Look, Learn

& Create

Master Basic Skills and Techniques Easily through Step-by-Step Instruction

INCLUDED

Jeaneen Gauthier

Creative Publishing international

Calligraphy 101

Photographer: Corean Komarec

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Due

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and

skill

levels, the publisher

and various manufacturers

unsatisfactory results or
of tools, materials, or

Printed in China 10

disclaim any
injury

liability for

987 654321

due

to

improper use

information in this publication.

Library of Congress Cataloging-in-Publication Data
All rights reserved.

No

part of this

work covered by

Gauthier, Jeaneen.

the copyrights hereon

in

Calligraphy 101 / Jeaneen Gauthier.

p.

any form or

may be reproduced or used by any means graphic, electronic,

cm.

or mechanical, including photocopying, recording,

Includes index.

taping of information on storage and retrieval

to materials

Summary: "Beginner's guide

techniques
for

and

systems without the written permission

of the

learning to do calligraphy. Includes

publisher.

publisher. However, the publisher grants to the

instructional

DVD-ROM'-Provided by

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ISBN-13: 978-1-58923-503-8 (soft cover) ISBN-lO: 1-58923-503-7 (soft cover)

1.

personal use.

Calligraphy-Technique.

I.

Title.

NK3600.G382010
745-6'l-dc22

2010016769

CONTENTS
How to Use this Book
Tools and Supplies
Writing Instruments
Inks and Paints

4 7
9
14 18

Gothic Hand
Lowercase Blackletter Alphabet

139
140 144
145
147

Uppercase Blackletter Alphabet

Skill Builders

Projects

Papers
Art Supplies

20
Italic

Hand Alphabets
Swash Capitals

160 162 165

167

Making Marks
The Writing Surface
Setting

23
24

Skill Builders
Italic

Up Your Work

Station

26
Projects

Trying Out Your Pens

Getting Started Table of Basic Strokes

28
31

Brushwork and Gilding

Beginner Brush Lettering

191
192
193 195

32 33

Using a Dipping Pen

Skill

Advanced Brush Lettering

Skill Builders

Builders

35 39

Projects

About Gold and

Projects

Silver Leaf

198

201

Foundational
Foundational
Skill

Hand
Hand Alphabets

51
52

Calligraphy and
of

Modern Methods
219

Builders

54 59

Copying
Reproducing Calligraphy on a Personal

Projects

Computer
Proportion, Color, and

219

Ornament

73
74 76 78

Scanning and Inkjet Printing your

Calligraphy

Ruled Lines and Ladders

Ruling Lines for Practice and Projects
Skill

220

Having your Calligraphy Professionally

Printed

Builders

226

Color

79 86 89

Ornament
Projects

Glossary

228
of Letterforms

Anatomy

231

Uncial

Hand and
Builders

Illumination

103
104

Products Used

232

The Uncial Alphabet

Skill

106
108 109
110
116 119

Resources
Dedication

234 236 236 236

239

Versal Letters
Skill

Builders

Illumination
Skill

Acknowledgments
About the Author
Index

Builders

Projects

How to Use This Book

Calligraphyfrom the Greek word
at
for "beautiful

writing" is lovely to look

and a joy
to

to create.

Even

in today's

world of text messaging and digital

If you've ever

printing, beautifully written

words have a special place.

how to do calligraphy, but weren't sure how to begin, this is the book for you. Here you will learn the basics of calligraphy step by step as you create projects that are easy, satisfying, and fun! You'll also be encouraged to experiment, play, and even break the rules a little as you develop your own personal style of beautiful writing.
wanted
learn
The materials needed to do calligraphy
the right pen, and the right paper
will
is

are very simple: ink, pen,

and paper. However, choosing the right

ink,

not always as simple, especially

when you

are just beginning. This

book

help you navigate the wide array of calligraphy products available and show you which tools and sup-

plies are a pleasure to

er that

use and which also deliver consistent, high-quality

to

results.

You

will

be happy to discov-

having good materials

work with

is

major

first

step on your

way to
all

creating beautiful calligraphy.

In this

book you

will also learn the essential skills

and techniques

that

calligraphers use.

Most

of

these skills are very simple, such as learning

how
at

to

hold the pen, and how to position the writing paper.

However, these

skills

may

not

seem obvious

first,

and they do require

practice.
will find

Throughout
suggestions

this

book

you

for practic-

ing the skills you learn in ways that

are fun

and

relaxing,

and that

will

spark your creativity.

Many beginners
when
because their early
"perfect."

get discouraged

starting to learn calligraphy

efforts aren't

The aim

of this

book

is

to

inspire

you to explore and develop a

style of writing that is "personal" rather

than "perfect." You are encouraged to

experiment, play, and keep an open

mind skills essential for any artist. It's a commonly known fact that no two
calligraphers can write exactly alike,

no matter how
they

skilled

and experienced

are. So, don't feel like

you have

to

copy every project

Instead, use this

in this

book

exactly.

book as

a guide for
skills

developing your penmanship

and

as a source of inspiration for allowing

your

own beautiful

writing to flow.

Calligraphy 101

Surface Writing 5>ur The Rat surface.

,.

^q

or

Drawing padding a

Board

"

QWCKREFERNCE

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Quick reference text

Quick reference

The

first

section of this book introduces you

book

to give

more detailed suggestions

that will

to the vast array of tools

and supplies used

in

help you improve your techniques.

The Quick

calligraphy, explaining

what the various items are

you'll

Reference sidebars are there to clarify words or

used

for,

and letting you know which items

phrases printed

like this.

Many

of the projects

need

to get started (as well as

which ones you

also include variations different wording, papers,

colors, etc. and

won't).
of

The second

section introduces the basics

you are encouraged

to

make your
feel

using the calligraphy pen, and encourages

to explore the various kinds of
it.

own

variations to any project

whenever you

you

marks you

inspired to do so.

can make with

Each of the following sections

necessary to complete

The

DVD-ROM included with this book

is

an

introduces you to a unique calligraphic alphabet,

a set of projects, the skills

additional learning tool that will

show you the

It is

essential techniques used for calligraphy.

both

the projects, and various technical tips and tricks.

PC and Mac

compatible, and can be viewed using

latest ver-

A list of necessary supplies

precedes each project,

is

Quicktime software. To download the

sion of Quicktime for
free, visit

and every step of each project

photographed

http://www.apple.

so that you can see exactly what to do at each

com/quicktime/download.

point along the way. Tips appear throughout the

You can do

calligraphy!

Now,

let's

get started.
to

How

Use

this

Book

fir*.
*

\\

L,1
..

.".''

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Kk\-\.*>
,

4
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V >N
^1

Tools and Supplies

One of the great advantages of learning the art of calligraphy is that you need only a few
simple supplies to get started. This chapter
introduce you to the tools
for calligraphy, for
will

and supplies needed explaining what they are used

or not they are essential for

and whether

getting started.

Basic Supplies to Get Started

calligraphy fountain pen with a flat-tipped nib

Other tools and supplies used

in this

book

measuring 2 to 3

mm

wide, and equipped with

purchase these as you need them:

refillable ink reservoir

agate burnisher for applying gold leaf

artist's

dipping pen nib with a

flat tip

(often called a

spray fixative for stabilizing metallic

off the
in

round-hand

nib)

measuring 2 to 3

mm wide

pigments so they don't brush

paper paper

dipping pen nib with angled

tip (Italic nib,

bookbinder's awl for poking holes

Brause nib) measuring about 2

mm

wide

brads for attaching layers of card stock together

nib holder

brushes

in

assorted shapes and sizes for

#0 round
for glue

brush,

V (3 mm)

flat

brush, craft brush

illuminating

self-healing cutting

mat

to place

under paper

black calligraphy ink (as well as red, blue,

yellow,

when

cutting with a craft knife

and white calligraphy

ink,

if

you want
distilled

to mix colors)

water for mixing with gouache or

pigment
paper for pens/markers

gold and silver leaf for gilding gold leaf sizing liquid

inexpensive practice paper (heavy copier paper,

graph paper, heavy notebook paper)

gum
Vb"

arabic for use with metallic pigments

Bristol

pencil
in

(3

mm)

hole punch for punching holes

paper

gray kneadable and white plastic erasers

palette for holding several colors of ink or paint

T-square, 12" (30.5

cm)

polyurethane spray sealant for sealing painted

surfaces

grid/lined ruler with steel edge, 12" (30.5

craft knife

cm)

assorted ribbon, cord, and beads for binding

scissors
craft glue

and decoration
fine

sandpaper

for preparing surfaces for

drafting tape or artist's tape

little

painting

containers for ink

scoring wheel, used with a ruler to impress

glass jar for rinse water

grooves into paper to make a crisp fold

paper towels or cotton rags

wax paper

Calligraphy 101

Writing Instruments
Calligraphers use a variety of tools to
fountain pens, dipping pens,

make marks, including markers, quills, and brushes.

calligraphy

Pens and Nibs

Calligraphy fountain pens
are

Calligraphy fountain pen sets

include interchangeable nibs
of various sizes, cartridges, and

Dipping pens are the

traditional

much

like

ordinary fountain
difference
is

pens used by

cal-

pens; the

main

ligraphers,

and consist of

that the nib (writing edge) of

a calligraphy fountain

an ink reservoir. Calligraphy

fountain pens for left-handed
writing are also available.

removable writing nib inserted

in a

pen

is

wooden, ceramic, or

plastic

broader than that of an ordinary

fountain pen.
of the nib
is

While

handle called a nib holder.

The broad edge

calligraphy fountain pens

may

Many
also

calligraphy nibs are

what makes the

tend to write a bit less cleanly

equipped with reservoirs,

in this context

characteristic thick-and-thin

and precisely than

a traditional

which

means a
fits

pen

lines of calligraphy pos-

dipping pen, they are very useful

small metal flap that

or

over

sible.

Calligraphy fountain pens

when you

are just starting out.

under the nib and allows the

are usually sold with

an ink

nib to hold a small

amount

of

reservoir a removable tubelike

device that can be
filled

extra ink in reserve.

Calligraphy fountain pen set

Dipping

with

pens give the sharpest, cleanest

writing
line,

ink and used over and over

again. Disposable fountain

and are capable

pen

of producing extremely fine

details.

cartridges can also be used in

Because they are more

calligraphy fountain pens, but

delicate

and

flexible,

they take
however,

the ink tends to be less dense

some getting used

and
it

to,

and thus not as suitable

ligraphy artwork.

for cal-

takes

more

practice to get

good

results.

ii

'*"fao

u^fBfl

m** o^rfUH

Dipping pens
ft**"*

c^ir^i^

Calligraphy fountain pens, reservoirs, and cartridges

Tools

and Supplies

Round-hand nibs

Nibs

for

dipping pens are available in myriad

sizes. nib,
it

shapes and
to
is

To avoid confusion when trying

helps to

choose a

know what kind

of nib

used to create the style of lettering you want:

Round-hand nibs
chisel-tip nibs)

(also called

broad nibs or
is flat

have a writing edge that

rather than angled.

They

are

used

for

most

cal-

Ua5-i

if -\

ligraphy styles where the lettering stands upright. For the

first

three alphabets presented in this

book

(Foundational Hand, Uncial Hand, and Gothic

Hand), round-hand nibs of various widths are used.

Slanted nibs (also called

nibs) have a writing

Italic
is

nibs or angled
cut at a slant
for
Italic

edge that

rather than straight across.

These nibs are used

Hand, and

sloped writing such as

Italic

for styles of

nibs

alphabets having very angular or slanting features.

In this

book

Italic

nibs are used only in the "Italic

nibs,

and are used

for

handwriting

in the old-

Hand"

chapter. Note:

you may come across certain

fashioned Copperplate or Spencerian penmanship

styles.

calligraphy fountain pens and markers that are

While these nibs are not used

for

any

of the

labeled "Italic Pens" look closely at the tip to see

if

projects in this book, you

may wish
Italic

to try

them out

the nib
will

is

in fact slanted often a regular

broad

once you have learned the

Hand, of which

pen

be marketed
it

as an Italic pen, because

you

the Copperplate and Spencerian Hands are more

recent relatives.

can use

to write in Italics.

Other types of nibs and pens. There are many

kinds of writing nibs other than those mentioned
here.

Various companies
ers

sell

nibs designed for post-

and other forms of lettering for example, the

A majority of these will be nibs

flat

ending

in

Speedball company's "A" series nibs, which can be

a distinct point rather than a

or slanted tip

used
is

for

monoline

lettering (lettering
lines)

where there
and "C"

these are called "Copperplate" or "Spencerian"

no variation of thick and thin

10

Calligraphy 101

f.

Lite:

^-

Copperplate and Spencerian nibs

series,

which has larger nibs designed

drawing
letters for signs

to hold a lot

of ink for

and posters.
A and C
series
v*

"Automatic" or "Coit" pens are designed to

hold very large amounts of ink for posters and
large-format work.
Speedball nibs

You may

also

come

across very
"drawing,"

small nibs, often labeled as "crow

"artist,"

quill,"

or

"map"

nibs.

These nibs require a smaller

nib holder and are designed for fine lines and

cross-hatching required in
tion.

mapmaking and

illustra-

You may wish

to

experiment with these nibs,

:>7

but they are not needed for any of the projects in

this

book.

.UTOMATIC

Pfct*

hAJH IMEflQlAK'

Automatic pen

Automatic pen

Map and crow

quills

Tools

and Supplies

11

Markers
A wide variety of calligraphy markers
The others
are are available, although veiy few are really suitable for finished work.

used more

for practice or novelty

purposes. Most calligraphy markers use inks that are dyelight,

based and tend to fade over time and with exposure to

to

which

is

the main reason you wouldn't want

use them

in a piece you'd like to last for a

long time.

The

positive aspects of cal-

igraphy markers are that they

are extremely useful for trying
Zig and Staedtler markers

out ideas and sketching out

rough layouts, and

in circumstances

for practicing

where a

dip-

ping pen and bottled ink would be impractical. Two very good brands of calligraphy marker are
the Zig Pigment-Based markers,

which use ink

that does not fade

in

and are available

colors,
ers,

more than 40
and small

and Staedtler Duo marka large

which have

marker

tip at either end,

good

quality ink,
tips.

and well-wearing
all

When at
it,

possible, try

out a calligraphy marker before

you buy

as the quality of the

marker

tips

can vary immensely

to brand.

from brand

Parallel

Pens
Pilot Parallel

The recently introduced

Pen

is

blend of a calligraphy fountain pen and a combination-tip marker. Available in a

range of flat-tipped

nib widths, the nib can also be turned

to

on

its

side

draw

thin, straight lines. Parallel

pens require

their

own

special ink cartridges,

is

and the quality

of the colored inks

closer to marker ink than

less

calligraphy ink: that

is.

dense and prone to

bleeding. However, a Parallel Pen used with a black

ink cartridge
lines,
is

capable of writing very dense, crisp

Parallel

and has excellent

pens

ink flow.

12

Calligraphy 101

Quills

and Reed Pens

quill

These writing instruments made from natural materials the

from a turkey feather and the reed

pen from a length

of

hardened bamboo have enjoyed

a long history in the art of calligraphy, as they are

durable and easily produced. Although not required for any of the projects in this book, you

may

enjoy

try-

ing them out once you've begun to master the basics of using a calligraphy pen. There are also publications available that teach you

numerous

how

to

make your own

quill

and reed pens.

Brushes
Brushes play an important role in calligraphy. For brush
(preferably synthetic,
also
lettering, a flat

brush with medium-long

bristles

which tend
fill

to

be

stirrer

and more durable

for lettering) is ideal. Flat

brushes are

used

to

make borders and

in areas of color,

while small, round-tipped brushes are used for adding

will find a description of the different types of

details

and decorations. For "Illumination" (page no) you

brushes and the marks that they make. Just as with nibs,
of

it's

important to
for

know ahead

of time

what

sort
in

mark you want

book we use

to
flat

make

so

you can purchase exactly the right brush

your needs. For the projects

this

brushes
in

(sometimes called "brights")

Va"

and lA"

(3

and 6
0, l

mm)
and

widths,
2)

Assorted brushes

small (sizes 00,

round
soft

brushes

for detailing,

and a

long-bristle
liner.

brush called a

script

A Chinese writing brush

is

(maobi) in the smallest size you

can find

also a fun option,

.,

fctw*. ,,,.,, artiiaj

as you'll see in the chapter

on
1ft****KJ

"Brushwork and Gilding." Wider

brushes and foam brushes (as
1tt Wfl

MM.VWJ

used
ors)

for painting

house

interi-

can be used for moistening

V&O eJtf** itftfw,.*fr- FCf.nfcAflWBWiMM

paper and laying down large

washes of
to

color. You'll also

want
Q
f~iiltr
I*

have a few inexpensive

for

4ttt.ll

craft

brushes

applying glue.

Tools and Supplies

13

Inks and Paints

There are as

many

kinds of ink

and paints
It is

that can be used in

to

calligraphy as there are projects.

to set

important

know what you want

out

to

do before you buy a particular product

first

Calligraphy ink should always be your

for

choice

inked over. (For this reason, never use India

ink, or

use with a dipping pen or calligraphy fountain

any waterproof

ink, in a calligraphy fountain pen,

it

pen.

Make

sure the ink

"

is

specifically labeled "cal-

because once the ink dries inside the nib

cannot
is

ligraphy ink

which means the ink has a higher

be washed
ideal for

out.) India ink will

not fade and thus

density of pigment and thus a stronger,

more

documents and other important

is

writings.

permanent
ink,

color. Calligraphy ink is

an all-purpose

Iron-gall ink

a similar permanent ink, which

performing well with a variety of papers and

appears light brown

when writing but

it

turns deep,
air.

pens.

While most calligraphy inks can be used

in

permanent black once

India ink,
it

is

exposed

to

Like

calligraphy fountain pens (check the bottle), avoid

is

not suitable for use in calligraphy

leaving ink in the pen

when you

are not using

it.

fountain pens. Drafting inks can be used with

A thorough

soaking of the nib and reservoir

bits of

will

dipping pens, and certain brands also

offer

noncallig-

remove any clinging

pigment and reduce

waterproof formulations that can be used in

the likelihood of blockages forming. Metallic

raphy fountain pens. Drafting inks are usually very

free-flowing and dense in color.

gold and silver calligraphy inks are also available,

although these should not be used in calligraphy

fountain pens since the metallic bits can clog
India ink

and

up the pen. Whenever possible, purchase your

calligraphy ink from an art supply store or online

drafting ink

calligraphy supplier (see Resources) to be sure you

are getting real calligraphy ink.

Vi-

MCK STA? ^*^

**" fi

Acrylic inks can be found in abundance in craft

and
Calligraphy ink

art

supply stores, in a wide array of colors,

many

of

them

metallic or pearlescent.

They can be

used with dipping pens and brushes, but not with

India ink (also sometimes called "Encre de
calligraphy fountain pens. Because acrylic inks are waterproof, they are very useful
to layer

Chine")

is

a dense, black, permanent ink suitIt is

when you want

able for use with dipping pens and brushes.

one color

of ink over another; however,

waterproof, which

means

the dried ink will not

to

they tend to dry very quickly, sometimes right

run or bleed

when exposed

water or

when

it is

on the

nib,

so

it is

good

idea to frequently rinse

14

Calligraphy 101

and wipe your nib when using

acrylic inks.

When

ink

is

rubbed on

a slate stone with a small

amount
is

using acrylic inks with a brush, be sure to rinse the

of water until the desired color

and consistency

brush often in water, and

soap and a fine-tooth

when finished, clean with comb to remove any dried

obtained. This can

if

be an

especially

good

ink to use

you want to obtain a very

Fountain pen ink

rich, thick

black ink.

particles of ink from the bristles of the brush.

With both types

of ink, use a dipping pen or brush.

is

perhaps the most plentiful

type of bottled ink, available in a wide variety of

colors,

and while

it

can be used with a dipping pen

or calligraphy fountain pen, generally these inks

<

lack the density of color of calligraphy inks.

bottled fountain

Some
statio-

I
Assorted acrylic inks

pen inks are sold

at gift

and

nery shops and tend to be more of a novelty item, in

spite of

being labeled as suitable for calligraphy.

if

On

the other hand,

you

are looking to create a piece

Sumi and Chinese

involved.

stick inks can be interesting

that has a

somewhat

faded, romantic, old-letter-

to use in calligraphy, especially

is is

where brushwork

found- in- the-attic look, fountain pen ink would be a

perfect choice.

Sumi ink

is

Japanese liquid ink that

You may

also

have success increas-

very dense black and can be thinned with water

ing the density of fountain pen ink by adding a

to obtain delicate

shades of gray. Chinese stick

small

amount

of a similar color of calligraphy ink.

Sumi ink and Chinese stick ink

with slate stone

Bottles of fountain pen ink

Waterproof vs. Non-Waterproof

There are two types of inks and paints waterproof and non-waterproof. Non-waterproof ink or paint such
as calligraphy
ink,

gouache, and watercolors will dissolve, bleed, or run

if

touched again by water (or

ink

or paint) even after they have dried. Waterproof ink such as acrylic ink, acrylic and latex paint, India ink, or any ink labeled "waterproof" won't dissolve or bleed
ideal for using

when

in

contact with

ink, paint,

or water, and so

is

when you want

to layer inks or colors.

Tools

and Supplies

15

Metallic pigments

and

inks.

Powdered metallic
water to an

Artist colors. Often you will

that
is

come

across ink

pigments can be mixed with

distilled

simply called

"ink,"

"drawing

ink," or "artist

inklike consistency to create metallic inks for use

color."

These inks are usually used

nib, or in

for

drawing

with a dipping pen or brush. Often a small

of liquid
lic

amount

with brush or fine

conjunction with

gum

arabic

is

added

to

keep the metalis

watercolor painting.

Many
if

of

them are waterproof

particles

from separating. This type of ink

(check the label to see

lac)

the ink contains shelfor creating

non-waterproof, and will dissolve or separate

when
It

and can be used successfully

color.

touched with water or applied to a wet surface.

is

backgrounds of

Many

of these inks lack the

a broad-nib

also a

good idea

to finish the

work with

a light

density to flow well

when used with

spraying of
particles

artist's fixative to

prevent the metallic

is

calligraphy pen, although they can work very well

from rubbing

off

once the work

dry.

with a brush.

Many
differ

liquid metallic inks are also available,

and

widely in their amount of luster and waterit is

fastness, so
if

best to try them out before buying

possible.

As

a general rule, ink that contains in a foun-

metallic
tain pen,

pigment should never be used

because the metallic particles can clog

Artist color inks

the inside of the nib.

Metallic pigment

powders and bottled

metallic inks

'

Inks and paints will last a long time

when they

are

P
.*

stored

in

a cool, dry place with lids or tops tightly

in direct

"-...

screwed on. Avoid storing bottled ink

all art

sunlight. As with

supplies, paints

and inks should be

kept away from heat sources and out of the reach of pets or

young

children.

16

Calligraphy 101

Calligraphy gouache

is

packaged

in tubes

and

is

Tube watercolors,

like

gouache, can be thinned

mixed with
for

distilled

water to an inklike consistency

with distilled water to an inklike consistency and

use with dipping pens or brushes. With a basic

used with a dipping pen or brush. Most watercolors are transparent, so lettering written with

palette of calligraphy

gouache

paints,
in

you can

create dense,
desire.

permanent colors

any shade you

if

watercolor will often appear somewhat washed

out.

Gouache

dries to a flat finish, so

you want

Watercolors are most useful for

details or for building

filling in

color

little

shine to your color, you can add a drop or

and painting

up

layers of

two of liquid

gum

arabic or a small

amount

of sugar

transparent color. Pan watercolors, while not very

practical for using with a dipping pen, can be used

dissolved in hot water. Dried gouache appears a

shade or two darker than

it

does

in liquid form, so

with a brush in the same way as tube watercolors.

mix your colors

to

slightly lighter

than you want them

it

Acrylic paint
is

is

very useful in calligraphy

when

appear on paper. Designer's gouache can be

in the

thinned with water and used as a background

dry,

used

same way as
it is

calligraphy gouache, not to

wash once
of

you can

write on a

background

mention that
stores,

usually easier to find at art supply

smoothly applied acrylic paint with either

whereas calligraphy gouache may have to be

waterproof or non-waterproof inks with no danger

of bleeding.

special-ordered or ordered online.

,
finest Ajtis^

.-

.vai

Anists'

*Mt Artists'

ilimwk
wicHfe
,)tffiCHE
.11

gO UACBE

iliaravty OUftCHE
321

idlitjraf

COUACHE

,01

***
DctfkwuiD

**|

***!

O&r Trf

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X :

<.'t

ffrtwCS

tyvt

ri'or

hmtnefie

ihnundit

zhmtneh*

Jchminiki

/A*

-ntnr
*

Calligraphy and designer's gouache

olnuui

m
Omfl'i

8m!

e
fl.oz.
cSifies^

J U.S.

Tube watercolors

Tools and Supplies

17

Papers
There
is

such a huge variety of fabulous papers on the market today that

for paper
to

shopping

can

feel like

being a kid at a candy store! Knowing

will

what you want

do ahead of time

help you to choose the right paper.

for practicing,

Papers for ink. Several types of paper are manufactured specifically

for

commercial paper works very well

especially
less of a

use with

ink;

they are

when used with

acrylic inks,

which have

often labeled "Paper for Pens ," "Pen and Ink Paper,"

tendency to bleed on the paper. Graph

also very useful for practicing, especially

"Paper

for

Markers," "Designer Layout Paper" or

paper

is

"Layout Bond."
tial

A pad

of this type of
it

paper

is

essen-

the smaller-grid engineering-style graph paper.

for practicing calligraphy, as

at its best,

will

show your

Look

for

paper that

is

relatively thick

and has a
texture.
is

pen work

with strokes appearing sharp

smooth

surface, without

any coating or

and crisp without bleeding. These papers are com-

Bristol. For projects

where card stock

Bristol
is

monly

available at art
is

and drafting supply

stores.

required, 100-lb (260

gsm)
acid
is

a good

all-

The downside
it

that they tend to

be expensive, so

purpose choice.

It is

free,

absorbs ink well

helps to find an inexpensive alternative for prac-

without bleeding, and

available in various
is

ticing, especially

when you

are just starting out.

weights and
choice
for

finishes.

A smooth finish

the best

Practice paper. Finding a suitable, inexpensive

penwork.
In the past, these

paper

for practicing

your calligraphy

is

well worth

Parchment and vellum.

two

the effort. Calligraphy practice pads are

com-

writing surfaces were prepared from scraped

monly

available,

although most of these are ruled

and smoothed animal skins parchment from

sheepskin and vellum from calfskin. Nowadays,
the parchment and vellum you will find at art and
craft stores are of the

for italic writing,

and thus somewhat

limiting.

Often thicker, high-quality ruled notebook paper

or

heavy (80

lb or

higher [116 gsm]) text-weight

paper

variety,

both of which

18

Calligraphy 101

can be useful

in calligraphy.

Parchment has a
color,

Commercial papers. Many

suppliers sell commercially

craft

and stationery

somewhat mottled
to projects

finish

and

lending

itself

where the paper should look somewhat

available in text and cover weights, as

matching envelopes by the

gram,

made paper and sheet or pound or

and quite

aged.

It is

many

of

which

are inexpensive

well as in various colors. Vellum has a very fine

suitable for calligraphy. Purchase small

of

amounts

surface and
es beneath

is
it

translucent, allowing colored surfac-

commercial paper and

try

it

out with various

to

show through. Vellum can present

beginning calligrapher because
of the paper rather
will

inks (calligraphy ink, acrylic ink, gouache) before

problems

for the

buying large quantities. Pearlescent papers

(col-

the ink sits

on the surface

ored papers coated with a pearlescent or sparkly

finish) are especially

than being absorbed; you

have best results on

fun to use for calligraphy

vellum when using waterproof or acrylic ink and

projects,

but take note that certain inks do not

being very sure not to overink your

nib.

adhere well to them. Calligraphy gouache or

acrylic ink is usually the best choice for

Printmaking and watercolor papers. Also

called "rag" paper, "100% cotton rag," or "artist's

working

on pearlescent paper.

papers," these are high-quality papers

made from

Other art papers. You

will find a at art

huge variety
craft

of

cotton fiber that are

pH neutral

and

archival.

papers not mentioned here

and

supply

They

are the papers of choice for fine art projects

to painting to calligraphy.

stores, including rice paper, decorative printed

from printmaking

"Hot
while
is

papers,

handmade

papers, origami papers, kraft,

art

pressed" paper has a relatively smooth

finish,

and natural-fiber papers. Most

supply stores
of swatches

"cold-pressed" paper has a textured finish and often sold as "watercolor paper." cent cotton
tioners,

keep sample books with hundreds

for

One hundred

per-

you

to

choose from, and selections are always

bond paper
for

is

also available from sta-

changing. Papers that are not necessarily suitable

for

mainly

use

in creating stationery

and

writing on can be ideal for background mount-

invitations.

Cotton papers are a

real joy to

work

ing, collage,

matting and framing, and so on.

with, although

you may

find

you need

to clean off

your nib from time to time, as the

fine cotton fibers nib.

can accumulate between the prongs of the

'

Paper
from

is

best stored

flat, in

a cool, dry place

away

TIP
ly

light

and dust. A

flat file is

an ideal place to
is

store paper; a

more affordable option

to use an

artist's portfolio for storing large sheets.

Papers are extreme-

sensitive to changes in humidity, so avoid leaving paper

laying about
to

on muggy days you may notice the paper

it.

start

warp and bleed when you write on

Tools and Supplies

19

Art Supplies
you
ink,

J
a T-square, a
ruler, pencil, erasers,

For calligraphy, the art supplies needed are very simple. The only things
really

need

to get started are

utility knife, scissors, craft glue,

drafting tape, small containers to hold

a cup

to

hold rinse water, paper towels, and a tahletop or drawing

-

hoard. Other items can he

(A)

added as needed.
is

small T-square, no more than 12" (30.5 cm) long, sufficient for ruling lines for most calligraphy projects.

