One of the interesting aspects of a freelance calligraphy studio is the wide variety of work. Lettering for Tom Morgan Rodsmiths is a great example. I appreciate getting to contribute my expertise to these hand-crafted fly rods.
I use sumi ink on the bamboo rods and gold ink on graphite and composite rods. Laying down the gold ink is sometimes a challenge. Also a challenge: writing on the curved surface of the rods with a pointed metal nib.
A few weeks ago I had the pleasure of attending Harvest Crittenden’s workshop hosted by the Big Sky Scribes in Helena. The subject: Spencerian script. I had never studied this hand before. Harvest is very organized and clear, and we learned a lot in a short time. Now all we have to do is … practice, of course.
I haven’t been as regular about it as I could wish, but yesterday I sat down to practice in earnest again. I began with 2 pages of warm-up exercises designed to build kinetic memory. After the page of cross drills, I decided to simply trace, in pencil, a letter written in the 19th century in Spencerian. It helped to teach myself the rhythm of the script, and I was surprised to discover by that method a few things I had been glossing over. Then I wrote a letter in Spencerian using a ball-point pen. I have this lovely ball-point pen with a 0.3 mm point, and I didn’t want to get out ink.
Spencerian practice using a pencil and ball-point pen on B&R layout paper and Crane stationery.
Deadlines are looming and inspiration is elusive. I tidy my studio, clear out some old practice sheets .. and make some more. It’s a never ending cycle.
To entice the muse, I sit down to play a little. I’m thinking of another little book (and just now remembering I’ve never posted the last little book), so I experiment with a number inks/paints and a #6 Mitchell nib. The lettering is 1.5 mm x-height.
In anticipation of the upcoming conference, and the class that will be taught by Carl Rohrs, I get out a brush and do … something. It’s not much, but it reminds me what a pointed brush feels like in the hand. I feel some of the kinetic learning of a recent Spencerian workshop creeping in. That’s good.
Here’s my submission to the envelope contest that John Neal Books hosted in association with Seattletters. The deadline was April 20. The gray lettering is a post I read in a calligraphy group on social media. I surrounded it with text from an 1888 article by A. J. Scarborough which had been posted in 2000 to the Cyberscribes discussion list. I like the contrast in approaches 🙂
I penciled baseline guidelines 2mm apart for the small lettering, making the x-height about 1mm. I clipped a pointed nib (a blue Esterbrook of some sort, I think) to make a tiny broad-edge nib. Seattleletters address is #5 Mitchell nib, I think.
After all that work, I couldn’t bear to send it through the US Mail unprotected, so I made another envelope, just ¼” larger in each direction, to house the submission.
I’m taking my very first online calligraphy course. “Homegrown Trajans” is taught by the wonderfully clear and thorough master Yves Leterme via Harvest Crittendon’s site, Acorn Arts. It’s as rigorous as anyone could wish for, and I’m already just a tiny bit behind. Week 3 posted today, but these are my worksheets from week 1 (complete) and week 2 (not quite complete). I think some of these students have no other demands on their time! Or perhaps I’m just incredibly slow. Either way, I’m buckling down tonight and catching up.
I do like to return to the gestural brush alphabet from time to time, especially when I pair with a contrasting element. This particular one was made to put in the solo exhibit in Missoula last fall.
Having embarked today on Yves Leterme’s online course, “Homegrown Trajans”, I can predict that I won’t be doing anything like the above in the near future. Unless … it’s as relief from those demanding Trajan Romans.
I’ve been preparing for our next pointed-pen class, when we will be experimenting with using the pressure and release of the pen to make decorative oval borders around some lettering. Here a few examples of what that could look like.
I’m having the best time teaching a great group of students this winter. Although I’ve taught calligraphy classes for [checks résumé] 30 years (!), this is the first time I’ve taught pointed pen scripts in a classroom setting. To teach others is always to educate myself. Determining how to explain a concept often spotlights previously ignored fuzzy areas in my own thinking.
We’ve begun with a business hand and no pressure, gotten an intro to pointed pen nib and offset holder and ink, and then moved on to a working copperplate hand that is not too fussy (think Buddy Blackwell).
Here is a bit of silliness that broke out during a practice session focusing on whole-arm movement exercises. Contrary to what this image may suggest, I do not plan to cover “modern calligraphy” in any depth. I was just having fun. Click on the image for a closer look.