant one.

PRACTISING FLOURISHES ON iba

AMPERSANDS ‘ | X |OX
1 Rule lines to a height of 8 nib widths as (ee : “SS
of a Mitchell No. 2 nib.
2 Practise each of the ampersands in turn, TYPE 2 TYPE 3
first on their own and then in context ; 7 MO ?
with an appropriate script. & ;
 CHAPTER 5

Are there guidelines to follow when creating

flourishes and swashes?
Yes, flourishes should be carefully poster, title page, or dust jacket like the
proportioned and must relate to, and one shown here (below), only a decorative
not obscure, other parts of the text. heading or panel may be needed, with
Sometimes a flourished design may be plenty of space all around it. This gives
complete in its own right. For a certificate, | you more scope for flourishing.

\ - Se a Ga‘arn

Cai 4 Gan ming =p, nig

y. / aw) 3 piary os.
ar CHING ee =

a
1 Much of the success of
flourishing comes from the
wee
» “ih =< A
Gardening
Y Diary -

2 When first learning to design —3 Several different flourish

flourishes it may help to pencil — designs are written using a
detailed planning of the design. the flourishes on to the simple — Mitchell No. 2 nib. Each
Here preliminary pencil letterforms written in ink. design is then considered
roughs are sketched. within the context.

Although flourishes look

se simple, they require a
great deal of skill. Make

va iam
Mt
Sea
Sng
.
va
IP,
2 sure the flow of the
flourish is round and not
angular — think of it as a
ribbon flowing around
the letters.
4 The final design is written 5 The finished piece shows
in gouache, and a decorative how the flourishes balance the
border is added in gouache design, breaking into the top
with a brush. and bottom white space and
guiding the reader's eye.
 “4

Toarohes be tee z

Can you give me some tips on incorporating

flourishes into my work?
Here are two good examples. In this of a corporate-identity programme, uses
decorative piece of work (below), carefully considered flourishes at
carefully planned flourishes os
the top and bottom. These flowing
connect the spaces and carry the ee >, strokes help to integrate the
eye into the design. The panel Interna onal different elements in the
(right), produced as part c overall design.
*LETTER ARTS -
etwork
 CHAPTER 5

Does a flourish have to be a unique,

spontaneous stroke?

Ceaiens
rvctfhett
S

A flourish can be unique and spontaneous, — with the constrained style of the Gothic
but doesn't have to be. Look at the sample __ lettering. Sometimes, a different pen
shown (above). The flourishes are used in a is used for the flourish and the main
border-like fashion, very much in keeping lettering, as was done in this example.

Can flourishes be categorised as both

traditional and contemporary?
Yes — and two good examples are on this _—In contrast, the sample shown (below
page. The sample (above) with the Gothic _/eft) has a decidedly more contemporary
lettering definitely has a traditional feel look, as evidenced by the free-flowing
to its symmetrical, border-like flourish. strokes that create the flourishes. One
flourish even turns into an exclamation
mark! Even the colour conveys an
image of contemporary style.
 A ,: , : | Cone an)Swashes

Can | experiment with my own designs?

Yes, but make sure you are familiar with more freely. Write spontaneously, letting
some basic flourishes first. Planning in ideas flow and follow up with design
pencil will enable you to work faster and refinements using a broad-nibbed pen.

_Here are some tips for when you are g

3 ee 5 : ' Chfistopher Haanes -#ssi
_improvising with flourishes and swashes. : an
% ——
KaligrafidDesign & Skrifthurng
Y Spontaneous flourishes depend on 7.

knowledge and pen control.

: : : ' 8
UY Write flourishes smoothly and rhythmically. ry le
. ‘
Speed develops with practice. i ett,
: 5 : 2 a
UY _ Write flourishes continuously. It is necessary Se
to break them into component strokes “Ste, ~
only when writing them with a very large i a ee, :
nib
— and not always then. , it, ON
Ran, 7
UY When straight lines and curves join, make a Pa
sure the transition follows through in a ; a se b
fluid movement. ay ;
ite ~~ J
Cf Establish a sense of spaciousness around =.
the letter. Over-close flourishes create a f ‘ eR,
P Sipe
cramped design. we,
irs
| J _ Diagonal strokes are usually parallel. “ee
Do not write them too close together or .
: ;
the flourish will look heavy. i
: 4 , ’ Ti
— J Design and practise flourishes in pencil | is
for uninhibited movement and speed.
Hesselbergset, 3 sOSs5
JY Practise with chisel-edged brushes or
large chisel-edged felt-tip markers to O$LO “NORWAY
loosen arm movement and encourage Phy eee
experimentation. ;
Sefust. mering nr, 309 999 19

Postgiro 0537 63 28611

Right: The combination of flourished Italic with

red type makes for a stylish, sophisticated image.
What is letter spacing? 102

How do | work out the spacing between letters? 104

How much space should there be between words? 106

How do | combine large and small lettering? 107

How much space should there be between lines? 108

What is a layout?

What is a thumbnail?

How do | centre text?

Why are headings an important part of calligraphic work?

Can you give me some ideas for

positioning headings?

Can | experiment with different layouts?

How can | show more detail in my thumbnail sketches?

How do | know how much room to leave as a margin? 118

What is a focal point?

Is a focal point important in a piece that combines

calligraphy and illustration?

Can | use words as images? 122

How do | judge what a finished piece will look like 123

once it is framed?
 CHAPTER

6
Crmipaion i Kayort

Ys SCV
102 CHAPTER 6

What is letter spacing?

Once you have lettered your first alphabet, sided, rounded, open and oblique. Some
you need to consider spacing the letters fall into more than one group; for instance,
in order to produce words. This would be the capital and lower-case ‘C’ are both
an easy task if all the character shapes rounded and open.
were either straight sided or round, as
then the same amount of space could Guidelines for spacing
be left between them. Unfortunately, the As a guideline, think of round letters as
alphabet consists of many different-shaped being close spaced and straight-sided
characters; measuring the same amount letters as being the widest spaced.
of space between characters does not Consider these two groups. A vertical
produce an aesthetically pleasing word. letter in its simplest form is the ‘I’ and a
Instead, reliance must be placed on optical round letter the ‘O’. If the combinations
spacing and fine adjustments. of ‘IOOl’ and ‘OIlO’ are looked at, the
Letter spacing is one of the most difficult difference in spacing can be seen.
aspects of lettering. Calligraphy, sign- The top line lettered (below) is spaced
writing or using pre-cut letters or lettering mathematically; the second line optically.
proper (that is, with a brush on paper or The difference is that optical spacing
board); all these forms of communication takes into account the nature of the ‘O’,
require good letter spacing if they are to with its round shape giving a greater
achieve their aim of informing in a legible amount of white area than a straight-
and attractive manner. sided letter. It is this counter-space that
The characters of the alphabet can be must be considered. The golden rule is
divided into four main groups: straight- not only to appreciate the shape of the

lOOI ONO
lOO! ONO
 Campon od Kael

letters but also the white areas that they a harmonious result. Often calligraphers
create around them. These are just as use the HIOC combination of letters to
important as the forms themselves, and experiment with spacing.
you can’t commit yourself to a letterform Shown here (be/ow) are a combination
without being concerned with the areas of two straight letters next to each
they create. Your aim is to produce other (‘H’ and ‘I’); a straight and round
even areas of white space between the letter next to each other (‘l’ and ‘O’)
letterforms. This will take some time to and two round letters next to each
learn and experience only comes through other ('O’ and ‘C’). Observe the blue
a rational approach to spacing. hash-lines and how the area they fill
changes shape but not ‘volume.’
Evaluating space requirements This is how visual balance in spacing Is
A letterform’s space requirement must achieved. Also shown (in the bottom
be evaluated before you commit your row) is the same technique using capital
pen to paper in order for you to achieve Italic letters.
 CHAPTER 6

How do | work out the spacing between letters?

Once you have lettered your first two accordance with the word construction.
characters, you have set the criteria However, as a rule, open letters are fairly
that will determine the spacing of all closely spaced because the open counter
the letters that follow. If the first two has to be taken into consideration (3).
characters are straight-sided, they should Owing to the letter combinations, the
be lettered with sufficient space between word ‘TALE’ (4), for example is difficult
them to accommodate the close spacing to space. There are numerous other
necessary for round letters that may combinations for which it is almost
follow (1). Without making this judgement impossible to achieve total harmony in
prior to lettering, the rounded forms will the spacing and where it is necessary to
be tightly spaced and may even touch resort to other methods, such as the
each other if the first letters are very close. forming of ligatures or the reduction of
The reverse can be said for two rounded the length of stroke.
characters at the beginning of a word (2). In the word ‘TALE’, the crossbar at the
If they are spaced too far apart, the end right of the ‘T’ overlaps the thin diagonal
result will be an over-spaced word stroke of the ‘A’. This is done to reduce
because the straight letters will require the natural space made by both letters
extra space to appear optically balanced and will now set the optical standard for
with their rounded partners. the remaining letters. In order to space
Open and oblique letterforms vary in the ‘L’, the area between the ‘T’ and ‘A’
the amount of space they require in must be evaluated and the same amount

INDOORS DOODLING
INDOORS DOODLING
WYVERN
WYVERN
7 Wale
Optically spaced: the shaded areas
should appear equal
 : ;:
ee ae De os taps KyeGh

of space must be left between the thick area to that between the ‘A’ and ‘VL. If
oblique stroke which forms the right of a longer word required spacing, it would
the ‘A’ and the vertical straight stroke of be necessary to cover up the previous
the ‘U. In order to space the ‘E’, cover up letter in each case, so that only two
the ‘T’ with a piece of paper. This will allow letters are visible at any given time,
you to concentrate on the positioning of while deciding on the position of the
the ‘E’ without being distracted by the third. This spacing system described in
‘T’. Letter the ‘E’ so that the space left this answer is known in calligraphy as
between the ‘LU’ and 'E’ is equivalent in the three-letter spacing method.

Sse MAKING ADJUSTMENTS

indoors indoors
arm of ‘r’ This example of Roman sans
serif lettering (left) shows how
to adjust spacing correctly.
Reduce space In the left-hand column, the
Shorten
words have been lettered
without minor adjustments

wyvern wyvemn
arm of ’r’
so that the problems that
these letter combinations
Reduce space Reduce space create can be clearly seen.
to undercut oblique strokes To achieve the evenly spaced
words in the right-hand

crafty
Shorten Form ‘ft’ column these adjustments

crafty include reducing the arm of

the ‘r’, undercutting diagonal
strokes and substituting
Reduce space ligatures where required.
Shorten crossbar Form ‘rt’

Thirty Thirty
Reduce space Lessspace Close up space

Form ‘ffi’ ligature

effigy efiigy
Reduce space
 CHAPTER 6

How much space should there be

between words?
When you start working with a line of give the same optical value. In effect,
text rather than a single word, you need to a complete spacing system has now
think about word spacing. Word spacing been outlined (see examples below).
is the amount of space left between one The words in a line of text should be
word and another. It is strongly linked treated as a complete word. In the
with letter spacing — that is, if too much example, a capital ‘I’ has been inserted
space is left between words the rhythm between the words and highlighted in
of the line is broken, leading to poor red to illustrate the system. When a line
readability. The amount of space used of text is word spaced, the ‘I’ should be
between words must be consistent if lettered using a carpenter's pencil that
continuity is to be achieved. Therefore it has been sharpened to a chisel edge the
is necessary to have a unit of space that is width of the pen nib, simulating the pen
regular throughout the line and a simple stroke width. After a line is completed,
system to determine the amount of white erase the pencil mark to give the finished
space to be left. result. Once you have become familiar
Again, there is no mathematical answer with word spacing, there is no longer a
for achieving even units of space, as the need to use a pencil.
letterforms differ in shape. Word spacing If you want to practise spacing words
must therefore also be based on visual correctly, draw up guidelines on a layout
judgement by using a capital ‘I’ for space sheet using the proportions for Roman
between words in capitals and a lower- sans serif. Letter the example using the
case ‘i’ for lower-case words. These ‘i's method described above and compare
are letter spaced between the words to your results with the samples (be/ow).

THEISPACINGITOIUSE
initheispacingiofiwords.,
 pi ,a
sbik e) Ko
Ce i

How do | combine large and

small lettering?
Along with good letterforms, spacing and according to your own interpretation.
rhythm, it is important to develop a sense A sense of what looks right in terms of
of scale by combining different sizes of text and layout develops with practice and
writing successfully (below). Combinations by observing examples of well-designed
are generally used for contrast, but the calligraphy. You will find that analysing
sizes must harmonize and convey the the decisions that have been made
text appropriately. Sizes should not be about scales of writing in the work of
too similar, but there are no rules for such other calligraphers — past and present —
decisions: each text needs to be treated is invaluable for your own work.

late summer

light mountain
ral n,falling veil,
fading the land
into oblivion
veCHAPTER 6

How much space should there be

between lines?
When lettering more than one line of inserted between the lines can eliminate
text it sometimes becomes necessary to this problem (1 and 2).
add extra space between lines. This is The style of lettering used will affect the
known as interlinear space. The main amount of space required. If the style has
reason for this additional space is to a large x-height with small ascenders and
prevent the descenders of one line from descenders, it will need more interlinear
clashing with the ascenders of the line space than a style that has a small x-height
below. Even half a nib width of space with long ascenders and descenders.

~ determined by
- “sensitive spacing.
Both Jegibility —
— and readability are
determined by
_ sensitive spacing. —
 In addition to considering the lettering Other pieces might benefit from lettering
style and the minimum interlinear spacing __that is ‘stacked’ with virtually no interlinear
required, the calligrapher also needs to spacing to convey a message of strength
consider the overall design of the piece. and power.
Some documents, such as a formal As a general guide to the amount of
wedding invitation, usually demand a interlinear space required, the space
great deal of interlinear spacing to convey _—_between x-heights should not be less than
visually the message of formality. the x-height of the style being lettered.

LINE SPACING GUIDELINES

The distance between
writing lines (interlinear space)
is determined by the x-height Writing line —
of the letters (see page 43). This x-height
is the height of the body of a
lower-case (minuscule) letter, Baseline to
baseline — three
excluding ascenders and times x-height
descenders (tops and tails on
letters such as ‘d’ and ‘p’).
Sufficient space must be
left between writing lines,
however, to accommodate
ascenders and descenders Interlinear
space —
of letters without their twice x-height
becoming entangled.
A distance three times the
x-height from the baseline
to baseline is usually best
for beginners when starting
to use lower-case letters.
 CHAPTER 6

What is a layout?
Layout is the arrangement of writing and whereas small, fine writing in an open
design elements on the page and takes letterform may gain cohesiveness if
into account a number of variables. allowed to create a mass of text that is
Column width is one important aspect both broad and deep.
some styles are shown here (below). The Legibility is normally important. Between
proportions of white space to text — that is, eight and twelve words per line are
the widths of top, side and bottom margins easily read. The number of words that
— also need to be assessed in terms of fit obviously depends upon the style and
both aesthetic preference and the work's size of the letterforms. Adjusting to five
function. Work that is presented flat may or six words per column is reasonable.
have any size of margin from minimal to If there are fewer words in a line, the
extremely broad (see pages 118-179). text starts to seem jumpy; and a line
Calligraphers may, however, apply longer than twelve words is tiring to read.
aesthetic preferences in their layouts. Paragraph format also affects layout
A freely written, flamboyant word or and may be differentiated by putting an
phrase may seem more expansive and extra line space between paragraphs or
rhythmic if surrounded by white space, by an indentation.

Left: Double-page 1 A page divided into two columns aligned

spreads with different at either side enables pictures to be inserted
styles of column widths. into the width of one column.
]
4 2 Two columns of text can be arranged
around a central piece of ornamental writing
and illustration.
3 The standard double-page layout has each
outside margin equal to the central space
between the blocks of text.
4 The single page shows the balance of a
standard type page, with three sides equal
and more space at the bottom.

What is a thumbnail?
A thumbnail is a small drawing that great tool for trying out several different
represents overall layout. There is very layouts — see the samples (opposite)
little, if any, detail. Thumbnails are a that show different alignments.
THUMBNAILS TO SHOW ALIGNMENTS
CENTRED The writing lines are
—
balanced equally on either side of a
central line (drawn faintly in pencil and
erased after writing). This symmetrical
layout is useful when balancing long
and short lines. A centred layout is
most suitable for poetry or short prose.
ALIGNED LEFT All writing lines
begin from a straight vertical left
margin. This gives a strong left edge
and a softer right-hand effect. Avoid
marked variations in line length and
split words. This is a versatile layout,
used for both poetry and prose.

ALIGNED RIGHT The lines are

aligned vertically on the right. This is Some ieee Sn oe ea
a

SS _| effective in giving a degree of tension poe

Progen threugt ars
sce sie nosesre
:
f
Mi the weeks Aton enor
—————————__| to the design, although it takes practice ~ Tears ener i
to achieve accuracy of letter widths oe a a

and spacing. This layout is often seen |.

in short texts such as letterheads.

ASYMMETRICAL This is a layout

that does not conform to an established
alignment and yet maintains a sense
of balance. A key feature is the non-
alignment of most or all line beginnings
or endings. This works well where a
feeling of movement is appropriate.

JUSTIFIED Both right and left

edges are vertically straight. Skill is
needed to calculate word spacing to
achieve this effect. Justified layouts
produce a formal effect that is useful
for prose work.
112 CHAPTER 6

How do | centre text?

Using the same x-height (letter height) By marking the centre of your finished
write out the text you want to centre on piece, you can line up the two centre
a piece of paper other than your final marks and know where to begin and
piece. When it’s dry, mark its centre point. | end your line of text on the finished piece.