12" (30.5 cm) ruler, preferably clear and printed with a grid or guidelines. A steel edge on one side of the ruler makes it a useful tool for trimming paper with a utility knife.

(B)

(C) Pencils and erasers. Marks from #1 or H pencils arQ the easiest to erase. use a mechanical pencil with .5mm H lead. A gray kneadable eraser is essential for erasing pencil marks from your work. A white plastic eraser is also good to have for removing stubborn marks from the paper. It will also remove ink and gouache slightly, so be careful when using it.
I

(D) Craft knife. A rubber-handled knife grip is comfortable to use and the least likely to slip. Have a good supply of blades (#11 is a good alt-purpose size) and change them often cutting goes much easier with a fresh blade.
(E) Scissors. Paper shears (shears with very long blades) will make the straightest cuts with the least amount of effort. Smaller scissors are useful for trimming delicate curves.

s
I

5-S

rw

ERASER
{*
--

:-

&
*

"=

5?

(F)

Bone

paper

folder. This is into crisp folds.

used with a ruler for scoring

glass container for rinsing nibs and brushes preferably heavy andtfiot too large so it is not easily spilled. iy neavy ana fio
(J)

(G) Craft glue. Craft glue is sold under a variety of names; PVA (polyvinyl acetate) or basic white glue are the most common and will not discolor paper over time. Use liquid glue (applied with a brush if needed) rather than glue sticks, which tend to form a weaker bond with the paper. (H) Drafting tape and artist's tape are low-tack tapes that can be easily removed from paper. Use artist's tape if you plan to get the paper wet or to paint on it while

3 aper towels-lor even better, old cotton rags are (K) Pa esse ntial for blotnnc and cleaning up ink spots. g

taped down.
Ink containers. Containers can hold small amounts of ink while you are working, so you don't have to dip directly into the ink bottle. The caps from old bottles of ink work well, as do many odd household objects such as salt cellars, or cups from children's tea sets.
(I)

Drawing board or tabletop. A drawing board is very useful for maintaining your posture and avoiding fatigue when writing, and can be something as simple as a piece of masonite propped up on a tabletop. (See page 24 for instructions on setting up a simple drawing board.) You can also purchase writing easels and drawing boards from art supply stores. Plenty of people just use a regular desk or tabletop, as well.
(L)

Making Marks
Now
you
that you have the basic supplies,
it's

time

to start will

making some marks! In

learn

this

chapter
to

how

to

use a calligraphy pen

create the basic strokes that form letters. You'll

also learn

how
area,

to set

up your writing surface

to

and work

and how

get started using a

dipping pen.

23

The Writing Surface

Whether you're working on a
flat surface,

such as a desk or tabletop, or

an angled
it

one, such as a drafting table or adjustable

to

drawing board,

is

important

have a

slightly padded surface

beneath your writing

"bite" into the paper.

paper the cushion of the padding helps

You can make
(20" a simple

the

pen

drawing board from a sheet of smooth

35 cm]
will

Vb" (3

mm)-thick plywood or Masonite

wide

14" tall [50 *

accommodate most

projects). Set

up with permanent padding on

it,

this

drawing board can be carried to any location

for writing.

Padding
1

Drawing Board
-

1= u

Cover your drawing board

or

work surface with several

sheets.

padding
about

Trim the sheets

1" (2.5

cm) smaller than

all

the drawing board on

in

sides.

2
size
If

Cover the padding sheets

with a clean sheet of
to the

smooth paper cut

same

and use masking tape or

tape to secure the edges.

artist's

desired,

you can tape or glue

flat

ruler or a section of measurleft

ing tape along the the board this

is

side of
if

helpful

you

plan to use a T-square to rule

lines

on your paper. Removable

tape along the edges
it

artist's

makes

easy to remove and

replace the cover sheet.

Cut

guard sheet out

of

card stock or other sturdy

paper the same width and half

the height as your padded area and attach
it

to the

board

with tape, aligning the bottom

24

Calligraphy 101

edge

to the

bottom edge of the

artist's

padding. Use removable

tape to attach the sheet you'll

be writing onto the center of

the board, positioning
it

so that

the place where you want to

start writing falls just

above the

guard sheet Just one or two

pieces of
fice for
artist's

tape will suf-

attaching your writing

it

sheet you want

to

be easy to

move

the sheet around.

QUICK REFERENCE
Padding sheets. Padding sheets
can be just about any kind of

paper as long as they are relatively

soft

and smooth. Use any of the two

to three sheets of

following:

blotting paper,
of 140-lb

two

to three sheets

(300 gsm) cotton print-

making paper, eight to ten sheets

of newsprint, or eight to ten sheets of old

When you

finish writing a line of text,

move your

writing sheet

up so

that your

hand

is

always positioned in the center of the board to write.

newspapers ironed

flat.

Guard sheet. The guard sheet

protects your work from any ink or
oils

on your hand.

Just above the guard sheet. As

you write,

you'll

be moving your

writing paper up
right so that

and

to the left or

you are always writ-

ing on the center of the board just

above the guard sheet.

Left-handers

may

find

it

helpful to set

up paper and guard sheet

at

an angle.

Making Marks

25

Setting

Up Your Workstation

Set

up your "wet"

supplies, such as ink,

pens and

sold

at art

supply stores are useful

if

for

holding

ink,

nibs, brushes,

water for rinsing, and paper towel or

especially

you are using more than one

to

color,

blotting paper for wiping just off to the side of your

and heavy enough

Your

be hard

to spill.

writing hand.

On

the other side put your T-square,

light source

should come from the opposite

ruler, erasers, pencils,

and other items you want

side of your writing

hand so that shadows

aren't

to

keep away from getting wet or ink-stained. To

cast across your work.

A swing-arm
same
time)

desk lamp that

avoid spilling ink, never dip or pour directly from

the bottle.

has both a fluorescent and regular bulb (with both

bulbs switched on
at the
is

Use an eyedropper instead

to

squeeze

helpful for
to see

out small amounts of ink into a small container

the smaller

closely lighting your

work and helping you

and

heavier, the better.

a

small plastic

your colors accurately. Regular diffused daylight

is

container

lid

makes

handy
the

tray for holding your

spill will

also very
(if

good
you

for calligraphy.

A north-facing

ink container
to the tray),

(if it spills,

be confined

window
that

live in the

Northern Hemisphere)

and a few notches cut

into the rim

provides the most even

is

light.

Avoid any lighting

creates a convenient place to set

down your pen

excessively bright, which will strain your

without getting ink on anything. Pen rests can also

eyes and cast shadows that

details

make

it

difficult to

see

be purchased for

this purpose. Porcelain palettes

and

colors.

26

Calligraphy 101

Drawing Board Angle and Posture

An
angled writing surface of about 45
is

ideal

their feet placed

rest their feet

flat

on the

floor,

others prefer to

for lettering

and

will

help you avoid the back or

on the rungs of

a chair or stool do
for

shoulder pain that can

come from leaning over

whatever

is

most comfortable

you and keeps

far

your work. Drawing boards are available with special

you from bending your back or neck too

your work.

over

frames that can be adjusted to various angles,

but before making this investment, try propping

A peaceful, undisturbed environment is

also

up

a flat

drawing board with books on a desk or

sit at

important. Surrounding yourself with objects of

inspiration, playing relaxing music, or simply

table.

Or

a table with the base of the draw-

ing board in your lap and the middle of the board

setting

up a block
all

of time

where you won't be

propped against the edge of the

table.

A drafting

disturbed are

very helpful. Allow yourself time

table with the top angled to about 45 also works

well, the

to doodle, scribble, draw, or just play with your

pen

only disadvantage being that you'll need

before getting

down

to work. Like

any other

artistic

another table with a level surface nearby to hold

endeavor,
things,

it

takes a

little

time to get into the flow of

results

your supplies.

and often the best

happen when you

It's

Whatever setup you choose, make sure your

chair
is

are very relaxed

and just playing around.

also

comfortable and that you

at

sit

up

straight.

important to take a break every so often to get up

When working
drafting table,

an angled drawing board or

find that sitting

and walk around, stretch your hands and arms,

your eyes, and look
this will help at

rest

you may

on

a stool

something else

for a

while

allows greater freedom of

movement

for

your writ-

you avoid tension and fatigue and

ing arm.

Some people

are

more comfortable with

return to your writing with renewed energy.

Find a position where your back

is

straight

and you

aren't

bend-

ing your neck too far over your work.

Makina Marks

27

Trying Out Your Pens

For the exercises in this chapter

you'll

When

the nib

is

held at a steady 30"

need

a broad-nib 2- or

angle, the circular stroke shows the

3-mm
nib,

calligraphy fountain pen,

2-

whole range of thick and thin widths that

the nib
is

a dipping pen with a

or

3-mm
or

capable of producing.

black calligraphy

ink, a 2-

Learning to maintain a
constant pen angle
is

3-mm

calligraphy marker, trac-

the

first

ing paper, and plenty of smooth

step to creating well-formed

letters,

white paper to practice on,

and because

it is

differ-

such as designer's layout bond,

With the nib angled

drawn
straight

at 30, the

pen

is

ent from the

for

way we hold
it

a pen

smooth

Bristol, or

heavy-weight

downward, creating a

thick stroke.

everyday writing,
first.

requires

text paper. Try out the

examples

practice at
is

The good news

it

and exercises

in this

chapter

that with practice

will

several times, using each type

of

quickly

become second
this

nature.

pen each

time.

You

will notice
dif-

Develop

good
write,

habit: before

that each kind of

pen yields

beginning to

check your
paper
If

ferent results,

and you

may

find

pen angle on
by drawing a
your pen
line will
is

a scrap of

that a certain type of

feel

pen

will

vertical line.

most comfortable.
thick and thin strokes

properly angled, the

at

The

have sloping points

of calligraphic letters are

The pen

is

drawn horizontally from

medium-thick

left

either end.

The slope should be

somewhere
face.

made by using
at a

a broad-nib

to right, creating a

stroke.

in the direction of

pen with the nib positioned

constant angle usually

between

and 2 on a clock

about 30 .
this

When

maintaining

constant angle, as the pen

travels

through the entire direc-

tion of a stroke, the width of the

stroke changes as the direction

the pen

is

traveling changes.
is

As long
the
in

as the nib

held at
The left-to-right downward diagonal
stroke produces the thickest
right-to-left stroke will
line.

same

angle, the

changes

Line drawn with an angled nib

will

(left)

width

will

happen automati-

produce a thinner

have sloping points

at either end.

cally,

without any special effort

part.

diagonal.

or

movement on your

The line on the right has a flat top and bottom increase the pen angle.

28

Calligraphy 101

\
I I

To create a visual reference for your pen angle:

P
.-'

Draw

3 very small square (on graph paper,

if

##i

available), then, starting at the

upper right

corner of the square, angle your nib diagonally and draw

a diagonal line through the square to the lower This positions your nib at a 45 angle.
left

corner.

Now

angle the nib

downward ever so
The exact angle
settle
is

slightly

clockwise this

will

be about 30
is

not important; what matters

it

once you

on

pen angle, to keep

consistent.

How to Hold the Pen

The position of the pen
each you
individual; what's
in

the hand

will

vary with
is

If

you angle the pen too steeply against the paper,

will

most important

that

your the nib

is

scratch and splatter

ink;

if

the pen

find a grip that feels

comfortable for you and

angled to low, the ink won't flow well from the

allows you to keep your nib angled at 30".

eral rule
is

gen-

nib to the paper.

to hold the pen

between the thumb

The pen as

and forefinger with some of the weight of the pen

resting

on your middle
it

finger.

whole

should be aligned so

points toward the outer

(if

edge of your shoulder

to

you are left-handed,

refer

page 30

for Tips for Left-handers).

Keep your
will

hand relaxed squeezing or gripping hard

tire

only

out your fingers. Don't bear

let

down hard on

the

paper; just

the pen write.

in relation

The angle of your pen

to the drawing

board should be somewhere between the 45" and

90" mark. Experiment with the angle a
find the point
bit until

you
Angle your pen against the paper
like this
. .

where the
travels

ink flows freely

from the

nib

and the nib

smoothly across the paper.

: I

d
J

1
I

gh

"V

a*

<> \,
v*-

c
r>

"fc

^
o>
this.

not like

Making Marks

29
.

Tips for Left-handers

For most calligraphy alphabets, the strokes are
written
in

writing paper slightly to your

write,

left in

so that as you

downward

(pulled) direction rather

is

your

left

arm

isn't

drawn

too closely to

than upward (pushed). This

convenient for

right-

your body.
Left-hand hook position. Flex your wrist down-

handers, but presents obstacles for left-handed calligraphers.

If

you are left-handed,

try the following:

ward

in

a hook shape and position your hand

line.
It

An oblique

nib (also called a left-handed nib)

tip

above the writing

your paper

may

help

if

you slant

has an angled

designed so that
in

it

can be
left

slightly to the left in this position.

angled easily to 30" when held

the

hand.

One drawback
see the work.

of the hook position

is
it

that the
difficult to this

Left-handed nibs for dipping pens are usually

readily available at art supply stores; left-handed

hand covers the writing and makes

Some

left-handers
in

overcome

calligraphy fountain pens are also available,

by drawing the strokes

direction.

the reverse order and

although you may have to place a special order

or order online (see Resources).

-FT*

Oblique nibs and left-handed pen are angled

direction of nibs for right-handers.

in the opposite

Hand

position. There are three specific left-handed

Left-hand vertical position. Set up your paper

with your writing lines at a 90 horizontal angle

positions for calligraphy: the

underarm

position, the

hook

position,

and the

vertical position.

and work from top to bottom instead of

right.
It

left

to

Left-hand underarm position. Turn your wrist as

far to the left

might take a while to get a sense of

letters
It is

as you comfortably can

at a

until

you
It

how your
position.

should look from a vertical

can place the nib on the paper

will

30" angle.

a big help to practice your alpha-

help to use the slanted paper set-up for

left-

bets with the example alphabets also turned to

a

handers pictured on page 25, and position your

90

angle.

30

Calligraphy 101
.

Getting Started
Start with a calligraphy fountain

pen and some paper

Vz" [1.3

(if

desired, use a

T-square to rule lines on your paper about

cm]

apart). Position
lines:

your nib

at a

30 angle and experiment making the following

Vertical lines should begin quickly,

and end with angled

points.

Draw
moving
Horizontal strokes should begin and end with angled points.

moving your whole hand downward

rather than

your wrist or fingers.

30" pen angle makes a thicker

ner
line.

line;

flatter

angle makes a thin-

Draw

these quickly lines will be straighter

when

you're

not concentrating too hard. Focus your eyes where you want the
line to end, not

on the

line itself as

you are making

it

Try making diagonal lines that go up and down in one continuVertical lines with serifs: start with a small

upward movement

to

get the ink flow started, then

move the pen straight down-

Finish

with a small upward movement, maintaining the 30 nib angle.

The nib angle remains constant, and the change of direction in the pen determines the width of the line. If you are using a dipping pen, this is a good way to gauge how long you
ous
stroke.

can write before needing

to replenish the nib with ink.

A row of dots

is

a very

good way

to practice

maintaining your

Ull
Serifs can be sharply pointed, or gently curved, depending
style of alphabet-

nib angle and establish a rhythm to your writing.

on the

CC
Try to make your curved strokes look
like little crescent

moons.

Keep the paper

straight to help
flat,

keep the straight lines vertical. Arches

can be rounded, pointy, or

depending on the alphabet style.

Making Marks

31

Table of Basic Strokes

The following basic strokes are the essential components that make up
all

calligraphy letterforms. Their shapes

and angles

will

vary somewhat

depending on the kind of alphabet, as well as on your own personal writing style. Practice these strokes, keeping your pen nib at a 30
angle and following the stroke direction indicated by the arrows.

Some

of the strokes

used

in calligraphy require steeper or flatter

lines,

pen angles for example, when writing

at

letters that

have diagonal
is

such as W, X, and, K, the pen

is

angled more steeply,

about 45.

A very
is

steep pen angle

used

to

draw the upright stokes of the

capital letter N,

and often a

flatter

angled line

used

to

make

the crossbars

on lowercase

/"and

f.

\
\
l

(left to right)

45" pen angle

is

used to draw strokes

letter

for

M, W, K, A;

a 4.5

pen angle

is

also used to

make square dots;

t.

the nib

is

angled

very steeply for the upright strokes of the

N; a

flatter

nib angle used for the crossbar of a lowercase for

Photocopy

this

page

at actual size

and practice tracing over the basic strokes on tracing paper or translucent
is

TIP
"-..,

vellum with a

3-mm

calligraphy fountain pen. Tracing

a good way to get acquainted with the "feel" of the

* strokes and good

practice for maintaining a constant

pen angle.

32

Calligraphy 101

Using a Dipping Pen

Calligraphy fountain pens provide smooth, clean lines and a constant
flow of ink
Once you
feel

They are especially useful

for practicing strokes

and

letters.

comfortable making the basic

edge, you are sure to have problems

easily

later.

Nibs can
or put

strokes with a calligraphy fountain pen, practice

become damaged by being dropped

the basic strokes with a dipping pen and nib.

under too
carefully.

much

pressure, so handle
dull

and

store

them

Dipping pens are not always easy to use

at first

Nibs also become

and worn out over

an old
nib.

but with time and practice you will get the hang of
it.

time, so avoid starting out with

Here are

a few tips for using a dipping pen:

Start with the right kind of nib.

Use

a broad-tip

4
ed

Use the
that is

right kind of paper.

Look

for

paper

somewhat

thick with a smooth, uncoat-

nib that

is

2 to 3
it

mm wide. With a smaller nib

see the details of nib should be cut
tip of the

finish.

Papers

made

especially for calligraphy,

ideal,

you may

find

difficult to clearly

markers, or pen-and-ink work are

but because

what you are doing. The

they tend to be expensive, look for high-quality

straight across, not angled (unless

specially angled left-hand nib),

you

are using a

commercial papers that are reasonably priced and

will take calligraphy ink

and equipped with a

without bleeding. Try out a

reservoir a small metal flap that allows the pen to

variety of these with your particular nib

of ink

and brand

hold extra ink so you won't need to load up on ink

quite as often. This type of nib
is

and note which ones work best

for you.

often referred to as

a "round-hand nib" or "chisel-tip nib" (page 10).

Suggested brands are the Mitchell/Rexel Round

5
phy

Use the

right ink. For learning to use a dipping

pen, look for ink specifically labeled "calligraink."

It

Hand

Square-Tip nib (sizes

1.5

or

2),

Leonhardt

should be non-waterproof and provide

Round Hand nib

"C" series

(sizes 1.5 or

l),

and Speedball

dense

color.

Fountain pen ink can also be used, but

nib, sizes

C-2 or C-3- The Speedball and

usually has a watery consistency that results in less

Mitchell nibs are also available in left-hand versions.

dense

color.

Avoid using

acrylic or waterproof inks

at first.

A brand-new nib
sharp,
in,

can be somewhat
to

stiff

and

and needs
it is

be used

for a while, or

broken

before

really at its best.

to

New nibs

Be

patient.

The dipping pen nib

handle

is

a highly
it

specialized writing instrument,

and

takes

also usually

need

to

be "seasoned"

remove any

time to learn
write too

how

to

it.

Don't attempt to

oils or shellac

remaining from the manufacturing

34).

much,

for

too long, setting up expectations

process (see page

that are unrealistic for a beginner. Rather, start

by

doodling and drawing and getting the

feel of

the

3
make

Check to make
sure

sure your nib

isn't

damaged.
it

pen. Limit yourself at

first

to

drawing

lines with the

When purchasing a nib, examine

it

closely to

nib held at a 30 angle

and making strokes and

isn't

bent or defective

in

any way. Look

patterns rather than words. Learning to write with

closely at the tip of the nib to

make

sure the prongs

a dipping pen

is

very

much

like learning to

play a

are perfectly aligned if they don't form a straight

musical instrument.

Making Marks

33

Seasoning and Inking a Pen Nib

1.

Seasoning a

nib:

To remove any traces of

oil

or shellac remaining from the manufacturing

process, place a

new

nib in

its

holder and pass

the nib quickly through the flame of a match or

candle one time with the

time facedown.
just pass
it

nib faceup,
in

and one
the flame;

Do

not hold the nib

quickly through. (Also, never use a

butane

lighter or

gas flame from a stove to heat

Be careful! And
don't overdo
it.

the nib, and never hold the nib with your fingers
while heating
2.
it.)

Inking a nib: Contrary to their names, dipping

pens are not dipped

into ink. Instead their nibs

are loaded with ink using a small pointed brush.

A good method
until
it is

is

to dip the brush into the ink

fully

saturated (but not dripping), touch

the brush to the underside of the nib or reservoir,

and deposit

a blob of ink there.

Some

nibs

also have a small indentation

for
filling

on top designed

with

ink.

If

needed, you can also brush

a small

amount

of ink onto the very tip of the nib.

nib,

For convenience, once you have loaded the

you can replenish the

ink a

few times by taking very small

dips into the ink container just dot the surface of the ink with the very tip of the nib. After a few dips you
will

need

to reload with the brush, but

is

you

will find

that using a brush to ink the nib actually lets you write

longer and

easier than dipping every time.

lines:

Be

careful not to over-ink your nib.

fine.

You can

tell

when

a nib

is

properly inked by looking at your

they should be crisp and

Dipping Pen Troubleshooting

If

the line

is

ragged on one

side, try

Blobby

lines

mean you have

nib.

too

Make

sure your nib

is

seasoned and

pressing the nib

more evenly onto the

much

ink

on the

properly inked.

tiny back-and-forth

surface of the paper.

diagonal
will

movement at

the start of stroke

often help the pen get started.

34

Calligraphy 101

Skill Builders Exercise PATTERN PLAY WITH BASIC STROKES

1:

To learn

to

make

the basic strokes well, you will need to practice, which

at a

means writing them

it's

repeatedly.

However, focusing on one stroke

Instead, try this

time and doing

it

over and over until

perfect can be boring.

way

of practicing:

WHAT YOU'LL NEED

lined

Starting

on the left-hand
between two

side of a sheet of lined paper,

practice alternating

2
to

For the second

line,

pick a

new

set of stroke pairs

and

paper
calligraphy

repeat, again

going

all

the

way

3-mm

pairs of strokes until

you reach

the edge of the paper. Try not

fountain pen or marker

the opposite edge of the paper.

to

spend too

much time on any

let

The combination
you choose
is

of stroke pairs
to you.

one strokejust

yourself get

up

into a steady rhythm.

SMISSIISSIISSIISSHSMISS

3
i

For the third

line,

repeat

the strokes you

made on

the

first line,

and

for the fourth

line,

repeat the strokes of the

line,

SSUSSHSSIISSHSMISSMSS 2

second

maintaining an
to

even rhythm and spacing

strokes.

your

You can keep going

down the page this way or start the next line with a new combination of stroke pairs. Try out
different

combinations of stroke

pairs to see

what kind

of inter-

esting patterns you can make.

SMISMISSIISMISSMSSIISS

QUICK REFERENCE
Lined paper. You can draw the
lines yourself,

about

(1.3

cm)

=u===a

apart, or use regular

notebook
line.

ii

it

paper, allowing two lines per

half-size sheet,

about 9" wide

will

mvmvrt \vn vol \\

^//^/n//3//vn/n/n//,

x 6" high

(22.9x15.2 cm)

be easier to

move around on

the

CO") COT CO) toi cc- it

drawing board as you move from

line to line.

Making Marks

35

Exercise
Many
as text.

2:

FREEHAND
to practice

LINES, SHAPES,
to try will

AND BOXES
skills

of the calligraphy projects

you may want

have

lines, borders,

boxes, and images, as well

Taking some time

freehand drawing will help you build your graphic

(a

and gain
is

confidence with the calligraphy pen. Try out the following

start out with):

calligraphy fountain pen or marker

ideal to

WHAT YOU'LL NEED

paper

3-mm

calligraphy

fountain pen or marker

1

Boxes from lines and L

shapes. Notice

OIZI

how
box

the 30
lines of

pen angle

creates

different widths.

2
at

Lines and swooshes.

Practice

moving the pen

Don't look
it,

quickly and

freely.

the line as you're drawing

instead keep your eye on the

point where you want the line

to end.

Strokes combined to

make

shapes/icons. Practice

Mi
3

drawing simple shapes, keeping

your pen angles and avoiding

upward

strokes,

which can makes

the pen nib skip or splatter.

36

Calligraphy 101
H

Exercise
Practice

3:

BORDER-BUILDING
any stroke or graphic element of your choice.

Borders can enclose a space or embellish an edge, and can be almost any shape, including asymmetrical.

making

the following types of borders, substituting

WHAT

YOU' LL NEED
calligraphy

Band
1
Start out

paper

by marking your
and end

3-mm

outer lines lightly in pencil,

Fill

in

middle elements

next,

using your eye to

ele-

fountain pen or marker

then

fill

in the center

judge placement and keep

elements.

ments evenly spaced. Draw the

outer lines of the border
last.

<o

oO>

oQo

Start a

scrapbook of your

T P
I

various calligraphy exercises.

Or just cut out the parts

in.

c&>z&ZCo%&&c&>
2

you

like

the best and paste those

By saving bits of your work,

you'll

be

able to watch your progress over time

and have a store of ideas

inspiration.

for future

Box
1
Lightly pencil in your inner

and outer

lines.

Mark the

Add corner and

center

elements. Note that border

Fill

in the rest of the bor-

der elements. The inner

center points of each side in

decorations don't have to be

lines should

be added

last.

case you plan to put specific

confined to the inner or outer

lines of the border.

graphic elements there.

1
1

-s

fi

aggpyogggK

E3

riiraiminoK
Making Marks

37

v.

Patterned Bookmark
Here's a fun

way

to create

a handy item that makes use of the interesting

patterns you created during your basic stroke practice.

WHAT YOU'LL LEARN

Let's

Begin
*

How
make
for

basic strokes,
in

ICut a sheet of white paper to 6" wide * 9" high (15.2

Starting at about %"
(1.9

22.9 cm).

repeated

patterns,

cm) from
x

the top of the page, use a

V2" (1.3

interesting designs
crafts

T-square and pencil to lightly rule 16 lines spaced

across the sheet. Leave about
/z

cm) apart
side.

paper

(1.3

cm) unruled margin on each

How

to align pattern

repeats on paper

How

to frame your

design with a precise border

WHAT YOU'LL NEED

heavy-weight (110 lb [165.5 gsm]) white text

paper

colored card stock

3-mm
pen

calligraphy

fountain pen or dipping

,<:n"f r

wrT[T-PTWi

[7|rp|n|7p|i-iji(.|r|inip|ri|

|H<|'t>|'IM l l'l i ri' |'i I'l'i'l'IM'j'll'i'l

calligraphy ink
craft knife
Ctf
1

rir

C*
1

M
it

'V\

Icr

null

't*
I"

*
11 1

Vv V 4 m
'

l
\ ' 1

"I

*i5
>'
'

n,

V
'

t
'

*! :
<t <i

'

* I * '*,'** "'' "**" -H

-

4*

1 hl

fi,; 1 *'* "<

>: 1 l" 1 : IT 1 I"" '' f|, '"-'I **

1
l

?t? mm '*
1 1

*-

!**

I*

steel-edged clear ruler

cutting

mat

glue and glue brush

wax paper
penci

kneadable eraser
*. If it's

not obvious by lookfront side

T-square
optional: paper cutter,
Vb"

T P
I

ing,

mark the

of the

paper with a small

(3

mm)

hole punch,

pencil dot in the lower corner as there

is

ribbon or cord

often a difference

in

the

way

ink

adheres to front and back of a sheet.

(continued)

Making Marks

39

Patterned Bookmark

Choose a combination

of two or

more

basic

strokes that you find graphically interest-

ing and repeat across the page.

strokes so that they

Draw

the largest

come

right

without touching, but try to

up to pencil lines use some smaller

keep the overall

&&&&&&&
%

*+

strokes, or pairs of smaller strokes, too. Feel free to join or overlap strokes, but

spacing loose and even. End the line with the same
stroke

you used

at the start of the line.

For the second

line,

choose a new combina-

tion of strokes and repeat to the end.

ml*:

**./*

*%

>

4
as

For the third

line,

repeat the strokes you

made

for the first line.

Refer to the

first

line

you draw so you can recreate the same spacing.

QUICK REFERENCE
Second
line.

When

starting a

new

line,

move

the paper

up (rather than moving your hand down).

the paper slightly to the
line,

Similarly,

move

left as

you progress across the

in

so that your hand

is

always positioning

the center

of the drawing board

is

and the space where you are writing

front of you.

always centered

in

40

Calligraphy 101

5
It

(optional) Leave the fourth line blank

start a

and

new pattern

of strokes

on the

fifth line,

Allow ink to dry thoroughly and then erase

pencil lines with a kneadable eraser. Trim

continuing until you have four sets of three

lines.

closely with a craft knife

and steel-edged

ruler.

often helps to do a few versions of the patterns

to get

warmed up and

also so

you can

try out varia(continued)

tions, colors, etc.

<^m >

Making Marks

41

Patterned Bookmark

7
to

Lay the trimmed pieces

facedown on a sheet of

paper and use a brush to apply a

thin layer of glue to the

back

of

the paper. Brush

all

the

way up
to

and just beyond the edges

fully.

cover the paper

Handling

it

by the very

edges, place glued paper

onto card stock. (Note that card

stock should not be trimmed to
final size at this point.)

Cover

with a piece of wax paper and

use a bone folder or your hand

to

smooth over the

surface,
fully

making sure the paper gets

ent piece of

stuck down. Cover with a differ-

wax paper

(the
it)

first

one may have glue on

book, over
fully

and

place a heavy object, such as a

it

until glue has dried

(about 30 minutes).

9
(or a

When

dry,

use a craft

knife and steel-edged ruler

paper cutter)

to trim the

cardstock, leaving a border Y&" to

(3 to 6

mm)

from the edge of

the patterned paper.

