Pen, Ink, & Paper in Harmony

A majority of my calligraphy work has allowed me to select a paper of my choice, which can create a bit of "laziness" when it comes to selecting the best materials under varying circumstances.

This past week I was commissioned to write a number of words on a photo matte.  A variety of lettering styles were requested by the client, and basic black ink with gold highlights.

I sat down to practice and picked up my trusty Brause nibs—the nibs I learned with 26 years ago and generally my "go-to" choice.  These worked great on my practice paper and for the initial paste-up layout I provided the client.

However, when it came to writing on the actual matte surface, the Brause were way too stiff, not making complete contact with the matte for clean strokes.  I went from feeling very comfortable with the process to, "Yuck!  This stinks!"

practice on the off-cuts

A-ha...that's why calligraphers should always have a variety of nibs in their tool kit...whether they be broad edge, pointed pen, or brush pens.  Pen, ink, and surface/paper must be in harmony with one another to give a good result!

 
The solution was my more flexible Mitchell nibs, and using them without a reservoir.  The flexibility allowed beautiful contact between nib and paper/matte surface, resulting in clean strokes that were a dream to create!

gold highlights added with Fine-Tec watercolor

The framer we worked with was wonderful in providing me with the off-cuts from the matte, allowing me to practice and find this harmony with my tools.





 

the finished matte

 It's easy to become complacent with our favorite things.  But expanding your knowledge and experience with a variety of nibs, inks/gouache, and papers will make the creative experience more enjoyable. 

Calligraphy & Lettering Art for Cards: Part 1

Cards for Kids

When I was in the first grade at Roosevelt Elementary in Burlington, WA, I had a teacher, Mrs. Sanchez, who would hand draw cards for her students.  Nothing felt more special than receiving one of those cards, knowing it was made just for me...and now in my 40's, I still have them tucked away in a box of good memories.

Her example stuck with me and now I make cards for the special little kids in my life.  Bright colors, simple designs, some fun stickers or die-cuts and something is created that will hopefully make the kiddos I know feel as special as Mrs. Sanchez made me feel.

Using Stickers to Embellish

What could be happier than Suzy's Zoo stickers?
The colors and cheerful images are my starting point for design.  With the message in mind, I may
add a few drawings (the balloon, polk-a-dots,
and daisy flowers) to fill the extra space.

I wrote the Happy Birthday messages with large Faber Castell PITT brush markers.  Highlights were added with colored pencil to deepen the base color of the marker in the top section of the lettering.  White dots are added last with a Sharpie Poster Paint pen.  

 

Here, my drawings were the main design, with the centers spelling the child's name.  The butterfly stickers added the finishing touch.  A little gray marker shadowing on the left side of the butterflies gives them a slight 3-D effect.  Arches Text Wove paper, Faber Castell PITT markers used as watercolor, pointed pen and sumi ink for the lettering.

This was a recent baby shower card for a friend of mine.  The baby's name, Gabriel, was drawn in my "Whimsical Letter" style and shaded with three tones of blue colored pencil.  The name was mounted with foam tape to make it stand out from the card base.  The grass is layered cut cardstock, stickers added for fun and color, and the "welcome" message written with a PITT fine point pen, size XS.

 

"Look who bloomed!" was hand drawn, based on an image I saw on a rubber stamp years ago.  Adding the baby's name to the flower pot personalized it just for her.  My Whimsical Letters,  watercolor, and colored pencil on Arches Text Wove paper mounted on cardstock.


Be sure to check back for Part 2 of Cards for Kids, using die-cuts!

Copperplate Calligraphy—A New Teaching Adventure

My students have heard me say, time and again, that teaching calligraphy has made me a better calligrapher.  Through written and verbal instruction, and hands-on demonstration, I need to be able to explain the forms I am creating and relate individual letters to a bigger picture, calligraphically speaking.

Copperplate sample; quote by Alfred Fairbank

 

I was first introduced to the Copperplate style more than twenty years ago; I have been doing Copperplate in the form of commissioned work for at least the last ten years.  I have been asked to teach this hand, but have never felt ready until now.  Why?  I think it's a matter of finally feeling confident in recognizing the little details that make these letters so beautiful.

Dr. Ph Martin's Bleedproof White on gunmetal metallic paper

Aiming for consistency between the related letters is always key when learning a  new hand.  Sometimes it's difficult to realize that we need to "learn to walk before we run" and that "flying lessons" come when the basic forms are fully understood. 

 

Rose gold (mixed acrylic) on blue; Hunt 22 nib

    

 But Copperplate lends itself well to some creative flourishing, as well as the opportunity to use a variety of different capital letter styles.

Walnut ink on white; Hunt 22 nib; Spencerian style capitals

And we don't always have to write on a straight line! 

Winsor & Newton Permanent Yellow Deep gouache; Brause Rose nib

So, beginning in October, up to ten unsuspecting souls will join me in "walking lessons" with the pointed pen, and in six weeks we will progress toward "running"...well, maybe a trot. :)

Flying lessons will have to wait for the next class—I have to leave something to keep them coming back!