Clk
\

ee

Above: The same x-height and pen were used _ the white paper is used as a guide, allowing
to letter the words on the white paper as will the calligrapher to judge accurately the
be used on the final piece. The lettering on amount of space required for the text.
 Cope OM ie nl

Why are headings an important part of

calligraphic work?
The way you treat a heading or title in a The information given by the title is
piece of work is an important factor in important and must be seen to relate
making a calligraphic design successful. to the whole design. Study early and
Headings have many roles. The word, modern examples of calligraphy, observing
or group of words, has to attract the a variety of solutions and do lots of
attention of the viewer to both the whole roughs as options. Mark in the body
work and to the title itself. It of the text with lines, to
therefore must stand out indicate the area it will
and be emphasised in sore occupy so you can get a
way. Bold lettering, careful better feel for the balance
use of rules or decoration of space.
and contrasting colours are Give careful thought to the
effective devices for catching wording if a title has not
the eye, but in doing so they been supplied. The heading
must not make the message should be thought of as a
of the piece illegible. descriptive statement of
The position of the heading the contents of the text,
is important. In order to expressed both precisely
make a visual impact on and succinctly.
the reader, the words need If the name of the author,
to be placed slightly apart a date or a reference relating
from the main body of the to the text is to be included,
text, although they need consider this at the same
not stand in total isolation. time as the heading. Often
The first considerations it is this important data
are the size, weight, style that can create a balanced
and colour of the letters. feel to the work, so be
Although a heading often careful not to neglect It.
appears at the top of the
page, this is certainly Left: A simple layout
not the only place, nor incorporating a well-executed
necessarily the best place heading. When combined with
visually for it (see ideas on the image, it creates a strong
pages 114-175). focal point for the piece.
 CHAPTER 6

Can you give me some ideas for

positioning headings?
The examples on these pages show placement deserve careful consideration,
several creative ideas for using headings so spend some time experimenting with
and text blocks in unusual ways. In the different arrangements to find the most
ones shown below, a line of letters Suitable and aesthetically pleasing solution.
represents a ‘real’ heading. Headings It may be useful to use a grid system
serve many purposes and their design and __ to assist in working out the layout of

EXAMPLES OF HEADING POSITIONS

1 A heading could straddle three

AEVKIZ
columns and be enclosed with
a dot or a mark on either side.

Bae
2 If the text is composed of
individual verses or independent
pieces of information, the
heading could be located in the
middle of the page and centred.
3 When a single word (or very
few words) stand alone on a
page, a flourish helps make
the design interesting.
4A single-word title could be
given impact if it ran vertically
4
down one side of the page.
5 A creative alternative to
traditional column treatment
a
X
is shown here, with the title
or heading in the centre of
the page.

ais
6 Three variable elements —
lettering size, positioning, and
justification all work together
in this layout. A grid system
would be very helpful here.
 Ca a Keyl tt

the page. Most printed matter is how the text and images are laid out
designed using a grid, enabling the on the page, often in columns of a
designer to align the work in a clean, specific width. You will find that rough
legible manner, both horizontally and pen sketches are often sufficient for
vertically. It is a good idea to look at working out exactly where you want to
some examples of printed work to see position your heading.

o Koprm
Soa Amn izm
116 CHAPTER 6

Can | experiment with different layouts?

Yes, in fact it's a very helpful part of the or Bs SR ae |
Jatte Stivester
process. In these examples, a calligrapher imaldl thew tbicene tober
has tried out a number of design solutions . if
for a birthday party invitation. Included B
in these permutations are portrait and | om 24the Sepember at Apri
landscape layouts that both work well at Flat 3, Lone Lane,
with the wording and style of lettering. Harpstead, ‘Loudon. Nw33
Which layout do you like best? 2s.uP

TF f= 1
Pir SSS sea

woe swvestre. | BANE SUVESTER

id tre yearfoceave to hie
foeweps,
TH BIRTHDAY PARTY
on 24th September at Spm
~ Lane,
at Flat 3, Long
23
PARTY Harry pstead, London

atFae RSVKE

ila 7
| a JANE SILVESTER
would like you to come.
to Her clPosey
if

1 pirthiday
a> fanesevester on
‘put Seplemberat Spm
Re would like at Flat 3, tong Lane,
fo cone toher Harneste ad,
Londo NW3 esve

atl
S Bartixlay Carty

oe _
7 i ser | Tame Silvester |
st at Flat3 would Likeyou tocom toler
qs
Sy eek,
Long Lan
Butiiday Fart
; iota on 24 th September al prt
ie poe at Flat 3, long lane,
4 Hanipstced, London NWS
RSP
 connie
How can | show more detail in
my thumbnail sketches?
Look at these images (below) for ideas on Then the calligrapher finds that a combined
adding detail to thumbnails. The sequence vertical and horizontal layout for the river
of thumbnails shows the thinking process works better (3). Finally, the design is
as the calligrapher tries out alternative refined and the colour of the background
approaches. First, the quotation mentions is developed (4). The finished piece of
‘leaping’ which suggests a vertical design (1). work combines the splash of the leaping
However, trout leap in an irregular fashion, trout with the peaceful colours of
SO an asymmetrical design is tried (2). woodland and water (5).
veCHAPTER 6

How do | know how much room to leave

as a margin?
When you use your writing for a finished much space weakens a design; insufficient
piece of work, the margins you choose space makes it look cramped. Generous
make an important contribution to the margins are generally preferable to narrow
overall effect. To show your writing to ones, because surrounding space gives
best advantage, you need to balance the the text unity (see pages 111 and 117).
text against the space around and within it. Many designs use the traditionally
The amount of space between the lines, proportioned margins found in printing
between areas of text and between and picture framing and these are easy to
heading and text, helps determine the calculate. Other designs may flout
proportions of the outer margins. Too convention to achieve a particular effect.

les(2in) Tem (2in)

RE,
7.5cm (3in) 7.5cm (3in)
(ain)
5cm i(ulZ)
WOs

10cm (4in)

CALCULATING MARGINS:
Vertical layout (portrait)
For a vertical panel of text, the top
10cm (4in) margin is gauged by eye and doubled
for the bottom margin. A measurement
between these two is used for the
sides. In the example (left) the top
might be 5cm (2in), the bottom 10cm
(4in), and the sides 7.5cm (3in). An
equal measurement for top and sides
with a deeper bottom margin is
sometimes appropriate (above and
on page 78).
 Conpurbon on Keyed

You will find that your ability to assess proportions shown here, there are many
margins will gradually become intuitive. other possibilities where less conventional
Side margins should be equal, but the margins would be appropriate to the
bottom margin should be larger than mood and layout of the text. These
the top, so that the work does not include placing the text high or low on
appear to be slipping off the page. If a the page with exaggerated space above
title or author's name is used, this should or below, or placing it to one side of the
be considered as part of the text area page (see page 217, top photograph).
when you are measuring margins. Such margins are more intuitively
a

As well as the more traditional margin assessed than ‘traditional’ margins.

[= (2in)

<> ee |
10cm (4in) 10cm (4in)

7.5cm (3in)

CALCULATING MARGINS:
: 2.5cm (1in)
Horizontal layout (landscape)
For a horizontal panel of text, the
widest space needs to be at the sides.
In the example above the measurements
ain]
Scm ws]
(ul2) are 5cm (2in) at the top, 10cm (4in) for
the sides and 7.5 cm (3in) for the bottom
10cm (4in) margin. An alternative formula is shown
(left). Side margins should be equal.
 CHAPTER 6

What is a focal point?

A focal point is the area of an image to (below right). \n this more abstract rough
which the eye is first drawn. In the example — design, the calligrapher has balanced the
shown (below left) the focal point is the left-of-centre text placement with the
colourful area in the centre of the work. extension of the wash to the right of the
The reader is pulled into the piece by piece. This ensures that the focal point
this section as it demands attention and in the darkest wash area is maintained.
beckons the reader to continue reading. Always ensure that the words and the
The focal point is not always in the image work well together to reinforce
centre of the artwork, as in the example the focal point.
 Meee ) Koyo

Is a focal point important in a piece that

combines calligraphy and illustration?
Yes, a focal point is particularly important was carefully planned around the focal
in a piece that combines calligraphy and point formed by the flock of birds. The
illustration or any other element. When furrows of the ploughed field draw the
more than one element is used in a single eye across the text in the foreground to
artwork, the elements must all work this point. The diagonal movement also
together to create a singular image. If not provides the link across the horizontal
carefully executed, the design can appear divisions of the sky and landscape. The
to be two or three separate pieces ‘stuck’ use of colour enhances the unity of the
together on a single page. Take a look at composition, with the purple-brown of
the sample (below). In this piece of the text echoing both the browns of the
illustrated calligraphy, the composition fields and the indigo of the sky.

Focal point links foreground, Passive middle ground balances relative

middle ground, and sky. activity of foreground and sky.

Placement of text helps to Diagonal sweep of furrows draws

emphasise foreground detail. eye towards focal point.
 CHAPTER 6

Can | use words as images?

Yes, you can. Calligraphy — with Its ability
to enhance words by using different styles,
forms and colours — is a perfect vehicle for
exploring vocabulary in a visual way.
Each style of writing has its historical
connotations and its personal interpretive
qualities. By understanding the shapes of
letterforms and by the actual process of
writing, calligraphers gradually evolve their
own interpretations and invent new ones.
A couple of examples of interpretation
can be seen here (right). The word ‘water’,
written in a flowing Italic hand, is more
evocative than ‘water’ written in stiff
upright capitals. The three versions of the
word each evoke a different response in
the viewer. If it was written in blue — the
symbolic colour of water — the calligrapher
could go even further to create a mental
picture of the word.
The second example, ‘dazzle’ shows
the experiments a calligrapher can make
to try to capture the essence of the word.

EXPERT TIP

SHENE
Creating an image around one letter
can add weight and meaning to a word.
Here, for example, the calligrapher has
added strokes to make rays emanate
from the letter ‘I’,
 COs i Keel 2

How do | judge what a finished piece will

look like once it is framed?
Cardboard strips can be used as a framing _ long and two short). L-shaped pieces of
device to help you determine the most cardboard or mounting board can also be
suitable margins for your work. Make a used. You may be able to obtain scraps
collection of strips in varying sizes from from a picture framer, or you could use
5-10cm (2-4in) wide. You will need four — old mats cut into L-shapes that will
of each width at different lengths (two together form an adjustable rectangle.

ASSESSING MARGINS USING CARDBOARD STRIPS

1 Place the strips, or L-shaped mats, 2 Here the text is ‘lost’ within overly
like a frame around your work so that wide margins. Experiment by moving
you can look at different margin options. the strips toward and away from the
edges of the text.

3 Take care not to cramp the text 4 When the balance between text and
between narrow side margins, as white space looks right, mark the chosen
demonstrated here. margins with a light pencil point in
each corner of the work.
Can | mix my own colours? 126

How do | use gouache in calligraphy? 128

How do | use watercolours in calligraphy? 128

How should | fill my pen with colour? 129

How do | letter in colour — and in more than one colour? 130

How do you stretch paper? 132

What is the best way to create a background wash on paper? 133

How do | make a background colour lighter? 134

Can | use two different colours in a background wash? 135

What is a variegated wash? 136

Can | use a stencil to create designs that go with calligraphy? 138

What is the spatter technique? 140

What is the masking-fluid resist technique? 141

How is an eraser stamp design made? 142

Can | etch my letters in paint? 144

Can you use pastels for colouring a background? 145

 CHAPTER

i
&
126 CHAPTER 7

Can | mix my own colours?

Yes, that’s the beauty of using paints and yellow produce green and yellow
rather than prepared inks. To understand and red make orange.
more about colour, start by familiarising Then by mixing a primary colour with
yourself with the colour wheel (be/ow). a secondary, a tertiary colour is produced.
The colour wheel is made up of red, Try it yourself; you should now have
blue and yellow — the three basic or twelve different colours.
primary colours, so called because they If you mix the colours directly next to
cannot be made by mixing other colours. each other on the wheel, you will produce
When they are mixed together in equal the purest orange, violet and green.
amounts, they produce three secondary Therefore by mixing alizarin red and
colours. Red and blue create violet, blue ultramarine, for example, the best violet

COMPLEMENTARY COLOURS ANALOGOUS COLOURS

These colours are directly opposite Analogous colours are next to
each other on the colour wheel. The each other on the colour wheel.
complementary colour of blue is For example: blue, blue-violet,
orange. Another way to remember and violet. When these colours
is to say that the complementary xa are used together, they create a
colour of blue is the mixture of the = harmonious effect and mood.
two other primary colours — that is,
red and yellow = orange.

EZ con
 ye pbour 127
OIE
or purple will be produced. Try mixing red are difficult to read because they
cadmium red and cerulean blue and you neutralize each other when used in equal
will discover that red and blue do not amounts. However, they can appear to
make purple. This mix produces a warm advantage used in small amounts, as
grey or brown, depending on the amount they add vibrancy to the page.
of each colour you use. Try different The range of colour and media in an
mixes and then make notes about the art supply store can be overwhelming.
colours that you used — and what was Manufacturers create most of their
produced — and use them as a reference. different ranges to match, although
For example, complementary colours confusingly they are not always called
create visual vibration. Green letters on by the same names.

Cadmium red Alizarin crimson

UNDERSTANDING MIXTURES (blue bias)
(yellow bias)
When colours are placed next to one another
you can see the colour bias clearly, as the
Cadmium yellow French ultramarine
artwork (right) demonstrates. The swatches (red bias) (red bias)
(below) show how the choice of primary colour
affects the mixture. Those closest together on
the wheel create intense secondaries, while
those furthest apart create neutrals.
Lemon yellow Cerulean blue
alee
(blue bias)
128 CHAPTER 7

How do | use gouache in calligraphy?

i Gouache is an opaque water- to streak when It is being used with a
colour that is frequently used brush to create thin washes. Writing
in calligraphy. It is opaque with gouache — because of its opacity —
because it has a white pigment, is very reminiscent of the writing in
or filler, added that creates a medieval and Renaissance manuscripts.
dense, flat colour when used. It is Its appearance in a finished piece closely
often used by graphic designers resembles the results when using pigment
and is ideal for using in pens and for and egg tempera, which are commonly
bright illustrations. However, it tends used in those manuscripts.

How do | use watercolours in calligraphy?

Watercolours are most often used for opaque. When mixed with enough water
background washes (see page 733) or to allow it to flow through a pen, the
separate illustrations alongside calligraphy, resulting colour is too watery and allows
rather than for the actual calligraphic colour ‘pooling’ or puddling at the
lettering. Standard watercolour is not bottom of the letters. Generally, this is
not considered to be a satisfactory result,
except in those instances where an unusual
effect is desired. When using watercolour
and gouache in the same piece, there is
a danger of a feeling of imbalance, as
watercolour is delicate and translucent
and gouache Is strong and solid.

Left: When you are using watercolour paints,

test them on the paper you are going to be
using before starting the final artwork.
 Sng eet
Gy
How should | fill my pen with colour?
If you fill your pen by dipping it directly therefore advisable to use a brush to feed
into the ink or paint, it is difficult to control ink or paint directly into the reservoir.
the amount of liquid in the reservoir, and Always make sure there is no ink or paint
you may get drips on your paper. It is on the upper surface of the nib.

FILLING WITH INK FILLING WITH PAINT

Fill a medium-size paint- 1 Squeeze out about 6mm 2 Load the pen using a brush,
brush with ink. With the (Ain) of paint or gouache. either from the side or through
brush in one hand and the Add water and blend well the reservoir. Here, the pen
pen in the other, feed the ink with a soft paintbrush until has been turned upside down
in from one side between the mixture becomes the so the reservoir faces up for
the nib and the reservoir. consistency of ink. easy loading with colour or ink.

lad
A dropper may be used
instead of a brush to load
ink into the reservoir.
A WW
(\
Alternatively, after dipping
your pen in the ink, touch it \\
briefly on a piece of absorbent

P
fabric and make a sample
stroke or two on scrap paper.
These actions will make sure
the ink is flowing smoothly 3 Test the paint flow on a 4 Make sure you mix
and will eliminate the ink piece of scrap paper. If the enough paint to complete
blob that sometimes collects paint is too thin, the colour the job. A change to a new
when dipping the nib. will not be strong enough. batch of colour halfway
If the paint is too thick, it through is likely to show.
will clog the pen.
130 CHAPTER 7

How do | letter in colour — and in more

than one colour?
There are several ways to render calligraphy YOU WILL NEED
in colour. The basic technique is shown below
Pans or tubes of colour Palette
—as well as how to add a second colour
Water Paper
(Steps 3 to 7). Most calligraphers prefer to Paintbrush
mix their colours from gouache, rather than Dip pen with
using ink, because it gives more solid coverage
detachable nib
and allows a vast array of colour possibilities.
Ee ee ORS as SE SE Oa 1 Mix the colour to the
20. Sheer Sete,Ss
consistency of single
cream, which will be
thicker than ink. Be sure
to mix enough to do all
the writing. When two
colours are mixed together,
it is always difficult to mix
more of the same blend
because colour varies from
wet to dry.

opanonbn
2 Add the colour with a

nopanonby,
brush from the side or
from underneath (far left).

banh |
Adding colour to the top
of the nib (unless it has

nbanbr the reservoir on top—a

Brause nib) will cause the
paint to blob.

3 When the paint just

begins to thin, replenish it
by adding more paint to
the nib with the brush.
Two or more colours can
be used to create very
interesting effects (left).
 YingSOMES Wey
7

tot

x abed pmopanonbri
An buendnefin te h
Byndndnbanbnenn
Budnanbnendnenfn nin /iknlnmionp
qurnsntnu aD
4 Try adding a second colour when you refill 5 Try using analogous colours that sit together
your pen (above). The original colour and the on the colour wheel, such as orange-yellow
new colour will blend as you write, making a and cadmium red (above).
gradual change, which is generally better than
an instant change, although in some cases you
may want a sharp division. Other colours can anbucndnenfrgnhn
be added in the same way to create soft ninynkulamnonp
colour blends.
AVIV SHLCUILLDLVILIWHIN

6 By employing the technique described in

Step 4 and using white as the second colour,
you can achieve a very interesting gradation
effect. Start with the dark colour — in this case,
dark blue (right), and gradually add white so 9

that the colour you are writing with subtly

changes to light blue. Then start adding the
dark blue back to your pen again to bring your
colour back to the shade you started with.