When trimalong the

ming with

a craft knife, position

a line of the clear ruler

edge the inner piece

of paper.

QUICK REFERENCE
Border. A good rule of thumb
is

to

make

this

border the same width

as your widest stroke, but

you

can also experiment and see what

looks good to you.

42

Calligraphy 101

Variations

You can vary

this project in

many ways,

for instance,

changing the

size to

make a

folded gift tag or card, punching a hole and adding

ribbon or cord, or adding a second color ink or paper backing.

Making Marks

43

Passe-Partout Picture Frame

For this project a simple 4"
x

6" (l0.2

15.2

cm) black-and-white or sepiawill

toned photo, or a black-and-white line drawing

work the best

You'll

be using dark ink on dark paper so that your decorations on the frame
won't distract from the main picture. If you have access to a computer

image-editing program, you can convert a color photo

crop the relevant part of the image to 4"
the image, the better
it
*

to grayscale,

or

6" (10.2

15-2 cm).

The simpler
will

will look in the

decorated frame. The frame

overlap the picture edges by

lose

(3

mm), so make sure your photo won't

any important

details by being cropped.

WHAT YOU'LL LEARN

Let's

Begin
copy
of the template

How
How
in

to transfer a template to dark paper to cut a perfect rectangular opening

Using a photocopier or computer scanner and

printer, print a

(page 237)

paper
to create a subtle design

enlarged to 200%.

When

enlarged 200%, the inner

*

How

rectangle should measure 4"

6" (10.2 * 15.2

cm).

on dark
Attach the template to the back of the dark-colored
paper, using removable artist's tape,

paper with calligraphy strokes

and trace the

edges of the template carefully with a pencil.

WHAT YOU'LL NEED

one sheet
card stock

814" x 11" (21.6

X 27.9 cm) black

Keeping the template

in place,

use a pin

to prick a small hole in

each corner of the

one large sheet 25W x 11" (65 x 27.9 cm) medium-weight artists' drawing paper in deep gray or chocolate brown
or

"picture cutout area," passing the pin through the

template as well as through your paper.

out this area.
(steps
1

Do

not cut

1.5-, 2-,

3-mm

calligraphy fountain pen

and 2 shown on next page)

or nib

black calligraphy ink

PVA and

glue brush

QUICK REFERENCE
Trace the edges of the template carefully. Lay a clear
ruler over template, aligning the ruler

wax paper
clear steel-edge ruler

edge

to the very

T-square
pencil

edge of the template, and use the

tracing perfectly straight lines.

ruler as a

guide

for

fine-point pastel or chalk

pencil in a light color will help you better

see the

lines

you

craft knife

and cutting mat

are tracing

on the dark paper, but

test the pencil

on

a scrap

kneadable eraser
optional;
Ye"

of the paper to

make

sure lines can be erased completely.

(3

mm)

hole punch, ribbon or

cord

Making Marks

45

Passe-Partout Picture Frame

3
bone

Trim the paper, carefully

following the outlines of

the template.

Use a ruler and

folder to gently score the

four flaps of the template; fold

these to the back.

To mark guidelines,
orient your frame in

first

the direction of the photo

will hold.

it

Using

a pencil

and

T-square, lightly rule lines,

beginning with a

line that inter-

sects the top pin holes.

lines

Draw
you
will

%"

(6

mm)

apart

if

use a pen with a 1.5-mm nib,

or

(1.3

cm) apart

for a

2-mm

nib.

Rule lines downward to the

If

bottom pinholes.

the last line

doesn't intersect the pinholes,

go back and adjust the

lines.

Continue ruling lines on the

top and bottom, ending at the
flap folds.

QUICK REFERENCE
Gently score. A bone folder

dragged against the side of

creates a small dent
in

a ruler

the paper,

which makes

it

easier to fold.

46

Calligraphy 101

Unfold the flaps and position the paper faceup

on

your drawing board. Create your

pattern.

You might

start

with a

simple repeating line of strokes

and repeat the

each new
1.3

line every time,

slightly offsetting the start of

line

W W mm
to (6
fill

to

cm), then going back to

in the beginning of the line with

whatever was cut

off at the end.

This gives a repeat effect

much
by

like printed fabric. Or, start

creating a border of strokes

around the area and work out

that.
less.

to

be cut out
around

a pattern

The
Try

possibilities are endto arrange

it

so that

the spacing between the strokes

is

even and your writing goes

right to the

edge where the

flaps

fold.

And remember, you

to

don't

have

draw anything

in the

area that will be cut out.

When
ly dry,

the ink

is

thorough-

use a kneadable
all

eraser to erase

pencil lines

but the four lines connecting

the pinholes. Place the paper

faceup on a cutting mat, making

sure

none of the

flaps are

tucked
craft

under the paper, and use a

knife and a steel-edged ruler to

cut out the 4"

6" (10.2 * 15. 2

cm) opening. Use a pinhole

starting point,

as a

making sure your

beyond the

cut does not extend

next pinhole.

(continued)

Making Marks

47

Passe-Partout Picture Frame

7
on

Cut a

5"

7" (12.7

17-8

cm)

piece of black card stock

(or other dark-colored card

stock

if

you

prefer).

Turn your

photo frame paper facedown

a piece of

wax paper and

cm) band
of glue
cut-

apply a

V2" (1.3

around the margins of the

out area. Use a minimal
of glue

amount

and do not

let

the glue

go past the cutout edge. Lay

the black paper facedown over the glued area, cover with
paper,

wax

and press under

heavy

book

until the glue is diy (about

thirty minutes.)

8
that

To trim

(3

mm)

border in the black paper

now

fills

the frame window,

position a clear ruler so that

the
first Vs" (3
is

mm) vertical

line

of the ruler

aligned exactly

over the cut line of the frame

paper.

Use a

fine-point pencil to

very lightly rule a line on each

side of the window. Place the

paper on a cutting mat and use

a steel-edged ruler and a craft
knife to trim the
Vb" (3

mm)
and

border, taking care to begin

end your cuts

Vs" (3

mm)

away

from the corners. Use a kneadable eraser to gently erase any

pencil marks, taking care not to
tear the thin border (use a
folder to

bone

smooth out any dents

or ripples).

48

Calligraphy 101

Turn the piece facedown, cut a piece

paper
slightly smaller than 6"
*

of

wax
*

8" (15.2

20.3

cm), and place inside the frame. Fold in the two

large flaps, applying glue to the area where they

overlap (the

wax paper prevents any glue from

accidentally sticking to the inside of the frame).

1
I

f\

When the glue

has dried, remove the wax

flaps.

Km/ paper and

a piece of

tuck in one of the shorter

Cut

100% cotton or other archival paper

*

just smaller than 6"

8" (15.2 * 20.3

(if

cm). Place this

sheet inside the frame

so that
it

needed, trim the sheet

fits

easily inside)

and use a pencil to

lightly trace
of the

around the inside of the black border

window.

*1 *1
I
I

Remove

the inside sheet and use these

pencil lines as guides for where you

want

to place

your photo anything falling outside the

pencil lines will be cropped out.

You want the

edges of your photo to extend

pencil lines.

Ye" (3

mm)

over the

"1
I

^\ ^

Position your photo so that

it

covers the

rectangle lines you drew, apply a thin layer

of glue to the

back

of the photo, cover

it

with a

sheet of waxed paper, and press until dry (about

30 minutes). Insert the mounted photo into the

frame and tuck in the upper
flap

by very gently

squeezing the two long sides of the frame to create

an opening. (Flaps are tucked rather than glued so you can

Va" (3

easily

change photos.)

If

desired,

punch a
flap

mm)

diameter hole through the top

for

and

loop ribbon or cord through the hole

the picture.

hanging

Making Marks

49

Foundational

Hand
Foundational
calligraphy

Hand

is

the traditional writing style

style,

people think
It

and the of when they

most

think of calligraphy.

was developed in the early twentieth century by Edward Johnston, a British designer

and calligrapher who created

the simplified

letterforms inspired by the calligraphy in

English manuscripts of the Middle Ages.

Foundational
is

Hand

is

a simple style that

to read,

easy both

to write

and

and

is

great place to begin learning the basics of

calligraphy.

51

The Foundational Hand Alphabets

A ft C
2
i
1 1 1

i i
i

0P
1

Tii
1
1

*'3 ,6
:$

Uppercase Foundational Hand

52

Calligraphy 101

",C
*//
1 1 1

l-nfa

c .p 4
'

5
i

V.W/
3

s
i

^
4

'//

>A?
1 1

a- ,e
3

4
12

*r &
Lowercase Foundational Hand

o # *%@
Foundational Hand

53

Skill Builders
Exercise
The purpose
by the pen when
1:

TRACING THE ALPHABET

become
familiar with stroke order, stroke direction,

of this exercise is to
it is

and the shapes made

held at a constant 30 angle.

WHAT YOU'LL NEED

IFor this

and

all

other trac-

ing exercises in this book,

Holding your nib

at a

30 angle, begin tracing

tracing paper

photocopy the alphabet pages

the letters of the alphabet,

2-mm

calligraphy

and tape them Use removable

to

your tabletop

following the stroke order and

stroke direction for each letter

fountain pen or marker

artist's

or drawing board before tracing.

artist's

tape

tape to

shown

in blue.

Concentrate on

photocopies of alphabet pages

secure the alphabet page to your

writing surface, then tape your sheet of tracing paper over the

maintaining a constant 30 pen

angle and following the strokes
with a smooth, Notice
fluid

motion.

alphabet page so that every-

how

it is

the direction of

thing stays in place.

the stroke combined with the

unchanging angle

of the

pen

that creates the interplay of

thick

and thin

lines.

Keep your

writing hand poised lightly on the paper, and follow the strokes

by moving your arm from the

AB CDl

wrist or elbow, not

by moving

your fingers or flicking the pen.

QUICK REFERENCE
Tracing paper
is

your friend.

Tracing over examples of cal-

ligraphy you admire

is

one of the

best ways to get a feel for piece

how

the

was done and

for learning

how

to

execute the strokes with

this,

confidence. To do

determine
to

what

size nib

was used

make

them by measuring
of a stroke

the widest part

a nib that
is

and selecting

matches that width. Tracing

great

way

to get the feel for

how

particular strokes

and curves are

made.

54

Calligraphy 101

C
i

3
will

For the diagonal strokes indicated by the

dashed arrows on the

letters

M, N,

V,

and W,

angle the nib slightly upward to about 45 . This

ABCDEf
r.P
4

makes

the diagonal stroke a

little

thinner. Tracing

llJKLMr

help you feel the difference between the 45

and 30 angles.

4
how
sheet.

Don't worry about making perfect tracings.

n)VJ>1

o> LS^

WXYX?
3 4-5 6-7

The point

of this exercise

is

to relax

and

let

your pen follow the path of each stroke and learn

it

feels (literally!) to

make

the letters using the

finished,

^ 'So
It

-7? 6

proper pen angle.

When you have

it

remove

your tracing and compare

to the

photocopied

Look

for areas

where your tracings don't

will

match up with the original these

pay extra attention
to

be areas

to

when

practicing.

Foundational Hand: Key Points

Foundational Hand letters should stand upright and not

straight on the writing surface do not cant
it

slant.

helps to keep your paper lined up

for writing in cursive.
left.
If

to

one side as you might

you are

left-handed, however, you

may

find

it

helpful to

tilt

the paper slightly to the

it

broad-tip nib

is

generally used for Foundational Hand, as

creates the characteristic thick and thin

strokes of this alphabet.

A 2-mm
is

nib

is

good

size to begin with.

Hold the pen so that the nib

angled at 30 and remains at that angle throughout the length of each

stroke. Maintaining a consistent

pen angle

is

what creates the

particular thick

and

thin qualities of line,

and

is

one of the key

letter in

essentials for success with calligraphy.

Each

the Foundational Hand alphabet

the pen from the surface of the paper after

every stroke
tion
is

made up of two or more separate strokes, and you lift each stroke. On the alphabet charts on pages 52 and 53,
is

written

in its

own proper

direc-

and

order. Following the correct stroke

is

order and direction

essential for creating

good

calligraphy.

Always check your pen angle before beginning

each stroke.

T P
I

When
it's

letters

come out looking

wrong, often
slightly.

because the pen angle shifted

Constantly checking your pen angle can slow you

down

at first but

soon

it

will

become second

nature,

and
30 pen angle

you'll notice the strokes of your letters joining

up perfectly

as you maintain a constant pen angle.

Foundational Hand

55

Exercise

2:

PRACTICING LETTER GROUPS

z, this

Instead of practicing writing the alphabet straight through from a to

practicing groups of letters that share
a ruler

exercise introduces the idea of

and pencil

to lightly rule lines

and proportions. If you wish, you can use across your page about %" (1.9 cm) apart. Aim to fill each page with
strokes, shapes,

common

repetitions of each particular letter group, concentrating

on establishing a steady rhythm and repeating

the strokes the

same way each

time.

WHAT YOU'LL NEED

1st

stroke

2-mm

calligraphy
2nd stroke

fountain pen or marker

Arched Letter Group

3rd stroke

writing paper

ahlmnruy
Round
Letter

Group
Notice

how

the arches join fairly high

up on the

oabcdegpq
Most
of the letters in the Foundational
o.

stems of the

letters.

of the arch, pull the

As you come over the round pen in straight, downward

motion, ending with a very slight upward angle

to create the
serif.

Align your paper squarely

it);

in

Hand

front of

you (don't angle

this helps

keep

vertical

alphabet echo the curves of the letter

strokes from leaning.

The

letters in the

round group

all

rely

on the crescent moon

but slightly below.

The

hrst

and second

strokes of the lowercase a

letter

sit slightly

below

stroke practiced

on page 32. Notice that the crescent moon

letter,

the baseline to keep the

from appearing cramped.

stroke doesn't begin at the top of a

The crescent moon

letters.

stroke

is

used

in

most of the round group

Keep

the arches the

same distance

apart.

56

Calligraphy 101

Diagonal Letter Group

Miscellaneous Letter Group

kywxyx
Sometimes with diagonal
example,
strokes, the 30
is

fgiist
Keep the pen
traditional to
i

at a

30 angle

for these letters. It

pen angle makes the strokes look too wide. For

for the letters v, w,

use an angled dash over the lowerdot.

and

x,

angle the pen

case

and; rather than a

more toward 45

to get a thinner line.

The lowercase

s is written slightly larger so

it

doesn't appear

A 45 pen angle
too widely.

keeps the diagonal lines from splaying out

cramped.

ah Lmnruij ahmnruy

ahlmnr Uy ahmnruy kv w xyzkv w xykvwx

yzkvwxyzkvwxy
For practicing
letter groups,

graph paper

is

an inexpensive option, and useful

for

helping you learn

to

keep your lines straight and

letters

uniformly sized.

QUICK REFERENCE
Round group. Foundational Hand
arches, with the lowercase
is

often called "Round Hand," because almost

circle.

all

the letters in this alphabet contain circles or

being a nearly perfect

The width of the lowercase

or less the

provides a guideline for the proportions

as the lowercase o, with the exception of

of other letters of the alphabet as well, which should be

more

same width

and w, which should be about 50% wider.

Foundational Hand

57

58

Calligraphy 101

Two-Tone Place Cards

Use contrasting colors of paper and black ink
card. You
to

jazz up a simple

can use folded place cards available at paper shops,

stock.

name or make

your own from your choice of card

Two-tone card stock was used for

these place cards, providing lots of options for intermixing colors.

WHAT YOU'LL LEARN

Let's

Begin
for finding

How
How

to determine grain
in

Study the directions on page 63

grain direction and

of the place

direction

card stock

marking out card

stock.

Determine the grain direction

* 5" (8.9 * 12.7

to score card stock to write

card paper.

Mark

out and cut 3%"

cm) rectangles, with Use

a ruler to lightly

How
How

names

the shorter sides parallel to the grain direction.

pencil in the fold to layer paper

of

line,

bisecting the card. Place the card on a stack

paper and score the fold line with a scoring wheel held against a
(continued)

panels
steel-edge ruler.

How

to attach brads

WHAT YOU'LL NEED

three contrasting colors

of card stock
pencil

T-square, ruler

scoring wheel
craft knife craft glue

2- or

3-mm

calligraphy

fountain pen
calligraphy ink
small hole

punch or

bookbinder's awl
three contrasting colors
of paper brads (four

brads per card)

Foundational Hand

59

Two-Tone Place Cards

2
(8-3
*

Cut contrasting color

panels 3%" wide
5-7
*

2 1A"

high

cm). Write the place

card
in

names on the small panels

Foundational Hand.

3
the

Lay the finished panels

facedown on a large sheet

of clean scrap paper.

to the

Apply glue
at a
it

back of one panel

time, taking care to cover

all
is

way

to the

edges

(a

brush

helpful for this).

4
to

Center a glued panel on

the lower front panel of

an unfolded scored card in a

contrasting color. Cover with a sheet of paper, smooth gently

make

sure the panel sticks

a

firmly,

and then press under

heavy book
minutes).

until dry (about 30

You can stack your

you interleave

entire batch of unfolded glued

cards this way

if

paper between each card and

stack

them

neatly.

QUICK REFERENCE
Interleave paper.
is

Wax paper

very useful for interleaving

between glued sheets and can be

pulled

away

cleanly

if

any stray
it.

bits of glue

happen

to stick to

60

Calligraphy 101

5
in

When the

cards are dry,

use a pencil to make a dot

n

each corner of the small panel

Vq" to
l

about

(3 to

mm)

in

from the corner, depending on

the size of the brads you will
use.

Use a small hand-held hole

punch or bookbinder's awl to punch holes in each corner.

6
bone

Fold the card, lay

it

face-

down on
folder.

a clean surface, fold with a

and smooth over the

Position one contrasting

color brad through the

hole in each corner. Bend back

the prongs of the brads diagonally toward the corners of the

card so that they don't

show

from the

front.
(continued)

Foundational Hand

61

Variations
Choose two
for

or three bright colors of two-tone card stock so

will appreciate

you can mix and match cards and name plates

skills

your next party. Your guests

your calligraphy

and treasure

their place cards as a

party

memento.

62

Calligraphy 101

How

to Find Grain Direction

Card stock bends easily parallel to the grain direction of the

paper (indicated by arrow).

You

will feel

more

resistance

when

trying to bend the paper

against the grain.

IHold two parallel

lightly

edges of a sheet of card stock

fingertips

between your

and gently push

the edges of the paper

up

into a slight

U shape. If
you are

the paper bends easily, that

means

the grain direc-

tion follows the direction of the two sides

holding.

2
line
for

Use a T-square and pencil

of the folded card

to rule out the size fold

you want, aligning the

with the grain direction. Mark a dashed line

the fold line exactly in the middle of the card.

3
to
it.

Place card stock on a stack of several sheets

of paper, or any a surface that has a bit of give

Align a ruler against the edge of your fold

a scoring

line.

With

wheel or a narrow-edge bone

folder,

press a groove into the paper, following the ruler

edge as a guide. Be sure

Repeat as

to

hold the ruler firmly.

many times

as necessary,

depending on

the hardness

and thickness

of the stock.

Gently bend the paper along the fold and

smooth over the

fold

with a bone folder.

Foundational Hand

63

Floating-Layer Thank-You Notes

These thank-you notes use decorated paper and layers of paper
to

build

up a simple "thank you" into something special You

of papers

will find

a myriad

and embellishments

to

choose from at specialty paper and art

supply stores.

WHAT YOU'LL LEARN

Let's

Begin
of the card

How

make paper panels seem to float

to

Measure the width and height

when

folded.

On

the

reverse side of the decorative paper, rule out the width and height,
(6

above the surface

and add lA"

mm)

to

both sides and the bottom edge. Then cut

* 1

out.

How How
when

to glue paper layers

(continued)

without making a mess

"

to prevent rippling

'1

gluing paper layers

"1

-,_"-!

WHAT YOU'LL NEED

:*

pre-scored folded card

and envelope
'

one sheet of decorative paper one small sheet of card

stock for text panel

'

one small sheet of

contrasting color card

stock for backing panel

Hin*yyyuif;
^'J'-.i
i i
|

-_i

f_

|*J*'MI f

HJii,
1

IIV -.

~T^
1

Tn-rj

f '* *-

embellishments of your
choice

r L

FZu
:

,!

,, r

*""*
.

~t

M rpHl
J

,*

1*

self-adhesive

foam dots

scrap paper
steel-edge ruler
craft knife

bone folder
glue stick
2- or

3-mm

calligraphy

fountain pen

calligraphy ink

Foundational Hand

65

Floating-Layer Thank-You Notes

2
card.

On your work

surface, lay

two sheets of clean scrap

paper larger than the unfolded

Lay the card, unfolded and

faceup,

on one

of the sheets.

Apply glue

stick thoroughly

to the lower panel (card front),

taking care that glue

right

is

applied

'V,

up

to the score line

and

covers
to the

all

edges.

Move

the card

second sheet of scrap

/<-

M
_

paper and place the decorative paper onto the glued area,
taking care to line the top of
the paper right

up to

(but not

over) the score line.

Cover with

a sheet of clean paper and rub

with a bone folder to ensure

that the

paper

is

thoroughly

glued down. Cover with a sheet

of paper, place surface,

on a
it

clean, flat

weight

down with

heavy book or two

until dried

completely (about an hour).

If

you already know what you want the

text

size

panel to be, cut out a few pieces

of this size from the cover stock

you have chosen. Make

several

versions of text so you will have

options to choose from. Another

approach

is to

write your text

a larger sheet

several times

on

of paper, leaving plenty of space in between, and decide the size of your panel based of the text

on the

size

you have

written. If
I

If

you are making multiple cards, interleave each card with

you do

it

this way,

use a clear

T P

a sheet of paper and stack the cards neatly under several

until dry.

grid ruler and pencil to lightly

rule the lines for the

.' books

edges of

the panel.

66

Calligraphy 101

Use a

craft knife

and steel-edge ruler

to cut

out the text panel, and then glue to the back-

ing stock you have chosen. Press for 15 minutes or

JW<*

until

completely dried. For a thin border as shown,

to trim Ve" in varia-

use a craft knife and a steel-edge ruler

(3

mm)

from the

text panel. Or, as

shown

tions below,

you might use a

is

scissors to cut out a

backing panel shape that

freeform.

Remove

the

paper backing from one side of each self-adhesive

foam dot and

affix to the

back

of the text panel

Remove

the paper backing from the other

side of the

foam dots and

affix to the front

panel of your card.

Variations

The shapes and

and ideas

colors you see in various

decorative papers can provide inspiration

for the

shapes and colors of your

floating panels.

Foundational Hand

67

Tiny Artist's Book

Tell

little

story or joke, write a poem or a song

but keep

it

brief!

This small book has only four panels. Here's your chance to be as fun

and funky as you

like that's

what an

artist's

book

is all

about

WHAT YOU'LL LEARN

Let's

Begin
it

How
How
book

to plan spacing on

IOn a sheet of text paper, write out your text quickly and casually,
breaking
trations
if

book pages

up roughly
feel like
it.

into four similar-sized panels. Include illusfit

to bind a paper

you

Rather than trying to

see

your writing into a

predetermined page
up.

size, just
if

how your

four blocks of text shape

Do

this a

few times

necessary, trying out different letter sizes,

styles.

WHAT YOU'LL NEED

page breaks, and writing

one sheet decorated

cover stock

2
of
all

Decide the

size of the folded page.

live area (area
*

Based on the way

this story

shaped up, the

to

covered by writing) was deter*

several sheets of 110 lb

mined

be 2 3/s" wide
*

3"

high
*

(6

7-6

cm), with a trimmed page size

gsm; medium thick) text-weight paper

(165.5

3%" wide

3%" high

(7.9

8.9

cm).

An extra

(6

mm)

is

added
(Note
that
it

to

sides but the folded side, and will be

of text
is

trimmed away
left of

later.

black calligraphy ink

12" (30.5

how block
of
will

placed slightly to the

is

the

page so

cm) length

appear centered when the book

trimmed.)
(step 2

thin ribbon or cord for

shown on next page)

binding

2-mm
penci

calligraphy

fountain pen

grid ruler

steei-edge ruler

bone folder
craft knife

bookbinder's awl (or corsage pin)

two

large paperclips

cutting

mat

"

See Resources to find handheld scoring wheels and

TIP
...
.-*

table-top scoring machines.

Foundational Hand

69

Tiny Artist's

Book

3
half,

Cut two pieces of text-weight paper and one piece of cover stock 6%" wide * 4" high (17.2 *

10.2 cm).

When

cutting cover stock,

be sure

to cut
live

so the fold runs the

same

direction as the grain

cat'*

area of the
X 3" (7.9 x

page 2%"

of the paper (page 63). Fold the two text pieces in

namf /H*
.

8.9

cm)

using a bone folder to get a crisp edge. Nestle

the two folded pages one inside the other, and

use a pencil to lightly number the odd-numbered

fremiti

lib

mAi*

pages

in the

lower right corners. Use scrap card

stock to cut a rectangle the size of your live area

(in this case,

2%" wide

3"

high

[6 * 7-6

cm]) and

use as a template

to lightly outline in pencil

where
fold line
V*"

\
(6

the live area will be on each of the

odd-numbered

trim size

pages.

Remember

mm) added
ming
later

on

to position the live area closer

three sides for trim-

Z%" x 354(7-9 x 8.9 cm)

to the fold than to the right side, since

will

(6

mm)
in

be trimmed from the

right side of the

page

the end.

4
is

Lightly pencil in your text based

on your

rough layouts. Or

try

it

without pencil

guidelines and see what happens.

Make

sure your

hands are
clean.

free of ink spots

and your work surface

Have

a scrap of the

same paper you

are

using for the pages handy to try the pen before

you begin

a line.

Use

a small piece of

vellum posi-

tioned under your writing hand so that your skin

does not come into contact with the paper. Once

you've finished a panel, allow plenty of time for
the ink to dry before working on the panel on the

opposite side of the page.

QUICK REFERENCE
Cover stock. This project uses some of the "pattern-play"
paper created on pages 35 to
scraps and test papers.
37.
It

pays to hold onto your

Clean. Oils from your fingers can be easily transferred to

the calligraphy paper, making areas where the ink refuses
to stick.

Always wash your hands well and avoid hand

It's

lotions before writing.

also a

good idea

to clean

and

dry the barrel of your pen to remove the chance of ink

getting onto your fingers and then onto the paper.

70

Calligraphy 101

On the inside of the

exactly

cover, pencil a line

down

the middle where you want the

fold to be. Place

facedown on a clean surface that

has some give, such as a cutting pad or several

sheets of blotter paper. Position a steel-edge ruler
just next to the pencil line (not directly

on top

of

it)

and draw the

of the ruler

tip of

the bone folder along the edge

line. It is

and over the pencil

important

to hold the ruler firmly

and press

fairly

hard with

the bone folder.

You may need

to repeat this a

few

times to obtain a deep score, especially on very

heavy stocks. Fold the cover, then smooth over the

fold

with the bone folder.

After your pages have thoroughly dried, use a

6
yk yw, * Wowtill

kneaded rubber eraser

lettering.
is

to

remove any pencil

marks from your

For removing pencil

marks from where there

no

ink,

use a white rub-

ber eraser, which actually removes microscopic

bits of the

paper surface, and

will erase calligraphy

ink too, so handle with care!

Smooth over the

folds

W"

with the bone folder for crispness. Position your

pages

(in

the correct order) inside your cover,

using paper clips to ensure that the folds of the

paper are positioned tightly against the cover

fold.

Use a bookbinder's awl or corsage pin

holes through the folded layers about

to

poke

V2" (1.3

cm) cm)

from the top and bottom edges. Cut a

12" (30.5

length of your chosen binding material and thread

through the holes so that both ends come out on

the outside of the book.

7
and

Tie cord and trim off excess. Position book on

a cutting

mat and use

a straight-edge ruler

craft knife to trim

(6

mm)

from

top, bot-

tom, and right sides. Be sure to hold the ruler very

firmly while doing this, cutting slowly

and

cleanly.

Don't rush or push hard; you will need to

several light, even cuts to get through
of paper.
all

make
the layers

Foundational Hand

71

ibyUVJOfl^

v\\*^

fUVt^
xV^* betw
erf* sup

^or

t*9 betoA
6^>

-w,

^"^ a* 4 i*

%po9

Proportion 9
Color,
In addition to

and
letters,

Ornament
making well-formed
the art of calligraphy also involves skillfully

proportioning those letters

in relation to

one

another and arranging lines and blocks of text

to

form a balanced, attractive composition.

Building on the basics of Foundational

Hand
show

shown on pages 52-58,

this section will

you

and techniques that will help you fine-tune the size and spacing of your letters. We will also explore fun ways of using color and ornament to liven up your text and add accent and interest to your work.
the skills

73

Ruled Lines and Ladders

In calligraphy, a simple system of measurement based on the width

of the nib you are using

with a pencil

and ruled

lines (straight lines lightly

is

drawn

and

ruler,

which are later erased)

used

to establish

the appropriate letter size. To set up ruled lines that are correctly

proportioned

to the size nib

you are

using,

make what

is

called a "ladder."

How
1
left

to

Make
size nib

Ladder
(in this

Choose the

you want

example, a

2-mm
90

nib

is
1

used). Start by ruling a single pencil line across a page. At the far
of the line, use a set square or grid ruler to rule a
1" (2.5

vertical line

YVUUS
v.'/.'.'/.y.

about

cm) high, creating

a corner.

2
the the

Turn the paper go

clockwise,

and with your pen nib lined up

straight against the vertical line,

make

a square

mark

that sits

exactly in the corner of the two pencil lines.

