I am continuing to read the last several chapters of Mastering Copperplate Calligraphy. Here are a few tips I must share.
Chapter 5: Changing the Size of Letters
To write smaller, decrease the pressure on your nib on the downstroke and make all the strokes closer together. When writing larger, the downstrokes must be heavier, and the counter and inter-spaces must be wider in proportion to the greater height of the letters. No matter what size your letters are, letters made with the same nib will have hairlines of the same weight. This is one reason why copperplate is more difficult to read when written large.
Chapter 6: Writing in Color
For the color to flow easily from your nib, it is essential that you use a water-based paint. Gouache is the most common opaque water-based paint used for calligraphy.
Chapter 7: Using Good Paper
Paper that is good for calligraphy has a writing surface that is neither so rough that the nib catches, nor so smooth that it slips and slides.
This is great information for continuing through Lettering in the Whimsical Woodlands. This week I am working on faux calligraphy, which is better for making larger script or cursive lettering.
Yesterday, I took a color theory class with Delaney Smith of Eyeland Studios at Oil and Cotton. It was illuminating and also great for things I am currently working on.
This Friday, June 8 at 6:30p I am teaching Pen and Ink Calligraphy at Oil and Cotton, in which we will cover Foundation Hand and make accordion style booklets.