7 Use two complementary

colours, such as blue and
nanbnendn nanbynen orange, red and green, or
An bncnadne Cntfngnhyy
HAAMNbnHNcC ndaANG nmnopnds yellow and purple. These
Mnrnonpng snt combinations will cause a
vibrant effect (left).
132 CHAPTER 7

How do you stretch paper?

Background washes use a great deal of YOU WILL NEED
water which willwrinkle the paper unless Paper Saba ha
it is a heavyweight one — that is, 356gsm B beekdltpaniices Rowe
(260lb) — or more. Lightweight paper medium-density fibre- Brown gummed
therefore needs stretching before using, board, or plywood) paper and tape
as shown (below).
ee

1 Make sure the board is 2 Carefully place paper in cold 3 Holding two corners, lift the
slightly bigger than the paper —_ or tepid water, keeping it flat. paper from the water and let
to allow for the tape. Leave it for a few minutes to the excess water drain. Place
ensure it is thoroughly wet. carefully on the board, lowering
gently to exclude the air.

4 Use a sponge to blot the 5 Cut four strips of gummed 6 Tape one side, then the
surface with great care. On a paper tape to place along the — opposite side and then the
large sheet of paper, always four sides of the paper. Wet other two sides. Allow an
work away from the centre. each piece of tape with a fairly overlap of tape on the paper
Do not apply any pressure; damp sponge. of about 12.5mm (‘Ain) and
this will damage the surface. press each down firmly. Lay
the board flat and let it dry
away from direct heat.
 SingVe pahas
—
What is the best way to create a background
wash on paper?
Here's an easy technique for creating a
YOU WILL NEED
background wash. Although this example
Stretched paper A deep palette or
(below) uses a bristle brush, sponge
(see page 132) mixing bowls
brushes are also effective. By using a
Large, soft brushes Clean water for
background wash it is literally possible to
Watercolour paints rinsing brushes
create a background of any colour on the
Lots of water
colour wheel (see page 126).
I SS SSRI IS

1 Tilt the board about 50mm (2in) at the top 2 Load the brush again. Now make a second
end. Leave the stretched paper on the board. stroke in the same way, slightly overlapping
Mix the paint in a bowl with plenty of water. the first stroke. Continue working in this way
Load a large, soft brush with paint and draw it toward the bottom of the sheet.
horizontally across the top of the paper. Do not
stop until you have reached the other side.

3 Do not patch any missed areas. To prevent 4 When you reach the bottom, rinse the brush,
streaking, there should be enough liquid in dab off the excess water, and run it along the
each line to create a long puddle at the bottom bottom puddle to pick up the excess paint. Lay
of each stroke. Overlapping this line fractionally the board flat and dry it as before. If the colour
will allow each stroke to blend together. needs to be darker, repeat the process.
134 CHAPTER 7

How do I make a background colour lighter?

Making your background colour lighter your background wash, you may choose
is simply a matter of adding more to vary the intensity of it, allowing your
water. The more water that is added to calligraphy to stand out. This technique
the watercolour, the more translucent it is called a graded wash and can be
becomes. Depending on the colour of done by following these directions.

MAKING A GRADED WASH

1 Tilt the board. Mix the paint in a small
jar. Load a large brush and draw it
horizontally across the paper, continuing
directly to the far side. After one or two
strokes, add more water to the paint mix.

2 Continue down the paper, adding

water to the paint after each stroke,
The colour should gradually get lighter
as you add water, as shown (left).
Finish the wash by soaking up the
watery paint with your damp brush
and letting the paper dry, as described
on page 133.
 oe leur 135
OIE
Can | use two different colours in
a background washé
Yes, incorporating two or more colours experimentation on scrap papers should
into a background wash can be done help eliminate this problem. The description
with great success. Some caution must that follows takes you through the
be exercised as colours can become process of allowing two background
muddy when they are mixed. A little colours to mix together.

1 Mix the two colours required 2Turn the board around and, —3 Allow the colours to bleed
in two separate suitable using the second colour, work —_ into one another.
containers. Tilt the board at the again to the centre, overlapping
top and lay a wash to the centre. the two colours slightly.
4 The more watery the colour,
the more ‘run’ you will get.
Bear this in mind when you
are mixing your colours. After
satisfactory blending has been
achieved, lay flat to dry.
136 CHAPTER 7

What is a variegated wash?

A variegated wash is similar to a two- be completely covered with colour. This
colour wash, but there is a slight variation in treatment can tend to be a little more
the technique. The mixture of the colours — dramatic than the previously described
is more random and the paper may not background washes. Here is how it is done.

1 Use a wet-into-wet technique. Wet the paper and allow a 2 Rinse the brush and load it with
few minutes for the water to soak in (until the paper looks the second colour (circled). Dab it
matt rather than shiny). Meanwhile, mix three or four colours. into the white spaces. Watch what
Load a large brush (No. 8-10) with the first colour and paint happens as it blends and moves
some areas of paper, leaving the other areas white. on the damp paper.

3 More colour can be applied to

desired areas. Brighter colour can
be added by using thicker paint.
If it appears too bright, tone the
colour down by adding more
water. This way you can control
the amount and depth of colour
in the background. Certain
colours mixed together cause
granulation to occur; try using
alizarin red and ultramarine blue.
 Vena)
CO

EXPERT TIPS
¢ This technique is great for creating subliminal imagery such as
swirling greens and blues to create an ‘earth-like' image, or
various shades of blue to conjure thoughts of the ocean.
e A few precautions should be taken to avoid colour mixing in
unwanted places. For example, a layer of sandarac between
the background wash and your calligraphy will help keep the
calligraphy colours separate from the background colours.
e /f some areas of the paper remain unwashed, your pen will feel
and behave differently on those spots than on the washed areas.

4 Add complementary colours for 5 Now that the desired effect has been achieved, lay the
vibrancy — in this instance, it is board flat to dry. If the results appear disappointing before
purple. For further interest, the the paper dries, wet it (preferably under running water —
board can be tilted and turned to a shower head is ideal) and carefully sponge the paint away.
make the colour blend and bleed. Dab off excess water. Leave it to dry and begin again.
Desired areas of colour can be
removed by using dampened
cotton wool or a natural sponge.
138 CHAPTER 7

Can | use a stencil to create designs that

go with calligraphy?
Yes, stencils can make decorating a letter attractive effect. Stencils can be cut from
pretty simple and they are fun to make. cardboard or acetate — the latter works
The example shown here uses pastels well with calligraphy as it helps you to
with a stencil and creates a soft and place the design accurately (see Step 4).

YOU WILL NEED EXPERT TIPS

Paper Acetate ¢ Stencils need a fairly large, open area to be effective
Pencil Craft knife so keeping the design simple is important.
Tape Pastels : ; ;
e This example uses pastel with a stencil but lots of
Cutting mat
other possibilities exist. Try experimenting with a
second colour of paint (rather than pastel), or a
‘spray’ of paint using the spatter technique that is
shown on page 140.

1 Draw a simple design on 2 Tape your finished design 3 Using a craft knife, carefully
paper. Here a simple flower on to a cutting mat or a piece cut out the design. The areas
shape is being used. If you find of thick cardboard, so that it that are cut away will be the
drawing difficult, trace an idea does not move and to protect —_design made by the pastel.
from another source, keeping __the table that you are working
only an outline and keeping the _ on. Place a piece of acetate over
shapes as simple as possible. the top and tape it securely.
 ie hare 39
OIE

4 The design can be used to 5 Carefully rub the pastel 6 Scrape a second colour on
decorate one letter or whole through the stencil — lightly to the design.
pieces of writing. Using first, then quite firmly.
acetate instead of cardboard
or a conventional stencil
means that you can see where
to put each single design. Place
the acetate in the chosen
position and tape securely.
Scrape pastel on the design.

7 Lift the acetate to see the

result. Choose another area
for the design and repeat.
Continue until you have created
the effect that you want. Any
number of different colours
can be added. Remember to
use a piece of clean and
absorbent cotton wool for
each colour so that you can
keep the cotton wool fresh.
140 CHAPTER 7

What is the spatter technique?

Spattering paint or ink over a surface Is
: YOU WILL NEED
the low-tech version of airbrushing!
Paper Leaves or cut-out design
Very attractive effects can be achieved
4 : : Ink or paint Apron and old
with an old paintbrush loaded with
Toothbrush or newspapers for
colour and flicked with your thumbnail ;
paintbrush protection
or a ruler to spatter the paint.

SPATTERING PAINT OR INK

1 Paper cut-outs or leaves laid on 2 When you have completed

the paper will produce patterns and spattering, lift the leaves off carefully,
silhouettes when they are removed. taking care not to smudge the paint;
The reverse effect would be to spatter consider developing several layers of
paint through a stencil. Make sure to spatter, having moved the leaves or
shield yourself and the work surface. images with each layer.

sf¢
ASG
3 When you have perfected the
x

&oh SRE
method, consider how you could use
such a decorative element with some
text; in this example, a poem about
falling leaves would fit well.
 yy WGN re
IS
What is the masking-fluid resist technique?
This technique involves applying masking
YOU WILL NEED
fluid before you apply paint. This is done
Paper Old brush, cardboard
because paint will not ‘take’ to the paper
Masking fluid or cotton bud
when masking fluid is applied to it,
Paint
enabling you to create an interesting
resist effect in your work.

2 When the masking fluid is 3 At this stage, while it is still

dry it appears matt. Next, wet, you could add other
apply the paint; lay colour colours. They will run into
washes on the paper, loading each other, so choose colours
the brush well. that blend well. When you are
1 Using an old brush, a piece satisfied with the result, leave
of cardboard or cotton bud, it to dry completely.
write patterns and/or letters
using masking fluid. Metal
pens work well and will not be
damaged, but need frequent
wiping to prevent clogging.

4 Rub away the masking fluid with your finger, using a gentle
circular motion; it should come away in rubbery strings. Take care
not to damage the paper surface by rubbing too hard, especially if
you plan to use this method to develop a background technique.
142 CHAPTER 7

How is an eraser stamp design made?

Eraser stamp designs are a good way of ink and then pressed on to the paper to
adding a simple embellishment to a repeat the pattern. Any clearly defined
piece of writing. They are made by first design motif can be used. Remember the
cutting an eraser with a craft knife or design will be reversed when it is printed.
linoleum cutting tool. Then the eraser The area that is cut out and discarded
design is pressed on to a purchased or will remain white. The relief or raised
home-made stamp soaked with paint or area will be the part that prints.

YOU WILL NEED _¢ This fun technique has lots of possibilities — the images
Soft pencil carved into the eraser are only limited by your
Paper Imagination. The stamps can be mixed and matched
Eraser _ to create even more design possibilities.

Craft knife e Large designs can be created using large erasers.

Stamp pad Any size eraser can be cut to fit the approximate size
Fibre-tipped pens of your design.

1 Draw or trace a pattern ona 2 The design can be drawn 3 Remember that the printed
piece of paper, using a soft pencil. straight on to the eraser. design will be reversed. The
Keep the design simple so that Alternatively, the paper can be _areas that are cut away will
you can cut the shapes easily. _ placed pencil-side down on the remain white; the raised areas
eraser and drawn again. This will be coloured. Carefully cut
will cause the graphite design the design with a craft knife —
to be deposited on to the eraser. cutting away from your fingers.
 YongCobaw 0
—

4 Press the eraser into a stamp pad 5 Continuous border patterns can be
soaked with ink, then press it on to created easily. Changes of colour make
the paper. Alternatively, coloured it more interesting (above).
fibre-tipped pens can be used to
6 Delicate leaf patterns and flowers can
paint the eraser first, which can then
be created as motifs for letter headings
be stamped on to the paper.
and cards (below). Stamps made this
way can be used over and over again
and in different combinations.
144 CHAPTER 7

Can | etch my letters in paint?

Yes, there are several techniques for It opens up many possibilities for using
creating ‘relief’ in your work. Here is creative utensils as 'pens'. For example,
one interesting technique (below) that your letters could be ‘striped’ if you use
involves adding paste to paint, so that the a wide-toothed comb as your pen nib.
paint becomes thick enough for you to Also, by using coloured paper, you can
‘etch' or ‘carve’ your letters in the colour. add more colour to your design.

ETCHING LETTERS IN GOUACHE

1 Mix a small amount of wallpaper 2 Use a soft implement such as a

paste and add some paint — gouache piece of eraser and scrape marks or
was used here straight from the tube letters into the surface. One colour
— then spread it freely over the paper has been used here and the scraping
with a piece of cardboard, moving in reveals the white underneath. The
at least two directions to achieve slippery surface gives uninhibited
good coverage. Experiment with how free movement. If it goes wrong,
thickly it can be laid. re-spread the paste and try again
on top of the fresh surface. It will
dry fairly flat but it will give a 3-D
shadow effect along the edges of
the letters or marks.
 YongCr
—
Can you use pastels for colouring
a background?
Yes, dry pastels can be used to colour a
YOU WILL NEED
background. Follow the instructions (below)
Paper Cotton wool
to try this technique. It is important to
Pastels Fixative (optional)
ensure that the background you create
Craft knife Eraser
provides contrast with your lettering.

2 Gently rub the pastel into 3 Continue moving in circles

the surface with a piece of when adding more colour, as
cotton wool. Using a circular blending will be easier and
movement prevents any smoother. Remove unwanted
unwanted lines from appearing colour with an eraser. Pencil
1 Soft pastels are used to create and gives you more control lines removed after writing
soft backgrounds without paint. over the media. More pressure leave white marks. Touch in
If you use pastel directly on the can be added to blend the with coloured cotton buds.
paper, lines and streaks will colour into the paper.
appear. For a soft blending of
colour, scrape a small amount of 4 Subtle blends of colour can
pastel on to the paper with a be created very expertly with
craft knife. Alternatively, rub a this method of colouring
piece of cotton wool on the pas- paper. When the pastel is
tel, picking up the colour required. rubbed in firmly there should
be little need to use a fixative.
Writing with a pen on top is
pleasurable as no bleeding or
changes of colour occur.
How can | create letters that are a little more abstract in form? 148

Can other tools and instruments be used for making 149

free-form letters?

Can other art forms and mediums provide inspiration 149

for calligraphy?

Can free-form lettering be done with a ruling pen? 150

Can | combine free-form lettering with more traditional lettering? 150

Can the insides of letters be filled in to add colour? 151

What techniques can | use to add texture to my lettering? 152

Is it feasible to use multiple lettering styles in one piece? 153

Can | use a brush for calligraphy? 154

What other kinds of brushes can be used for calligraphy? 156

CHAPTER
148 CHAPTER 8

How can | create letters that are a little

more abstract in form?
Once a solid understanding of letter
proportion is accomplished, try leaving
some of the rules behind. For example,
don’t use pencil guidelines, just write very
freely and see what happens. Try different
kinds of pens and brushes to see what
effects they create. Keep in mind, though,
that often the lettering that looks the
most spontaneous is actually the most
carefully planned out.

Above: The use of Right: This is a fine

heavyweight capitals example of successful
with close interlinear abstract lettering.
spacing creates a very The tall, compressed
lively graphic effect. slanting letters give
The small gilded a strong diagonal
capitals provide a bright emphasis to the
and unusual contrast. overall design.
 Freeform 7 149

Can other tools and instruments be

used for making free-form letters?
Yes, use your imagination and try
something new! The sample alphabet
shown here (right) was made with a lolly-
pop stick or similarly shaped flat, wooden
stick. Some very interesting results can be
produced because the tool ‘rides’ along
the paper surface differently than a pen,
and the ink flows differently from it.
There is inconsistency in stroke thickness,
but in the hands of a capable calligrapher,
balance and beauty can still be achieved.

Can other art forms and mediums

provide inspiration for calligraphy?
Inspiration can be found just about
everywhere — in nature, in museums, in
libraries, around your home and so on.
In the sample shown here (left), the
artist was inspired by the design of
Russian icons, which incorporate gold
, . leaf, frame-like borders and Cyrillic
By calligraphic messages. Usually the
image of Christ or other holy figures
are featured in the icons, but in this
case the calligrapher has chosen to let
# the written message be the focal point.
In the style of lettering chosen, the
calligrapher echoes the Cyrillic style of
a Russian icon.
150 CHAPTER 8

Can free-form lettering be done with

a ruling pen?

1 drink to the word. raisin

x a word ora shining cup,
A. ina idrink
; the pure wineoflanguage
| take che word and qe over it f ( orinexhaustable water.
as theyPugh in were nothing more than human shape matemal source ofwords,
Its mrrangements ave me and | And my way and cup and water and wine
through cach variacion in the5
spoken wor d- give nse tomy song.
J utter and tam and without speaking | appr oach
the lime ofwords and the silence

This can be done very effectively. Lettering Above: /n this book, the freely written
created with a ruling pen (see page 79) Italic-based script — lettered in red gouache
can have a very free, spontaneous with a ruling pen — contrasts strikingly with
appearance, as shown in the above the black, broad-edged pen Italic.
example of a landscape book layout.

Can | combine free-form lettering with more

traditional lettering?
Yes, you can. The piece shown (left) is a
very good example of freeform lettering
combined with traditional calligraphy.

oohio
L oe:
Remember, though, that the overall
design should be balanced. This does not
necessarily mean symmetrical, but a visual
balance of the piece is desirable.

Left: This title page shows a design created

| by contrasting formal Italic broad-pen capitals
\ with a lively Italic. Both ink and gouache
pwn tate racemes \ have been used.
 a
ea
oe

Can the insides of letters be filled in

to add colour?
Yes, the insides of the letterforms — illustrations or a variety of colours. Look
also called the counters — can be very at this example of the alphabet (below)
effectively coloured in with miniature that has been treated in that way.

i e
D
o
r
?
p 3
oS
yy
1

Above: A small delicate panel of freely written Italic in indigo

gouache and black ink. The subtle coloured shapes in and around
the letters are painted in watercolour. Note how the letterforms
progressively increase in size and freedom.
152 CHAPTER 8

What techniques can | use to add texture

to my lettering?
Texture can be achieved in many ways, the brush is lightly filled with ink or colour.
including a dry-brush technique such as When a stroke is made, the coverage on
the one used in this alphabet (below). the paper isn’t solid, allowing the texture
‘Dry brush’ refers to a technique whereby __ of the paper to be seen through the stroke.