Make
full

sure not to angle

iti

s *

pen nibyou want

to position the nib straight against the vertical

pencil line so that your

mark

is

exactly one
over,

nib width. Next,

move
that

it

pen one nib width down and

and draw another square

just touches the corner of the

first

square. For the third square,

move

the pen up and back, again

of the last square.

making a square

that touches the corner

The

final

height of the ladder will depend on the style of alpha-

bet you are writing. For Foundational Hand,

make

11 alternating

squares,

making sure the corners

of the squares touch, without

any

gaps or overlaps. Return paper

to original position.

4
line,

Use the ladder and horizontal pencil

line to rule lines as

shown,

making sure your

ruler lines are positioned precisely

on the

top of the squares: one line 3 nib widths from the bottom

one

line 5 nib widths

line,

up
line

from the second

one

2 nib widths up from the third

line,

and one

line

nib width
line.

up from the fourth

grid ruler will help
lines straight.

A clear

you keep the

74

Calligraphy 101

ascender

line (a)

8 ophia
Using the
11 nib-width ladder

capital line (c)

x-height line (x) baseline (b)

descender

line (d)

and ruled

lines,

you have

set

up the guidelines

for

properly propor-

tioned Foundational

Hand letters.

Some

points to take note of as

of

you

practice:

The body

each lowercase
is

letter

should rest between the baseline

QUICK REFERENCE
Turn the paper 90 clockwise.
In this position

and x-line this width

referred to as the "x-height" or

"body

height" of an alphabet.

you

will

be pulling
verti-

The Foundational Hand alphabet

nib widths.

is

generally written with an

your pen nib straight

cally, rather

down

x-height of 5 or 4 nib widths, with ascenders and descenders of 3

than sideways. You can

will

see your work better and you

sit

Capital letters

on the base

line

and reach

to the capital line

have much better control of your

strokes.

nib width short of the ascender

letters

line.

Take care when writing

capital

not to

make them

too large.

Ladders for Various Alphabets

Calligraphy alphabets have
traditionally
in its

proper proportion. For

This graphic shows at a glance

been written

example, the graphic information for Foundational

what the proportion

x-height, ascenders,

of capitals,

using established nib width

to x-height proportions.

Hand

and descend-

The
size of

looks like

this:

ers of the alphabet should be.

relationship
of the nib

between the width

To write the alphabet

size,

in a larger

used and the

simply build a ladder the

of nib widths

the

letters,

along with the pen

is

same number

angle used,
alphabet
its

what gives each

using a larger nib, then rule out

the guidelines accordingly.
result will

distinctive look.

The
but

Often a graphic symbol of nib width and pen angle

visually
is

be larger

letters,

used to

with the same proportions.

convey the information

for writing

As each new alphabet

is

needed

an alphabet

introduced, refer to the graphic

symbol that appears with examples of the letters and indicates

Sophia

the nib width to x-height ratio

and pen angle used. With

this

information you will be able to

re-create the proportions of that

alphabet using any nib

size.

Proportion, Color, and

Ornament

75

Ruling Lines for Practice

and Projects
The best way
is to

to

develop your

skills for letter proportions

and spacing

practice writing

full lines

of text on paper that has been ruled

and style of alphabet you want to write. Calligraphy practice pads are readily available and can be helpful for this, but one big drawback is that the ruled lines may not correspond to the nib size and alphabet you want to practice. A quick and easy way to rule out pages according to your specific needs is to make a ruling gauge,
specifically for the size

How
1
want

to

Make

a Ruling
will

Gauge
a rul-

Decide on the nib size and alphabet style you

to use. In this

example we

make

ing gauge for a 2.5-mm nib writing in Foundational

Hand with an

x-height of 5 nib widths. Cut a piece

(7.6

of sturdy card stock measuring about 3"

cm)

square and use a T-square and a fine-tip pen to

rule a vertical line

%"

(1.9
all

cm) in from the

left

side

of the paper, running

the

way from

the top to

bottom. Next rule a horizontal line that intersects

at a right angle with the vertical line

and runs

all

the

way from

the

left

side to the right side.

2
3 nib

Starting in the very corner where the two

lines meet, use a
11

2.5-mm nib

to create a lad-

der of square marks

fine-tip

nib widths high. Use the

pen

to rule the rest of the guidelines: 3 nib

widths

for descenders, 5 nib for ascenders,

widths

for x-height,

widths

and

7 nib

widths from
lines

the baseline for capital height.

These

need
lad-

only extend about

(1.3

cm) or so from the

der squares. Rule pencil lines for trimming Me"

(1.6

2
7/<;

mm)

from the ascender and descender

lines

and about

(1.3

cm) from the ladder and ends

of

the ruled lines.

light-colored pencil can be used

to color in the top-

and bottommost margins, and

fill

'?-

another light color can be used to

in the area

between the baseline and

x-line.

76

Calligraphy 101

3
3

Use

a steel-edge ruler

and

a craft knife to size of

trim. For reference

you can write the

left

the nib used to

make

the ladder in the

a ruling

margin.

You have now created

for ruling lines for

gauge designed

Foundational

Hand with an

x-height of 5 nib widths to be written with a

2.5-mm

nib.

With

this

gauge, the spaces between

Ye" (3

the lines of text will be

of the ^e" (1.6

mm);

that

is,

the

sum

mm)

space

at the

top and bottom of

the gauge.

How

to Use Your Ruling

Gauge
1
go.

Position the right edge of the gauge flush

against the left-hand edge of the paper. Use a

fine-tip pencil to

mark where your ruled

lines will lines

Use dots

to

mark the outermost spacing

and descender

and

capital line,
line,

and dashes to mark the baseline,

line,

x-height

ascender

line.

Match

the top

edge

of the

gauge

to the bot-

tom dot and continue making marks down

the page.

Align a T-square

to the

dash marks you made

fine-tip pencil to

with the gauge and use a

rule the lines. For the dots that

mark the spacing

not necessaiy to

between

lines,

draw a small

x. It is

rule the capital line, just use the dot you've

marked

as a visual reference.

Make

a ruling

gauge

for

each of your frequently

"TIP
ruling

USG d nib sizes and alphabets. Especially when

you are trying out a new nib size or alphabet, a

gauge

will

help you get started writing letters that are

properly proportioned.

'JI'I'iM'l'I'ltlM'MI'I'I'i'lJI-IM'I'I'I'I'lJiM'l'I'lM'I'til'I'I'I'I'I'I'mM'l'Vj

."Imiliiilnii icilii"

"Tuil

ii.Im

ii'

lin

iillllil

ml

mil

.iji'i'

.nl"j^r|tlllH<llllllfmlliillllM

Proportion, Color, and

Ornament

77

Skill Builders PRACTICING BLOCKS OF TEXT

Practicing lines and blocks of text on ruled paper
ters.
is

the best
size,

way

to learn to

make well-proportioned
of text, a

let-

You can use paper you have ruled

is

for

a specific nib

or you

may

find

graph paper or notebook

paper that
or

ruled in increments that suit your purposes.

find interesting,

Choose a paragraph

poem, song

lyrics,

any

text
in

you

and write

it

out on a sheet of ruled or graph paper in Foundational Hand,

keeping

mind the

following:

Letter spacing: spacing

between
tight.

letters

should
letters

be compact, but not too

like

Rounded
and

Quitotiens socios*
totiens exterruit hostes, Creditur annosum pertimuisse senem.

lowercase e and o need closer spacing,

verticals like lowercase
little
i

whereas

benefit

from having a
they don't get with an eye

extra space around

them

so

lost.

Learn to scan your

the shapes
text.
fit

letters

for

how

together rather

than the meaning of the

Letter widths: allow yourself to write letters at

their natural widths, especially

m and w, and
Hand
let-

avoid the inclination to compress letters to get

them

to

fit

into a space. Foundational

tn'

ters tend

toward being wide and round, so when

in doubt, err

on the side of making

letters too

W widest
and
of room
.

are the letters

wide rather than too narrow.

Interlinear spacing: allow

enough spacing
and

allow them a lot

between

lines so that the ascenders

descenders do not
the other hand,

bump into each other. On too much spacing between lines

lost.

can make lines look

Get into the habit of

it,

scanning your text without reading keeping an eye out

for

instead

uncomfortable gaps and

letters.

Quo \nc (ixit Amor;

quo me violent!u$
uteit,

spaces between lines and

Hoc melior

tacti vutnerfc ulta

QUICK REFERENCE
Graph paper. Graph paper ruled with 10 squares
inch (2.5
to the

erot Non e$o, Phoebe,

cm)

is

very handy for practicing letters with a

is

2.5-mm

nib because each square of the grid

approxi-

mately 2.5

mm

wide.

data* ate tmhi mentiar artes,Mec nos> ariae voce

. .

78

Calligraphy 101

Color
Color can be used
work, or in larger
in

small amounts
to

to

add accent and

for pen, brush,

interest to

your

amounts

make a bold
all

creative statement. Ink,

gouache, and watercolor can

be used

and background

work, with ink being the easiest starting point for beginners.

nk
With the primary
blue,

colors of red,
ink,

slightly brighter red.

The reason

and yellow calligraphy

for this is that calligraphy inks,

you can mix almost any color you need. White and black ink
can also be used
to lighten or

being water-based, are more

transparent than paints, so the

stronger pigment in a mix will

darken ink colors as needed.

It is

dominate, sometimes
extreme.
ink, start

to the

a good idea to purchase

When you

are

mixing

the

same brands

of these basic

with the lighter color

colors, since ink

formulas vary

(like

yellow or white) and then

(like

between brands and do not

always mix well.
If

add the stronger color

to

you plan

black, red, or blue) in very small

work a
it is

lot in

purple and green,

amounts

until

you have your

also helpful to purchase

desired color.

those colors as premixed inks.

Look

for ink that is specifically

labeled as "calligraphy ink."

There are
the

many colored inks on market, many of which are

to

formulated for fountain pens

and tend

be too watery and

transparent for calligraphy.

The

color wheel provides a

visual guide to mixing colors:

mixing red and yellow ink

will

make
low

orange, blue and yel-

will

make
will

green, and red

and blue

make
is

purple.

Be

aware, however, that mixing

calligraphy ink
as

not the

same

mixing paint for example,

equal amounts of red and yel-

low calligraphy ink will not add

up

to orange, but rather just a

Proportion. Color, and

Ornament

79

ft

^sS^g

..%,

You can also add a very small amount of a mixed color to opaque white ink, creating a lighter tint, or small amount of
black to create a darker shade. Use black ink sparingly; some-

times only a tiny amount on the mixing brush (less than a drop)
is

needed.

Tube watercolors can be mixed

parent and thus don't
letters.

to

an

inklike consistency

and

used with a dipping pen, although

many colors tend to be transshow up well when used for writing smaller
is

fun

way

to use tube watercolors

for filling in letters,

yellow

shapes, or borders, and for building up layers of transparent

color. Watercolors

can also be used

to create a

background wash,

>*

although some inks applied over watercolor washes

may bleed

azure
+ white
Test out your color with a clean, dry nib on a sheet of paper
rather than trying to

judge the color by the way

it

looks in
*
'

liquid form. Transparent colors like yellow or light blue look

much

lighter

on paper than they do

to

as ink.

You can add a small

|
|

When working
pen, which can

with acrylic ink or gouache, use

amount

of

opaque white

reduce transparency.

P
"

only a dipping pen, never a calligraphy fountain

"*...

become clogged when

filled

with

anything other than non-waterproof ink. Clean nibs well after

using gouache or acrylic ink, using a stiff-bristle brush to

remove any dried clumps of pigment.

80

Calligraphy 101

Acrylic inks are available in a wide range of colors that are

acrylic ink is useful for layering

opaque and generally nonbleeding on any

nib you may need
to

surface.

Because

it

is

waterproof,

one color on top another without the danger of the two colors combining. Pearlescent
a little too thick for use with a

acrylic inks are

nice for borders

and backgrounds, but can be

add a

little

water. Acrylic inks dry

very quickly, so

make

sure to rinse and wipe your nib often

when using them.

Gouache on DARK.

v
N
Calligraphy gouache can be mixed with water to an inklike consistency

Gouache

dries to a

flat finish

and usually somewhat darker than

interesting effects

the mixed color. pale tints to use

You can get very

by mixing

and used with a

nib, giving a

flat,

opaque

color.

Load up

on darker

papers.

the nib with a brush dipped in

gouache and

test the consistency,

adding more water

if

needed, drop by drop, until the gouache

flows smoothly from the nib.

Proportion, Color, and

Ornament

81

Ways
many

to Use Color
on a
single page,

Color can be used sparingly or generously, depending on the look you want to create. Avoid using too
colors

which can

distract the eye

and make the piece look busy. Contrasting

colors colors positioned directly across from one another on the color wheel, such as red and green used
together will draw attention and give a bold, energetic look to a piece; whereas analogous colors colors
that sit next to

each other on the color wheel, such as blue and purple used together
effects.

will create

more

harmonious, subdued

Examples

Calligraphy gouache can be used to lay

down opaque color

that will

show up on

a dark background.

^ P 'AMORS qui m'a

tola a moi^v \| Vt soi ne me viaut retmir%> mc plaint)

Ornaments done
in a different color

can liven up blocks of

text.

tAKCEK
When
82
Calligraphy 101

A1C1 4^

inking a dipping pen, alternating between two colors, such as yellow and green, gives you graduated shades of both.

HERE: OMCtZ

WAS
be

a shoemaker, who, thtmigH

no fault
of his

own,

came 50poor that at last

he ha< nothing left butjust

cnouah icdiherio make one p&iroftfaoes. Traditional calligraphy often uses red for an opening initial or line.

Arum macuiatum -Anemone cokonaria

Bryonia dioica Centaukea cyanus

DIGITALIS PU

Pllf

HeP-RA HeLIX*

MY050TI5 5YLVATICA MORUS NIC.UA ALTHEA R05A LONICERA CAPtflEOLI UM PELUS PEKENNIS- Laurus mowlisSlLENE LATIFOLIA- )T|5 VlNIFErA
In this example, analogous colors are used to create subdued contrast between words.

Proportion, Color, and

Ornament

83

Fun with Color

Wet-on-Wet Wash Background
ITape
all

four sides of a sheet of heavy-weight

(75 lb or

300 gsm) watercolor or printmaking

soft-bristle

paper to your work surface. Use a large,

brush to saturate the paper,

with water.

partially or entirely,

Pick a few colors of acrylic ink, used

full-

strength or diluted with water, and use a soft

blot, swirl, or splatter the ink

brush to

onto the wet

paper. (Artists' acrylic paints thinned with water

can also be used.) You'll notice interesting bleeding and patterns forming as the pigment flows into the moistened areas of paper. (Note: working with
lighter colors will

make
It

it

easier to

go over with

ink in the end.) Allow the paper to dry thoroughly

before removing tape.

helps to press the semi-

dried sheet between two sheets of paper under

heavy books so that

it

dries completely

flat.

3
1

When

the sheet

is

dry, write

on

it

with water*
*

proof calligraphy ink or acrylic inks.

Ai

4.

Pastel-Shaded Letter
Write your text
fairly large

Fills
a rough-surfaced
1

- ff
1

on

km w
I

-Ai M u /
\

'

*-^^H 1 i
'

4 ~u

"L

" I 1 11 \ v^- w-

iiT
1

11 1
^^H

" ^1 * ^H

'

11 L~'

>\

1 ir<V!

watercolor or drawing paper.

Unwrap some

of the paper from a pastel crayon, and use a craft

knife to scrape a fine layer of pastel over the work.

With

a cotton swab, rub the pastel dust into

fill

the open areas you wish to

in.

For areas

where you don't want pastel color

to stick,

blow

the particles into a trashcan or sink (not onto your

work surface or

into the

open

air).

You can remove

eraser,

unwanted color using a kneadable

where you want

but

make

sure you don't accidentally erase color from the

areas
it.

84

Calligraphy 101

Watercolor Pencil

Fills
to
fill

Leaver
v

You can use watercolor pencils

in spaces

inside of letters, as well as the insides of outlined

letters or borders.
1

They are easy

to

use and a

lot

more forgiving than regular watercolor

paints.

IUse a watercolor pencil to lightly

inside of a letter or border.

fill

in the

The

pencil tip

should not be too sharp. Use a regular back-andforth

movement

so the color

is

evenly distributed.

Use a small brush dipped

the color around.

in

water to spread
layer of color

Once

the

first

has dried, you can go back and add additional

layers.

Leaves

Freehand Gouache or
Watercolor Borders

IMix two analogous colors of watercolor or

gouache to inklike consistency it should be

more watery than

green; and orange

thick.

Examples of analogous
+

colors are: yellow + green; purple

+ yellow.

red;

blue +

Use

a pencil to lightly outline

will

where your
four

paper

be trimmed. Tape

all

edges

of the

paper to your work surface and use a wide,

soft-bristle

brush about

Vz

(1.3

cm) wide

to quickly

paint a loose, flowing border that extends inside as

well as outside of your pencil lines.

Work
fluid.

quickly,

keeping your brush strokes

fast

and

When the first layer of paint

brush to apply the second

is dry,

use the

layer.

Don't repeat

exactly
tiy to

what you did the

first

time, but instead

in places

have the colors overlap

and stand

alone in others.

When

ink

is dry,

untape the paper

and trim

to size following

your penciled guidelines.

Proportion, Color, and

Ornament

85

Ornament
Ornament plays a
calligraphy, by
vital role in

adding

style

and

decoration

to

a page, dividing up

space graphically, or balancing

a composition or line by
in
filling

gaps.

An ornament can

be

<#

something as simple as a few

dots placed in a row to a complex

x
^
it

*
>%
to liven
first

pattern of interlaced arabesques.

Almost any graphic mark you

make can be
into

and refined an ornament, and combined

stylized
in

-f
your text

with lines, borders, or other

ornaments

many

ways.

Try out some of these historic calligraphic ornaments

It

up

helps to practice drawing the ornament out

in ink.

in

pencil before going over

Ways

to Use
Lo

Ornament

dxxcA e to
q\ii

per

camnuo ascoso intrawma ritormr

abedef 9 H

ne chiaro wondo sanza. cura aver aWcuti riposa

mno p q r stuv
WXl)Z
Sa

j kl i

satfimmo
cl

six,

prituo e lo sccondo,

imto cHVvidi
de
le

cose belle

A6 CDEFGHl

porta "l ciel, per tin pcrtumo tondo.

cfie

JKLMNOPan

Z qu'Wi usciwmo
a riveder
le

sidle.

5TUVWXYI
12 345
6

* /
r
-x-

*
-*r

7690
to divide areas of text

Ornaments
to the piece.

at the

bottom of the page give a sense of completion

You can combine ornaments with lines

86

Calligraphy 101

VT*DU+VAR VAR+GIAD
Ornaments on each side
of a

Non enim

i((a,

quae

futura sunt, subrto

existunt,5ecUst,

word

or phrase showcase it

quasi rudcntis ex
plicato, sic traductio

temporis nihil
novi cfficicntis
ei

primum

quidque
-8*4*H*

rcplicantus
Groups of ornament can be combined
borders.
to

form patterns or

Ornaments

or flourishes

can be used

to

fill

up blank space

at the

end of a

line of text.

Adding Details with Small Nibs and Brushes

Using a small nib to add narrow
lines to letters,

borders,

and ornaments can add extra

Try using a nib that
is

visual interest to a piece.

about one-third the width of your

regular nib for outlining or adding small details.

cs
A

(TTN
*%

Brushes are very useful for

ruling

filling in

borders try

e
lightly
*

two

pencil lines
1

and using a small brush

fill

(for

example, a size
with
ink,

or 2 round) to

the space

in

between

gouache, or watercolor. You can build up the

nib.

border by adding more details with a narrow

Proportion, Colon and

Ornament

87

i-S***^-'

Decorative Spice Labels

Although these labels are designed with spice jars
in

mind, you can easily

make them

into labels for storage boxes, folders,

packages, or just about

anything that needs a label

WHAT YOU'LL LEARN

Let's

begin
it

How

to

make and use

ITo figure out what size label to make, cut a small strip of paper
and wrap
a little less

template to create several

uniformly shaped labels

around the front of your jar usually about halfway or

is

around

the right size for a label. Fold the strip to

mark

How

to plan spacing of

the point where the label should end, and use that as a guide for the
label size.
(continued)

words within the same shape

different

How

to enliven a project

with a watercolor border

WHAT YOU'LL NEED

crack-and-peel label stock with a woven or

matte
stock

finish (glossy label

may

not take the

l

ink well)

calligraphy ink and

watercolor
colors

in

assorted

mm

nib for lettering

1

small nib (about

for

mm)

adding details
(3

Vs"

mm)

flat

brush

pencil
'

ruler

Check the back

of your
in

T-square

TIP

label stock to see

which

direction the crack-and craft knife peel lines run,

and then position your

spice jars or containers

template on the paper so that the

crack-and-peel lines run vertically

from the top and bottom of your piece.

This will

make

it

a lot easier to

remove

the label backing.

Proportion, Color, and

Ornament

89

Decorative Spice Labels

Measure your guide

plate of that size

strip

and

rule out a temstock.

on sturdy card

Use

steel-edge ruler and craft knife to cut out the template,

making sure
to

that your cuts are straight.

light outlines

Use

your template

make
you

on a small

sheet of label stock. Keep plenty of space between

each

outline, or

if

wish,

you can cut the

about
sides.
l" (2.5

label

stock even smaller so that

it is

cm)

bigger than the template on

all

Use
*

a clear ruler

and pencil
in

to lightly rule

lines Va" (3
*

mm)

from the template outlines.

for

This will be the area used

*

the border.

parsley
you want
to use. It is

Choose
' 1 *

the size nib

helpful to

make

a small ruling

gauge

(just

ladder of the x-height with lines for baseline and

x-height)

sage
rosemary
thtjme

and use that

for ruling

your writing

lines.

Doing

a trial

run on paper

will also give

you an

idea of the width of the different words, so you can

easily center

them when you're writing them on

the labels.

5
1

Ink in your
wish,

letters.

After the ink

is

dry,

if

you

you can cut the paper

into quarters

(leave

some space around each

label) to

work on

each label individually.

..-[.,.
|

"W
4

>^

parsley

sage

A.

rosemary

90

Calligraphy 101

6
7

To paint the borders, apply

a small
it

amount

of

watercolor to the brush, keeping

as "dry" as

possible. Start at a corner of the border

and draw

the brush in

one smooth continuous

if

stroke.

Add

additional thin layers of color

desired.

Use

a small nib to

add

details.

8 9

Use a sharp scissors to trim the

labels, cut-

ting off just a tiny bit of the colored border.

Apply the

labels to your spice jars.

T-

Variations
Use the techniques you've learned
tags, nameplates,
to

make

gift

and

labels for lots of items

around the house.

Proportion, Color, and

Ornament

91

Award

Certificate
for

Everybody deserves recognition

developing calligraphy
skills to

something, right? You can put your

use by creating certificates awarding

your friends and family

for just

about anything.

WHAT YOU'LL LEARN

Let's

Begin
to

How

to use a rough

Use calligraphy markers

do a rough

layout.

layout to design a

1
(continued)

complex project

How

to rule lines for a

complex project

What order
project

to

work when

making a multicolor

WHAT YOU'LL NEED

8*4"

11"

(21.6 x 27.9

cm)

parchment paper

pencil

kneaded eraser
ruler

color calligraphy markers calligraphy nibs

(2, 3.5,
in

3 sizes

and 5

mm)
brush

calligraphy inks

W (3 mm) flat
stock
pinking shears
red acrylic ink

crack-and-peel label

ribbon to

make the sea

Proportion, Color, and

Ornament

93

Award

Certificate

2
line

Referring to your rough layout for letter

heights and line widths, rule guidelines in

pencil

on

a sheet of

parchment paper and practice

tetittrcreby be Known that the

writing the individual lines of text.

When you get

it

you are

satisfied with,

measure

with a

ruler,

marking

vertical lines at

each end of the

to a

line as

well as in the center.

Trim

narrow

strip

and

continue this process for each line of

text.

Use a pencil and T-square

to lightly rule out

the border of the certificate. Lightly rule a

vertical line

through the center of the entire page.

4
are

Line up your letter strips on the ruled sheet,

aligning the vertical lines of the strips to the

vertical line

on the center of the

sheet.

When you

happy with the placement

strip into position

of each line, stick

little

each

with a

rolled piece of

artist's

tape or masking tape on the back of each

a pencil to

strip.

Use

mark small dots showing

begins and ends.

where each

line of text

5
if

Remove

the strips of stuck-on text.

left

With a
of the

T-square aligned against the

edge

paper, use pencil to lightly rule guidelines for writing. Start

with the left-hand dot, and stop the line

reach the right-hand dot. Note:
it's

when you

okay

let

it

hereby be known thaltta

the dots don't line up perfectlyjust keep your

T-square aligned to

your paper edge and draw your

SUPER-FRlfeND AWARD
has been

guidelines that are the

the dots.

same length as

indicated

by

awarded to

ERIIC
for being ^

5
(

., j

j., ,.|l

.|.,f|..fi'i'i'.^H.:-vi"g i-ri"<i-"'i"i|v'" ,i (
>

''"J*

"'Ut

'"

"!P*"*'-'i

94

Calligraphy 101

6
Let it l\creby be known that the
a

Do

lines of all

one color
at

first

rather than

changing colors

each

line.

Remember to use

guard sheet under your hand

to protect the paper.

"has been Awarded to

6
for being

Do
(3

the other text colors, and then use the

flat

Vs"

mm)

brush and red ink to

fill

in the bor-

a really super friend/

v
7

ders. Try to

keep your brush strokes as smooth as

possible, drawing your

arm down the page

rather

than moving your fingers.

To make the

seal,
*

use a brush and red acrylic

2" (5.1 * 5.1

ink to paint a 2"

cm) square on

crack-and-peel label stock. Apply the ink in several

Let it hereby bekiown that the

layers so the paper

is

densely coated with ink.

dry,

SUPER-FRIEND AWARD
has been awarded to

When

the ink

is

thoroughly

use a compass or a

round object
square.

to lightly trace a circle

on the painted

Use black ink and

seal.

a small nib to write or

ERXJC
for be (109
a.

draw inside the

really

super friend/

Cut lengths

of ribbon

about

2" (5-1

cm)

long.
circle,

Use pinking shears

off the label

to trim

around the

then peel

backing and stick the two

ends of the ribbon diagonally against the back of

the label,

making sure the ribbon

lies flat

Stick

this to the certificate

and trim the ribbon ends with

sharp scissors.

Seaiof AFFWVAl

Proportion, Color, and

Ornament

95

Mosaic-Style Greeting Card

For this project you
to will

use acrylic inks

and a wet-on-wet wash technique

top-folding note card with

create a colorful swirling background for your letters. The instructions

for this

design

make a 5Y2" (14 cm) square

spaces

for sixteen letters for the greeting.

WHAT YOU'LL LEARN

Let's

Begin
work surface with

How
for

background paper calligraphy using a wet-on-wet method

to
colorful

make

(Note: cover your tabletop or

newsprint or scrap paper for the wet-on-wet wash

part of this project,

How How

to cut small squares with precision

to glue small pieces in a precise grid

which can be a

little

messy.)

pattern

Start with a piece of hot-pressed

printmaking

or watercolor paper (page

19),

cut to about

7" * 10" (17.8 * 25.4

cm)

in size. Place several sheets

WHAT YOU'LL NEED

of newsprint or scrap

paper underneath and tape

flat

140-lb

(300 gsm) hot-pressed printmaking

soft bristles soft bristles

down

all

four sides of the paper to a

artist's tape.

surface
large,

paper

using masking tape or

soft-bristle brush,

With a

wide brush with

thoroughly saturate the tapeda large brush to drop

medium-sized brush with

down paper with water. Use

a few blobs of acrylic ink (or acrylic paint

mixed

three colors of acrylic inks (or acrylic paint)

with water to a creamy consistency) onto the wet

water

in

a spray bottle

surface of the paper.

(continued)

paper towels
masking/artist's tape

lfc!H iiy^n,

Jilfiii

newsprint or scrap paper

black calligraphy ink
1.

Jfa

2-mm

il f

nib

scoring tool or bone folder

pencil

T-square

ruler craft knife

cutting

mat

5"

x 5" (12.7 x 12.7

cm) piece

of colored

^11 1
I I

card stock for backing sheet

5W

11"

(14 x 27.9

cm) colored card stock

Iri'i .'

:"M*:^z.i'n iftlttf?

WEKM t

..

.itaife-.

-I

for card

base

envelope
Proportion, Color, and

Ornament

97

Mosaic-Style Greeting Card

2 3
little,

Let the ink blobs spread for a few moments,

B1SHI.JI

II^M^'I ..^i?

then drop random blobs of your second color

of acrylic ink or paint.

Sssf.

Allow some time

for the

second color blobs

to spread out, then use a medium-sized brush

to splatter a third color of acrylic ink or paint onto

the paper. After these blobs have spread out a

1:
i-A

use a large slightly

damp
is

soft-bristle

brush

to

blend the colors until there

ing.
like,

no white space showof colors

if

3
I

You can keep adding blobs

mist the paper slightly
if

you

needed.

When

the paper has dried completely

flat

(allow several hours for this)

a T-square

remove the tape

and use

and pencil

to lightly rule a grid

l" (2.5

to
:'#

Lr
1 i*

I *
1

1 1 T l' 1 3
I'l 1**
1

* *
ri

>

~ *.
...

of squares

measuring approximately

cm).

I
III
1

Start at the top of the sheet

and

rule six squares

across,

and four down,

for a total of

24 squares.
it

Do

i-i^"

iHasM?

wt.vw k-

Is.

not rule the remaining paper instead, trim

it

off-

will

be used

later in the project.

u^b

Bmii>

s *'*
I

'

****

mw

ma

_**

i.2S-i;

mill

-m.
i m

III?
1

Mi

1 Im

mmmmmmmm^m*

98

Calligraphy 101

5
*
<

Use a dipping pen and ink

of your greeting in
all its

to write the letters

capitals,

taking care to
if

center each letter inside

square. (Note:

your

greeting has less than sixteen characters, you can

also leave

some

of the squares blank, or

fill

them

with ornaments.)

A Y
^
1 *

6
in

Working on a cutting mat, use a

edge
ruler

clear steel-

and a

craft knife to trim

(l.6

each

square approximately 1g
of the pencil grid lines.

mm)

in

from each

You can

calculate this

distance by eye while holding the edge of the

ruler against the pencil line,

and then moving

it

toward the

lettering.

Trim each square

this way,

including any blank squares you intend to use.

1

HAP
-

To glue

letter

squares to backing sheet, start

of artist's tape

by sticking down two lengths

left

along the upper and

edges of the backing

sheet, forming a 90 angle.

Use a brush

to apply

a thin layer of glue to the back of the squares,

placing into position. Press

down

gently with

wax

paper to make sure the square

is fully

glued down.

To ensure
glue the

nice,

even spacing between the squares,

first line,

first

two squares of the

followed

by the

first

two squares of the second

line,

and

work outward from

there, alternately gluing hori-

zontal and vertical squares.

(continued)

Proportion, Color, and

Ornament

99

Mosaic-Style Greeting Card

*

8 9
cut a

Remove tape and use

craft knife to trim the
V4" (6

a steel-edge rule and

backing sheet approxiletter blocks.

mately

mm)

from the

Use

another ink to add ornaments.

^L
*

*
i

Trim your

leftover piece of printmaking wet-

>'*

on-wet wash paper to

5W W 0-4
*

>'
*

14 cm).
. L

Measure the area covered by your grid of mounted

letters

and use a

craft knife
*

and steel-edge rule

(14
*

to

window

in the 5V2"

5%"

14 cm) sheet
1 lb
L

r^B

just slightly larger than this

measurement.
1
.

"

v v
.,;-l

1 /"\
I

Fold 5V2"
to $z
n

11" (14

27.9

cm) card stock

\*S

5V2" (14 x 14

cm) and glue the

trimmed the sheet with

the card.

letters to the center of

_"1
^2,
1
I

100

Calligraphy 101

Variations

simple, easy greeting.

block of text cut up

into squares

becomes

an abstract collage.

Proportion. Color, and

Ornament

101

Uncial Hand and Illumination

Uncial
is

Hand

(from the Latin word "inch")

a script with a rich history that still holds

for calligraphers today. It

an appeal

was

developed around the fourth century AD as a

style of lettering

used by scribes of Christian

manuscripts and became the standard "book

hand" of the early Middle Ages. Uncial

are generally written large

letters

and

fairly quickly,

and easily lend themselves

to decoration.

The Book of Kelts, created by

Irish scribes of

some of the most famous examples of Uncial hand text combined with profusely decorated letters and Celtic ornamentation, and provides some of the
the early ninth century, contains

inspiration for the projects in this chapter.

103

The Uncial Alphabet

A> a.
j*
,,

Ac

&

ft l

*
M
;

m n ha
a
f
))?" i
1

T!

Milti

2
1

'

ft'

$ s
?!

8
^/

#1

**S3

>A
104
Calligraphy 101

Uncial

Hand Key Points

letters are upright

Uncial
h,

Hand
u,

and extremely rotund, characterized by the arched form of the

letters loose to provide "breathing room."

letters d,

m,

t,

and w. Keep the spacing between

There are no capital

letters p, q, y, d, h,
in

letters in the Uncial alphabet. All of the letters are the

k,

same

height, except for the

and

which have very short descenders and ascenders (no more than 2 nib widths

length).
if

Uncial hand can be written with a 30 pen angle, or

Historic Uncial scripts
look.
If

you choose you can use an angle of 20 or

15",

less. flat"

were written with a pen angle of 10* or

creating their signature "fat and

you choose

to use a flatter

pen angle,

is

very helpful to keep a separate nib or pen that you use

only for writing Uncial Hand. The flatter writing angle will

cause the edge of the nib to wear

down

differently,

er to write at

make it easithe lower angle (and more difficult

and over time
will

to use for other scripts that call for a steeper

pen angle).

The

traditional x-height for Uncial letters

is

ZVi

nib widths, but heights of

4 or 5

nib widths are

also acceptable, as well as being easier to

manUncial

age when

it

comes

to ruling Out lines.

Hand ladder/pen angle

Uncial

Hand and

Illumination

105

Skill Builders Exercise PRACTICING LETTER GROUPS

1:

In this exercise,
Start

you

will practice line

groups of

letters that

share
the far
first

common
left

strokes, shapes,

and proportions.

by ruling one pencil

on

a sheet of paper.

On

side of the page, use your calligraphy

line.

pen

to

make

a ladder
is dry,

4 nib widths high, positioning the

step of the ladder precisely on the pencil

When the
two pencil

ink

rule

another line at the very top stroke of the ladder. Measure the width between the

lines,

and

rule out the rest of the

page using that measurement.

WHAT YOU'LL NEED

1st

stroke

Diagonal Letter Group

2-mm

calligraphy

2nd stroke

fountain pen or marker

AkNvwxyfz
For diagonal lines, use a steeper pen angleyou

writing paper
pencil

3rd stroke

ruler

4th stroke

want the diagonal strokes

to

be only

slightly

thicker than the upright strokes. Notice that the

Round

letter

group

two upright strokes of the n are written using a

steeper angle as well.

ocbzecpqsz
Many
Uncial letters are rounded in shape, with the
elliptical. If

The two upright strokes are made

first

using a steeper pen

angle; the diagonal stroke
is

o being slightly

you are using a

curved
letters

written as a

flatter
slightly

curved swash.

pen angle, the thin strokes

of

should
The
first

start at the

top of the
of

^^"^^^

letter.

The ascender

and second

M
_

strokes of the

w are

the d and the descenders of the

written with a steeper

^k|^^
J^.

p and

pen angle, while

the third

should be kept very

s ^ ortno

and fourth

strokes are slightly

fH^
The Uncial

more than

curved and swashlike.

nib widths in length.

O should be

written as round as possible.

r S
There are several alternate versions of Uncial letterforms that can be used to add variety
to

your

text.

106

Calligraphy 101

Arched Letter Group

Straight Letter

Group

BbcnnRuiu
If

FtT
A pen
angle that
is

you

are using a flatter

pen

angle, the thin part

letter,

less than

30

will

add width
a gently

of the arch will

be at the top of the

but take

to the vertical strokes. Practice

making
pen

care that these strokes are not

made

too thin.

curving upward

movement

of the

to create

Arches should be wide and generous, echoing the

proportions of the letter
o.

rounded

serifs at the start of the vertical stroke.

ik.
The The
first

letter /"has a
sit

crossbar

The

first

stroke of the

rises

stroke

is o,

the

same

The

alternate

has a very
its

that should

just

above

slightly

above the headline h and

k).

as for the letter

and the

different feel

from

the baseline, and a short

(similar to

flatter

arches are spaced equally.

diagonal version.

descender, like the letters p

pen angle gives a thinner

line to the

and

q.

second

stroke.

QUICK REFERENCE
Rule another
line.
if

Because Uncial Hand has only

like to

few ascenders and descenders,

lines 2 nib

it

is

not necessary to rule guidelines for

them. However,

you would

do

it,

rule

descender and ascender

widths apart from the baseline and headline,

Uncial

Hand and

Illumination

107

Versal Letters
Versed letters are large capitals used

mark the start of a paragraph or line, and are an excellent way

to

to

add decoration

to

your

text.

They

are referred to as "built-up letters"

because the technique used

to

make

them
be

is to

draw

the letter line by line,

Q
Lombardic Versals

creating an outline. The letter can

left in

outlined form, or

it

can be

filled in

and decorated. Lombardic

Uncial alphabets. They were widely used to decorate pages

Versals borrow letterforms from both

Roman and

of medieval manuscripts,

and combine very

nicely with Uncial

Hand.

Lombardic Versals Key Points

Use

a small nib to outline.

The exact width of the nib

will

depend on how

large

you want

to

make the

letter.

general rule

is

that the white space inside the vertical strokes should be about twice the width
outlines.
in

as the nib you use to

It

make the

helps to sketch out the letter lightly

will

pencil before you start so

that the angles and proportions

be

correct.

The inner strokes of

the letters are

made

first

so that the counters (the spaces enclosed

either entirely or partly by

the lines of the letters) are

well-proportioned. The outer

Here a l-mm
nib was used
to

draw the
measuring

edges of curved strokes are

outlines for a
letter
l" (2.5

added

next, followed

by

serifs

and decorative

flourishes.

cm)

in

height, with

calligraphy pen with a fineis

the white space

inside the
that
is

tip nib

very useful for free-

stem
Starting with the inner strokes ensures

hand drawing and embellishinglet the decorations flow!

about 2 nib widths wide. Notice

how

the two vertical strokes are slightly

adequate white space inside the

letters.

"waisted," narrower at the center than at

In this example, black strokes are drawn

first,

the ends.

followed by red and green.

108

Calligraphy 101

Skill Builders VERSAL SKETCHING

Any
style of letter

can be developed into a Versal

letter,

and often sketching with pencil

will yield unex-

pected and exciting ideas for Versals. Take some time with a pencil and paper
the technique of building

to sketch out letters,

using

up by
go.

outlines.

It

helps to draw the letters large and loosely, sketching over

particular alphabet to sketch, or just

and adding

details as
like

you

You could choose one

draw the

letters

any way you

and see what you come up with.

When you've
fill

sketched a letter you really

in with ink or paint.

like, try

out a

version in ink: use a narrow nib to build your outlines, then

Keep adding

as

much
of

decoration as you
details.

like,

allowing the ink or paint time to dry thoroughly before adding a

letters for inspiration

new round

Save your sketches and finished

and future

projects.

Various sketched

letters

and inked-in versions

B*#
Uncial

Hand and

Illumination

109

Illumination
The history of calligraphy
is

rich

with examples of precious metals

and pigments used to lavishly decorate and illustrate texts. In

the past, the term "illumination"
referred to manuscript decorations

made from gold leaf polished

high shine, and
to

to

be the owner of

an illuminated manuscript was a

sign of status

and

wealth.

Today the
to

term

is

used more broadly

mean

decoration in gold

and

other colors.

Tools and Supplies for Illumination

For the projects in this section,
effect of shiny

you

will learn to

use metallic gouaches and pigments that create the rich

leaf.

gold and are more affordable and easier to use than gold
191.)

(For projects with gold

leaf,

see "Brushwork and Gilding" page

acrylic inks to

You

will also learn to

use gouache, watercolors, technical pens, and

add color

to your work.

Here are some basic

facts you'll

need

to

know about

these materials:

Metallic Pigments
These are sold
in

powdered form and are made

from pulverized metal or minerals (usually bronze

or mica) and a binding agent.

When mixed with

water to the right consistency, they can be used

with a dipping pen or brush to create the effect of
writing or painting with gold. Schminke Tro Col

Dry Gouache Bronze Powder

the Rich

is

an excellent brand,

Gold color being

a near-identical

match

to the color of real 24-k gold.

To mix, add

distilled

water gradually, a few drops at a time, stirring with

a brush until the powder
is

completely absorbed

by the water. Mix only small amounts, just prior

to use, as the consistency of the

mix changes with

of

prolonged exposure to
arabic will help
if

air.

A drop or two

gum

you

find the metallic particles

separate from the water.

110
Calligraphy 101

Metallic Watercolors
These are
also sold in

in distilled water to

make

it

shiny. Designer's

gouache

is

also available in metallic colors,

all

which

powdered form and mixed

all

are useful for brushwork, but not

metallic
to the inklike

with water for use. Not

brands are ground

fine

gouaches perform well when mixed

enough

for

use with a dipping pen, and must be

consistency needed for writing with a nib.

used with a brush. Avoid using metallic watercolors in tube or cake form,

because they usually lack

Tube Watercolors
Like calligraphy gouache, watercolor paint in tubes

the density needed to produce rich metallic tones.

can be mixed with water

for writing with a nib.

to

an inklike consistency

The

colors tend to be

somewhat
METALLIC WATE.RCC

transparent, which can be used to great

to create rich, built-up

advantage when you want

layers of color. Conversely,

you can mix

a small

amount

of white into

your watercolors

to lighten
its

Copper

your color somewhat but also to increase

ity.

opaca

Tube watercolors are

ideal

when used with

brush

for illumination to create rich jewellike

tones

or built-up layers of delicate color.

Calligraphy Gouache
This extremely dense gouache
is

sold in tubes
to

and remains opaque when mixed with water

inklike consistency.

an

The Schminke Calligraphy

Gouache

is

a very good brand, available in

many

colors as well as in a non-tarnishing metallic gold

(gold pearl) that looks really shiny.

If

calligraphy

gouache

is

not readily available, try designer's

is

gouache, which
finish,

similar.

Gouache

dries to a

flat

which may not always be

desirable.

Add

drop or two of

gum

arabic, or sugar dissolved

Acrylic Inks
Many
different

brands and colors of acrylic inks

in recent years,

have become available

many in

pearlescent colors. They can be used with a brush or with a dipping pen, but be warned: acrylic inks

dry very quickly, often right on the nib as you

are writing!
If

you use

acrylic ink with a

dipping
the nib

pen, you will have to rinse and wipe

down

frequently to keep clumps of ink that can interfere

with ink

flow.

A toothbrush is very
Uncial

useful for
(continued)

Hand and

Illumination

111

brushing ink
really

off the
stick!

nib in this case, as acrylic ink

aren't overinking the nib) or

you are seeing clumps mix a

if

tends to

The

great advantage of acrylic

of particle clinging to the nib. In this case,

inks

is

that they are waterproof, so

you can

layer

few drops of

distilled

water to the

ink,

and

that

one color over another without any bleeding.

brands of pearlescent acrylic inks are a
for bit

Some

doesn't help, try another brand of acrylic ink until

too thick

you

find

one that flows

well.

Never use

acrylic ink

use with a nibwarning signs are

if

the serifs on

in a calligraphy fountain pen, as the ink will start to

your strokes come out consistently blobby (and you

dry inside

it

as soon as the

pen

is

not in use.

There are many brands of

as you can.

acrylic inks available,

for

many

of

which

Acrylic ink

is

useful for building

up

layers of colors that won't

vary in quality and suitability

use with nibs. Try out as

many

bleed into each other.

Safe Handling of Pigments and Paints

When

mixing pigment

in

powder form, wear

Use

a surgical

mask or

tie a

kerchief over your nose

and mouth

to avoid inhaling the fine particles.

a small palette knife or similar object to

it

scoop small amounts

of pigment from

its

container. Avoid

dumping

out or making any motion that allows the pigment to

become

airborne.
in

Do
and

not eat or drink

the area where you are working with paints, inks, or pigments, and
after handling.

make

sure to

wash your hands and face

tools with a
all

When you

are finished working, wipe

down your work

surface

damp

cloth;

water containers, brushes, and pens need to washed and rinsed well to

remove

traces of metallic particles, which tend to cling.

Take extra care to avoid ingesting or inhaling fumes from any paints containing cadmium, barium, or

lead these heavy metals can produce toxic side effects with prolonged exposure.

If

any

art supply

you

are working with smells noxious or gives you a headache, ventilate your work area immediately and dis-

continue using the product.

112

Calligraphy 101

Brushes
For illumination
filling in

brush (see Tips about Brushes on page

it

114)

and

will last

a long time.

you

will

need various brushes

for

colored areas, painting lines and borders,

details to letters
it

and adding

and ornaments.

When
lot

purchasing brushes,

helps to

know what

sort of

marks you want

to

make, so you don't spend a

of

money on
really

brush that ends up being not what you

in the
first

needed

place.

Here are some

tips:

To make small dots: a short-handled brush with

short bristles forming a rounded
labeled as "round" or "spotter."
tip,

usually
for small

Look
1,

sizes 20/0 (very small), 10/0,

0,

2 a number
need. The
'**>

2 round round

is

the largest you are

likely to

bristle

brush can also serve as a genera!

filling in

all-purpose brush, used for

color,

areas of

v
a

drawing

lines,

shapes, etc.

To make

straight,

blocky

lines

and borders use

short-handled brush with short to medium-long

bristles

and

flat tip,

usually labeled as "shader,"

.:

20/Q

Gi^*^*^

r.^

"flat

shader," or "lettering."

The width of the brush

should be slightly narrower than the width of

the
lines

you intend
slightly

to paint,

because when you

bristles will

press

down

on the brush, the

line.

expand

to create a wider

Keep

in

mind that

you can also hold a flat-tipped brush at a 30

angle to paint letters using exactly the
)2/0

same

kind

of strokes you would use with a calligraphy pen.

<$&#&&
(continued)

To paint leaves,

stars, flower petals, swirls,

or

shapes having sharp corners or points: a shorthandled brush with short

pointed
Sizes
this
tip,

H\

bristles

forming a

usually labeled as "pointed round."

or

are

good

sizes to begin with.

With
is

/w
*.

type of brush, a high-quality version

well

worth the expense (look for sable

bristles,

often

recommended

as a watercolor brush) since inex-

pensive pointed rounds usually lose their shape

very quickly. Take

good care

of your sable-bristle
Uncial

Hand and

Illumination

113

To make long, skinny

lines

use a short-handled
in

brush with long bristles ending

ally

a point, usubristles allow

labeled "script
ink to

liner."

The long

more

be taken up on the brush, creating

long, flowing lines;

with.

20/0

is

a good size to start

size larger than

You
1.

will rarely

need any

10/0 or

Tips about Brushes

Expensive

isn't

necessarily better.
in

When

starting out, steer clear of brushes

made

with sable, squirrel,

or other animal fibers (except

preferable, as they are
"craft" or

the case of the pointed round brush). Synthetic bristles are generally

more

durable, flexible, and readily replaceable.

in

Be sure

to check out any available

"hobby" brushes, which are often packaged

said, for fine, detailed

inexpensive assortments.
real joy to

That being

work, a well-made natural-fiber watercolor brush can be a

use. Try out various synthetic-fiber brushes until

you

settle

on a specific size and shape you

really like,

then treat yourself to a high-end version of

it.

Make
if

it

a habit to thoroughly

wash the

bristles of

your brushes with dish soap after each use especially

acrylic inks,

you have been working with metallic pigments, gouache, or

bristles.

which tend to quickly

can collect
in

gum up

brush

A soapy toothbrush
bristles

is

useful for

combing out the

particles that

the bristles,

especially

where the

meet the

ferrule (the metal collar that holds the bristles to the handle). After

washing, apply a small amount of

gum

arabic to the tip of each brush, using your fingertips to shape the
bristle-end

brush into

its

natural shape. Place

washed brushes

up

in

a jar or brush holder to dry,

making

sure that the bristles aren't touching anything that might cause them to dry into a distorted shape.

114

Calligraphy 101

Papers
The paper you choose
for illumination projects

are

good

choices,

and can be purchased

in single

full-size

sheets as well as in smaller pads or blocks.

also

You might

want

to

experiment with watercolor

should be thick enough to hold paint and ink

without buckling, and smooth enough so that you

papers, which are very thick (and thus can absorb

a lot of water

and pigment) with a textured

works

finish.

can write clean lines with the

nib. Ideally

it

should

Textured finishes can be tricky to write on with a

nib,

be archival (often labeled "100% cotton,"

ton rag," or
will

"rag," "cot-

but you

may

find
is

one

that

for

you. Often

"pH

neutral"),

which means the paper

printmaking paper

a textured surface

ideal for pieces intended to

not discolor or fade over time. Smooth-finish

have a more rustic or arts-and-crafts look.

Bristol or hot-pressed cotton

Bristol offers

one of the smoothest writing surfaces with good

ink.

absorption of

Watercolor and cold-pressed papers have textured surfaces,

which can create

a rustic or

more hand-touched look

to

you work.

Many

of the best-quality art

papers are sold

"TIP
'...
.*

only as individual full-size sheets, and

many

of

the best brands (Arches, Fabriano, Strathmore,

full-size sheets as well as smaller-

Canson) offer individual

size pads. Get to

know what kind

of

papers your

local art

supply store

sells

by the sheet and try out various sheets

in

before you invest

an expensive pad or block of watercolor

or hot-pressed paper-especially

when you're not sure how

inks, nibs,

the paper
Hot-pressed printmaking papers have a luxurious weight and
texture
slightly

will

perform with your

and paint.

and absorb ink

well,

although certain inks

may bleed

on

certain papers.

Uncial

Hand and

Illumination

115

Skill Builders ILLUMINATED LETTER PRACTICE

Blocky Lomardic Versals

for Illuminating

116

Calligraphy 101

WHAT YOU'LL NEED

Choose a
build

letter

from

this Versal alphabet,

and

up an

outline. First sketch the outline in

out-

paper
pencil

pencil,

and then use a narrow nib to draw the

line in ink. (You

letter.

can also design your own Versal

ink

Make

sure to leave a lot of space between

is

the pen outlines so there paint

decoration.)

room

for color

and

Fill

in the outlines with ink or paint,

using

solid fields of color, patterns, shapes, or

anything else that comes to mind. After the ink

or paint has dried,

you can go back and add more

decoration. Note: you will have

ing color

more success

layer-

on

color

if

you use waterproof or

acrylic

inks instead of regular calligraphy ink.

Uncial

Hand and

Illumination

117

Illuminated Holiday Card

This simple design

cotton paper to

makes use of red, gold, and white create a sumptuous holiday effect
Let's

inks on luxurious

WHAT YOU'LL LEARN

How
to illuminate letters

Begin
not using precut card stock, cut or use a steel-edge ruler

Ilf you are

(3

with calligraphy gouache

to tear a rectangle of cotton

printmaking paper to a size that

is Vs"

How

to layer papers

mm)

smaller on each side than your envelope. Using a T-square

together with ribbon

and
2.2

pencil, lightly

draw rectangles, measuring

Vs" (3

l"

wide by %"

tall (2.5

cm), spaced about

mm)

apart for each illuminated

letter.

WHAT YOU'LL NEED

(continued)

100% cotton hot-pressed

printmaking paper or card stock

matching envelope
red card stock or heavy-

weight text paper for backing sheet

red calligraphy ink

metallic gold

gouache

white gouache
red

gouache

6" to 12" (15.2 to 30.5

of
3

cm)

/s" (1

cm) red ribbon

nib

3-mm round-hand
brush

small round-tip/spotter

Vb"

(3

mm)

hole punch

optional:

photo corners,

decorative-edge scissors,
additional

gouache colors

Uncial

Hand and

Illumination

119

Iluminated Holiday Card

2 When 3
Start

3-mm nib and red ink to Uncial Hand that are centered
Use
a

write letters in
in

each square.

ink has dried, mix gold gouache to a

fill

creamy consistency and

by outlining the edge

in the squares.

of a square

and
to

filling

in the blank area until

you come right up

the

edge of the
onto the
the

letter.

Try not to overlap the gouache

white space between

letter itself a little

gouache and
needed
easily.

letter is preferable

and
in

will

make
direc-

the red letters "pop." Turn your

tion
that allows

work

any

you

to

apply the gouache

most

Work

as quickly as

you

can,

and

try

not to pile

up

layers of gouache,

which can tend

to

clump.

Stir the

gouache with the brush from time

it

to time to

keep

at a

uniform consistency.

4
down

When

the gold
to a

gouache has

dried,

mix white

gouache

creamy consistency and use

the round brush to add details as desired. For dots,

swirl the

brush

in a small circle,

avoiding laying

so

much gouache

that

it

forms a bump.

Mix red gouache

and add a second

to a

creamy consistency

layer of detail after the first

layer has dried.

120

Calligraphy 101

Broadside
As
a calligrapher, you will be called upon to create a broadside a single
text,

page of display
for framing.

often a well-loved,

poem, saying, or quote, suitable

WHAT YOU'LL LEARN

Let's

Begin
8" (25.4
*

How How How How

to create an

IUse a T-square and pencil to lightly rule out margins on your

10"
left, *

attractive broadside

20.3

cm) sheet as cm)

follows: 2" (5.1

cm) on the

right,

to

make ornamental
initials

and bottom, and

1V2" (3.8

at

the top.

The

inside space will be

opening

your

"live area" for writing text,

providing ample room for matting

in the

to

make

interesting

and framing. Rule out a few sheets of practice paper

same way.
(continued)

decorative elements

to produce well-

spaced text

WHAT YOU'LL NEED

10" x 8" (25.4 x 20.3

cm)

piece of

100% cotton

heavy-weight printmaking or watercolor paper

sheets of practice paper

assorted calligraphy inks

3-mm pen
metallic

nib

pigments or

watercolors

small round-tip brush

pencil

ruler

T-square

Uncial

Hand and

Illumination

123

Broadside

Do
text

a few

trial

runs of your
sheets.

on the practice

As with the Award

project (page 93),

Certificate

it is

often

helpful to trim out strips of your

best lines of text and paste them

up

in a layout that looks

good
you

to you. to

Pay special attention

initial:
if

your opening
it

^LORiqR,

make

larger, or in Versal style,

it

proportion

so that

it is

large

enough

to

stand out, but not

overly large in relation to the

other letters.

Take measurements from

this layout

and use them

to rule guidelines

on your

final
: ,

sheet.

When writing text, remember

to

keep

letters large
is

and well-spaced. The idea

for

the words to be easily readable,

drawing the eye from a distance.

^^^^h

GLORiq^
124
Calligraphy 101

J^osa. yuiwcar>b)ojn

Uuo canbjbjo^,
seonpzcp.

Add ornaments and

other

decorative elements to the

the end, as needed.
It

initials at

wee

helps to

first

pencil in the areas

for illumination

and then use a

in with color

small brush to
or pigment.

fill

6
is

If

your piece

is

going

to

be

matted or framed, a border

not generally necessary,

will

because a mat and frame

serve as borders to the piece.

Variations

Try your hand at adding small

Broadside with
traditional Celtic

illustrative

elements to provide

more

visual interest to a piece.

ornament

Uncial

Hand and

Illumination

125

Illuminated Initial Medallion

Illuminated lettering can be really lovely when paired with jewelry,
transforming your calligraphy into wearable art Look for blank

medallion pendants and dimensional adhesive at local bead and jewelry

suppliers or online be sure to get a glaze that will adhere to metal

WHAT YOU'LL LEARN

Let's

Begin
inside area of the medallion
is

How How

to

make make

jewelry

Ilf the
tiny

not a square or rectangle

follows:

with calligraphy letters

that can easily

be measured, make a template as

apply a
to diy

to

a curve-

smear

of glue to the center of the medallion

and allow

it

shaped template using tissue paper

almost completely. Cut a piece of tissue paper and press the center of
the paper onto the glue spot. Use a bone folder to very gently rub the
tissue
flat,

How
glaze

to use

diamond

gradually working your

way

to the edges.

When you
folds.

get to

curved or irregular edges, gently use the point of the bone folder to

work the

tissue along the edges,

smoothing

flat

any

Be careful

WHAT YOU'LL NEED

not to poke holes in the tissue with the bone

folder.
(continued)

medallion pendant

water-based dimensional adhesive (often called

diamond

glaze)

smooth-finish text-

weight (or thinner) paper

tissue

paper

heavy vellum

bone
glue

folder

acrylic inks

metallic

powdered

pigment

calligraphy ink and nibs

small brushes small scissors

Uncial

Hand and

Illumination

127

Zodiac Accordion Book

The accordion book
You
(also called
is

a "concertina book")

is

a traditional
to construct.

book-artist's format that

will
x

one of the easiest kinds of books

need a paper sheet that measures at least 32" wide and 20" high

(76.2

50.8 cm). Take care to handle the long sheets gently so they don't

get scuffed or dented.

WHAT YOU'LL LEARN

artist's

tape

How
and

to

make mountain

pearlescent blue acrylic ink

olive green, sky

valley folds

red, blue,

Basic instructions for

blue,

and aqua calligraphy

making an accordion book

inks

How
How

to protect finished

white calligraphy gouache

pages while working

medium-size
brush

soft bristle

to

make
all

illuminated

designs for the zodiac

the signs of

soft-bristle

V (6 mm)

flat

brush

#0 pointed round brush

and

WHAT YOU'LL NEED

1-

2-mm

round-hand

medium-weight
or

text

paper

calligraphy nibs
polyvinyl adhesive

100% cotton

artist's

(PVA

printmaking paper, 80 to 110 lb (131 to 161 gsm)

glue)
1" (2.5

cm) foam brush

long metal T-square or

tear-bar

or soft bristle brush for applying glue

metal-edge

ruler

bone folder

24" (61 cm) length of %" (6 mm) or Vs" (1 cm) ribbon

scissors

craft knife

two pieces
cut to
5V*"

book board (13.3 cm) square

of

80- to 100-lb (131 to 150.5 gsm) text-weight colored paper for cover

(continued)

Uncial

Hand and

Illumination

131


Zodiac Accordion Book
Let's

Begin
edge faces the top and
refer to

IOn a large work surface, position your paper so

that the widest

the diagram below. Cut (or use a long T-square or

tear-bar to tear) three sheets that
(78.7
*

measure

31" * 5"

12.7

cm). Use a T-square and pencil to lightly

rule vertical lines

where the diagram shows

light-

gray dashed

lines: the first line is ruled Vz" (1.3

cm)

from the

left

edge

of the paper, followed

by

six lines

ruled 5" (12.7 cm) apart, and ending with a final line
rule
y-i

(1.3

cm) from the

right edge.

Refer to the diagram below for

how

to fold

each section. Heavy dashed lines represent

folds,"

"mountain

where the

fold points

up toward bone

you; light dashed lines represent "valley folds,"

where the

fold points
all

away from you. Use

folder to fold

three sheets in this pattern.

5 inches

5 inches

inches

-5

inches

-5

inches

-5

inches

la

2a

132

Calligraphy 101

3
work

For inking in the pages, work on two open

panels at a time, keeping remaining panels

folded together and loosely tucked into an

envelope. Use

artist's

tape to secure the tops and

bottoms of the panels you are working onto your

surface. In this example, panel
2,
l

remains
flat

blank. For panel

use the %"

(6

mm)

brush

to paint a square of pearlescent blue acrylic ink

and allow

to dry.