Above: This beautifully designed and executed alphabet of

Capitals shows an individual, lively and flowing Italic letterform.
 Freeform Sg) 153

Is it feasible to use multiple lettering styles

in One piece?
Yes, you can use multiple lettering styles sizes of letterforms are carefully balanced.
in a single piece — as the successful The mixture of lettering styles, colours and
example (below) shows. This sometimes direction of text produces real movement
means breaking design rules. Rule breaking on the paper and the text seems to ‘dance’
here has worked because the different across the page.

Above: Several different lettering styles are used very effectively

here, with the largest word forming an unusual focal point.
154 CHAPTER 8

Can | use a brush for calligraphy?

Yes, brush lettering is a beautiful way to Brush lettering can be incorporated in
render calligraphy. There are several a wide range of designs, creating strong
different types of brushes that can be visual effects with an enticing air of
used and they are excellent tools for informality. For example, a brush-lettered
practise and experimentation. The ability headline — either standing alone (opposite)
to use different brushes and a variety of or next to more formal typography — Is
inks and paints is a great asset, providing very effective, as examples from 1930s
a range of instant visualizations. and 1940s advertising show.
When working with brushes, you will The best way to learn the possibilities
soon realize that, having found a successful of brush lettering is to work on quite a
solution in rough form, recreating the large scale and freely in an informal
exact same image in the finished work is style. A ‘hidden agenda’ exists when
not easy. Because of the free movement working with brushes; particularly when
of the brush, a good understanding of the ink or paint on the brush diminishes,
letter shapes is essential to achieve resulting in interesting textural contrasts.
convincing lettering. For example, if the ink runs dry in mid-

1 Working with a large 2 The letters are constructed 3 Pleasing arrangements can
square-cut brush permits the in the traditional manner of be arrived at, sometimes
calligrapher much freedom of following a stroke sequence. unintentionally, when you are
individual expression. The first The brush is held at an angle practising free-form lettering
letter provides an anchor from either suitable to the chosen with a brush. An extended
which the remaining letters style of lettering or to produce stroke to create a swashed
can hang or around which the intended weight of stroke letter is easily accomplished
they can be grouped. for a particular piece. with a brush.
 Freeform Kooy 155

letter, you can make a positive feature Discovering which brush to use is a
of the change of emphasis, rather than matter of trial and error, so get to know
dispensing with the work. the marks of as many brushes as possible.
Experiment by placing wet, different Broad, flat, or square-cut brushes produce
colours side by side and letting them bold lettering (below, left). Manipulation
merge. Planning the colour selection can of the brush angle, especially when making a
produce exciting and interesting results. horizontal stroke, creates further interest.

Above: Brush lettering was a popular

technique for 1930s and 1940s advertisements.
It provided a powerful visual effect and at the
same time created an informal atmosphere.
156 CHAPTER 8

What other kinds of brushes can be used

for calligraphy?
Pointed brushes produce beautiful letters
USING A CHINESE POINTED BRUSH
and are excellent tools to help you in
developing a rhythmic and fluid style to
your free-form lettering. Chinese pointed
brushes are ideal too and are designed
to hold much more paint or ink than a
traditional Western watercolour brush.

1 A pointed brush, of the kind

used for Chinese calligraphy, is
excellent for practising freely
constructed letters.

2 Chinese brushes are also

versatile: fine strokes can be
Above: A Chinese motif designed for a produced with the tip, and
greetings card. The modern-style characters broad strokes with the body.
were written with a pointed brush.
USING A POINTED BRUSH
aS

ian
cry
Nae
ee
bey
ath
ana
ih
ct

Ta
ES
GR
PROP
Be

1A pointed brush can be used for 2 The brush moves with great
lettering and for creating fluid agility to create expressive arcs
flourishes. Successful flourishing and lines. Varying the pressure
requires practice so that the strokes on the brush produces lines that
can be accomplished in a relaxed vary from thick to thin in one
manner and flow naturally. continuous stroke.

3 Flourishing exercises can be 4 Practise making traditional

interesting pieces in their own flourishing shapes and simple
right. Here the addition of red marks before attempting to apply
dots, made with the tip of the the lines as letter extensions.
brush, provide a finishing touch.
What sort of ornamentation is appropriate for calligraphy? 160

What kinds of patterns should be used in ornamentation? 161

Can curves and geometric shapes be used in ornamentation? 162

How do | repeat a design to create a pattern? 164

Can these repeated ornaments be used in decorated letters? 165

How do I create corners that are in keeping with the 165

border patterns?

Can | use fret, key and other traditional geometric 166

patterns in my borders?

Can | use my calligraphy pen to create a border? 167

Can | use colour in my pen for a border? 168

Can | use more than one nib size? 168

Can | use a brush to make a border design? 169

How do | design a floral border? 170

Should | use a sketched thumbnail to start? 171

How do | decide which style of border to use? 171

How do | put the text and border together to make 72

a harmonious design?

What are some other possibilities for border designs? 174

What is a decorated letter? 176

What is the first step in creating a decorated letter? 177

How do | prepare final colour and complete the design? 178

What is the first step in laying gold leaf? 180

How do | get rid of the ‘fringe’ gold leaf and make 180
my gold leaf shine?

What kind of burnisher should | use? 181

 CHAPTER

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Sp an Se pe my dan NeaBo bideiokreve, Lorch, Indne Iaaingye parades, qropalles he

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160 CHAPTER 9

What sort of ornamentation is appropriate

for calligraphy?
In calligraphy, ornament may fill an entire Special attention needs to be paid to
margin, create a border for the text or a proportion and the symmetry of shapes
background for a capital letter. Delicate and colours. Begin by including simple
patterns and repeated symbols can geometric figures — like a square, circle,
complete a line where the text falls short triangle, oval and lozenge (see page 167).
and does not align. The intention in using Then introduce a connecting element
ornament in calligraphic design is to (see page 162). More ambitious solutions
achieve absolute harmony throughout the can be attempted by including simple motifs
entire work and it must be planned in from from the natural world. When selecting the
the start, not added as an afterthought. ‘ingredients’, be sure to use a good model.

Above: A stunning piece of gilded ornamentation that uses geometric

shapes effectively. It was originally designed to be used as an end note
or finishing piece in a Royal Charter.
 Evbdblibanerde ad Bmders 161
What kinds of patterns should be used
in ornamentation?
The best starting point for learning to and diamonds and adjacent squares to
apply ornament is to study the basic produce oblongs (2). Introducing oblique
construction methods that are shown lines that cut across the squares and
below. Simple patterns can be generated oblongs produces triangles (3).
on a network of lines crossing each other To create ornament based on hexagonal
at different angles. Begin by building shapes, place lines at an angle of 30°
patterns along lines placed at right angles and cross with vertical lines (4). To create
to one another and at equal distances (1). octagonal shapes, place lines at an angle
You will find graph paper useful here. of 45° and cross them with vertical and
Fill in individual shapes to produce squares horizontal lines (5).

imu|
Prnilll

Laani
a Mi
i
Mas
ail
162 CHAPTER 9

Can curves and geometric shapes be used

in Ornamentation?
Yes, look at some of the variations of waves or a running scroll you can see
geometric patterns shown below to how the possibilities for creative design
gather ideas for your ornamentation. open up to you. The size of ornament
The examples (below) include working should relate closely to the scale of
with shapes like diamonds, squares, writing and size of the page. If the
circles, ellipses, octagons and ovals. When ornament is in a manuscript book, the
you introduce a connecting element with scales should remain consistent
lines, chains, spiralling cables, zigzags, throughout the volume.

1 Altering the lines and shapes applied to 2 Here the lines of the embattled pattern
the basic network of lines begins to extend have been curved to create a meander.
the language of ornament. Here the
horizontal and vertical lines provide the
framework of a pattern used extensively
in heraldry, known as embattled.

xe
A

3 A squared grid that is set at 45° to the

horizontal, created the diamond — used
here as a framework for the chevron zigzag.

NON Nae 5 The same network, with the addition of

4 Using the same network, but curving horizontal lines, is the basis for the blunted
the apexes of the zigzag, creates the wave. Zigzag (top) and the interlace patterns (above).
 Emnbbshonents : Borers 163

———
6 The geometric lines of the zigzag are 7 The squared network provides the
here rounded to produce the scallop. The foundation for construction of the fret.
interlace pattern is adapted to produce This familiar geometrical figure forms the
the scale pattern. basis of many fine ornamental borders.

(OOO)
8 The spiral is created by rounding the
/AG/O
9 The wave and the running scroll are
straight lines and sharp angles of the fret. adaptations of the spiral.

10 The interlace constructed on the

network of crossed diagonal lines can be
enlarged to form a double wave or meander.
11 By converting the rectilinear network
to one of circles and ellipses, further
ornamental elements can be added to your
repertoire. These include the chain and cable.
164 CHAPTER 9

How do | repeat a design to create a pattern?

The diagrams in the previous question built. The same principle of networks is
illustrate some of the elemental forms and used here to show different methods of
lines found in styles of ornamental art and laying out ornament and how you can
upon which more elaborate details can be repeat designs to create a particular pattern.

UWA A

irl
VW,

altiNi Palliisi

eM
A . di if
UA WU mM)!

1 The method shown here involves 2 Working on the same 3 Techniques of diapering
filling in each square. This is known squared grid, but omitting and chequering can be
as diapering. alternate squares, this combined effectively to
method is known as create solid patterns.
chequering.

WW) ICRC ICES

HH acl 1
aciea
SMA
AA AAA
CEC CCC
pibial Cape
a ie
Bu
ey al
| Ie)4 figig
GOK GO x Bidididididid
AGE SCRE
CoRR Rnons (diaidididididta
4 This method employs the same 5 Applying the ornament 6 A combination of
principle but allowing larger spaces in rows and leaving striping and banding
between the filled-in areas. This is some rows void creates produces another layout,
referred to as spotting or powdering. striping. Versions of called panelling.
striping constructed in a
narrower vein are called
banding.
 Exbdlalenerrh
od Srarrers 105
Can these repeated ornaments be used in
decorated letters?
Yes, here is an example of how to Using this arrangement of lines,
incorporate patterns and ornamentation ornament is applied to both the letter
into decorated letters — this method and the base ground (2). The squared
provides a valuable foundation for grid provides the basis for a repeat
illumination and decoration. First, the pattern. To repeat this particular pattern,
basic squared grid is drawn (1) and the the lateral repetition has been achieved
letter is superimposed. It has a network by lowering the pattern to fit two
of lines arranged at 30° to the horizontal. sections together.

\ \/

|
AN
pe! \ aes y 5 Nee \
qj y
«
At
:
ae
Bors
| aN a

MA\Boe
fie P
| ss! ‘
vy,
Aim

AY

How do | create corners that are in keeping

with the border patterns?

LF
It's very important to carefully plan out
the corners of your borders so as not to
disrupt the border pattern (see page 213).
The corner is the best place to start when
designing a border to form a full or
semi-enclosure. Here are three suggested
ways to plan corners, including oblique
(1), square (2), and joggled mitre (3).
166 CHAPTER 9

Can | use fret, key and other traditional

geometric patterns in my borders?
Fret patterns can be used as borders on The simplest forms use lines that are all
their own, or they can be incorporated either vertical or horizontal. The distance
with ornament and embrace an enlarged between the lines is the same as the width
letter. The basic structure of fret patterns of the lines. As with other basic ornament
can be used as a framework for decoration structures, using graph paper will help
not composed solely of straight lines. you to plan your designs accurately.

EFLILN. 2
2 EFLIL.
1 This geometric border is six widths
wide, the top and bottom lines are
2 This pattern is seven widths wide. It is
an expanded version of the first example,
continuous and the vertical lines are with the introduction of horizontal lines.
three widths high. Developing this In these patterns the ‘negative’ shapes
nature of analysis is the best method formed by the ground (here, the white
of understanding how to construct of the paper) are as important as the
these designs. positive shapes of the marks made.

es
4 The introduction of slanting lines to
3 This pattern is known as the key the framework produces a sloping fret.
pattern. It shows a balance of black Here the horizontal lines are retained,
and white (negative and positive); an but the vertical lines are replaced by
important feature in fret designs. lines set at an inclined angle.
5 The pattern (left) is
~~ eens interlace strap work. Draw
seem =< >< vertical and horizontal
sate le cee lines and lines placed at
a 45° angle.
 Evbellahanerde an Bidens 167
Can | use my calligraphy pen to create
a border?

a a
Yes, in fact creating strokes for a border
with a calligraphy pen is a very good

Og0909
starting point for someone who is new
to calligraphy. A broad pen can be used
to produce simple and pleasing marks
that, either alone or in combination, can
be repeated to create a decorative border.
Changing the pen angle will increase the
variety and interest even within the same
border. Study the samples (right and
below) for ideas.

MAKING A LETTER BORDER

1 Borders constructed from 2 Repeating the letters, with 3 The inclusion of a spot
letter shapes can be used their elegant proportions colour, as a simple device,
successfully, especially if the and thick and thin strokes, can add a surprise element
letters have been chosen to _— leads to a perception of an _and further disguise the
represent or allude to arrangement of shapes rather _ actual letter shapes.
something referred to in the than actual letters (above).
piece they surround. If there 4 This picture (left) perfectly
are no obvious links, letters illustrates how the letters
that contrast with or balance have become mere vehicles
each other can be selected. b b b | in the creation of this border.
q q g The work has a balance of
black and white and reads
as a row of shapes and
lines, rather than letters.
168 CHAPTER 9

Can | use colour in my pen for a border?

Yes, you can. Repetitive marks in colour
YOU WILL NEED
can make very interesting and decorative
Papers, plain and Ink or paint
edge patterns and borders. Inspiration
coloured Glue stick
for the shapes can often be derived from
Pens
the strokes of the letters that you are already
using in a piece of work.

COLOURED PEN PATTERNS AS BORDERS

_ An
aati.

1 Experiment with shapes 2 Turn the page at a right 3 When decorative elements
similar to those you have angle and continue the have been completed — here,
used for letters and see how _ patterns at each corner. If the squares have been added in
decorative they can become _ pattern is very complex, you _—the outer semicircles — clean
by making them repeatedly. may find it easier to stop up the corners if necessary
Try repeating the same short at each corner and by adding another related
design the other way up, by _— leave a gap to be filled later — shape, in this case a circle
turning the paper around. with a different shape. has been used.

Can | use more than one nib size?

Yes, it makes a nice finishing touch to a Try out this technique — you could also
calligraphy piece as you can see (below). add a second colour to add extra interest.

USING TWO PENS

1 A simple repetitive 2 You can try out
enOS
_ pen stroke can be smaller, similar
elaborated by patterns underneath,
alternating one stroke DODDRS® linking the colours
of a wide pen with A? ating and styles of your
two of a narrow one. 4 Calligraphy strokes.
 Enbellabenerds any Sorrers 109

Can | use a brush to make a border design?

Yes, both square-cut and pointed brushes Experimenting with different tools and
can be used to create attractive border media will add variety to your calligraphic
designs (below and bottom). repertoire of strokes and marks.

BROAD BRUSH BORDERS

moe!
2 1ae a
(oe
Cs
1 A brush with a square-cut 2 This example is based on
end can be used to create a a brick bonding design. The
border composed of simple same arrangement can be
repeated shapes. made using a broad nib.

POINTED BRUSH BORDERS

Y
et
ean.
a a
1 Manipulate a pointed brush 2 Applying a little pressure 3 Delicate dots can be added
with gouache to produce and pulling down quickly using the tip of the brush.
varying weights of mark. through the stroke produces Control of the dot size is
Here the calligrapher is using a contrasting bold line, as dictated by the pressure
no noticeable pressure to shown here. placed on the brush as it
create fine lines. rests on the paper.
AThe dots in this completed
simple border pattern were
made by placing the point of
the brush on the paper, then
"pulling it slightly downward
as it was lifted off the paper.
170 CHAPTER 9

How do | design a floral border?

Although good calligraphy should be script and form an integral part of the
able to stand alone, there are situations in | work as a whole.
formal or creative work where decoration In the example (below), the text, with its
can enhance the written text. As with any _—references to nature, seems to suggest
other form of decoration, the border a flower border. The border also creates
must be appropriate to the subject and a well-balanced layout with the text.

Nix,

Ye.An these vernal seasons

‘ ofthe yearwhen the air
_ tscalmand Appllcasant
| i itwere an injury and
y sullenness against
heh Nature not to ° out
aN andsee her riches and
Phe
ae kein herve
rena

Ae >
DNs An these vemal scaso ns
Above and right: The delicate Te of the year when the air
floral border, together with the (ieSee and pleasane
elegant italic text, would be SEY os,fom
overwhelmed by a heavy frame aay <i)‘3© Nature not jsano
and mount. A fine gold frame , We and sce hey- rides an /
discreetly complements both the Xepartake her reor ye cin
calligraphy and the decoration. J
ig
as
ae
jena
EnlillonersoD fore 1
Hao: ne

Should | use a sketched thumbnail to start?

Yes, a good plan will enhance the final producing a variety of thumbnail sketches
product (see page 111). The first step is to (below). In this example, the final design
decide on the page format and on the that is chosen is vertical with a single
placement of the borders. You can try border along the left margin (far right).

| wil, :
i = 2 . i ‘wheaa - | aes a +
vy 7 ane e W NADIA Nhs | We i | j
1 ——— A] yrroos \ | aan lca |

AA Ae) | 3 ee | | Soar f | ». pete Soe |

- bo ie yi
¥)
| ie —= j
oS
Paty
— =
|i
Border at left and below B = ,| - —
= iV] = Hl eae aa ae
4 Wf { Pecks glee eee
| = E ite it al Le
| | 1
eee é AR TAS PRU
| | | }
| ea — a !

| Noo? aed
hsenty oh Border on allaie Borderat top Border atSt
left

Border Reon

How do | decide which style of border to use?

It is best to make your decision on the
final design by making some trial
illustrations. The choice is between
designs of varying complexity and
whether to include repeating elements.