Do

the lettering next, and

when

that has dried, use white calligraphy

gouache and
dry,

the #0 brush to paint the stars.

When

remove

the tape, slip a piece of paper in between the two

panels to act as a guard sheet, then

the next two panels.

flip

and turn

to

4
inks,

The next two panels

sequence: tape

follow the

same

down

edges, paint the blue

pearlescent ink square, follow with calligraphy

then do the white gouache

stars.

When

ink

is

dry, insert

guard sheet, fold the page, and tuck into

envelope with previously finished panels.

5
all

When you
first

finish the last

two panels

of the

section, fold

up the entire page and press

lightly

under a book

until

you are ready to attach

(continued)

the pages together.

Uncial

Hand and

Illumination

133

Zodiac Accordion Book

6
is

For the rest of the

book

you

will follow

the

same

sequence, creating different text

CAl)CR
THE CRAB
22JUNE-22JULY

L0
THE LION A> 25 JULY -23 AUGUST

on each page. The fourth panel

where you can write your dediany

cation, signature, date, or

other special marks of your own.

To assemble the three

indi-

vidual sections of the book

first

do the following: with the

section folded and facedown, place a sheet of scrap paper

VIRCO
THE VIRGIN
24 AUGUST- 22SEPTEMBER

underneath the
ed

Vz" (1.3

cm)

fold-

THE SCALES
23SEPTEMBER-250CT0BER.

strip at the far left

and coat

the strip with a light layer of

PVA or craft glue, making sure

to get all the

way

to the edges,

but not going over the fold line

on the
the

left.

Remove
cm)

the scrap

paper from underneath, and lay

first

%"

(1.3

flap of the

second section, folded under,

on top

of the glue, lining

up the

CAPRICOR1)
THE SEA-GOAT
22D6CEMBER-20JANUARY
THE WATER-BEARER.
21JANUARY-18 FEBRUARY
*'* *

two sections evenly. Cover with

a sheet of

wax paper and press

until dry.

under a book

SCORPIO
THE SCORPION
24

SAQICCARIUS
THE ARCHER,
23 AJOVEMBEJUlDECEMBEJt

0CTOBER-22N0VEMBER

6d
*

134

Calligraphy 101

8 9

Flip over the glued-together sections

and

glue

down

the strip to the back of one of the

pages. To glue the strips between the end of section two

and the beginning of section

8.

three, repeat

steps 7 and

Trim two pieces

(13.3

of

book board

to

5%"
of col-

cm) square and cut two sheets

(16.5

ored cover paper to a 6V2"

cm) square. Use the

foam brush or
front of the

l"

(2.5

cm)-wide brush to cover the

of

one piece
glue.

book board with

a thin

layer of

PVA

(continued)

Uncial

Hand and

Illumination

135

Zodiac Accordion Book

"1
I

g\ \J
is is

Lay a cut sheet of cover paper facedown

on your work

surface,

and place the book

board, glue-side-down, onto the paper,

it it

making sure

centered on the sheet. Flip the board over so

faceup,

and use

bone

folder to

smooth over

the cover paper, working from the center outward,

making sure the paper

*1
I

is

glued

down

flat.

1
I

Trim

off the

corners of the decorative

14" (6

paper diagonally, about

mm)

from

the corners of the board. Flip the board over and,

working one side

of cover

at a time,
it

apply

PVA to

a flap

paper and fold

up and over the edge

of the board,

using the bone folder to press the

paper firmly against the edge of the board. Use

the pointed tip of the

bone

folder to press the

little

corner folds of paper tightly against the edges of

the board. Repeat steps 9 to 11 to

make the

cover

and place the two glued boards between sheets of

wax paper and

at least 8

press under several heavy books for

is

hours (overnight

best).

11

1 ^\ ^I

To mount the pages

trim

to the covers, first

away the %"

first

(l-3

cm)

strips

from the

very

left

of the

panel and from the very right

of the last panel. Place the

table

page facedown on the

paper beneath
to

and lay

a clean sheet of scrap

the

first

panel.

Use

foam brush and PVA glue

quickly apply a thin but thorough layer of glue to

the back of the
first

panel.

136

Calligraphy 101

*1
I

X
vJ

Gently hold the page by the edges and

it

flip

over, positioning the

glued back of the

panel centered on the back side of the book board.

Use a bone folder and press under

to

smooth any bubbles, working

from the center outward. Cover with waxed paper

a

heavy book

until dry.

MFor mounting
cut two

the back cover of the book,

12" (30.5

cm) pieces

of ribbon.

Mark halfway
cover,

points on each side of the inside back

a few

and use

drops of

PVA to

glue each

end

of the ribbon to the sides of the book.

Cover

with wax paper and press until dry, then follow the

same procedure described

last

in step 12 to

mount the

panel of the pages to the back cover. Press the

entire

book between two

layers of

wax papers under

at

several heavy

books and allow

the ribbons in a

to dry overnight.

When

dry, tie

bow

the front of

the book and trim the ends diagonally.

Uncial

Hand and

Illumination

137

^Botu it bob come to paf& that tfee

king orbaineb afeetivai t6at

$boub Ust for three bay*, avfo to lubic ad the young women, of that country were bibben, o
t6at tfo ftingfeeon migfet cfeoo^e ^ tribe fromamon$ them. 'CH6m t6e ttuo Hepbaxi$kter$ kearb that thi\j, too, were 6i^cnto

appear, they felt very pteazeh

anb tfeeti

cartel

fto&mputttf,

" Ccnvt our Jxtlr, 6ru&b our *fc>t, anfc makf our fcucMe* fast-, uw ctr 3011*5 to tfce uted&xwj-

fea*tatthekm$$

entitle."

Lowercase Blackletter Alphabet

This particular Gothic alphabet
is

known as

"Blackletter" due to

its

broad, heavy strokes

the letters

and overall dark appearance. Notice how in some of (such as d, h, and Is) you can see remnants of the Uncial style.

Pen angle

for Blackletter

alphabet

/jS

/.

/.

v.

/ '

z*y

a\

S\S

/O

140

Calligraphy 101

Arched with Ascenders/Descenders

The

letters in this

group combine arches, which are kept narrow and pointed, with ascenders or descenders, which are

relatively short

in length.

The pointed arch of this letter brings dows of a Gothic cathedral.

to

mind the arched win-

It will

take a bit of practice to get the shape of this letter

it

correct think of
circular letter
o.

as constructing

an arched oval rather than a

Arched Group

The

letters in this

group have

a solid, rectangular quality.

Counters (the white space

in

between strokes) are kept narrow.

Each color shows

the change in pen
direction for this
stroke.

The m

is

comprised of

many strokes,

This

letter,

as do

many

in this group, starts with the

for the letter

same

multi-

the hrst one starting with a slight

directional stroke

shown

m.

upward movement.

142

Calligraphy 101

Vertical

Group
*
i

The vertical group has

relatively short

ascenders and descenders. Cross-strokes on the f and

appear on the top edge of the baseline.

For the crossbar, turn your pen to a slightly steeper angle to

This

letter also

has

many strokes,

although you

may

find

it

pos-

keep the stroke from becoming too wide.

sible to

combine several strokes

into

one movement of the pen.

Miscellaneous Group

During the Gothic period several variation of the produced during that time.

letters

x and z

evolved,

no doubt due

to the increase of scribes

and manuscripts being

Gothic Hand

143

Uppercase Blackletter Alphabet

Originally no capitals existed in Gothic alphabets; instead a decorative

Versal or Uncial letter would be used. This can

still

be a good option

in

your work. Avoid using

all

Gothic capitals in a word, as legibility becomes

letters,
letter.

an

issue.

The

little

flags

appearing on the stems of the

as well as

the fine vertical lines, are

added as

the last strokes of a

is5

-^V

m
2

;m
5

^-^3

^6

^7

144

Calligraphy 101

Magnetic Alphabet Set

Here
is

a fun project that pairs the serious look of the Blackletter

for

alphabet with a splashy modern background. The process

these magnetic letters
is

making

entertaining,

and when you

finish,

you can play

with them!

WHAT YOU'LL LEARN

small spray-mist bottle

How How

to layer translucent
in

#2 round brush
small metal
tin

colors

background

work with paintable vinyl magnetic

to

two self-adhesive magnets

circular

sheet

WHAT YOU'LL NEED

12"

Let's

Begin
flat

x 24" (30.5 x 61

cm)

IUse a T-square and pencil to measure the section of your magnetic sheet that will lay

paintable magnetic sheet

(with a vinyl not a paper
surface)

on the bottom
sandpaper

of the tray.
l" [2.5

Mark

lines

with pencil, and trim with scissors (as close to

as possible).

cm] increments

Use 220-grade

fine

to

sand each sheet,

steel

baking or tea tray with a flat bottom, at

least 6" x 6" (15.2 x 15.2

alternating

between swirling and diagonal motions. Make sure not

and
to

to press too hard,

work

all

the

way

to the

edges of the sheets.

cm)

Wipe each

sheet with a

damp paper

towel to remove any grit from

T-square
pencil

the sandpaper.
acrylic ink for

Mix yellow
of a

acrylic ink (add a small

amount
l" (2.5

of black

more

mustard color) and use a

cm) brush

to swirl slightly
sheet. Let
it

watered-down ink across the surface of the magnetic

minutes.

scissors

sit for 5

fine

sandpaper, 220

grade

yellow, black,
acrylic inks

and white

metallic gold acrylic paint

1" (2.5

cm) wide
brush

soft

bristle

paper towels

2-mm

chisel-tip

calligraphy nib

black calligraphy ink

steel-edge ruler
(continued)

craft knife

Gothic Hand

147

Magnetic Alphabet Set

2
little
(If

.*..-

Blot the ink lightly with a

paper towel, removing a

of the yellow, but not
all.

the ink has dried too quickly,

mist the paper towel with water.)

Allow

to

dry thoroughly.
yellow,

If

you

remove too much

can repeat

you
this
all

this step.

Repeat

process and steps 3 to 6 on

of

the sanded magnetic sheets.

3
swirl

Mix gold

acrylic paint to
4 f4

a watery wash consistency

l" (2.5

:;.:
V
*

***

ti

_.

and use
it

cm) brush to

over the yellow layer.

to 10 minutes,

Wait about 5

id xepzauiuioo/sreura a

then blot or swirl some more as

desired.

You can add as many

layers of color as

smooth

you

choose. Load a small brush

with gray acrylic ink. Hold your

outstretched index finger well

above the work, and

hit the

brush firmly against your finger

to spatter the ink.

The higher up
wider

you hold your

finger, the

and

finer the splatter will be.

You can

blot off the drops with

to

paper towel
if

tone them

down

necessaiy.

148

Calligraphy 101

4
and
(1.9
*

When

sheets are com-

pletely dry, use a T-square

ruler to
1.9

mark

off

%"

* 3

A"

cm) squares across the

surface of the sheets. Pencil in

a
i

two complete lowercase alphabets,

and two complete

capital

alphabets, using extra squares

for vowels,

punctuation marks,
con-

%
c

numerals,

commonly used

sonants, etc. Use a steel-edge

ruler
(1.9

and

craft knife to trim 3 A"

cm)

vertical strips

from your

sheets.

Use the 2-mm broad nib

to

and black calligraphy ink

write over your pencil marks.

5
J

Use sharp scissors

letters apart

to trim

on the

hori-

zontal pencil lines.

If

desired, put the letters in

a metal tin with magnets

affixed to the

back and

stick

it

to

the fridge or other metal surface.

Adults and children alike will

have a

lot of

fun with

this!

QUICK REFERENCE
Vertical strips. Working on a verti-

1
m

cal strip will help

you keeping each

its

letter

centered within

square.

Gothic Hand

149

**1.M,
_A
.

h i

-\

t
%
fc

;^*.
-

1^

Spooky Signs
Every now and then you need a spooky sign for Halloween decorations,
or just to lend a sense of darkness

and foreboding wherever

to find

it's

needed.

craft or

hobby shop
all

is

a good place

sign blanks that you can

decorate with

kinds of spooky sayings.

WHAT YOU'LL LEARN

Let's

Begin
6 teabags), steep well, then pour the tea into a bowl large
to

How How
to a

to "age"

wood

with

ITo

give an aged look to your sign, brew a pot of strong black tea

coffee and tea

(5 or

to apply calligraphy

enough

accommodate your blank

to

sign.

Next add several cups of

wood

surface

very strong coffee. Submerse your sign in this mix, weighting with a

heavy cup or bowl

keep

it

submerged

for at least

4 hours.
(continued)

WHAT YOU'LL NEED

approximately 6" wide 2" high (15.2 x 5.1 cm)

(6

mm) plywood

die-cut

sign blank

black tea

brewed coffee

brown water-based
(220 grade)

ink

fine

sandpaper
acrylic 1" (2.5

matte medium

cm)

craft

brush

pencil

eraser

white Saral transfer

paper

jM-i

2 or

3mm

calligraphy nib

black calligraphy ink

FiilfiiR

APTS&OOHD0S
1

Gothic Hand

151

Spooky Sign

2
it

Remove sign blank and

place
it

on

a stack of

news-

JOBS SENT TO YOUR EMAIL

bimlll|Hlfl-''^<'/il'ilHHrM|fAMlMlW Ufa*" m-iM

ucutri*

vmmj

? 1 iV j 4
1

An, Wrv#f !'. Wt 1

print;

cover with another stack

MM
*

n 'fkt
.

1 if

I.

of newsprint
until dry,

and a heavy book

about 24 hours. Once

Lprop<

has dried, remove and mix

a small

brown ink with

of

amount

water and use a brush to add

extra

brown age marks around

edges.

Use

fine

grade (#220) sand-

paper to sand the surface

of the sign

and

l" (2.5

cm)

brush to apply three layers of

acrylic
at least

matte medium, allowing

30 minutes in between

applications for drying. After

the last layer of matte
is dry,

medium
3-mm
trial

either

you can

write your

text freehand with a 2- or

calligraphy nib and black callig-

raphy ink or you can do a

run of your text on paper and

trace your results onto the sign

using white Saral tracing paper.

4
to

Decorate with dead leaves

or other creepy elements

add a nice Gothic touch.

152

Calligraphy 101

Variations
More creepy messages

Gothic Hand

153

^
154
Calligraphy 101

inrde V and the ~~A

taroaster

How

to Design a

Logo
like,

2
it

When you come up with something you

sketch a larger version of
it

on plain paper or

*&**

graph paper and use the

3-mm

nib and black ink to

ink over the pencil lines in Gothic

looks.

hand
you

to see

how
if

Do

as

many
if

variations as

like and,

needed, use a smaller nib for details or ornaments.

Don't be surprised
slightly (or a lot!)

you

find the design evolving

with each version.

ana the

When you have a version you like, scan

make
and 25%. Check
to

or

^tcirbfistet

photocopies, printing out versions see

if

at 75%, 50%,

anything
if \

looks odd at these reduced

sizes.

For example,

certain letters are hard to read at

50% then you

may want
between

redo those letters so they are larger and

also notice that the spacing

more open. You may

lines or letters

needs adjustment.

4
seem
are

3
If

you need

to

make
on

adjustments, cut the

(or letters,
if

logo into individual lines

neces-

sary), lay the pieces

a sheet of

graph paper, and

use removable
as needed.

artist's

tape to reposition the pieces

If all

the elements of your final version

perfectly in place to you, then

you can skip

if

this step,

but sometimes

it's

helpful to see

there

ways the layout can be improved. In

I

this ver-

sion,

re-lettered the capital

Vand

S to make them

easier to read,

and

slightly increased the spacing

2$ ttmie
and the

between

lines.

tarbttster

If

you have access

to a scanner,

you can scan

file for

your pasted-up sheet and save the

future use. Otherwise, take

measurements from

your paste-up

sheet, rule a sheet of white Bristol

accordingly, and re-letter the logo. Rather than

Minnie and
-

the

re-drawing the logo every time you need to use

it,

make

several photocopies of your master version,

tarouster
5

at various sizes,

and use these copies

for future

Minnie

projects. This will ensure that

you are always work-

ing with the

same version

of the logo at all times.

larbasur
156
Calligraphy 101

How

to Print a T-Shirt
IScan your logo
and
set

up to

print an 11"

8V2"

Minnie
^tarbuster

(27.9 x 21.6

cm; landscape) page from a

laserjet

printer. Follow the instructions included

with your

inkjet transfer paper, setting

up

print settings as

recommended by

the manufacturer.

2 3
and
the

Trim away unprinted transfer paper.

Peel off transfer paper backing.

slight fold

Making

and using

a craft knife to separate

'_

the layers

makes

this easier.

K^tftroOster

Position transfer right side up

on the

T-shirt,

and follow manufacturer's instructions

for

ironing.

Most

transfer papers

come with

a protec-

tive sheet that is

placed on top of the transfer while

ironing so the transfer won't be

damaged by

the heat.

>a 4
tarb

Gothic Hand

157

Italic

Hand Alphabets

Uppercase

Italic

Alphabet

160

Calligraphy 101

Skill Builders Exercise!: PRACTICING LETTER SHAPES

Practice writing the letters in groups that have

common

strokes, shapes,

and proportions.

WHAT YOU'LL NEED

2-mm

calligraphy

fountain pen or marker

writing paper

Top-Arched Group
The
top arches start farther

down

the stem of the letter and

move upward

at angle.

Holding the pen

at a steeper angle (40 to 45)

results in narrower

stem

strokes.

m
Bottom-Arched Group
Lower arches also have the same upward angle of
travel.

a
162
Calligraphy 101

x
Round
The arch

Letter

Group
letters is not as steep as
it is

at the

bottom of these

with the bottom-arched

s. it

letters.
first

These

letters all
italic

fit

between baseline and

x-height line, and are the

same width as
o.

the

o.

To make the

letter

may

be helpful to

sketch an

in pencil

and then prac-

tice fitting the s into the oval of the

Diagonal Letter Group

As
in

Foundational Hand, the angle of the top-left to bottom-right diagonal slope should be steepened so that

it

doesn't

become

too heavy.

w
Vertical Letter
A
the

Group
t,

steep pen angle keeps the vertical lines from becoming too thick. For the lowercase

a small

upward stroke

is

drawn

first,

which

at

end blends with

the crossbar.

i"7~f~
Italic

Hand Key Points

are sloped anywhere from 5 to 12 from vertical.

Italic letters

steep pen angle

Italic nib)
is

is

used as

well, usually

35 to 45.

nib with an angled writing

finer,

edge (often
and

called as an

can be used to create more

steeply angled strokes and

Italic,

crisper lines

serifs.

Five nib widths

the standard x-height for

with ascenders and decenders of 4 or 5 nib widths.

Italic

Unlike other alphabet styles,

letters

Hand

is

written with few pen

lifts

between

strokes, with

many

of the

and

flourishes written in a single continuous

letter

pen movement.
circle.

In Italic

Hand the

takes the form of an ellipse rather than a

in

Curved and arched

letters (n,

d, p, h, etc.)

are also elliptical

form and narrower than other alphabet

Italic letters

styles.

The ascenders and descenders of

are longer than

in

other scripts, usually 3 to 4 nib widths,

and are frequently flourished or extended

into graceful loops

and curves.
letter,

The

serifs at

the bottom of letter strokes are often elongated so that they flow into the adjoining
letters in

connecting the

way

that

we

think of as "script" or "cursive."

talic

Hand

163

Exercise
practice

2:

PENCIL PRACTICE FOR ANGLE

Italic

AND SPEED
it

Because many strokes of the

alphabet are done in one continuous movement,

is

can be helpful

to

them

first

with a pencil, which

is

easier to manipulate than a dipping

tip

pen and won't run out

is

of ink.

A mechanical

pencil

especially

good because the

wears to an angled point and

easily renewed.
to start with)
letters.

Practice writing lines of Italic text using a mechanical pencil (sizes 0.7 or 0.5 are

good

on regular lined notebook or graph paper. Concentrate on maintaining a consistent slope to your

Don't worry about doing the strokes perfectly; you'll find that once you can keep a constant slope to the
letters,

the shape of the strokes will

become more

consistent.

nt ofdi

hdjvrthi Italic

slopi>
.

and (fit angular shapes

Don't worry too
details -tfie

oj the

it:

muck alcut serifs

Klip your

or small

mam tfimq tokttp m mind is the

letUnny
litters

slopt of

I fie

spaced well apart so you can really seo

ike shapes.

Renumber that

letters thai

would

hi rounded, like
sfiapi
%$m CAP
//.w-

V V
or

or "d' art

oval in

whin written
ytn* a cb&fttt to

in Italic

Hand.
&

a(so try <py&chcihft ffailt

Hand mth

%maUw

btnci/

c*v ahh
vi

ayia

ill hi If tyw

a* $ey>fs awd- oikcy small <rlef*iU i>v\mcw$el<i wni^ Mi*M tw| kc~4W *j*Wrfc> p**i
-

a {(on rlyie\ can a Is oat

.practiced -v/itk

a,

/pencil

before,

tr^no

tH

164

Calligraphy 101

Italic
Italic letters

Swash Capitals
especially

can be easily orna-

mented with swashes,

the capitals. Try adding a swash

capital letter to

your text every

so often, especially at the start

of a paragraph.

As you develop
Italic

S\

lb

<* <* 2> >- j

your

skills

with

Hand, you

can develop your

own swashes

and make them as ornate as you

please.

A calligraphy fountain pen

'TIP
**..
'

is

very useful
to

when

learning

how

do swash

capitals,

because

it

provides a constant ink flow

and

is

especially easy to manipulate

through curved or looped strokes.

The Italic/Cursive Connection

Italic script
is

the forerunner of our present-clay cursive handwriting. The quickly written, flowing qualities

of
is

Italic

script

can

easily

be adapted to everyday writing

as often as you can
in

tasks.

A good way

to practice your
filling

Italic

script

make a

point to use

Italics

your everyday writing for

out forms, address-

ing envelopes, writing letters

and notes, signing your name, and so on. This

skills for

will

provide you with plenty of

opportunities to develop your

writing Italic letters,

and

it

also

makes

a nice surprise for the

person

on the receiving end of your communications!

Italic

Hand

165

Informal Invitation
Here's a simple project that uses just one size of Italic lettering that
is

understated and perfect for a casual get-together.

WHAT YOU'LL LEARN

Let's

Begin
*

How

to plan and lay out

ICut two pieces of text paper to 3%"

piece, use a

10V2" (7.9

26.9 cm). For each

the text on a long, narrow

invitation

bone

folder

and

ruler to fold a

l" (2.5

cm)

flap

on each

of the 3Ve" (7-9

in

cm)

sides.
in,

Use

scissors to snip corners, starting at the

of the sheet.
(continued)

How How

to ink text

more

fold line

and angling

on each corner

than one color

to

mount

a text

panel using slot and tab

method

WHAT YOU'LL NEED

warm
paper

white text-weight

light-gray 80-lb (218

gsm) cover stock

dark-gray 80-lb (218

gsm) cover stock

matching gray #10 (4!4" " [10.5 x 24.1 cm]) x 9/ 2 envelope

1

gray and green

calligraphy ink

1-mm
ruler

Italic

nib

T-square
pencil

eraser
scissors
craft knife

glue

wax paper
optional: white label stock, decorative

paper

talic

Hand

167

5
two

Following the dots you marked as a guide,

align a steel-edge ruler

between the top two

slit

dots and use a craft knife to cut a

dots.

between the

Repeat

for the

bottom two

dots.

6
7
down

Slip the folded flaps of the top sheet into the

slits

cut into the decorated paper. Apply a dot

flaps

of glue

under each of the

and press down.

Turn faceup and use a steel-edge clear grid

ruler to trim the
to Va" (3

edges

of the decorated
all

paper

mm) wide on
to

four sides.

8
wax

Cut base paper

3%"

9%"

(9.9 * 23.6

cm).
a

Turn upper panel facedown and apply

of the decorated paper.

few

small dots of glue to the top, bottom, and side

edges

Then turn faceup

sheet, cover with

and place

carefully

on top of base

paper, and press until dry.

'

-)
I-

'

It

_ i"
1

?H

7m
h

O-J
talic

Hand

169

Stationery with Cross-Writing

Borders and Lined Envelopes

Back
in the

days when people corresponded solely by writing

letters,

was often used as a way to fit as much information on a sheet of paper as possible. This project uses cross-writing as an
"cross-writing"

ornamental pattern

for

a border and envelope

Let's

liner.

Begin
for

WHAT YOU'LL LEARN

fun

way

to use calligraphy as a design

ITo deconstruct your envelope to take measurements

the
liner,

place the envelope on a

flat

element

surface and slip the blade of a palette knife, letter

How
How

to

make
liner

a calligraphy-embellished

opener, or similar thin

flat

object under the lower

flap.

envelope

corner of the envelope's glued

truly personal stationery

Use

a gentle

to

make

back-and-forth sawing motion, keeping the blade

flat

against the envelope.

(continued)

WHAT YOU'LL NEED

A6

(614"

4 3/a"

[16.5

12.1

cm]) envelopes
x

several sheets of matching 9"

12" (22.9

30.5

cm) text-weight paper

palette knife

one 11" x 14" (279 x 35.6 cm) sheet of heavy-weight vellum

pencil

eraser
drafting tape

grid ruler craft knife

glue stick

bone

folder

two colors

of calligraphy ink

metallic gold

gouache
1

small (approximately

mm)

italic

nib

#0 round brush
(3

Vb"

mm)

flat

brush or #1 script

liner

Italic

Hand

171

Lined Envelope

2
will

Use drafting tape

to

tape

the unfolded envelope to

a flat surface (don't tape over

the corners of the flaps, as

you

need

to see these to

make
*

your template). Use a clear grid

ruler to
Vb" (3

mark lines

as follows:

mm) below the

flap, 3 /a" (l

glue line

on the top from other

cm)

in

flap edges. For the

side flaps, have the two lines

meet

in a gentle curve. For the

corners of the envelope, draw a

gentle concave curve as shown.

3
of 11"

Trim along the pencil

lines

and use as a template,

tracing the outlines onto a sheet

*

14" (27.9

35-6

cm)

text-

0^0 -per Ct*nfce*3o ^chA*'*-, C rtyi>U*uU,

in, *<,** j>*.*tt,j>tt4,

weight paper. Align your grid

ruler along the angle of the flap

ho, s

dUi co$e, cUt

cc
ttieiro

rtdiv*

nj+*i**
nen.

eki di
/

si*,

dijctidt,, -pc^Uc
*c del

and

lightly rule pencil lines that

U,

mtrticr-t'tt,

ftt*2> irc<.

Wp **n***Cfr ty**tt
p

follow this angle at XA" (6

mm)
is

intervals until the template

covered. (Note: Extend the lines

only about

Va" [6

mm] beyond

the template outline.)

4
the

Use the guideline

to

fill

the template with text in

first color.

Leave gaps from

time to time where gold orna-

ments

will

be drawn
ink

later.

When the
your ruler

is

dry, align

to the

opposite

side of the top flap and rule

lines Va" (6

mm)

apart across the

template, creating a lattice pattern of lines. Ink in text using

your second
to leave

color,

making sure
left

open the gaps you

172

Calligraphy 101

when writing the first leave a gap when you

end
of a sentence or

color.

Also

reach the

phrase
filled in

these gaps will later be

with gold ornaments.

6
lines.

Use

a fine-tip

pen

to out-

line the template

edges of
all

your sheet, then erase

pencil

Mix gold gouache

to a

creamy consistency and use a

#0 round brush to paint gold

ornaments

in the gaps. Paint

Va" (3

borders about

mm) wide
flat.

along the edge of the top

Trim just inside the

penned-in template outCenter the envelope liner

lines.

on top of the envelope you took

apart and use a bone folder and
ruler to score folds, lining the ruler

up just inside the

folds of

the envelope.

8
flaps.

Fold in

all

but the top

flap

and gently

slide into the

envelope.

When

the liner

is

about halfway

in,

apply a dab

of glue to the side and lower

Use the

flat

end of

a ruler

to

push the
in,

liner the rest of the

way
flap

then apply glue stick

sparingly to the back of the top

and press

until dry.

talic

Hand

173

4
(1.9

Erase your pencil lines,

then carefully remove

the drafting tape.

Use a pencil

and grid ruler

to rule lines 3 A"

cm) out from the edge

all

of

the inner box on

four sides.

These
lines.

will

be your

final

trim

Double-check your mea-

surements; the trimmed size of

kw,

the sheet should be 6V4" wide by

9"

high

(15.9

22.9 cm).

>-

Use gold calligraphy

gouache and
to paint

a #1

round

brush

borders along the

inside edges of the box.

Keep

your strokes long and even, and

gar

focus your eyes on the point

where you want the

line to end.

Mi

#1
SgraT

6
ruler

Use a #0 round
ornaments

to paint

in the corners

with gouache.

When

the

gouache

is dry,

use a steel-edge

and a

craft knife to trim.

If

you are planning to

TIP

produce multiple copies of

envelope
liners

and lettered

paper, prepare one liner and

ter sheet, omitting the gold

one

let-

gouache.

These can be scanned and printed, or

taken to a printer, and gold gouache VvVvT
can be added by hand
later.

talic

Hand

175

NFO

-c-ft ->>.

c;S A>

^<y>

v.

o<?S^

<tfK

7<ih:

,e<5to

&Vi5> ,.A,

<?w*Cof
-?

>

.-A

%
3

*;-:<$>:

J&&&

cEgfi

*<#>"

($g<yL

**>&

o?o2

<*

p?i?c

Layered Heart Valentine

2
bone

up glued sheet by the edges and lay it down on

Pick

top of the red sheet. Cover with

wax paper and smooth with

folder,

working from the

center to the edges,

making sure

there are no bubbles or wrinkles.

Press with a heavy

book
1

until

thoroughly dry (about

hour).

3
and

Trace the templates

(opposite) and cut

them
stock,

out. Print

them on card

trim. Trace the outlines of

the Outer Heart template onto the backing sheet

and

trim.

Trace the outlines of the

Inner Heart template onto

Bristol or cotton card stock

and

lightly the rule pencil lines for

your greeting.
tering
first.

Do

the large

let-

(continued)

7v\inc.

178

Calligraphy 101

Layered Heart Valentine

5
the

Add

a small

amount

of a

red ink to white to

make

pale pink, and use a #0 pointed

round brush
first

to

add details
is

after

ink color

thoroughly-

dry. Trim.

6
on
it

Use gold ink or gouache to

paint a 2"
*

2" (5.1

5-1

cm)

square on Bristol or cotton

cover stock.

When

dry, trace the

outlines of the

Crown template
Use an awl or

and

trim.

hole

punch to punch three holes

Ve" (3

evenly spaced

mm)

from

the bottom of the crown.

1

Use

a few dots of glue to

\
\

attach the lettered panel

to the

backing panel, and a few

of glue for the crown.
to

more dots

Use the awl

poke through

the holes of the crown, going

through

all

the layers. Poke

the brads through the holes

and

fasten.

180

Calligraphy 101

Faux-Vintage Scrapbook Page

2
tion

Print out (or

make

color

copies) of the photos and

other materials you want to use,

experimenting with the reduc-

and enlargement setting to

different-sized versions

make

the images. Leave white space

around your prints so you

can try out different kinds of
borders using decorative-edge
scissors to trim.

You can

also

experiment with printing

photos or other elements onto
colored papers. This can be
especially interesting

when
is

black-and-white photo

printed

on a colored paper
this

stock. In

example, vintage clip-art

frames and handwritten letters

were scanned and printed on

parchment and
paper stocks.

different colored

3
and

Choosing from the various

prints

you made, decide

to use

which pieces you want

print out final versions,

trimming and cropping as

needed. For trimming with
decorative-edge scissors,

make

sure to position the scissor

blade correctly so the next cut

of the scissors

matches with the

previous patterned line cut.

184

Calligraphy 101

4
to

For pictures that will be

mounted under paper

windows
in the

frames, trim

frames carefully with a craft

knife. Place the

frame on top of
fine-tip

the photo,

and use a

pen

mark the edges where photo

be trimmed so
it fits

will

exactly

under the frame. Trim photo just

inside
to the

pen

lines,

apply craft glue

back edges of the framesure not to get the glue

make
where

too close to the

it

window edge
directly

can ooze out onto the

photo and place frame

on top of the photo. Press under

wax paper until

minutes.

dry,

about 30

Lay out your page by

positioning your prints
a test

and other items on

with removable

page

artist's

tape or
in

masking tape
place.

to hold

them

Remember

to leave plenty
If

of space for captions.

you plan

to use photo corners, position

them on the corners

tos,

of the pho-

but don't glue or stick them

down. Use a white charcoal pencil

to

rough in the captions.

(continued)

Italic

Hand

185

Faux-Vintage Scrapbook Page

6
7

Test your white ink and calligraphy nib on a

scrap sheet of the
If

same black paper used

try acrylic

for

the scrapbook page. ink doesn't appear

regular white calligraphy

White

cal'ltyrayluf acucktjloxo) \oelC

opaque enough,

J$e carefui not to oi'er-ink,

white ink or white calligraphy gouache.

6
same

tfte ni(*

Wden Mjpna white ink!

Remove
your

the

first

photo to have a caption from

it

test page,

and position

into the

place on the actual scrapbook sheet. Lay a sheet

of paper underneath your writing

hand

to

keep

skin oils from marking the scrapbook page.

As you

write your caption, refer to your test version for

size

and spacing.

If

you

like,

you can experiment

with connecting the

Italic

strokes and developing

an old-time handwriting.

8 9
if

Continue adding captions, working from

the top to the bottom of the page, placing
at a

one photo

time on the sheet as you write

the caption.

After the ink for the captions has dried,

remove

all

the photos and prepare to

a

mount

them. To

mount

photo using photo corners,

it fits

place a photo corner so

snugly on the

upper

left

corner of your photo. (And remember,

your scrapbook page has any layered images,

you'll

want

to

mount

the

bottommost

layers

first.)

Moisten, apply glue, or remove backing from photo

corner depending on the type of photo corner.
Stick the upper left corner to the page,

and once
your finger

you are sure the photo

is

straight, press

down on the photo corner until it is stuck firmly. Once this photo corner is on, you can easily add
the others, and the photo will remain in position.

186

Calligraphy 101

1
I

f\
\m/

For items not using photo corners, glue dots are

recommended
to

(rather than glue)

because they are easy

apply and allow the future

if

option of removing the photo from the page

essary.
to

nec-

To properly apply glue

dots, turn the piece

strip of dots

be mounted facedown, cut a short

roll,

from the

turn the strip so the

first

glue dot

is

positioned in the place you want

it

to stick, press
lift

on the dot with your

finger,

and then

the

strip.

The glue dot

will

be attached to the back of your

it

artwork in the place that you pressed

on.

1
I

*1
I

When you have

it

applied as

many

dots as you
it

need, turn the artwork over, place

to

where

you want
or

be mounted, lay a sheet of paper

the artwork,

wax paper over

and press

firmly.
if

Items stuck on with glue dots can be removed

necessary, but will usually take a bit of the page

they were mounted on with them, so

position your artwork accurately the

make
first

sure to

time.

12

sheet of decorative glassine or vellum

into the

bound

scrapbook as an overlay

QUICK REFERENCE
First
this

photo to have

a caption.

If

you are right-handed,

left

should be a photo from the upper

if

part of the

page, and

you are left-handed, this should be from the you won't have

upper
to rest

right part of the page. In this order,

your hand on parts of the page that you've already

finished.

One photo

at a time. Photos can be set in place without

if

masking tape
tos get in the

you wish-the idea

is

not to

let

the pho-

way
later.

of your writing they can always be

repositioned

Italic

Hand

187

How

to

Make Photo Corners

text-

You can make your own vintage-style photo corners by tracing the template below on decorated
weight paper. For the scrapbook page
in this project,
I

scanned and printed out a

its

letter in

my

mother's

handwriting on colored papers, reducing the template to 50% of

original size.

Print the template onto card

stock, cut out,

and use and

pencil to trace
paper.

it

on text-weight

/ \

2
3

Use sharp scissors or

craft knife to trim the

\
\
\
first.

straight sides of the tracing

Fold the smaller inner

flap
first.

188

Calligraphy 101

4
fold
tly

Turn the photo corner so

the front faces you and
flap,

over the left-hand

it

gen-

pulling

so that the right

corner lines

up with the folded

inner

flap.

5
flap

Fold a small piece of

wax

paper into a square and

tuck inside the photo corner.

Use glue

stick to apply a small

amount

of glue to the inner

flap

and pinch the outer

between your thumb and finger

to

make

sure the glue sticks,

then remove the wax paper.

Apply glue

stick or craft

glue to the backs of your

photo corners when you are

ready to use them.

Italic

Hand

189

Brushwork and Gilding

Brush lettering has
Egyptian writing.
its

origins in the

Roman
and
look at

alphabet, as well as in ancient Chinese

It is interesting to

Roman

inscriptions in stone

the serifs, sheared lines,

and realize that and terminals we see

done with

originated from the attempt to reproduce the

original lettering designs that were

a brush.

Although the connection between calligraphy

and brushwork may not be obvious

at

first,

we

have seen throughout the chapters of this book

that brushwork does indeed play an important
role in calligraphy.
bristle flat

You

will find that

stiff-

brush can be used

in just the

same

way as a calligraphy nib, as even more expressive ways.

well as in other

191

Beginner Brush Lettering

Italic

Hand

is

one of the easiest

to

learn to write with a brush. For this

script,

use a small

(W [3 mm] wide)

Rat brush with firm

bristles,

held

in

the

same way as you would hold a calligraphy pen.

in ink or gouache, but either way,

You can work

make

sure you don't overload the brush.

is

It

helps to keep

a folded paper towel on hand to blot off extra ink or paint until the brush

nearly dry

(i.e.,

having just a
as

minimal amount

of paint

on

it).

Practice "writing" Italics with the brush, following the

of

same stroke order

It

you would with

a pen, until

you get a sense

finish,

how much

ink or paint

is

the right amount.

will

also helps to

use a thick paper with a soft

paint well.

such as a 100% cotton printmaking paper, which

absorb the ink or

Italic

Brush Letter Samples

abcdcfghijklmno

Merd

Thankyou

Vdkommen RSVP
192
Calligraphy 101

Advanced Brush Lettering

Once you get a
lettering,
to,

feel for

writing with the brush, you can tiy your hand at the
is

more
it

traditional

form of brush
getting used

where the brush

held nearly perpendicular to the paper. Although

takes

some

once you learn

you'll find

you can use the brush very expressively.

Informal

Roman

Capital Brush Alphabet

abcdefghij

klmnopqrs

tuvwxyz^
Brushwork and Gilding 193

Key Points

for

Brush Lettering
is

One important
lightly

characteristic of brush lettering

that the brush

is

held perpendicular to the paper, with

your fingers gripping the ferrule (the metal collar of the brush). Your pinky finger should extend

down

to

touch the paper, providing a means of support.

flat-tip

For starting out, use a wide

lightly inked,

brush about
if

/a"

to

(1

to

1.3

cm)

in

width.

Keep the brush very

on get-

almost

dry. Don't

worry

you run out of

ink mid-stroke; for

now

just concentrate

ting used to

making the stroke shapes.

for

Pan watercolors can be very useful

technique. Dip your brush
lightly
in

brushwork, since they lend themselves well to a dry-brush

until

water and stroke the surface of the watercolor

the brush

is

just

covered.
height of the capitals
is

For

this alphabet, the

about 7 brush widths. You

will

have a

lot of control

over

how wide your

to your

strokes are depending

to give

on how hard you bear down on the brush, which you can use

advantage

your brush lettering a more

dynamic, freeform look.

You can also twist the brush

slightly (or a lot) at the

end

of a stroke for an interesting

effect (at right).
If

you have more than one

on hand,
try

variety of brush

them out
there
that

to see

how

they

write. You'll
is

probably find that

specific brush

one

works

really well for you.

194

Calligraphy 101

Skill Builders GETTING THE FEEL FOR THE BRUSH

Because a brush
flexible
is

much more
it

than a calligraphy nib,

can

feel

much harder
first.

to control

brush strokes at

The key

is

to not try to control the brush,

but to learn

how

to let the
it is

brush

make the marks

to

designed to

tceccco:>^~>:>:>

make. The best way to learn how do

this is

simply by doodling
differ-

and playing around with

ent brushes,

much

the

way you

did with the calligraphy pen.

Assemble
sizes

of few different

and types of brushes,

along with a few different colors

of ink in small containers.

/VW"SVI
OOO
y^^x^Tv\\\\\>\\\\\\>mu\vvu\wv\m\\\\^

On

a large piece of Bristol or other

thick stock, ink

up

a brush,

and

just play

around making
squiggles, waves,

marks loops,
are easy to

whatever. Notice which strokes

make and which

feel

ones tend to break apart or

unstable.

Change

colors each

time you change brushes, and

write

which brush you used

for

each set of marks. This practice

will

help you work with your

brushes instead of trying to

control them.

These are the brushes used

for this

sample: orange,
flat

flat;

green, #4

shader; red, #1
liner;

round; blue, #1 script

black,

and

4W*?*?<*
Notice how the
flat

%"

flat.

brushes work best

for creating the

kind of

strokes used for calligraphy.

Brushwork and Gilding

195

Experimenting with Different Brushes

There are brushes of

many more shapes and

them

sizes besides the

ones introduced so

far in this

book, and you can

have a

lot of

fun experimenting with

to create decorative paint effects. Here are just a few to try out:

Chinese writing brush (maobi)

Squirrel hair brush

..

"N. *

The long,

soft fibers of the

Chinese writing brush allow

it

to

be

Similar to a Chinese brush, the squirrel hair brush

soft
ral

is

extremely

pushed, pulled, or swirled in any direction-

and

flexible,

and especially useful

for soft

washes and natu-

shapes like flower petals and leaves.

Fan and angled shading brushes

Color shaper

ft^:*^

*
"'.

* *
for ftlling in areas

Brushes with angled edges can be used

texture or

with

Not

really a

brush but more like a small rubber stamp on a brush

making repeating

patterns.

handle; a color shaper can be used to

make

lines or patterns.

196

Calligraphy 101

About Gold and Silver Leaf

Working with gold or
to start to

silver leaf can

be challenging at

first It is

important

out with small, modest projects that are easy to do

It also

and designed

yield successful results.

helps to understand the physical

components of the gilding process.

First, a

substance called sizing

is

is

painted onto paper or whatever surface

it

is

to receive the

metal

leaf.

Although sizing
or paint.
It is

generally water soluble,

has a stickiness that makes

it

different
is

from working with ink

to

very

much

like painting with glue,

and one of the downsides

that

any re-working you do

leaf.

the sizing

you have painted

will result in ridges or

is

blobs that can be seen under the metal

Therefore,

learning to work skillfully with sizing

After sizing
is

the

first

step to achieving

good

results with gold

and

silver leaf.

painted on a surface and allowed to

become tacky

(usually within 30 minutes or so),

pieces of metal leaf are laid

down and

gently rubbed onto the sticky area.

The excess
If

leaf (that

which
be more

doesn't stick to the sized areas) can be gently rubbed off with a brush right away.
careful,

you want

to

you can wait 24 hours (the length

leaf.

of time for sizing to dry completely) before

brushing away any

excess

The
(a

final

step in the gilding process

is

to gently rub the gilded areas with a hematite or agate burnisher

highly polished stone with small rounded tip for reaching small areas) to increase shininess in the metal

leaf.

Unless you are working with pure gold or silver

will actually

leaf, this

process

is

optional.

With pure

metals, the rubfin-

bing motion of the burnisher

ish.

cause the metal to melt slightly and take on a lustrous, liquid

leaf material

With aluminum- and copper-based metal

in the projects that follow), the

(which

is

more commonly used and what we will

use

burnishing process

may

cause the metal leaf to separate from the sizing.

198

Calligraphy 101

Gilding Tips

For gilding on paper, make sure your paper

relatively

is

Start with small brushes, doing projects with

smooth and
of scrap

free of dust, grit, dirt, etc.

small lines

and narrow borders, because

thicker
in

Have plenty

paper on hand to place

areas tend to be
go. As

more

difficult to

cover

one

below each piece of paper to which you are

applying sizing, and renew the scrap sheet each
time any of the sticky sizing gets on

you

learn to

work with

sizing,

you

will

develop a sense of how to cover large areas

evenly
in

it.

one

layer.
will

Wooden

surfaces should be well sanded with fine

cloth.

Many

kinds of sizing

set

up within 30 minit is

sandpaper and wiped clean with a damp

utes and remain tacky for 24 hours, so

Working with

sizing

is

very

much

like

working

possible to apply sizing to a project

and then
this,

with quick-drying glue, so

to lay

it is

very important

go back and apply the

leaf later.

If

you do

down

the

amount

of sizing you

want

in

make
well

sure to store your sized pieces

dust, pet
fur,

somewhere

single layers. Overlapping

and re-working should

away from

breezes, or any-

always be avoided, since

that
leaf.

this will result in ridges

thing that might cause

stick to the sizing.

unwanted material to

show up beneath
It is

the metal surface of the

it

useful to use a brush that

exactly the

size of the stroke

you want

to

make so you

don't

have to go back and add an extra layer of sizing

to anything

you have painted.

Brushwork and Gilding

199

Script Notes on Pearlescent Paper

makes use of pearlescent cover stock, which is available in a wide range of colors (see Resources). Be sure to test your inks on a scrap of pearlescent paper before starting, because certain inks do not absorb well into the coated surface of the paper (calligraphy gouache works the
This project
best on this type of paper).

WHAT YOU'LL LEARN

Let's

Begin
grain direction and cut cover stock to 5V2"
*

How

to apply letters

IFind the

8V2" (14

21.6

and designs with brush

strokes

cm), with the grain running in the direction of the shorter side.
Lightly rule a pencil line exactly halfway through the longer side.
the

On

How

best to work with

same

side, pencil in the

design with watercolor pencils or other

pearlescent cover stock

soft pencil (too

sharp a pencil point will leave dents in the pearles, .. ..

cent stock). J

(continued)

WHAT YOU'LL NEED

cover stock
pencil

watercolor pencils

Ve" (3

mm)

flat

brush

white acrylic ink

scrap paper for practice

#0 round brush
pearlescent white acrylic
ink
1

#0 pointed round brush

#00

pointed round brush

red acrylic ink

#2 round brush

script liner

scoring wheel or
folder

bone

ruler

text-weight pearlescent

white paper
glue

Brushwork and Gilding

201

Script Notes

on Pearlescent Paper

2
to

Use a

flat

(3

mm) brush

and white

acrylic ink to

paint lettering, being careful not

to overload the brush.
It

helps

have a practice sheet of the

to try out

same paper nearby

your strokes on.

Use a #0 round brush

paint dots for flowers.

to

With

a circling motion, start

from the

outer edge of the dot and swirl

inward.

When

white ink has dried,

use pearlescent white

acrylic ink

and a #0 pointed

round brush to add accent

strokes to the wide parts of the
letters.

When

you come

to the

widest part of a stroke, push

down

slightly

on the brush so
little.

the bristles flare out a

Use a #00 pointed round

brush and red acrylic ink

to paint the stems.

single,

Work

in

long continuous strokes.

When the
leaf tip

stem

lines are dry,

paint the leaves, starting at the

and making a graceful

that

swoop

meets the stem.

202

Calligraphy 101

6
to

Mix pearlescent white

acrylic ink a

touch of red

make

light pink.

Use a #2
for

round brush to paint dots

the flower centers. To build up

a raised flower center, re-ink the

dot several times, allowing to dry completely each time.

Use a

script liner to paint

the ribbon with white

acrylic ink,

and then use

pearl-

escent white acrylic ink and a

#2/0 pointed round brush to do

the ribbon details.

8
card.

When gouache
oughly
dry,

is

thor-

use a scoring
ruler

wheel or a bone folder and

to score the fold
in pencil

marked

earlier

on the

front side of the

9
'

sheet of text-weight

pearlescent white paper,

x

Ha

**+

cut to 5 1/*"

8%"

(13.3

21

cm)
in

iWicA/*
_
ft

"*

and folded, can be glued

to create a lighter surface for

writing on. Just use a few dots

of glue

on the

fold

and a dot on

each corner.

1
I

f\
Vy

Re-create a simplified

version of the flowers

flap of the

on the back
if

envelope

you wish.

Brushwork and Gilding

203

Gold Leaf Treasure Box

Once you get the hang of gold leaf, you'll hndyou can apply it to almost any surface, provided it is flat and prepared properly. You could try this project on a wood or metal box.
Let's

Begin
cm) brush
lid.

WHAT YOU'LL LEARN

How

IMix acrylic paint with water to a thick consistency and use a l"
(2.5

to transfer a

to paint the surface of the

box beginning with the

all

calligraphy design to a

small box

inside of box

Then paint

the inside of box,

itself.

the

way down
dried,

to the

lid

base, but don't paint the base

How

When

the paint has dried, paint

to reproduce your
in

calligraphy

gold

the outside edges of the

box and

lid,

and when these have

lid

use a

leaf

smaller brush to paint the narrow rims of the

and box
it

top.

Repeat

WHAT YOU'LL NEED

the entire process

if

you see thin areas of paint

after

has dried.
(continued)

small

wood

or cardboard
lid

box with removable

acrylic
!4"

paint (any color)

(1.3

cm)

soft brush

three or four large cotton

balls

7"

7" (17.8

17.8

cm)
silk

square patterned
fabric to

or

match paint

one piece of cover stock

compass
pencil

ruler

scissors

hot glue gun

tracing paper

one sheet
leaf

.-

artificial

gold

(iAf^MSMSBSiBi
I

water-based gold
sizing liquid

leaf

mi*!
IS

#0 round brush
#2 round bush

F Ml

r*

-"

3-mm

flat

brush

hematite or agate burnisher

optional: Saral brand

white transfer paper

Brushwork and Gilding

205

Gold Leaf Treasure Box

2
box
a/." 23 A

Measure the diameter of

the base of your
in this

box

(the

example measures

[7

cm] across) and use a comover twice this diameter on

pass to draw a circle that has

little

card stock (in this case,

cm]).

6W [16.

Trim the template with

template onto
fabric to size.

scissors; trace the

fabric

and cut the

3
them
way.

Pull three or four cotton

balls apart slightly

and

fit

into the base of your

fill

box

so they

the

box about

half-

Remove

the cotton mound,

fab-

and place on the facedown

ric circle.

Wrap

the margins of

the fabric over the cotton, small

sections at a time, and glue in

place with a hot glue gun. (Note:

be careful

to

never touch either

the hot glue or the tip of the

glue gun

when

it is

plugged

in.)

4
5
do
in

Add

hot glue to the inside

base of the box and set the

cushion inside.
Trace the outer edge of the

box

lid

on tracing paper
you want

and use a pencil to work out

the initial design
to
this

gold

leaf.

Remember,

can be a simple ornament or

initial,

rather than a complicated

of letters.

scheme

6
206

If

you want, you can do

a test run of your chosen

design by tracing the design

Calligraphy 101

onto a darker-colored piece of

paper through a layer of white

Saral transfer paper,

which

will

not leave grooves or imprints

in the final surface

and can be

easily erased.

Use your Saral

tracings as an opportunity to practice using different kinds of

brushes with your gold leaf size

and applying gold

leaf.

When you have

settled

on

a design and particular

brush and technique to use,

transfer your tracing paper

design through a layer of the

Saral transfer paper onto the

box

lid.

(Note: because tracing

lines tend to
thick,
it

come

out rather
erase

helps to

first

them

slightly with a

kneadable eraser

so you have only very fine lines

to follow.)

8
and

Use your selected brush

to

apply sizing, without allow-

ing layers of sizing to overlap,

let
it

set for

30 minutes or

according to manufacturer's

Variations
Make
sion.

instructions.

small gift boxes in different shapes and colors to suit the recipient and the occacalligraphy.

Apply imaginative gilded designs you've created with

Apply gold leaf

198): cut a

(see

page

small

amount

of leaf to cover area, gently rub

with orange protective sheet,

then move on

to the

next area.

When
to

all

areas have been covleaf,

ered with

use a small brush

remove excess.

Brushwork and Gilding

207
1

Brush-Lettered
This simple project

Name Plaque
colors of acrylic paint

and simple craft plywood shapes. Because acrylic paints are generally opaque, you can add color details over other color layers. Decorate and embellish with paint as much as you like!
makes use of bright
Let's

Begin

WHAT YOU'LL LEARN

How

to apply brush letters

IUse #220 grade sandpaper to lightly sand the

in acrylic

paint

edges, corners, and surfaces of the plywood

sheet, then

Cute and clever ways to decorate a name plaque

child's

wipe away dust with

damp

cloth.

Squeeze out an approximately

liant

2" (5.1

cm)

of bril-

WHAT YOU'LL NEED

yellow green onto a palette or mixing plate,

1

4"
(3

12" (10.2

30.5

cm) plywood

sheet,

wet the
to

V2

'

(1.3

cm) brush with water and continue

it is

mm)

mix water

into the paint until

V?."

thick and

thick

creamy. Use the

(1.3

cm) brush

to

paint the front

If

acrylic paints in titanium white,

cadmium

and back

of the sanded

plywood
color,

sheet. a

you want

yellow

light,

cadmium

orange,

brilliant

yellow green, permanent light green, turquoise blue, medium magenta, and
brilliant

more intense background

of green after the
first

add

second layer

layer has dried.

(continued)

blue

fine

(#220 grade) sandpaper

plastic paint palette (or old plate)

111

large jar for water

1/'
l

A" (6

mm)

wide

flat flat

brush brush

mmm
1
I

y2 " (1.3

cm) wide

1'i

#8 pointed round brush

#1 round brush

die-cut

wooden shapes

pi
Ill
tl

white chalk pencil

ruler

m
iffiijSf

nrwiTi:
# E
I

'^S.VI
'*8

m
Bill

iH I

wood

glue or craft glue

small coping

saw
^Il-flifi'BM!

IKfttf

n
Hi

III!

36" (91.4 cm) length of decorative ribbon

stapler or staplegun with short-prong
[3
(14"

mm])

staples

QUICK REFERENCE
polymer medium
Paint the front

scissors
optional: clear gloss

and back. You do need

it

to paint

both sides

of the board, otherwise

will

warp.

Brushwork and Gilding

209

Brush-Lettered

Name
permanent

Plaque
light

Add

a small

amount

of

green

paint to the brilliant yellow green paint and

just a

mix together it should be

shade or two

deeper than the green you painted on the plywood

sheet.

Make
it

sure to add

enough water

to the paint

so that

flows well from the brush. Use the #8

brush to paint a border on each side of the ply-

wood

sheet. Let the lines of your border

be loose

and curvy rather than perfectly

after paint

straight. (Optional:

has dried, use the #8 brush to go over

the border with clear gloss medium.)

When the border has

amount

dried,

use a minimal

of paint to paint the b" (3

mm)

edge

of the

wood use

light, side-to-side

movement
are

of the brush so of the wood.

you just catch paint on the edge

front border

Check the

when you

finished and use the brush to blend in any paint

that

may have oozed

over the edge.

and shapes and wipe clean. Paint them with the %" (1.3 cm) brush using medium magenta,
ers

Sand any rough edges of die-cut wood

flow-

cadmium

orange, and

cadmium yellow

light.

When
to

dry,

paint the backs and edges.

in your water jar

Make

sure

change the water

and wash

your brush well with each color change. This will

keep the individual colors as bright as they can be.

(Optional: after painted has dried, use the
[6
V2"

mm]

brush to coat with clear gloss medium.)

1

ill!

5
(4.5

Use the white charcoal pencil

letters

to

sketch your
1 3

nLJAl
I
jj
I

fr

'-'

i_r'

'P?

-' 1!

Ili

Mi-K

onto the plywood

sheet, leaving

A"
III

_6*JiS

V.
Itl

cm) margin on each side where flowers shapes

be glued on.

will

i^P-t

IrW*W
1

6
the

Add
H

water to brilliant blue paint until

it

is

loose
(6

enough
flat

to flow well

from the brush. Use

lettering, holdcallig-

m>6d
mmsm
-

mm)

brush to do the

T*

TTr

ing the brush at a 30

angle as you would a

is

mm

raphy pen. (Optional: when lettering

thoroughly

.033

Irf-

210

Calligraphy 101

r
)

iM

**J*+J>1* b#
)*to"*
\

oV

& V &* *uy v *^* yP &TJ * ^

,m

y"

to

1*

&>
v >Vs

*^
*V
**

*
'

^^r>

V ^'
*

9*

;<Z>
*

<*>

<*

;SK

r*"

c>

M
3 Jp

Wedding

Invitation Suite
to

This invitation project combines calligraphy with simple decorative

painting techniques

create a
Let's

memorable piece

for

a memorable event

Begin
*

WHAT YOU'LL LEARN

How
all

to design and

make

ICut the top sheet to 5"

(2.5

8" (12.7

20.3

cm) high and do a

to leave
l"

trial

layout with the text you want to use.

to 3.2

Be sure

to

lW

the pieces necessary

for

wedding

invitations

cm)

of the left

margin blank

for

the flower painting. Lightly

sketch in flowers and stems with pencil.

How

to embellish the
(continued)

invitation with a brush-

stroke

floral

design

WHAT YOU'LL NEED

aqua 801b (218 gsm)

cover stock
white 801b (218 gsm) cockle-finish cover stock white square petal-flap

&Arthur L.JlusUrftdz
iCih
tfo>
tf

envelope

brown
ink

calligraphy ink

pearlescent white acrylic

cute joiniiwn
1 j

fo

'

uCein

ic

n of their rftddinj

white acrylic ink

titanium white acrylic
paint

jm\)\ uamiK
at

tid

1-mm

TWo o'clock in Uw aHinxconJt.

calligraphy nib
squirrel brush

#000

louts C*tfodnU

#0 pointed round brush

jjtw
green and blue
calligraphy ink

Orteanj

jleccpU<m iofo(kv)
1

white sticker stock

A8

8 5/4" [14.6 x 22.2 cm]) aqua envelope

x

(5%"

craft

glue

wax paper
pencil

ruler

T-square

craft knife

scissors

Brushwork and Gilding

213

Wedding

Invitation Suite

2 3
a #4

Taking measurements

from your rough layout and

as needed,

making adjustments

use a pencil to lightly rule lines

for writing.

Use

narrow nib
text. In this

to

do the

main
(l

example

mm)

Leonhardt nib was

with an x-height

used

for letters

ofVs" (3

mm).

For a response card,

a similar

make

rough layout and

use those measurements to rule

pencil lines.

214

Calligraphy 101

5
Thtf&tfor of ureylu

With the same

and ink

size nib

color, ink in the lettering for the

response card.

Jriday.SipUmberZl, lOXL

6
ink
if

For the flower petals, mix equal amounts

metallic white and white acrylic ink. Tiy out

the consistency of the ink on a scrap of aqua paper

J^ttmberitt thirty.

with the squirrel brush, adding a small

amount

of

titanium white acrylic paint to slightly thicken the

necessary.

Do

a practice version of the invitain

tion

and response card by penciling

stems and

drawing the flower petal shapes. Push down on the

brush to make the wide part of the

the brush inward to

petal,

then

flick

make

the point.

Lightly in pencil stem lines, leaving blank

areas for flowers, and paint the petals.

(continued)

&r
Arthur L
l\u<tcrhcl~

invite yen to join will* tUtm.

in ttu

<WW>> nttcn cf that weddUta

JruUy, $eam&erZt ZOiZ,

t

at ttfo

clock tntfa (bfttmoon-.

Brushwork and Gilding

215

Wedding

Invitation Suite

8 9
or
to

Pencil in the stem lines

and paint petals

for the

response card.