1 Simple alternating flower and foliage

motif with a strong central linear element.
2 Undulating central stem with a
non-repeating design.
3 Three-part design of non-repeating
complex flower-and-stem pattern.
4 Complex flower and stem pattern
with strong central emphasis and
repeating colour combinations.
172 CHAPTER 9

How do | put the text and border together

to make a harmonious design?
For the final layout, the border design break up the outline. The gentle flourishes
shown in example 4 (see previous question) imitate the flow of the leaves and stem in
has been selected for development. The the border. The colours that have been
decision is made to use Italic for the text used are clear and bright, but not so strong
with simple flourishes at selected points to as to overwhelm the text.

PASTING UP THE FINAL LAYOUT

1 Write up your text for the final paste-up 2 Paste up the text and cut each line to length
using a Mitchell No. 3 nib. only when the line length is established.
3 The finished
paste-up of the nial;
Italic text with selective
border design AyWNe
a

flourishing using a
(right). n these vemal seasons Mitchell No. 3 nib

yeeee ie when the air

WX ‘A 1S C alm and pleasant
Border along left ——~——-®
margin only
w¢ it were an injury and
“x > sullonness against
<1
eineS “Nature not to go out
rs ~~ andsce herriches and
@ 7 eer Aligned left layout
Dense floral design Ve va
} partake inher ve jorcing
with repeating colour -——4e)
combinations aN ~~ —_ —
 Ennbellahnercs an Borers 173

COMPLETING THE PIECE

a ee

Si
St.
wk
ee
at

1 After pasting up, write out the final text. 2 Trace your design for the floral border.
A heavy, hot-pressed paper has been used Placing a pad of paper under the drawing
in this example. will help you obtain a good-quality line.
EEE, ETE ES
Re

~ ewe
Se
wee
ce
ee
a> See
ea
ee

tLe=
5
weee
Sek
ce
eee
Ke

3 Transfer the traced design to its final 4 Colour the final illustration by applying
position on the writing sheet by placing carbon watercolour with a fine brush. Note that the
paper between the tracing paper and the text is completed first, then the colour
paper. Simply draw over the tracing, pressing decoration. This is always the sequence of
firmly. Any unwanted marks can be removed decorated calligraphic work: black text,
from the paper with an eraser. gold (if used), and finally the colour is added.
174 CHAPTER 9

What are some other possibilities for

border designs?
To find inspiration for border designs, it is or intertwined plant elements. Sometimes
a good idea to study historical examples. the border is the natural extension of a
Decorative borders from Eastern and decorated initial letter.
Western manuscripts are an infinitely A myriad of plant designs, including
varied source of reference for contemporary complex floral designs, are found in
calligraphy. These borders may influence Flemish, French and Italian manuscripts
your own designs, but try to use them in from the late medieval period onwards.
new and creative ways. The wealth of Whether realistic, stylised, or invented,
designs in Western manuscripts includes floral borders are particularly suited for
some coloured linear borders, which flowing calligraphic forms. Plant borders
sometimes consist of different coloured may be contained by coloured or gilded
bands of varying widths. These may be lines of suitable width, or can be left
plain, divided into decorated rectangles, with the plants themselves forming the
or feature repeating patterns of geometric outer edges of the design.

an

Above: An English Grant of Arms written

in a late Gothic script. Its elaborately
designed border motifs form an extension
y to the large illuminated capital letter.
 Enbellshoends any Borers 175

7
\
In Loving Memory %
ofadear Husband, ’ Father ie .
: Sycans
; a
oils iis muy
and Grandfather '
\ j
:
f au rey.
} ne 20 cox fannuttin nant
A lanone lead ucguay Iw }
2a. AY)Cortes peo amare anplece
iret: ee enty suntan,
FIARRY HE RBERT HALL . ay
GSO i:UG
wmorpbuny _
erémitinar 4
BORN 18TH JANUARY 1920
pe s (i?
DIED 14TH SEPTEMBER 1991

He ploughed thefields lonpode, |

and scattered che good seed 4
on the land

Above: A page from a book of

remembrance where the repeating
border has been designed to reflect LAA ATE EOD

the life of the deceased.

; s 8 OF THE LINITED KINGDOM OF GREAT BRITAIN & NORTHERN
' : . IRELAND & OF OUR OTHER REALMS & TERRITORIES QUEEN,
Above right: The red and blue HEAD OF THE COMMONWEALTH, DEFENDER OF THE FAITH!
> ted ee a x ke cn ge glae
phe
Be: flown doa le

border of this fourteenth-century

St. Denis missal ‘branches’ into the
margins, softening the lettering.

Right: This charter, produced for

the 500th Anniversary of the
Drapers’ Company, has beautifully
detailed watercolour and gouache
borders that combine plant designs
with heraldic elements.
176 CHAPTER 9

What is a decorated letter?

llluminated or decorative letters have manuscripts in a book of reproductions
been employed by calligraphers since and adapting them to your own
medieval times to ‘lighten’ pages of text. requirements — using your own colour
In addition to this traditional application choices, for example. Later, try adding
of decorative letterwork, designs based illustration ideas of your own. Simple
on a single letterform can also be used plant forms are a very useful source of
for greetings cards, letterheads and inspiration to the calligrapher.
commemorative panels. Versal letterforms were the traditional
Decorative letters can encompass a vehicle for medieval illumination; their
vast array of different types of design — built-up forms are ideal for the addition
from medieval manuscripts, through of colour or gilding. However, almost
intricate scrollwork, to colourful modern any script can be used in a modern
graphic treatments. context. In the project shown below
You don't have to be an expert illustrator and in the following questions, a single
to try your hand at decorative lettering. letter was decorated using gouache
You can start by copying ideas from early and gilding.

Left: The completed letter

is mounted on a green
greetings card from which
a ‘window’ has been cut.
In this example, a greeting
was written on the plain
paper fixed inside the card.
 & Fiat eo

What is the first step in creating a

decorated letter?
The first step is to produce a few rough for decoration within and around the
annotated sketches, like the ones shown letter. The scrolling form of the tail, in
(below), to explore the possibilities for a particular, provides a starting point for a
design. In this example, the design is design based on curling tendrils of vine
based on the letter ‘Q’ using a form of leaves. A major decision that you need to
Versal script known as Lombardic. This make at this stage, is how far to extend
letterform, with its spacious counter and the decoration beyond the boundaries of
graceful tail, provides ample opportunities the letterform.

o | os
a ¢ Lea
KS. iypay
late SS) white
Pel ya A iy decoration
iN /
a be

me ae,
4< \ ba } a

Vine leaves
aN or ivy
IN

Interlace

\ " Double stroke letter;

1% delicate scrollwork
leaves and dots

\e
 178 CHAPTER 9
\

How do | prepare final colour and complete

the design?
Once you have selected the final design form of the ‘Q’ makes up the corners of
from your rough drawings (see previous the square. The outside curves of the ‘Q’
question), add some details and decide are angled and the tail is given extra
what colours you want to use. In this weight. Once you have fine-tuned your
example, the calligrapher selected the design details, make your preliminary
square design, broken by the tail, which colour choices. In this case, gold has
includes vine motifs outside as well as been chosen for the letterform itself
inside the letter. The triangular silhouette © complemented by mauve and green
of the four leaves placed around the ‘O’ decoration in gouache.
Gold leaf Green gouache

Mauve gouache

Angled curves

Fine tendril e
re

Vine-leaf design

Thickened and
shaped tail
 Enbellohonerds ans Bmders 179

COMPLETING A DECORATED LETTER

1 Work up your final design 2 Turn tracing paper over and 3 Apply gold to the outline
on practice paper to allow for rub a graphite pencil over of your letter (see page
changes without damaging your design on the back side. 180). Then, mix sufficient
your final work. To transfer Reposition your tracing in the quantities of your chosen
your design to your ‘good’ design's final position on your colours of gouache to finish
paper, place a piece of tracing ‘good’ paper, right side up. the job. Apply the colour
paper over your final design Draw over the design — the carefully to your work with
and trace your drawing. graphite on the tracing’s a fine sable brush.
back will transfer it to your
‘good’ paper.

4 For the final version of

this example, the calligrapher
decided to use a muted 5 Complete the last elements of your design. Here, the final
green for the decoration step is to complete the fine tendrils that extend from the
inside the counter. corners of the design.
180 CHAPTER 9

What is the first step in laying gold leaf?

After a letter (or image) has been drawn
in pencil (1), use a pen or quill to apply
the gesso to the area to be gilded (2).
Let the gesso dry completely and apply
additional coats if desired.
Moisten the gesso by breathing on it.
This will allow the gold to adhere to the
gesso. Place the gold leaf and its backing
sheet (gold leaf side against the gesso).
Rub gently with your finger, ensuring
that the gold will stick to the gesso (3).

How do | get rid of the ‘fringe’ gold

leaf and make my gold leaf shine?
After the gold and gesso have been
allowed to rest for at least 30 minutes,
the fringe gold can be gently brushed
away with a soft brush or cloth (1).
You can get the gold leaf to shine by
rubbing it with a burnisher (2). This will
enable it to develop a shiny lustre.
Always remember the burnishing must
be done when you are certain you will
not be laying any more gold in that design.
Gold will not stick to burnished gold.
After burnishing, the completed letter
should be bright and shiny and look
similar to the result shown here (3). You
are now ready to put the colour or other
decoration around your gold letter.
 al alerrenl, = Sorers 181

What kind of burnisher should | use?

Burnishers, which are used to polish gold, Psilomelanite is another alternative material
come in different materials and shapes. and is less expensive to manufacture than
Agate, which is a semi-precious stone, haematite. However, it must be kept free
is the best known and most widely of grease. A number of different burnisher
available. Burnishers can also be made of shapes are available (below). The three
haematite. This material stays dry even most common are flat, toothed and pencil.
when conditions are humid, while the A pencil burnisher is so named because
disadvantage of agate is that it absorbs the agate comes to a rounded point —
moisture from the atmosphere. A haematite one is being used here (bottom right) to
burnisher is shown here (bottom left). burnish around the edges of the gesso.
How do | go about designing 184 Can | see some examples of poetry 200
an invitation? calligraphy work for inspiration?

Do | start with a thumbnail sketch? 185 Can calligraphy be used in 202

poster design?
How large should I make my lettering? 185
What are the first steps in designing 203
How do | choose paper for 185
a poster?
an invitation?
How do | complete a paste-up 204
How do | prepare an invitation 186
for a poster?
for printing?
Is there a simple bookbinding method 206
Can | see other examples of 188
| can use for my calligraphy?
hand-lettered wedding invitations?
Do | need to do thumbnail sketches 207
How do | design a letterhead? 189
for a concertina book?
Do | start with a thumbnail sketch 190
How do | complete 208
when designing a letterhead?
my concertina book?
How do | work out a layout? 191
Can | see other similar concertina 210
How do | prepare final artwork for 192
book examples?
a hand-lettered letterhead?
How do | make a book with a sewn 21
Can | see examples of other 194 binding for my calligraphy piece?
letterhead designs?
Do | start with informal sketches? 212
Is it possible to combine several 195
Can | use more than one lettering size? 213
pieces of poetry into one project?
How do | work out the margins? 213
How do | design a poetry broadsheet 196
(or broadside)? What are the steps | need to follow 214
to make a manuscript book?
How do | work through the sketches 197
to come up with a final design? How do | make a cover for my book? 216

How do | finalise the design and 198

Are there samples of manuscript books 217

paste up a poetry broadsheet? that | can look at?

 CHAPTER

10
Desi ‘a LS niting

te |
RESO OOe
FORIT ISiy FAK

Ea AWARE
184 CHAPTER 10

How do | go about designing an invitation?

Formal invitations can be greatly enhanced nib for the main names or writing them
by calligraphy, used alone or combined in a different script. Even the most formal
with type. Handwritten letters and simple invitation for printing means preparing
letter decoration — usually by means of artwork in the form of a paste-up, with
flourishing (see chapter 5) — can add the calligraphy written in black and with
individual touch that type alone lacks. instructions for the printer in non-
Formal scripts, such as Italic, are ideal for reproducible pencil. If you are reproducing
occasions such as weddings, christenings, the invitations by photocopying, they can
or banquets, but there are no hard-and- be copied in black and white or colour
fast rules. The invitation could be written on to white or coloured paper sufficiently
entirely in capitals, or in areas of upper- thick to cut or fold into cards. Your
and lower-case letters to suit the text invitation will usually need to comply to a
and overall design. You could consider regular size and shape used by the printer,
combining compatible scripts, using an and, if you work in a larger size, you will
embellished capital, changing to a large have to prepare your artwork to scale.

a Jess Left: This invitation is printed on a

| white card with a silver deckled edge
and the result is elegant and restrained.
Suzanne and Frank Brown
Prominence had to be given to the
request the pleasure of your company names of the bride and the groom,
at the mamage oftheir daughter while conveying varying levels of
information about the wedding and
Miranda
reception clearly and attractively.
to
Mr: Steven Johnson
on S aturday, the twelfth ofJune
nineteen hundred and ninety- three
at deven in the morning
St. Margarets church
Benni ngton. vermont

and afterwards at the reception

the Laurels 517 Chestnut Drive

| “3 —— — AONE SOBRE
| Se eee PRET RELI RT RIES TT SP TE EP IS
 Designyo Fling |
Do | start with a thumbnail sketch?
peas =
Yes. The first part in the planning process |
Suzan abies |
|
is to sketch out a few layout alternatives
A ie oF!
from the text supplied. At this stage, it is
|
THEI DAY Ck
CMIKAN EA |
the format of the wedding invitation _Aih StEHHENcurve
iN AT we
pay lrtn
!
|
\ Nee perry MDD Nery re
and the distribution of the words within |
}
\
|
( LECCE mntHis pilerners
TY A MR GARTOT CHURCH
HR ING 1 VG MENT
that format that are the main concerns. a ow2 v0AT
Squareformat(above) THCAMPELS 1 CHRPTOY DWE
INC KECEPHIOH

Three options that all had centred text

were tried (right). The wide vertical format
| Wide vertical format (above)
was selected for development.
| Horizontal format (left)

How large should | tae my lettering?

The next stage is to think about the style
of lettering that you want to use and to
Suzanne and Frank Brown
Compressed Italic minuscules with capitals
experiment a little. Italic minuscules and
capitals — being both formal and decorative Sudan and Frank Brown
— were the obvious choice for this kind Compressed and sharpened Italic minuscules
with capitals
of occasion. The precise details of width
and spacing, however, needed to be Suzanne and Frank Brown
worked out. An all-capitals version and Standard Italic minuscules
three versions of the minuscules from
wide to narrow were tried (right).
SUZANNE & FRANK BROWN
Italic capitals with slight flourishes

How do | choose paper for an invitation?

Your choice of paper or card stock for with colour, weight, and texture. Obtain
printed calligraphic work is subject to samples (below) from the printer and
considerations that are different from those judge them in relation to the colour of ink
you use when selecting a surface to write you are using and the overall effect you
on. Consider too the envelopes you will be are aiming to achieve.
using as they will determine the overall
size of the finished invitation. They might
also influence your paper selection. For
printed work you are primarily concerned
186 CHAPTER 10

How do | prepare an invitation for printing?

To prepare an invitation for printing, you non-reproducible pencil (so that the latter
must paste up your artwork first. Your do not appear on the printed invitations).
calligraphy needs to be presented in In most cases, you will need to select a
black and your printing instructions in standard paper size that your printer

WIRINE I

1 Write text for your invitation. The text 2 In this example, the couple’s names are
shown here is written in Italic — with a initially written in swash capitals, using a
Mitchell No. 4 nib — to 5 nib widths. Mitchell No. 3 nib.

sian 1

Aig ashe WLM

chit SER ae OR Sep pttade

TAN ” Wi. ¢case Rosita! aR

4 Cut your text into lines to assess the 5 In this example, after the capitalized
spacing of your paste-up by eye. When version of the couple's names is pasted up,
you judge the arrangement to be right, it is compared with the minuscule version.
rule accurately measured lines to guide The decision is made to substitute the
the final paste-up. minuscule script.
 eamneoe SIGHT i tishan

uses. In this example, the size of the software and a scanner at your disposal,
writing (Step 7) will be reduced at the the lines of text can be scanned and the
printing stage to the finished dimensions layout electronically manipulated instead
of the invitation. If you have graphic of manually as shown here.
Mai

There are many ways to add interest to

a wedding invitation. Simple decorative
_ motifs can be very effective. You could
also highlight the initial letters of the
~ couple’s names in order to draw the
viewer's eye to them.
ae —
224
HU B% x

eeites
740
4.2 .6.3'8

3 An alternative version using Italic apaaa fayie

— reguest the
panne seesrey rs
minuscules (in the larger nib size), is tried
for comparison. ss bs Ee. ' oS

eee ‘i
a |
enWouise “ai

: Pintehf
4% Chenies, aetiaharato
PA on Saturday 27thjuly
“RK at 2.00pm ant: ae
and.afterwards ara rece one he
at Chenies Manor House ee veSop.m

RSVP. JHamble Close, Ruislip, Middlesex HAt JEP

6 With all your text satisfactorily pasted in

position, rule margins in blue pencil to show
the printer the final proportions required.
The margins must be in proportion to the
size of the final printed invitation.
188 CHAPTER 10

Can | see other examples of hand-lettered

wedding invitations?
Calligraphy in invitation design can be of design can extend to the choice of
used on its own or in harmony with type. paper, the way in which the invitation is
Flourishes are a natural choice to enhance folded, and the addressing of the envelope.
invitations but other decorative elements Creating invitations is an excellent way
may also be used to great effect. Sensitivity of putting calligraphy to practical use.

Left: This lovely pair of

Vs> invitations — one to the
; wedding, the other to
( vee , the reception — show
—_ wil C ‘ the elegant use of
flourished Italics.