To do stems, erase pencil

marks on the
card.

invitation

and response

Add

drop

two of blue ink and green ink

white ink to

make

light aqua,

and use the #0 pointed brush

to

make

thin

stem

lines.

Repeat the

process for the response card.

*1
I

^^
\mS

To mount

invitation,

cut backing sheet card

*

stock to 5V2" wide

8V2" (14

21.6

cm) high. Use a brush

craft

to apply

glue to the back of the invi-

tation,

making sure

to

go

all

the

way

to the edges. Place

on back-

ing sheet, smooth under

paper,

wax
m*)i~

and press under a book

about 30 minutes.

until dry,

the afebrafi
ttytmtfi f&frith*

11
I I

Follow same process to

JrUay, ft
at t\)o o'doc

petal

mount response card to envelope. You can make

your

own

petal envelope

by
1

enlarging the template on page

238, tracing
it

;jn^//i*:

onto card stock,

flaps

615 'Pere

and scoring the

sides with a
ruler.

on

all

four

bone

folder

and

216

Calfigraphy 101

*1
I

^^ ^Q ma ce fa e sticker to
j

seal the response card,

paint a layer of the

same ink
stems on a

used

for the flower

piece of sticker stock.

When

dry,

paint the flower petal design in

white and trim to a small square.

Include this sticker with backing
still

on

it

inside the folded

response card.

1 X
"

With the

sticker inside

\mJ the folded and unsealed

response card, address the front

of the petal envelope. In the

United States, square envelopes

require extra postage.

MUse
envelope.

the

same ink and

nib to address

A8

size

14

A{& vmea Jty intuit*

Brushwork and Gilding

217

3
point

Using a page-layout program, create a new

document

ll"

wide

8Y2"

high

(27.9

21.6

cm)

A larger red box is placed behind the image

(the

eyedropper tool was used to sample the

place the jpg

it is

file

and

scale

down

to 35%. At this

red color from the calligraphy) and another box

a good idea to print out the page to see

with a yellow (the yellow color was also sampled

how

it

looks.
if

Keep

in

mind
is

that very fine lines can

from the image's paper color)

is

added.
(continued)

disappear

the piece

reduced too

much

in size.

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Calligraphy and

Modern Methods

of

Copying

221

Scanning and Inkjet Printing Your Calligraphy

5
(3

The red

box, border, and yellow frame are

grouped, duplicated, and placed on the

second half of the page, using guidelines to assure

they are lined up exactly. Guidelines are also used
to set

up the red crop mark

lines that extend

Vs"

mm)

in from the margins of each piece, indicat-

ing where the edges will be trimmed.

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CHRIS XA+++ +

222

Calligraphy 101

6
7

Use an

inkjet printer to

print multiple copies onto

a slightly textured natural white

paper.

Trim

final

pieces to

size,

following crop marks.

Nflhr
a?
>

mica
>U1)

Calligraphy and

Modern Methods

of

Copying

223

Helpful Hints for Inkjet Printing

A home
some

inkjet printer

is

a great tool to

have

for easily

reproducing your

callig-

raphy. To

make

sure you are getting the best results from your printer, here are

tips:

Use the best quality

ence
in

ink cartridges

you can

find.

There can be a vast

differ-

quality

between various

ink cartridges brands, so

shop around. Many

drugstores and office supply stores offer ink cartridge

refilling services,

which

is

considerably less expensive than purchasing

this,

new

cartridges.

The

drawback of
es can

however,

is

that

sometimes the color from

refilled cartridg-

be quite

dull or

muddy
in

looking. For special projects, consider pur-

chasing new ink cartridges these can be removed from your printer before
they are used up and stored
again.

a plastic bag

until

you are ready to use them

Use papers suitable

for inkjet printing.

Most

printers will handle a

wide

vari-

ety of papers, from text weight to cover stock,

and uncoated

to high-gloss

photo paper. Take the time to check out the various paper and ink settings
for

your printer and use the ones that are appropriate for what you are
Papers with gloss or pearlescent coatings (especially
difficulties for inkjet printing, since
in

printing.

heavier

weights) can present

the coating on the

if

paper prevents the

find

ink

from being properly absorbed

into the paper;

you

your ink

is

smearing on coated paper,

try using a lighter-weight

paper

or adjusting your printer settings for glossy (photo paper) stock.

224

Calligraphy 101

Tips for Photocopying and Laser Printing

If

you have black-and-white calligraphy that you

to print, black-and-white
is

on

a pearlescent or coated cover stock.

As with

want

photocopying

black-and-white laser printers and photocopiers,

there are thickness and texture limitations to the

or laser printing

an easy and readily available

it

option. For photocopying,

can be very useful

types of cover stock you can use. Paper that

too thick or has a highly textured surface
not print well.
If

is

to create your original piece slightly larger than

may
scan of
will

the finished size you want, and then reduce the

size

you are printing a

digital

when photocopying reducing

will

give a
lettering.

your calligraphy on a color laser have better color

in
if

printer,

you

crisper,

more "tightened up" look to the

original

you save the scanned image

instead of
is

Always do your

work
if

in

black ink on

CMYK

color

mode

RGB.

bright white paper, even

finished piece printed

you plan to have the

Color photocopying

not the best

way

to

on

a colored paper. For

reproduce calligraphy, because the color photocopying process imparts a

slightly grainy,
let-

example,

if

you are planning to do something

it's

with black ink on green paper,

helpful to
it

do

screened look to the page, which can make

tering

a version on green paper to see

how

will look,

appear

less readable.

However, for
just

some

but you

will

have a

terrible
it,

time trying to
will

make
pick

projects, this look

If

might be

what you want.

photocopies from

since the copier

it

you plan
fit

to

reproduce a piece by making color

the color of the paper and print

as gray.

copies,

as

many

versions of the piece as you

*
11"

Photocopiers and laser printers can print on

can onto a single

11"

SVfc"

(21.6 * 27.9

cm) or
you can

many

kinds of paper stock, including card stock,

x 17" (27.9 x 43.2

cm) page, so

that

but there are limitations to the thickness and

texture of the paper you can use. Often anything

get more than one copy per sheet.

heavier than an 80-lb (218

gsm) cover stock

will

become jammed

in

the machine.

Some

photo-

QUICK REFERENCE
CMYK
ners,

copiers and laser printers also have problems

color

mode

instead of RGB. Computer monitors, scan-

with printing on textured cover stocks the card

and

digital

cameras use small bands of Red, Green and

stock

will

go through the machine

will

just fine,

but

Blue (RGB) light to generate the images

we

see on

a backlit

the black toner

be

easily

brushed or rubbed
in

screen. Printing presses, color laser printers and copiers,

and

off the paper, or

disappear altogether
is

places.

most

inkjet printers

use Cyan, Magenta, Yellow and blacK

This

is

an indication that the toner

not fusing
thickness

(CMYK)

inks to reproduce colors

on paper. Often the very

be reproduced
a light source
is

properly to the paper because of

or rough surface.
In this
If

its

bright colors seen on an

RGB monitor cannot

case, try using a thinner

accurately

on paper because paper does not have

or less textured paper.

you've printed a

lot of

streaming through the colors.

A color image

that

scanned

in

copies of something, only to discover later that

the toner
is

RGB

will

need to be converted to

CMYK mode

to print properly to

rubbing

off,

the

undamaged copies
and
craft stores

on paper.
colors

When an image

is

converted from

RGB

CMYK,

may

shift a little or a lot; this

can be sprayed with

tive
is

can be corrected with

printers, the difference
it's still

artist's fixative. Artist's fixa-

image-editing software.

On many home
isn't

available at art supply

in

and

between RGB and CMYK

always discernible, but

should be used only

a well-ventilated area.

good idea

to convert your color

images to

CMYK

for printing at
will

Color laser printing can be a very

for

good option
done
in

home-and

absolutely necessary for images that

shifts

be printed

reproducing calligraphy that

if

is

on a printing press, where color

can be very pronounced.

color especially

you want to

print

your work

Calligraphy and

Modern Methods

of

Copying

225

Having Your Calligraphy Project

Professionally Printed
For a project that you need
to to print in large quantities, taking your

work

a professional printer

may be

a good option. Because there are

many
to

methods of printing used

do some research

for very specific purposes,

you

will

have

to find the right print

shop

for your project

Have

the

answers
so they

to the following

questions ready
if they

when you speak with

the printer

can accurately determine

I

can provide the services you need.

IHow many copies do

need printed? Some

Digital printing (sometimes called "online" printing)

is

print shops will not take

on "short runs" (any-

readily available via the Internet

and

is

thing less than 500 pieces).

Some

print shops will,

usually the least expensive option. Digital printers

but the printing costs will be nearly the

a larger run.

same

as for

generally offer
printing,

"full

color" (four-color process)

quantities,

Take the time

to find print

shops that

no minimum

and a quick turn-

cater to individual clients

and smaller print runs,

around time. To use

digital printing successfully,

file is

and don't be hesitant

to ask for a cost estimate,

lot.

you need

to

make

sure your

set

up

correctly

since prices can vary a

for the printer.

Request a copy of their printing

guidelines and follow them. Be sure to ask ques-

2
work
is

Is

my artwork

in digital or hard-copy format?

digital files,
If

tions about any of the guidelines that

you don't
if

Most print shops work from

understand. You should also ask the printer

will

you

which you e-mail

digital
file

directly to them.
it's

you have a

be sent

a "proof" (a single
will

sample that shows

like), for

of your artwork,

important to find
file

what the finished piece

there

look
If

which

out in what form the printer needs the

will

so your
art

may be an
in

extra charge.

you have never

it is

look

its

best

when

printed.

If

your

worked with
find

a digital printer before,

helpful to

in

hard copy form (an actual piece paper with

it), it

one

your area and show your artwork to him

calligraphy on

will

almost always need to

in person. This will help the printer see

what he

is

be done on white paper so that the printer can

accurately scan or photograph
also
it.

being asked to do and hes

will

be able

to give

you

The work should

it

better advice about setting

up the work.

be

at the actual size at

which you want

to

be
offset printers

Offset printing
reproduced, or slightly larger, in which case you

may be an option, although many may not take on small print runs.
or the Internet for print-

must
to be.

tell

the printer what you want the final size

Check the telephone book

ers in your area,

and

find the

ones that

offer invita-

What kind of printing do want? How much money do I want to spend? There are many
I

tions or stationery printing, because these are the

types of shops that are accustomed to working

kinds of professional printing available for repro-

with individuals on smaller projects. Again, a personal visit with a sample of your artwork
idea,
is

ducing calligraphic work, which can vary greatly

in price.

good

and

will

help the printer determine exactly

226

Calligraphy 101

Score. To draw a thin, hard object (like a bone

folder or metal wheel) across paper, usually

Uppercase. See "capitals"

Vellum. In the past, vellum was a writing surface
for

using a ruler as a guide, to prepare the paper

made from
cent paper Versal.

the skin of a
it

calf,

and had a smooth,

being folded
Serif.

velvety texture; today

is

a very smooth translu-

small stroke that finishes the

main

stroke

of a letter; can

be

flat,

rounded, square, or

large, decorative letter, often

used

at the

pointed

beginning of a sentence or chapter

letter; in

Stem. The main vertical stroke of a

diagonal letters like
is

Weight

(letter).

The

size

and thickness of

a letter,
letter

n, o,

and

Z,

the diagonal line

determined by the relation of nib width to

height

considered the stem

Stroke.

A A

line, either

straight or curved,

drawn

Weight (paper). The thickness

in

of a sheet of paper;
its

with a pen or brush

most countries

this is

measured by

weight

Swash.

swash

is

a wavy, curved,

looped or oth-

in

grams per square meter (gsm),

it is

in the

United
(lb)

erwise embellished stroke that forms part of a

letter. It's

States

measured by pounds per carton

letter,

an additional decorative stroke added

X-height. The height of a lowercase

not

to basic the letterform.

Tail.

including ascenders or descenders; also called

diagonal or curved stroke that connects to

R,

body height
Waterproof. Ink or paint that
water
is

a letter at one end, as in

Q, and y

nonsoluble in

Terminal. The end of a stroke that does not end

with
in a serif

when

dried

Uncoated (paper). Paper

that

is

not varnished or

coated with any substance

230

Calligraphy 101

Anatomy
c o
*i

of Letterforms
c

OJ

c
-C-

a*

a/

in

nj

(T3

<1>

0-

Of

i/>

iff

g
2
.&
OJ
1/1

XI
OJ

o
c

o
c
01 ra

Iff

qj

*
K
1;

u
o.

c u

Qj

CD

0)

c O
OJ

C
O
OJ
Qj

c c

QJ

"5

Iff

Anatomy

of Letterforms

231

Products Used
Pattern

Bookmark

Mosaic-Style Greeting Card

Calligraphy paper: Pentalic Paper for Pens

Color-washed paper: Medieovalis by C. M.

Fabriano

Backing paper: Canson cover, assorted colors

Backing sheet: Murano cover

Passe-Partout Picture Frame

Photo frame paper: Murano cover stock. Photo paper:

Illuminated Holiday Card

Paper and envelope: Mediovalis by C. M.
Fabriano

HP

Laserjet glossy photo paper

Photo mounting paper: Arches hot-pressed 300-

gsm printmaking paper

Backing paper: Savoir Faire red cover

Ink:

Winsor & Newton crimson calligraphy

ink,

Two-Tone Place Cards

Schmincke gold and white calligraphy gouache

Paper: Sorbet duplex cover, Legion paper

Brads:

EK

Success

Broadside

Paper: Arches cold-press 300-gsm watercolor

Floating-Layer Thank-You Notes

paper

Paper and envelopes: Rossler Papier Paperado

line;

Ink:

Schmincke calligraphy gouache, assorted

Lime Green, Olive Green, Denim

Blue,

colors

Cappuccino, White (available from www.

roessler-dueren.com)

Illuminated Initial Medallion

Vellum: Bee Paper 68-lb tracing vellum
Acrylic Ink:

Decorative Paper: Shizen

Permanence

liquid acrylic,

moss

Tiny Artist's Book

green; Daler

Rowney

FW

Paper

for pages: Pentalic

Paper

for

Pens

Acrylic Ink: Daler

Metallic Pigment:

Rowney FW, emerald green

Schminke Tro-Col-Broze Dry

Cover: Canson Mi-Teintes, 80-lb. cover, Poppy

Red

(available from

www.canson-us.com)

Gouache Reichgold

Leather Cord:
plastics.com

Camp Hoochee Coochee by toner-

Diamond
Design

Glaze: Judi-Kins

Diamond Glaze

Medallion: Patera pendant finding by

(available

Nunn

from www.nunndesign.com)

Decorative Spice Labels

Zodiac Accordion Book

Label stock: Strathmore Writing 70-lb label

stock, soft white

Book pages: Arches

(120 ssm) cold-press text

Decorative paper for cover:

Lama

Li

Award

Certificate

Magnetic Alphabet Set

Parchment: Panache beige parchment, Speedball

Art Products

Magnetic

sheet:

Paint-A-Mag paintable surface

Inc.

Seal:

Strathmore Writing 70-lb label stock, soft

magnetic sheet by Magnetic Specialty

(available from

white

www.magspec.com)

232

Calligraphy 101

Spooky Signs

Gold Leaf Treasure Box

Craft

plywood sign blanks: Michael's Crafts

Round paperboard
Gold
leaf:

box: Michael's Crafts

Schlagmetal faux-gold leaf from Pen &

Band Logo

T-Shirt
Color

Ink Arts
Sizing: Rolco

Inkjet thermal transfer paper: Papilio Light

Labs Water-Based Aquasize

Fabrics

T-Shirt Transfer

Media

(available from

www.

Liner fabric:

JoAnn

papilio.com)

Brush Lettered

Name

Plaque

Informal Invitation

Craft

plywood base and shapes: Michael's Crafts

Text paper: Crane 100% cotton 8o-lb text

Lettering paints: Liquitex acrylics

Backing paper and envelope: Paper Source

Decorative paper: Lohkta

Gloss polymer medium: Golden Gloss Polymer

Medium

Stationery with Cross-Writing

Wedding

Invitation Suite

Borders and Lined Envelope

Backing sheet paper: Paper Source Luxe 8o-lb

cover

Paper: Bee Pen and Ink Sketcher Paper, 8o-lb

text

Top sheet paper: Paper Source

Petal envelopes:

8o-lb cover

Gold ornaments: Schminke calligraphy gouache

Waste Not Luxe 8o-lb cover

25% cotton

petal envelopes

Layered Heart Valentine

Sticker stock: Strathmore writing

label stock, soft white

Backing paper: Paper Source 80 cover

Envelopes: Waste Not 70-lb text

Bristol:

Strathmore 100-lb smooth Bristol

Scanning and Inkjet Printing Calligraphy

Paper: Strathmore Pastelle 80-lb cover
Inkjet printer:

Brads:

EK Success

Faux-Vintage Scrapbook Pages

HP

Deskjet 952C

Paper: Savoir Faire, black French ribbed kraft

paper

Photo paper:

HP laserjet photo

paper, glossy

White

ink:

Schmincke white calligraphy gouache

Black photo corners:

NuAce photo

corners by

Ace Art Company

Script Notes

on Pearlescent

Paper

Paper: Stardream 8o-lb cover

Envelope: Stardream 70-lb text

Products Used

233

Arches
www.arches-papers.com/en
High-quality cotton printmaking, watercolor,

Pearl Paint

www.pearlpaint.com
Art Materials

and drawing

www.artmater ialsonline.com

papers

Joann
Rives

BFK

www.joann.com
Fabric, books,

www.rivesbflc.com
High-quality cotton printmaking, watercolor,

and

craft supplies

and drawing

Michael's Crafts

papers

www.michaels.com
Art and craft supplies, papers,

Canson
www.canson-us.com
Papers, envelopes, scrapbooking,

mattes, frames, jewelry supplies

Bobby Bead
www.bobbybead.com

and

craft supplies

Fabriano
www.cartieremilianifabriano.it/

Organizations
Association for the Calligraphic
Arts
www.calligraphicarts.org
International organization based

uk/_prodotti.html
High-quality cotton papers,
envelopes, and stationery

Stardream Metallic and

Pearlescent Papers

in

Rhode

Island,

United States

(Legion Paper)

Society of Scribes
City)

(New York

www.legionpaper.com/OurCollection/By-Brand/Stardream,

www.societyofscribes.org

htm
Paper Source

Calligraphy & Lettering Arts

Society (UK)

www.paper-source.com

www.clas.co.uk

Commercial paper,
and envelopes

stationery,

Washington [DC] Calligraphers

Guild
www.calligraphersguild.org
Society of Scribes and
Illuminators (UK)

in a great

range

of colors, styles,

and

sizes

Art and Craft

Supplies
Daniel Smith Art Products

www.calligraphyonline.org
Friends of the Alphabet,

www.DanielSmith.com
Arch-San Francisco
www.archsupplies.com
Dick Blick Art Materials
www.dickblick.com
Utrecht Art Supplies

Calligraphy Guild of Atlanta

www.friendsofthealphabet.org
Society for Calligraphy

(Southern California)
www.societyforcalligraphy.org

www.utrechtart.com

Resources

235

Dedication
To

my grandfather,

Harold Frank Gauthier, who

first

introduced

me to

calligraphy,

and

to Julo Gauthier
artist

and Tim Gartman, two gentle and creative souls who unfailingly nurtured and celebrated the
individual in me.

and

Acknowledgments
Special thanks to Eric Dregni, Joey Brochin, Erik

(Thank you

also to Francis

and Sassafras
I

for

Mattheis, Nick Hook, Jeannine Bourdaghs, Linda

being so patient and well-behaved while

was

Neubauer, Deb Pierce, Jim Walsh, Kris Manion,

Pete Semington, Brenda Broadbent at Paper
Arts,

working, for not chewing or scratching too

pieces of paper, and for believing

many
I

&
all

Ink
the

me when

told

and

to

Darin Rinne, Verra Blough, and

you

that

it is

very important that kitty cats do not

wonderful

staff at

Wet Paint thank

you, for your

drink the calligraphy water.)

generous advice, support, and encouragement.

About the Author

Jeaneen Gauthier studied
Chinese
art,

anthropology, and

She currendy works as a self-employed

cializing in
illustration,

artist spe-

at the University of

Minnesota, where

custom-made

invitations

and stationery,
sells

she graduated

summa cum

laude in 1991. In the

photography, and textile design. She

early 1990s, she co-founded the Lunalux Art

and

her line of handcrafted jewelry, barrettes, and greeting cards that feature her calligraphy and
tions
illustra-

Design Workshop, a letterpress and book

studio for

arts

custom-made

invitations, calligraphy,
at Lunalux,

on her webstore

at www.JoyologylOl.etsy.com.

and posters. As the principal designer

Jeaneen also writes and performs alternative

easy-listening music under the stage
"Jan,"

Jeaneen designed many product lines

as products and commissions for

of stationery

name

of

featuring her calligraphy and illustrations, as well

and has released three CDs of original music She

lives

many

others,

to date.

and works

in her

home

studio in

including

Martha Stewart Living and Martha

Minneapolis, Minnesota.
Visit her website at

Stewart Weddings.

www.jeaneengauthier.com

236

Calligraphy 101

Passe-Partout Picture Frame

Enlarge

200%

Templates

237

Wedding Response Card

Enlarge

200%

238

Calligraphy 101

Index
Accordion books, making zodiac, 130-137
Acrylic inks about, 14-15
colors, SO, 81 using, 111-112

Calligraphy fountain pens about, 9 swash capitals and, 165 troubleshooting, 34

using, 33

Gold leaf, working with, 198-199 Gothic Hand

about, 139 alphabets, 140-144
skill

builder exercises, 145

Gouache
colors, 80, 81

Acrylic paint, 1Z

Calligraphy gouache, 17, 111 Calligraphy ink, 14. 79-80

Alphabets
140-144 Foundational Hand, 52-53 Gothic Hand, 140-144 Italic Hand, 160-161 ladders for, Z5 Uncial Hand, 104, 105 Alphabet set, making magnetic, 146-149 Angled nibs, lO
Blackletter,
Artist colors, 16 Artist nibs, 11
Artist's

Card stock, folding, 63 Certificates, making award,

92-95
Chinese stick
ink, 15

freehand, 85 Graph paper, 78 Greeting cards, making mosaicstyle, 96-101

Guard sheet, 24-25

Chisel-tip nibs, 1Q

CMYK

color Coit pens, 11 Color

mode, 225
uminated holiday cards, making, 118-121 uminated initial medallions, making, 126-129
umination
builder exercises, 116-117 tools and supplies, 110-115 India ink, 14 Informal invitations, making,
skill

making, 79-81

books, making

tiny,

modes, 225 using, 82-85 Commercial papers, 19 Copperplate nibs, 10

Cross-writing bordered stationery, making, 174-175

68-71
Artist's papers, 19

Art supplies, 20-21 A series Speedball nibs, 10 Automatic pens, 11

Crow quill nibs, U C series Speedball

166-169
nibs, 10-11
Initial

medallions, making illuminated, 126-129

Award

certificates,

making,
Decorative spice labels, making, 88-91 Digital printing, about, 226 Dipping pens. See Calligraphy fountain pens Drawing boards, 2Z

Inks
color,

92-95

79-80

B Band logo
154-157

T-shirt,

making,

types, 14-16 Interleave paper, using, 60, 66 Invitations, making informal,

166-169
Invitations,

Blackletter alphabet
letters,
skill

making wedding,

140-144

Drawing

nibs,

11

212-217
Italic

builder exercises, 145

Hand

Books, making tiny artist's, 68-71 Books, making zodiac accordion, 130-137 Border-building exercises, 37 Border width, 42 Boxes exercises, 36 Boxes, making gold leaf
treasure, Bristol, 18

Encre de Chine, 14 Engraving, about, 227

about, 159 alphabets, 160-161 with brush, 192

skill

builder exercises, 162-164

capitals, 165

swash
Faux-vintage scrapbook pages, making, 182-189 Floating-layer thank-you notes, making, 64-67 Foundational Hand about, 51 alphabets, 52-53 key points, 55
ladder,
skill

Italic nibs,

10

204-207
10

making decorative, 88-91 Ladders and ruled lines, 74-75

Labels,

Broad

nibs,

Broadsides, making, 122-125

Layered heart valentines, making, 176-181

Left-handers, lettering tips for, 30 Lettering. See Strokes, basic Letterpress printing, about, 227 Letters anatomy of forms, 231 establishing size, 74-75

Brushes
about, 13

Z5
ink, 15

adding details with, 87

for illumination, 113-114

builder exercises, 54-57

Fountain pen

types, 196 Brush-lettered

name

plaques,

Freehand gouache, 85 Freehand line exercises, 36

making, 208-211

Brushwork
about, 191-194 painting tips, 197
skill

Gilding, 198-199

Glossary,

228-230

builder exercises, 195

Gold leaf treasure boxes, making. 204-207

pastel-shaded fills, 84 watercolor pencil fills, 85 Lined envelopes, making with cross-writing, 170-173 Lined paper, 35, 76-77

Index
-

Lines ladders and ruled, 74-75

ruling,

Photo corners, making, 188-189 Picture Frames, making PassePartout, 45-49 Place cards, making two-tone,

76-77

Templates, using, 45 Text, building blocks

of,

78

starting new, 4Q. types, 75

58-63
108
Plaques, making brush-lettered, 208-211 Poster lettering, 10-11 Practice paper, 18 Printmaking papers, 19 Professional printing, using,

Lombardic Versal

letters,

Thank-you notes, making floating-layer, 64-67 Thermography, about, 227

Tiny artist's books, making, 68-71 Tracing, benefits of, 54 Treasure boxes, making gold
leaf,

M
Magnetic alphabet 146-149
set,

making,

Map

nibs, 11

204-207
making
logo, 154-157

Markers, 12 Medallions, making illuminated initial, 126-129

Metallic pigments 110-112

226-227

T-shirt,

Tube watercolors

Q
Quill pens, 13

and

inks, 16,

about, 12 using, 80, 111 Two-tone place cards, making,

Mosaic-style greeting cards, making, 96-101

58-63

Name

plaques, making brush-

Rag papers, 19 Reed pens, 13 RGB color mode, 225 Round Hand. See Foundational

U
Uncial

Hand

lettered, 208-211

Nibs about, 9

Hand Round-hand

about, 103 alphabet, 104, 105

builder exercises, 106-107 Versal letters, 108-109
skill

10 Ruling gauges, making, 76-77

nibs,

adding details with small, 87 seasoning and inking, 34 size and alphabet, 76-77
types, 10

Scanning calligraphy
about, 219
color

modes and, 225

Valentines, making layered heart, 176-181 Vellum, 18-19

Offset printing, about, 226-227

Ornament

ideas,

86-87

220-224 laser printing and, 225 Schminke Tro Col Dry Gouache
inkjet printing and,

Versal letters, 108-109

W
Watercolor borders, 85 Watercolor papers, 19 Watercolor pencil fills, 85

Bronze Powder, 110 Scrapbook pages, making faux-

Padding sheets, 24, 25 Papers folding tips, 46, 63

front vs. back,

39

graph, 78
for illumination projects, 115

vintage, 182-189 Script notes on pearlescent paper, 200-203 Shapes exercises, 36 Silkscreen, about, 227

Wax

paper, using,

6Q

Wedding

invitation suites,

interleave, Q,
lined,

66

35

types, 18-19 Parallel Pens, 12 Parchment, 18-19 Passe-Partout Picture Frames,

working with, 198-199 Sizing, using, 128, 199 Slanted nibs, 1Q Spencerian nibs, 1Q Spooky signs, making, 150-153
Silver leaf,

making, 212-217 Wet-on-wet wash background, 84 Workstation setup, 26-27

Writing surface, 24-25

making, 45-49 Pastel-shaded letter fills, 84 Patterned bookmarks, making step-by-step instructions,

39-42
variations,

43

Pearlescent paper, script notes

on,

200-203

Staedtler Duo markers, 12 Stationery with borders and lined envelopes, making, 170-175 Strokes, basic pen angle, 28-29, 55 practice marks, 31 skill builder exercises, 35-37 table of, 32 tips for left-handers, 3D

Zig Pigment-Based markers, 12 Zodiac accordion books, making, 130-137

Pens
angle, 28-29, 55 cleaning barrels, TO holding, 29 types, 9-11, 12,13

Sumi
art,

inks, 15

Supplies

20-21

basic, 8

Pens and

nibs, 9-11, 12. 13

drawing boards, 22 inks and paints, 14-17

papers, 18-19

Personal computers, using,

218-225 Photocopying

pens and
tips, 175,

nibs, 9-11, 12, 13

219

writing surface,

24-25

240

Calligraphy 101
' . i

Jtlave you always wanted to learn

how

to

do calligraphy, but weren't sure

drills

Also available:

how

to begin? Calligraphy 101 starts at the very beginning, teaching all the

and easy projects. Then, new and more difficult skills are introduced gradually through more practice drills and projects. Along the way, you'll gain confidence and be encouraged to develop your own artistic style.
fane points

about calligraphy through practice

You'll also learn:

How

to

choose the best tools for new calligraphers, the ones that deliver

consistent, high-quality results right out of the

box
Modem
Calligraphy and

Hand

Lettering

Fun and relaxing you learn

skill-building projects that will spark

your creativity as

978-1-59253-644-3

The techniques and materials you need to create unique stationery and one-of-a-kind gifts and home accessories everything from holiday cards and invitations to spice labels and alphabet magnets

Like other books in the 101 series, Calligraphy lOl

is

a complete illustrated
It

guide to the basics, written for the absolute beginner.

quick reference tools

features full-color
tips,

photos accompanied by detailed step-by-step instructions, invaluable

all

and

aimed

at helping crafters

achieve success.

INCLUDED
ISBN ISBN z <
UJ

13: 10:

CATEGORY:

Art

978-1-58923-503-8 1-58923-503-7
5 2 49_9_
|

Creative Publishing international

781589 235038

www.creativepub.com