Right: This delicate design

is printed on fine-quality
white paper with an
original touch added by
the use of Japanese lace
paper backing.
 Drei igs ye Fvahing 189

i ea why
How do | design a letterhead?
Designing a letterhead can be straight- provided by variations in size, weight,
forward and rewarding for beginners or colour and letterform.
can provide design challenges for more Questions to ask yourself are Do you
advanced calligraphers. want a close vertical texture for impact
You will need to consider which style of or wide spacing for elegance? Is the
lettering is most appropriate to your client. alignment to be to the right, left, centred,
If you want the letterhead to look quiet or asymmetrical? Do you want to
and formal, a Roman book hand or formal incorporate a simple or sophisticated
Italic is a good choice; if eye-catching motif or logo? And how is the letterhead
and lively is your aim, a vigorously written to be placed on the page? You must
cursive Italic could work well. Relative also check with your printer about how
emphasis within the design can be he or she wants it to be submitted.

Left: This letterhead

has been designed for a
ceramics studio and
che saadio needed to convey the
Gale haven ceramics
05 MAIM STRELT* LITTLE MAVEN -CTO6OS7 handcrafted character
of a professional
business. The company
logo can also be used
on a business card.

&), che studio

Gttle haven ceramics
190 CHAPTER 10

Do | start with a thumbnail sketch when

designing a letterhead?
No, in this case you need to start with this company’s letterhead as it has craft-
lettering style. The first task is to choose based associations. Here, (below) various
a script that is in keeping with the image scripts are tried at different nib widths; the
the business wants to project. Uncials and —_ Half Uncial script, with its attractive rounded
Half Uncials seem good initial choices for letterforms, is selected for development.

—fyrrbte haven Uncials at 44 nib widths

—
sairdio
the —_
Half Uncials at 4 nib widths

— Octe naven _

Uncials at
34 nib widths
 Ee Hae 4

How do | work out a layout?

Having decided on a script, the next has decided here (below) that the name
Stage Is to work out a layout. The main of the business should be rendered in the
issues are the size of the lettering and its largest size. The relative size of the rest of
alignment. Rough pencil sketches are the text needs to be worked out. Experiments
adequate for this purpose. The calligrapher — with a logo are also tried at this stage.

Centred layout, two text sizes

che
saudi O Ragged left-aligned
Orrte haven ceramics - layout, three text sizes
W935 AAA OS TORE EE Ee Sar oo eee

i %g The STAOIOC ec
~ ¥£ Limtlehaven ceramics
BS StS Me ee Left-aligned layout with logo,
ree wevesor mec three text sizes

the sTUOIO
Levrle Haven Cernarncics
Right-aligned layout, three text sizes See een ek

Centred All lettering in Three sizes

layout | Half Uncials of text

Pen-drawn logo Gale haven ceramics

QS MAIM STREET - LITTLE HAVEN: Cr 06037
192 CHAPTER 10

How do | prepare final artwork for

a hand-lettered letterhead?
The steps below show you how to prepare appear in the final printed form (Step 1).
a leterhead for the printer. In this case, This is done because reduction sharpens
a Mitchell No. 0 nib is used, which the letterforms. If you have graphic
produces lettering that is larger than it will software and a scanner at your disposal,

i GiG,sGag ye Scu

1 Write large-size lettering 2 Because the letterhead is 3 Draw the artwork for your
between lines ruled to 4 nib to be printed from a paste- logo (a Mitchell No. 0 nib is
widths. A Mitchell No. 0 nib up, you can paint out small being used here). If you want
is used here. imperfections in opaque your logo to have a rough
white. This is a bleed-proof appearance, choose a heavy
paint that effectively covers textured watercolour paper.
any underlying ink.

4 Before pasting down the 5 Paste up photocopies of 6 Measure the intended size
lettering and artwork, make each element in position — of each element from the
your final adjustments to reduced in size where paste-up and calculate it as a
your layout. Rule guidelines necessary — to show the percentage of the original in
for the paste-up. final effect. order to instruct the printer
about the correct reduction.
 CEASE
CSIR: oS Pale

the lines of text can be scanned and the __ clear instructions about the colour of the
layout electronically manipulated rather type and about the type of paper you
than manually manipulated as described want to use. Ensure that you see samples
here. When briefing the printer, provide before printing.

7 Measure and note the

exact positions of the A letterhead can be easily
aS) CUeen ie artwork and lettering from adapted and redesigned |
alae the paste-up. _ for complementary company —
- | |stationery. This business
_card has been created in
_ the shape of a diamond,
_ with a ribbon added for an
_ original touch.

8 Mark the margins and

precise guidelines for
the positioning of the
letterhead on the paper
BONNIE LEAH LETTERING AND DESIGN
for a final ‘camera-ready’ eetaie
Se paste-up for the printer. [ee ee
| Use a non-reproducible NEWPORT BEACH CA 92660

pencil that will not show 714-752-7820

up in the printing.

9 Your final paste-up of

the artwork is ready for
Q) che studio :
<7) Beteneren crs the printer.
194 CHAPTER 10

Can | see examples of other

letterhead designs?
Letterheads provide a design challenge. an appropriate image is an excellent
Whether you are commissioned to design design opportunity. The letterheads by
a formal and understated image or skilled calligraphers shown on this page
something eye-catching, the creation of (below) illustrate a few possibilities.

;
Earth Ramey cayliqeinyojetomacesiqn
rf] | }
ail | iadeiaiimcaas | Lilid OSI Hae
i Ms | }; | ie |

Above: These examples show how

careful attention to contrasts of weight
and scale can provide great impact.

Right: For personal stationery, a

monogram can be very effective.
Experiment with placement to come
up with an attractive design based on
a person's initials.
Is it possible to combine several pieces of
Cae cS1gni “a THIS HA

poetry into one project?

A broadsheet is a single sheet of paper because a personal interest in the theme
containing one or more poems, sections will give the work excitement and a sense
of a poem, or pieces of prose that are of discovery. In the broadsheet shown
linked by theme and can be read across here (below), texts are ‘hung’ around a
the sheet, with no need to turn pages. central piece of writing. The scripts were
A broadsheet design should not be too chosen to create an interplay between
complicated or it may detract from the the central and the surrounding texts,
meaning of the text and appear contrived. while harmonious colours, repeated
A simple approach is often the best one. shapes and images and gentle contrasts
Your choice of quotations is crucial, serve to unify the design.

Tee
TODAY, WHEN
6 Cormonmnc WHEN SUMMEIL
I ae ARD A CURLEW walling and COM BG

sighing, mn ling
BY THESAL ASANT MAT
einen, APITIFUL TAS TY SAVOUR
MEMORY AWOIK. EO CARTIANYTS ee

awildoc less
SN RRED ee MARJZORAN
My iae oaLl TIE NOTES OF ¢ae
DS

tunc- The winds arc

p al rae)
OW. neue THE
BRIGHT SEA MOVEMENT: Tite
+i A PLEASANT

roaring outof
LAK

the west overthe

CA
AS
aue os
WALES OF De
2
DATE y
ee ae Naas

HD ONE
Stites unrese

De
Siete ee

Above: The completed panel shows a delicate harmony of text and illustration.
A finished broadsheet can be framed and displayed.
196 CHAPTER LOR dames Pe
t ae Q +, .

How do | design a poetry broadsheet

(or broadside)?
You can develop the initial design ideas The design (below) is a triptych with
for both the text and the illustration in a the main text placed centrally and two
broadsheet simultaneously. These useful subsidiary texts on either side. At this
little sketches, with their accompanying stage, the notes indicate that there Is a
notes, show the development of the plan for the focus of the piece to be
calligrapher’s illustration ideas. Broad areas reinforced by rendering the main text in
are sketched to represent the component — a darker tone than the subsidiary texts.
elements so that the final design will As you will note (see page 197) this
form a unified whole. decision was later partially reversed.
ae Prades |

; A Bs

Gite Hela ee
tulle ;

Toh bans p Cuietnss teats? ~~ Z.

teh chs + te yl’ f FOI LOWE LeU ECS?
{ =
en - poy a

= Fa Mh. Gk are Eee

Ne SD Sa ae.
Lsen
— aoe
HoT feeRiom. (dreemye Kyb)

By,ey Ie
fo
eae
/
Lig KeakKoi is — > check te Shapes d te tupp tiny Sloman” °
 Desi anan) ailon 197
a

| ey
How do | work through the sketches to
come up with a final design?
To prepare a final design you need to to make the rough design as accurate
refine your ideas in a rough layout. In as possible at this stage, the text has
this example, the calligrapher has decided been rendered in Italic script and in
on the positions of the three component colours approximating those to be used
poems and the illustration areas. In order in the finished piece.

thchoon
es
COMOFANT.. =~ a

Bird illustration =~ Wai ling and ie \ Kel Patent,

TODA sighin in ie ware slimmer
awildse “Pepant sanmie «1
tune-The cai oee Sb
TASTY VOUR

ine
ABOVE THE BRIGHT
7 YOaYIng outor Me ontastes
PIOFONS ABELCVEL
SEA 1H KEEN
CLEAN AIR PASSION
c WéSt Over the MOVEMINT-THE
, ‘ ATE ECSTACYCAME Wi (é c ONSTANT THRUSH
Main heading: "ORM FANRTHE Lad OF Dees, CAAPRRSAND
Italic minuscules, YEARS SHOULDT
BUT THE WIND
Strife SUNIGsT PARHALLEQEESE
Mitchell No. 1/4 A DREAM LIFTE AA»
ASYAINAS
A pins cavgrrur CARKWILO
ONE \

Main poem: Italic Subsidiary headings: Subsidiary poems: Italic

Italic capitals, capitals, Mitchell No. 6,
minuscules, Mitchell No. 4, paler centred, same colour
Mitchell No. 2%, than main heading as main text
centred Wave illustration
198 CHAPTER 10

How do | finalise the design and paste up

a poetry broadsheet?
To make a paste-up of the final design, the photographs in this example (below),
you will need to make photocopies of the calligrapher needed to make some
the text and cut strips out ready to put decisions about various aspects of design
them in position. As you will see from and colour during the pasting-up process —

1 The initial writing of the 2 Photocopies of the text 3 With all elements placed
text uses the selected colours are pasted in position. The in position, measurements of
in order to judge their effect. central panel is placed first. the line spacing are taken
Different colours are tried out Care is taken to ensure that the from the paste-up to be
on scraps of paper first. panels are evenly balanced transferred to the final version.
with equal numbers of lines.
Several attempts are needed.

a
4 The calligrapher experiments 5 The final writing is started. 6 Using the paste-up as a
with a number of different The central panel is completed guide, ruled lines to mark the
colour treatments. Here a very first, because its position position of the side panels
muted yellow wash is painted determines the placement of are drawn in relation to the
over a pencil drawing. the other elements. central panel.
 Com an Tiling 199

and to do so she had to experiment with This layout creates interest by using
different treatments first (Steps 7 and 4). contrast, in this case by writing with
Once the piece was ready, she made a several different pen nib sizes, as well as
final decision about margin sizes (Step 9). different colours and lettering styles.

7 The side panels are

written along the ruled One way of giving your
guidelines. _ poetry broadsheet more
impact is by combining
_ contrasting styles and sizes
of lettering.

8 The illustrations are the

last element to be added. OTOMOUNT,
They are carefully drawn in WHERE FR
pencil before the coloured
washes are put in.

9 L-shaped cards are used

to judge the margins, and
these are pencilled in.
The broadsheet is later
trimmed and a mat is
added for display.
200 CHAPTER 10

Can | see some examples of poetry

calligraphy work for inspiration?
The examples here (below and opposite) from soundly understood letterforms,
show personal responses to poetry text you can use poetry to explore variations in
expressed in calligraphic terms. For all weight, slope and layout. Colour too
calligraphers, poetry and literature in can express the mood of the poem, from
general can serve as a major stimulus bright and energetic to quietly harmonious
for creative work. When you are working — it’s the calligrapher's choice.

ISNESS
—<F THAT WEAR

Above: This imaginative interpretation of a

text by Karl Young uses a close-knit vertical
texture of different-size Versals. The various
changes in colour set off the lettering from
the background that links the elements
of the design.
 Cae Re
L 7esignin ey, ules

Left: Written in gouache in

Ovo a lightweight Italic script,
¢ 1 o
this rendering of a poem
°
: B : by Rupert Brooke is an
: Oo; C IS 4 example of how effective
°
Buy very SI
© ~ Inacool curving worldhelies ete sume),
° “And nipples with dark costastcs layout can be.
> Fhe xind luxurious Lapse and steal
Shapes all is universé tore
Aad know and be; the clinging stream
Closes his memory. qloomis tus dreain
AV Lips the rears 0 Fie nd glides
perb on unveturiing tides
lose silent watos weave fer hin
“A Aluctuanr mutable world and.an
Where wavel nig masses bulge and gape
“A lystenious. and shay ips ype
momently throughwhorl and hollow
1d torm anit line and solid follon
olid and Line and tori w dicam
down the crernal straim
“An obscure. world,ashifting world
~ Bulbous,orpulled to thin or curled
Yr serpentine or driving arrows
o Orsacnc slidinas or March nairows
“there slipping wave and shore are one
“And weed and mud. No rayoFsun
“But glow wo qlow fades down the deep
10 As ditam to unknown dreamin sleep
Shaken translucency illuupics
The hyaline of drifting glooms
The serange soft-handed depth subducs
e ~Prowned colour chere, but black to hues
As death to living, decomposes
Red darkness oF tit hear oF roses
Bluc brilliant tron dead starless skies
“And gold that lies behind the cyes
The unknown unnameable sightless white
That is the essenual flame of night
_ ~Lustreless purple, hooded grten
the myriad hues thar lic berween.
“Darkness and dark And alls one
* _, Gentle, embracing, quier, dun
The world he rests m.thesvorld he knows
Perperual curving, Only — grows
“An eddy in that ofdercd talling
A knowledge tiom the gloom, a calling
° Weed Inivave, glam. in che mid <=
the dark fire leaps alpny his blood
—pareless and dearhless, blind andstill
* “the intricare impulse works its will
His woven world drops back and he
Sans providence, sans memory
Unconscious and direerly driven
“Fades to some dank sufficient heaven
rf roe
202 CHAPTER 10

Can calligraphy be used in poster design?

Calligraphy can be a striking alternative Colour can be introduced, if needed, by
or complement to print in poster design. using coloured paper or by adding a
A successful poster should be eye-catching splash of colour by hand to each poster.
and present the essential information Some posters suffer from ‘overload,’
clearly so that it can be read ‘on the run.’ with too much happening and no
You can produce an attractive poster at focus; others are simply dull. You can
low cost, even if it has to be in a single use lettering alone — or choose suitable
colour (below). Designing for one colour imagery — to make a focal point. Create an
can stimulate imaginative use of both atmosphere by wise choice of lettering
contrasts created by the lettering itself styles and sizes and by considered use of
and of the space in and around the text. space and illustration (if needed).

Left: The poster shown

here is a low-budget
design for a jazz concert to
be printed in black on a
photocopier. The poster
needs to suggest a dynamic
but controlled atmosphere
while conveying a clear and
eye-catching message.
 Desig od Finish 203
—
What are the first steps in designing a poster?
The client usually supplies the text for the lettering (bottom). The word ‘JAZZ’ has
poster in the form of typed copy. The first been picked out to provide the main
task is to organise the text into ‘bite- focus. The last thumbnail combines the
size’ pieces and sort them according to best elements, with the broken black
their relative importance (below). band creating contrast and emphasis,
Next, try some layout ideas on sketches, leading the eye down the poster to the
incorporating different sizes and styles of subsidiary information.

Fa)
C YEARS
TENTH ANNIVERSARY OF JAZZ AT THE WAREHOUSE
————

SPECIAL FREE CONCERT i a LEWIS BAND

ON THURSDAY 18K MAY (A) 8pm (AF THE WAREHOUSE

Xx ea

RIVERSIDE SELBY NOTE )FACILITIES

— ee ee
——
FOR
_
WHEEL CHAT ACCESS
WHEELCHAIRS AND) BAR

Above: In this example of edited copy, This thumbnail

the calligrapher has suggested a ROY LEVIS | shows a horizontal
number of ways for making the final Brieniation: with
wording of the poster punchier. —— upturned lettering
—————" |__at left margin.

fre | a enn ENEAR a

JAZZ JAZZ
0h se | gr ee rien | wane

weet | JAZZ «= AZZ)

ww .
mee ——> ae. (1 et are | (ies
|
|

A i nas RICE, =——

Focus in the lower Focus in upper Focus in upper Focus in upper Focus in upper
half with diagonal half, aligned left. half, aligned left half; solid bands half; main lettering
elements. to the solid band at top and bottom, breaking into band
in margin. aligned left. in left margin.
204 CHAPTER 10

How do | complete a paste-up for a poster?

In the final rough (right), the addition of and a scanner at your disposal, the lines
horizontal lines above and below the word of text can be scanned and the layout
‘JAZZ’ strengthens the focus. At this time electronically manipulated rather than
decisions on letterform, weight, and size manually manipulated as described
should be firmed up. All the lettering is here. When you have completed your
in compressed Italic, which conveys an
appropriate sense of controlled energy. 10 year's Mitchell No. 2 nib
Variations in size and weight provide Thin rule
different levels of emphasis.
20mm (7Ain) nib
Once you have a final rough of your
if Thick rule
design, you are ready to complete your
poster. Even at this stage it is still possible at the Warchouste— Mitchell No. 2 nib
to fine-tune the size and weight of the | Special frecoment Mitchell No. 0 nib
lettering as you paste your text in and ROY LEWis BAND = 8mm (‘4in) nib
Thursday 15 May Spry
Mitchell No. 2 nib
make fine adjustments to text positions
sresie-y + Mitchell No. 3 nib
(Steps 1 to 4). If you have graphic software =——————— Solid black band

oyearsof
0 years
|.) 10 yearsae

ac The Warchouses
JAZ
at The Warehouse,
special frecconcert
Special freeconcert 5 BAND
ROY LEWIS BAND +
Thursday 18 May Spm

The Warehouse, Riverside, Selby

Wheelchair access -Bare |

1 Write out your text in 2 Complete the paste-up 3 Take measurements of line
preparation for a preliminary using photocopies of the spacing from the rough
paste-up. Here the main lettering. In this example, paste-up and transfer them
word is written using a 12mm ‘JAZZ’ has been rewritten to the final (camera-ready)
(in) plain-stroke pen. using a 20mm (kin) nib. paste-up for the printer.
 Co a 7 1HTU:shea 205

ey
a

paste-up you can make the decision

whether to print on white paper or choose
one of the many different coloured
papers. For this poster, green paper was
selected for the final print-run.
EXPERT TIPS
¢ Try providing a sense of movement by
introducing diagonal elements to your
calligraphy (right).

Very strong colours on a dark background

are a great way to attract attention to
your poster. Note the effectiveness, in the
example shown here (right), of the use of
complementary colours and analogous
colours in the same piece.

Ad JN
10 Years of

10 years Of => =.

at The Warehouse
at The Warchouse
special frecconcert
Thursday 18 May §
syne forLEWISB;
Thursday 18 May 8

the Warehouse, Riverside Selly

Wheetsh

4 Place text in its final 5 Draw black bands and 6 Use a fine marker pen to
position on the paste-up for rules with indelible felt-tip fill any unevenness in the
the printer. Use tweezers for pens. Any marks and paste-up rules and to ensure the
accurate placement. edges can be covered using black areas are ‘solid’. The
correction fluid (or opaque poster is now ready for
white paint). reproduction.
206 CHAPTER 10

Is there a simple bookbinding method | can

use for my calligraphy?
This type of simple folded book, which successfully with the idea of the seasonal
is also a display panel, is a popular cycle. The illustration motifs come from
application for calligraphy. It combines the = medieval symbols for the seasons.
opportunity to use a relatively long text
at a convenient size, with the challenge
of having to design pages that work well
when fully opened as well as individually.
The need for the design to flow smoothly
and horizontally throughout the book
provides interesting possibilities for both
the calligraphy and the illustration.
Colour can often provide a unifying
element through the book. The other
advantage of using this technique is that
it avoids a lot of sewing and gluing.
The concertina book shown here makes
use of an anonymous medieval poem
Above and below: This horizontal format
about the seasons. The simplicity of the book folds neatly into its cover. Because the
words seems to lend itself well to this cover is fixed only at the front, the book can
intimate treatment, and the continuous be opened and extended to show all its
nature of a concertina book works pages in a single view.

ae me ¢ 2
;

re
=
ee
 7 azy Pe
i Si
r Whi : : ‘i
Suey

<r A, Dengrong an 7 nehing 207

? + ie Wes . °
i. ee 73 4 Wo LAY (J
es Sts

Do | need to do thumbnail sketches for a

concertina book?
Yes, you do. In this example, a decision
had been made to use a horizontal format STP, IR Ee NG:
with illustrations based on the medieval FOR LAVENDER, BUSHY SWEET AND TALL

symbols for the seasons. However, the TEND UPON THE FEAST OF SAINT PAUL-

size of the lettering, the relationship of be eee

the headings to the text and the position pias ee i’ ae Se Seas aaah||
and treatment of the motif still needed
| ‘e) = F ee eS |
to be worked out in more detail. | |
i FOR LAVENDER BUSHY SWEET AND TALL |
Shown (right) are the thumbnails of TEND UPON THE FEASTOF SAINT PAUL |
various layouts that were tried. The position
of the motif at the left of the page |
remained constant as did the rendering
of the text in italic capitals. The major te ine

questions that had to be resolved at this FOR LAVENDER BUSHY, SWEET AND TALL
'e

stage were the size, weight and spacing | TEND UPON THE FEAST OF SAINT PAUL
of the text. The thumbnails show how
different ideas for the layout were
considered, although none of these Ss.

solutions was eventually selected for

‘e) FOR LAVENDER BUSHY SWEET AND TAL |
development. The idea of widely spaced | TEND UPON THE FEAST OFSAINT PAUL |
lettering for the heading proved too weak,
and a more conventional letter spacing
was adopted (below).
208 CHAPTER 10

How do | complete my concertina book?

Before you paste up your book you need a text about open spaces could have
to think about its final size and margins. very wide margins. Before you start
Any page proportion is possible with a your paste-up (Step 7), make your final
concertina book and can be varied to decisions about heading style and letter
enhance interpretation — for example, spacing. Consider some interesting design

“HAVE THE ASPARAGUS BED SPONGY NOT

« > PUT IN SEED AT HOLY TRIN?

UW summer

1 Write your text and paste 2 Your final paste-up should 3 Choose your paper and
it up with the symbol. The show the arrangement of the test your selected colours on
verse in this example has symbol, heading, and verse it — for this book, a pale cream,
been written with a Mitchell on the page. A paste-up is textured paper is chosen. The
No. 4 nib and the heading needed for each page. paper needs to be suitable
with a No. 24 nib. for both ink and watercolour.

4 Stencil your motifs. The 5 Put a piece of low-tack 6 Cut out the traced symbol
first stage is to trace each masking film carefully over with a craft knife, accurately
pen-drawn motif in pencil. your tracing. following the drawn outlines.
 Caen
CSI HIM a spishin )

elements, such as stenciling or a spatter cut it larger than your book — allow
technique (see pages 738 and 140), to 3mm (Ain) extra at the top and bottom,
add an extra dimension. When you have plus 13mm (Jin) at the front. You will also
completed your final paste-up (Step 8), need to make a 25mm (1in) flap with a
make the cover (Steo 9). You will need to 50mm (2in) tab at the back (Step 9).

7 Peel away the masking

film carefully from the _ Instead of using stencils to
tracing paper and place it _ create your motifs, you
so that the symbol is in its _could use rubber stamps.
final position on the paper. In the example shown
The surrounding paper _ (below) rubber stamp
should be carefully masked. motifs are used alongside
Mix and spatter your chosen _ text written in a basic
colours over the stencil Roman book hand.
using a stencil brush.
8 Write your text in black
ink in the positions specified = =»
HAVE THE ASPA by the final paste-up. vw,

9 Cut your cover (see

guidelines in introduction,
above). Score the folds of
the cover and glue the
front flap to the first page
only as shown in the photo
(pages 206 and 207).
210 CHAPTER 10

Can | see other similar concertina

book examples?
There are many different ways to design this type of book is an attractive and
a concertina book using lettering and manageable project for a someone who
illustration. As the examples show (below), __ is starting to learn calligraphy.

Above: This attractive

concertina book, based
on the signs of the zodiac,
incorporates subtle
illustrations over painted
background squares.
Left: This unusual book
consists of two concertina.
sheets with slits that are
slotted together vertically.
 £

How do | make a book with a sewn binding

for my calligraphy piece?
In calligraphy, a book with a sewn binding
is called a manuscript book. Both beginners
and the more experienced can make an
attractive manuscript book as it allows
straightforward treatment of a short text
as well as more elaborate writing and
design. Books can have one or many
sections and illustration can range from
a simple decorative element, such as a
symbol, to ornate illumination. A single
section is best for a first book.
Traditionally a single-section book
consists of sixteen pages — including a
title page and several blank pages at the
beginning and end of the book, so that
there are about five to seven pages of
writing — but there can be fewer if you
prefer. You could include a discreet
colophon at the back of the book, giving
your name and the date
of writing. A simple cover, ; ehastiod®
: ‘ : ga fresh frosty Moming as Frye doors atianertt
with or without decoration, wns PAT andi ws ded Tetnese OT
F A yve Beefve should travel
r by ‘|
the ur afr yr uc pe ni of
will complete your project. rel sce y fend an ae itn th
a a bit ofscenery. sist
nd ne y
j pork Lae
weight word on the Shiaion changed
poynes
oppedfor
> ng
be x young gol whisper asont at = friend
ee et nyfriend whistled ca pis ll rights 0 c till
wd oh silt sscaped over the 3 we we'll luaeees
apy ae ie
past yondwway at Lwennty ane geeshOpanelALL
andwent
' a Te agi
five miles nb”
" ge Oe
(order this menting . eparecniny
shes
t hav but
\Ty a a and wha

Above and right:

A manuscript book is made up
of sheets folded in half — each
comprising four pages of the
book. These are called folios.
212 CHAPTER 10

Do | start with informal sketches?

Yes, after reading the text and getting a the design of your double-page spreads.
feeling for its overall character, jot down The thumbnail sketches (below) indicate
some preliminary layout ideas. At this some of the options tried for this project.
Stage you should consider format, page After reviewing these possibilities, the
size and first thoughts on the script to calligrapher decided to pursue a relatively
be used. It is also important to consider wide vertical format.

Dee

()
1D CARS att
OLD CARS like dd people / OLD
ARE LAEE OLDY EOAT
PECPVEAXL UK
They need w be xsted-
occastavially. They neta. Sees

Drop capital start

Ol; d Centred capital start

ARE LIKE OLD pEOsiE!
Large capital start, They need te de vested
pouasimally. They ne
left-aligned text

OLD CARE
Large Italic capital start

eet
ar lin nl phn

Wider vertical format

| Spaced capital start
o a
| Cp |
—_———

ae |
WNIT.
Horizontal format Narrow vertical format
 DSCSIiHTos > sishere
ee hh 213

Can | use more than one lettering size?

Yes, having decided on the format, it is A plain Italic has been selected as it has
possible to work out the treatment of the the right feeling of simplicity. However, to
text in more detail. In these layout roughs give texture to the page and to provide
(below), although the text is humorous, variation in pace, larger coloured capitals
the calligrapher has decided not to are chosen for the paragraph openings —
overemphasise this by using a zany script. experiments are shown here (below).

They Trex

Recently
UZ raids
VY ai cast

ie oad

How do | work out the margins?

If you are a beginner, draw margins following
the standard formula for producing margins,
in which the outer margin is twice the HN
A
CD
Re oe
Pb 55
OS
0
es
FE DC LY ®t
Rid cl

inner one and the bottom margin is twice Wee AT me ogee oy. a

the top margin. Here are two examples —

one sixteenth-century (right) and one
contemporary (below), showing the use
of this proportion.

s she wept
shehestopa do
ibdskeetontothe sepuldire

mith
whryaveepest het
214 CHAPTER 10

What are the steps | need to follow to make

a manuscript book?
Before you paste up your manuscript book styles of writing — and the choice of
you will need to have made decisions writing and binding materials. As you
about the relationship between text area paste up you can fine-tune some details,
and margins, page size and shape, then you are ready for the final writing
length of writing line, size, weight and Stage (Steps 7 to 9).

IO OC
‘
1 It is a good idea to 2 Try out various styles of 3 Rule margins on a sheet of
prepare a miniature book introductory capitals, if using paper for the paste-up.
that allows you to check them. Here the calligrapher
and number the pages. tries Italic and Versal ones
and decides to use Versals.

ave Like old people!

They need tohe reseed
occasionally. They necd syr Id people!

7 The next stage is the final 8 The calligrapher uses a 9 Finally the calligrapher
writing. In this example, with large capital and completes it completes the text by writing
the Versal capital pencilled in, next in blue gouache. Then the small capitals in pen in
the small black lettering is he pencils in the introduction the same blue gouache.
written first. in small capitals.
 ° Create a title page for your manuscript book
to reflect the style and mood of its contents,
like the one shown here (right).
e The weight of the paper you use is important.
It needs to be thin enough to fold easily, but
thick enough so as not to allow too much
‘show through’.

Old cars arc like old peo

‘
J both liken bee of
&
He Hat wing
£@ ;
7 ie
: - 2 m" 4

4 Rule lines to act as guides 5 Write out your text for the 6 Cut out the written text and e
for the paste-up, based on rough paste-up. In this paste the stripsinposition on
the preliminary decisions you —-example a Mitchell No. 4 nib _ the writing lines. Tweezers are
made when selecting the and black watercolour have _useful for picking up and
letterform. been used. positioning pieces of text.

10 Trim the pages (if necessary) 11 Sew the trimmed cover 12 This finished book has a
and assemble in the correct and book together with calligraphic cover that
order. Place your book on the _ strong thread (see page 276). echoes the treatment of the
cover paper and mark the : inside pages.
dimensions of the cover.
216 CHAPTER 10

How do | make a cover for my book?

A manuscript book needs a well-made will withstand handling. Once you have
cover to protect the inner pages. It should __ trimmed and folded the cover, sew it to
be made from heavyweight paper that the text pages as shown below.

FOLDING THE COVER __Cover width

Cover width a
The cover should be larger than
the page dimensions; allow
about 6—12mm (%—Ain) extra
at the top, bottom and outside
edges. Give the cover generous
flaps of about two-thirds the
cover width. Once the cover is
cut, score the inside folds of
the spine and flaps using a
pointed, but not sharp tool,
such as the ends of a closed
pair of scissors. Page dimensions Fold

*/ cover
SEWING THE COVER width
Carefully position the folded lm Wee
ages ere
folios inside the cover. Pierce
Outside
stitch holes from the inside
fold of the centre folio through
the outside spine fold of the
cover. Using heavyweight
thread and a strong needle,
pass the needle through the
middle hole in the inside fold
in the centre folio, leaving a
long loose end as shown.
Continue to sew following Inside
the sequence here. Be careful
not to divide the thread as
you pass through a hole for
the second time. To finish, tie
the two loose ends together
inside the book and trim.
Are there samples of manuscript books
that | can look at?
The manuscript books below illustrate Whether you choose a simple or complex
how a well-written classical format has design, or a contemporary or traditional
great serenity and elegance. This selection approach, making a manuscript book is
also demonstrates that beautifully written a feasible project for calligraphers at
lettering has its own decorative quality, but every stage of learning. It is an intimate
that illustration sensitively blended with design vehicle for a thoughtful and
the text can enhance the overall design. personal approach to your calligraphy.

oy Left: This spread combines

grey gouache text and
watercolour illustration.
The wide margins enhance
its delicacy.

Below, left: This elegant

double-page spread of a
, Shakespearean text written
| on vellum demonstrates
the timeless quality of a
well-written italic.

eeae
ae
genes Wet
ss - Pies
Pe: Ley

oe
go ws ay
Tels
os :
Cae
tla
hee
ope ee
ieee
: eo ma
eke
a eye
Pee Co ell Andhangapand
es Bre, a | ineny

oe a See consi
BPE ee or
a Racha 4 iu
Above: This centrefold shows an
unusual and sensitive presentation of
a double-page spread.
au Cfessarg

ARCH The part of a LOWER-CASE letter COUNTER The space within a letter wholly
formed by a curve springing from the or partially enclosed by the lines of the
STEM of the letter, as in ‘h’, ‘m’ and ‘n’. letterform — within the BOWL of ‘P’
for example.
ASCENDER The rising stroke of a LOWER-
CASE letter. CROSS-STROKE A horizontal stroke essential
to the SKELETON form of a letter, as in ’E’,
BASELINE Also called the writing line, this is “FE anG ile
the level on which a line of writing rests,
giving a fixed reference for the relative heights CURSIVE A handwriting form where letters
of the letters and the drop of DESCENDERS. are fluidly formed and joined, without
pen lifts.
BODY HEIGHT The height of the basic form of
a LOWER-CASE letter, not including the extra DESCENDER The tail of a LOWER-CASE letter
length of ASCENDERS and DESCENDERS. that drops below the BASELINE.

BOOK HAND Any style of alohabet commonly FACE (abb. TYPEFACE) The general term for
used in book production before the age an alphabet designed for typographic use.
of printing.
FLOURISH An extended pen stroke or linear
BOWL The part of a letter formed by curved decoration used to embellish a basic
strokes attaching to the main STEM and letterform.
enclosing a COUNTER, as in ‘R’,’P’, ‘a’ and ‘b’.
GESSO A smooth mixture of plaster and
BROADSHEET A design in calligraphy white lead bound in gum, which can be
contained on a single sheet of paper, vellum reduced to a liquid medium for writing or
or parchment. painting. It is used for a variety of purposes
including providing an adhesive base for
BUILT-UP LETTERS Letters formed by drawing gold leaf in GILDING.
rather than writing, or having modifications
to the basic form of the structural pen strokes. GILDING Applying gold leaf to an adhesive
base to decorate a letter or ORNAMENT.
CHARACTER A typographic term to describe
any letter, punctuation mark or symbol HAIRLINE The finest stroke of a pen, often
commonly used in typesetting. used to create SERIFS and other finishing
strokes, or decoration of a basic letterform.
COLOPHON An inscription at the end of a
hand-written book giving details of the HAND Ano alternative term for handwriting
date, place, scribe’s name or other such or SCRIPT, meaning lettering written
relevant information. by hand.
 219

ILLUMINATION The decoration of a RIVER The appearance of a vertical rift in a

MANUSCRIPT with gold leaf burnished to a page of text, caused by an accidental, but
high shine; the term is used more broadly consistent, alignment of word spaces on
to describe decoration in gold and colours. following lines.

INDENT To leave space additional to the RUBRICATE To contrast or emphasise part or

usual margin when beginning a line of parts of a text by writing in red; for example
writing, as in the opening of a paragraph. headings, a prologue or a quotation.

ITALIC Slanted forms of writing with curving SANS SERIF A term donating letters without
letters based on an elliptical rather than SERIFS or finishing strokes.
a circular model.
SCRIPT Another term for writing by hand,
LAYOUT The basic plan of a two-dimensional often used to imply a CURSIVE style of writing.
design, showing spacing, organisation or
text, illustration and so on. SERIF An abbreviated pen stroke or device
used to finish the main stroke of a
LOGO A word or a combination of letters letterform; a HAIRLINE or hook, for example.
designed as a single unit, sometimes
combined with an illustrative element; it may SKELETON LETTER The most basic form of
be used as a trademark, emblem or symbol. a letter demonstrating its essential
characteristics.
LOWER-CASE Typographical term for ‘small’
letters as distinct from capitals, which are STEM The main vertical stroke in a letterform.
known in typography as upper-case.
VERSAL A large decorative letter used to
MAJUSCULE A capital letter. mark the opening of a line, paragraph or
verse in a MANUSCRIPT.
MANUSCRIPT A term used specifically for a
book or document written by hand rather WEIGHT A measurement of the relative size
than printed. and thickness of a pen letter, expressed by
the relationship of nib width to height.
MINUSCULE A small or LOWER-CASE letter.
WORD BREAK The device of hyphenating
ORNAMENT A device or pattern used to a word between two syllables so it can be
decorate handwritten or printed text. split into two sections to regulate line
length in a text. Both parts, ideally, should
RAGGED TEXT A page or a column of writing be pronounceable.
with lines of different lengths, which are
aligned at either side. X-HEIGHT Typographic term for BODY HEIGHT.
p20 Dre
Page numbers in italics refer to illustrations.

A Brooke, Robert, The Fish 201 compressed Italic lettering 204, 204
abstract letters 148, 148 brush lettering 154-5, 154, 155 concertina books 206, 210, 270
aligned left 777 brushes completing 208-9, 208-9
aligned right 177 border 169, 169 covers 209, 209
alignments 111 broad 169 layout 207, 207
ampersands 95, 95 choice 154, 155 page proportions 208
analogous colours 126, 127, 205 pointed 156-7, 156, 157, 169 pasting up 208-9
Arts and Crafts movement 7 types 154 thumbnails 207, 207
ascenders 43, 43, 108 using 19, 79, 154-5, 154, 156 Copperplate lettering 54, 55,
asymmetrical alignment 111 washes 133, 136 81, 81
burnishers 181, 787 heavyweight 84, 84
B business cards 193 medium weight 85, 85
background washes 133, 133 pen 11, 77
backgrounds Cc slope 11, 82
colour 134, 134 cabling 163 strokes 83
dark 205 cap height 43, 43 variations 84, 84
using pastels 144, 144 Carolingian lettering 55, 65, 65 wider 85, 85
balance 113, 118, 150 heavier 67, 67 writing 82-3, 82-3
Batarde lettering 55, 75, 75 lighter 67, 67 crow quill 14, 74
heavier 77, 77 writing 66, 66 cutting tools 23, 23
lighter 77, 77 centred alignment 7717 Cyrillic style 149, 749
writing 76, 76 centring text 112, 172
blending colour 131, 135 chain 163 D
pastels 144 chairs 35, 35 decorated letters 165, 765,
book covers 209, 209, 215, character shapes 102 176, 176
216, 216 Chinese motifs 756 colour choice 178, 178
Book of Kells, The 6-7 Chinese pointed brushes 156 completing 179
bookbinding 206 using 156 designing 177, 177
sewn, see manuscript books circles, drawing 19, 79 descenders 43, 43, 108
borders 149 colour 117 dip pens 11
brush 169, 169 adding a second 131, 1317 dots 169
choice of style 171, 177 analogous 126, 127, 205 double-page layout 770
coloured-pen patterns 168, 768 background 134, 134 double-pencil technique 48, 48,
completing 173 blending 131, 135 49, 49
corners 165, 765, 168 changes in 200 flourishes 49, 49
eraser stamp designs 142 complementary 726, 127, 131, lower-case letters 48
floral 170, 170, 171, 171, 174 137, 205 upper-case letters 48
inspiration 174, 174-5 depth 136 drawing boards 30
layout 172, 172, 173 filling letters with 151, 157 choosing 30
patterns 166, 166 filling pens 129, 129 freestanding 32, 32, 33, 33
pen patterns 167-8, 167, 168 and the focal point 121, 127 home-made 31, 37
thumbnails 171, 177 gradation effects 131 slope 30, 34, 34, 35
using letter shapes 167, 167 merging 155 dry-brush technique 152, 152
varying nib size 168, 168 mixing 126-7, 727, 130, 130,
broad brushes 769 IBS E
broad-edged pens 50, 50 strong 205 elbow pens 11, 77
broadsheets 195, 195 using 130, 730 English Roundhand, see
designing 196-7, 196, 197 vibrancy 127 Copperplate lettering
harmony 195 colour wheel, the 126, 726 eraser stamp designs 142, 209
illustrations 799 column width 110, 770 applying 142
impact 799 complementary colours 7126, cutting 142, 142
layout 197, 197, 199 (27S pes 05 design 142
pasting up 198-9, 198-9 composition 121, 127 large 142
 221

erasers 22, 22 removing fringe 180, 780 lettering size 185, 785
essence, capturing 122 Gothic lettering 54, 55, 72, 72 papers 185
etching 143, 143 capital letter variations 73, 72 pasting up 786-7
tools 143 flourishes 98, 98 preparing for printing 186-7,
heavier 74, 74 186-7
F script 184
lighter 74, 74
Fall of Camelot, The 6-7 writing 73, 73 thumbnails 185, 785
floral borders 170, 170, 171, gouache 51, 128, 130 Italic lettering 54, 78, 78
171, 174 etching in 143, 143 capitals 197
flourished capitals 93, 93 gradation effects 131 compressed 204, 204
flourishes 92, 92 graded washes 134 flourished 99
design guidelines 96, 96 graphic effects 748 flourishes for lower-case 95, 95
designing 99, 99 guidelines, lining up 27, 27 heavier 80, 80
double-pencil technique 49, 49 gum sandarac 26, 26, 137 lighter 80, 80, 207
flourished capitals 93, 93 minuscules 185, 185, 197
incorporating 97, 97 H space requirements 103, 103
inspiration 92 Half Uncial style 55, 62, 62, writing 79, 79
lower-case Italic 95, 95 190, 190
style 98, 98 heavier 64, 64 J
on symbols 95, 95 lighter 64, 64 Johnston, Edward 6-7, 86
types 93, 93 writing 63, 63 justified alignment 7717
use 98, 98 hands, see script, choosing
using pointed brushes 157 and scripts K
writing 99 harmony 195 key pattern, the 766
focal point 120, 120, 204, 204 headings and titles 113, 7173 knives 23, 23
and illustration 121, 727 positioning 114-15, 174-715
folios 2717 history 6-7 L
Formal Italic 54 horizontal layout, margins 179 ladders 42, 42
Foundational hand 6, 55, 86, 86 layout 110, 710
heavier 88, 88 ! alignment 111
lighter 89, 89 illuminated letters, see decorated borders 172, 172, 173
writing 87, 87 letters broadsheet 197, 197, 199
fountain pens 14, 74 images 7113 completing 173
framing 123, 123, 170 letters as 122 concertina books 207, 207
freeform lettering words as 122, 122 experimenting with 116, 776
abstract 148, 148 ink 11, 20 headings 113
combining with traditional coloured 20 inspiration 117, 117
lettering 150, 7150 filling with 129 large and small lettering 107,
filling with colour 151, 757 flow 51, 57 107
inspiration 149, 149 liquid acrylic 20 letterheads 191, 797
with ruling pens 150, 750 stick 21, 21 manuscript books 212, 272
unusual tools 149, 749 types 20 pasting up 172
freestanding boards 32, 32 inspiration poster design 203
padding 33, 33 borders 174, 174-5 simplicity 207
slope 34, 34 flourishes 92 sketches 115
fret patterns 166, 766 freeform lettering 149, 149 thumbnails 110, 777
layout 117, 117 left-handed calligraphers
G interlacing 763, 166 holding pens 13, 73
gesso 26, 26, 180, 180 interlinear space 108-9, 108, 109 quill pens 15
gold leaf 26, 26 invitations 188, 188 legibility 110
burnishers 181, 787 clarity 784 letter height 43, 43
burnishing 180, 780 decoration 187 measuring 41, 47
laying 180, 780 designing 184, 184 letter spacing 102
 adjusting 104-5, 105 side 119 surfaces 24
guidelines 102, 702 vertical layout 7178 testing 24
requirements 103, 703, 104 masking-fluid resist technique paragraph format 110
working out 104-5, 104, 105 141, 141 pastels, background colours
letterheads 194, 194 masks 140 144, 144
designing 189, 189 mixing dishes 21, 21 pasting up
layout 191, 197 monograms 194 broadsheets 198-9, 198-9
logos 189 movement, sense of 205 concertina books 208-9
pasting up 192-3 multiple lettering styles 153, 753 invitations 186-7
preparing for printing 192-3, layout 172
192-3 N letterheads 192-3
script 189, 190 nib width 41, 47 manuscript books 275
text size 191 and ladders 42, 42 poetry broadsheets 198-9,
thumbnails 190, 790 nibs 198-9
letters choice 10 poster design 204-5, 204-5
abstract 148, 148 crow quill 14, 14 patterns
combining large and small fitting reservoirs 12, 12 creating 164, 164
107, 107 protective coating 10 fret 166, 166
decorated 165, 765 separate points 50, 50 pen angle 44-5, 44
filling 70, 70 size 10, 10 exercises 46, 46, 47, 47
filling with colour 151, 757 varying size 168, 768 pencils 22, 22
as images 122 pen-holders 11, 77
terminology 40, 40 O pens
lighting and light source 36, ornamentation 160 behaviour on washes 137
36, 37 connecting elements 160 border writing 167, 167, 168,
Lindisfarne Gospels 6 creating patterns 164, 764 168
line spacing 108-9, 108 decorated letters 765 breaking in 51
guidelines 709 fret patterns 166, 166 broad-edged 50, 50
lines 19, 19 geometric shapes 160, 760, dip 11
geometric shapes 162-3 162-3, 162-3 dry feeling 51, 57
Lombardic capitals 71, 71 pattern building 161, 767 elbow 11, 17
proportion 160 filling with colour 129, 129
Mw scale 162 fountain 14, 14
manuscript books 211, 277 size 162 holding 13, 13
covers 215, 216, 216 symmetry 160 holding left-handed 13, 13
design 217 varying nib size 168, 768 lifting 45
folios 271 overarm writing 13 poster 14, 14
layout 212, 212 quill 15, 75
lettering size 213, 213 Pp reed 16-17, 16, 17
making 214, 214-15 paint ruling 18-19, 78, 19, 150, 150
margins 213, 213, 214 filling with 129 personal stationery 194
pages 211 masking-fluid resist technique poetry broadsheets 195, 195
paper 215 141, 141 designing 196-7, 196, 197
pasting up 275 mixing 126-7, 127, 130, 130, impact 199
samples 217, 217 135 layout 199
sewing 275, 216, 216 spattering 140, 740 pasting up 198-9, 198-9
text 213 paper backing 788 poetry calligraphy 200, 200, 2017
thumbnails 212, 212 papers pointed brushes 769
title pages 215 choosing 24-5, 24-5, 185, Chinese 156, 156
writing 274 208, 215 using 157
margins 110, 118-19 problems 25, 25 poster design 202, 202
horizontal layout 719 samples 24 first steps 203, 203
manuscript books 213, 213, 214 stretching 132, 132 focus 204, 204
 223

layout 203 Gothic 54, 55, 72-4, 72, 73, letterheads 190, 790
overload 202 74, 98, 98 manuscript books 212, 212
pasting up 204-5, 204-5 Half Uncial 55, 62-4, 62, 63, poster design 203, 203
thumbnails 203, 203 64, 190, 190 titles and headings 113
poster pens 14, 14 Italic 54, 78-80, 78, 79, 80, positioning 114-15, 174-15
posture 35, 35 95, 95, 99, 103, 103, 185, T-squares 27, 27, 30
printing 185, 197, 201, 204, 204 two-colour washes 135, 735
instructions 184, 186, 193 Lombardic capitals 71, 77
preparing for 186-7, 186-7, Roman capitals 49, 54-8, 55, U
192-3, 192-3 Bay, SW4, ES) Uncial lettering 54, 55, 59, 59,
Roman sans serif 105 190, 190
Uncial 54, 55, 59-61, 59, 60, heavier 61, 67
Quadrata 40 61, 190, 190 lighter 61, 67
quill pens 75 Versal 49, 54, 55, 68-71, 68, writing 60, 60
69, 70, 71, 176, 200
R scrollwork 163 V
reed pens set squares 27 variegated washes 136-7, 136-7
cutting 16, 16 silhouettes, creating 140 Versal lettering 49, 54, 68, 68,
using 17, 17 spatter technique 140, 740 200
relief, creating 143, 143 spirals 163 creating 69, 69, 70, 70
reservoirs 12, 12 stencils 138, 208 decorated letters 176
Roman capitals 49, 54, 55, 56, 56 cutting 138 decorative 55
heavier 58, 58 design 138 filling 70, 70
lighter 58, 58 using 139 lighter 71, 77
writing 57, 57 stick ink 21, 27 plain 55
Roman sans serif lettering, strokes vertical layout, margins 178
space adjustments 705 clean-edged 47, 47
UChSi 22 e222 ee, diagonal 45 Ww
rules, breaking 148, 153 direction 45 washes 128
ruling pens 18, 150, 150 horizontal 45 brushes 133, 136
compass attachment 19, 79 striped 50, 50 creating 133, 133
loading 18, 18 thickness 44, 45 graded 134, 134
using 18 weight 45 lighter 134, 134
writing with 19, 19 subliminal imagery 137 paper wrinkling 132
Russian icons 149, 149 swash capitals 94, 94 pen behaviour 137
swashes 92 two-colour 135, 735
5 capitals 94, 94 variegated 136-7, 136-7
sandarac 26, 26, 137 designing 96, 99 wet-into-wet technique 136
scalpels 23, 23 symbols, flourishes on 95, 95 watercolours 128, 128
script, choosing 54, 54, 55 T Winchester Bible 6
scripts word spacing 106, 106
Batarde 55, 75-7, 75, 76, 77 tables 35, 35 words, as images 122, 122
Carolingian 55, 65-7, 65, 66, terminology, letters 40, 40 writing implements, unusual
67 text unity 118 149, 149
compressed Italic 204, 204 texture 152, 752 writing position 35, 35
Copperplate 11, 77, 54, 55, therapeutic quality 7
81-5, 81, 82-3, 84, 85 three-letter spacing method xX
Cyrillic 149, 149 104-5 x-height 41, 43, 43
Formal Italic 54 thumbnails 110, 777
Foundational hand 6, 55, borders 171, 1717 Y
86-9, 86, 87, 88, 89 concertina books 207, 207 Young, Karl 200
freeform 148-51, 148, 149, detailing 117, 117
150, 151 invitations 185, 185
| 224 Kecwhdgerenr
eee
Material in this book has previously
appeared in:
The Calligrapher’s Companion The Publishers would like to thank all the
The Complete Calligrapher calligraphers whose skilful work is included
The Calligrapher’s Handbook in this book.
Practical Calligraphy
An Introduction to Calligraphy Unless otherwise indicated, images are the
The Complete Guide to Calligraphy copyright of Quantum Publishing.
Calligraphy School

Key: top (t); centre (c); bottom (b); left (I); right (r).

2 Gaynor Goffe / Anna Ravenscroft. 6 Winchester Bible (|), George Evans (r). 7 John Smith (1),
Kate Ridyard (r). 21 Dreamstime (t). 37 Shutterstock (all images). 49 leuan Rees (br).
53 Janet Mehigan. 59 Carol Thomas. 62 Mary Noble. 65 and 68 Janet Mehigan. 72 lan Garrett.
75 Juliet Jeffery. 78 Janet Mehigan. 81 Frederick Marns. 86 lan Garrett. 88 British Library.
89 Gaynor Goffe / Anna Ravenscroft. 91 Dover Publications. 92 Paivi Vesanto. 97 Lawrence R. Brady.
98 Dover Publications (t); Gillian Hazeldine (b). 99 Christopher Haanes. 101-102 George Evans.
106 George Evans. 108-109 George Evans. 117 Anna Ravenscroft. 120 Louise Donaldson (|),
Gaynor Goffe and Anna Ravenscroft (r). 121 Anna Ravenscroft. 122 Diana Hoare. 125 Shutterstock.
147 Terry Paul. 148 Julia Vance (|), Paivi Vesanto (r). 149 Dave Wood (t), Polly Morris (b). 150 Kate
Ridyard (t), Monica Dengo (b). 153 Brian Walker. 152 Werner Schneider. 153 Timothy Botts.
156 Alan Wong (I). 159 Page from the Codex Aureus. 160 Donald Jackson. 170-172 Gaynor
Goffe. 173 V&A Museum. 174 Gaynor Goffe (tl), V&A Museum (tr), Joan Pilsbury and
Wendy Westover (b). 176-178 Timothy Noad. 180 Donald Janson (bl). 183 Nancy R. Leavitt.
184-187 Gaynor Goffe (invitations project). 187 Timothy Noad (r). 188 Angela Hickey (t), Bonnie
Leah (b). 189-193 Lorraine Brady (letterhead project). 193 Bonnie Leah (r). 194 Georgia Deaver (t),
Elizabeth Rounce (c), Fotomas (from Natural Writing by George Shelley, 1709) (b).
195-199 Anna Ravenscroft (poetry broadsheet project). 199 Louise Donaldson (r). 200 Nancy R.
Leavitt. 201 Janet Mehigan. 202-205 John Neilsen (poster project). 205 Jenny Kavarana (tr).
206-209 Penny Price (concertina book project). 209 Anne Irwin. 210 Patricia Lovett (t), Mary
Noble (b). 211-216 John Neilsen (manuscript book project). 213 Joan Pilsbury (bl), V&A Museum (br).
215 Karlgeorg Hoefer (tr). 217 Hazel Dolby (t), Joan Pilsbury (bl), Suzanne Moore (br).

While every effort has been made to acknowledge all copyright holders, we apologise if
any omissions have been made.
 \

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 EXPERT ANSWERS TO THE QUESTIONS EVERY CALLIGRAPHER ASKS
From making sure you have the right equipment to fixing common mistakes,
this book has all the reliable answers you need to build your confidence
and reach new levels of penmanship
Whether you want to find the right pen angle, correct a word spacing mistake
or create rewarding projects, like a letterhead, this book answers
200 questions on a vast range of important topics

® Detailed step-by-step photographs and illustrations help explain techniques

and effects — ideal for both beginners and more experienced calligraphers
®@ Valuable and reliable advice from a leading expert on all aspects of
the art of beautiful handwriting
® Chapters cover choosing the right equipment; how to write in different
scripts; creating embellishments and borders; using colour effectively
and guidelines for successful layout and design

@
978-1-84448 ¥

9 "7818 44"487
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