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 For My Family:
Brendon, Bryon, Heather, and Dan.
 E SUMMIT PA 17214

WEST iSLiP. tiEW

 FIRST EDITION

FIRST PRINTING

Copyright © 1984 by TAB BOOKS Inc.

Printed in the United States of America

Reproduction or publication of the content in any manner, without express

permission of (he publisher, is prohibited. No liability is assumed with respect to
the use of the information herein.

Library of Congress Cataloging in Publication Data

Ramsey, Judy.
Easy calligraphy.

Includes index.
1. Lettering. 2. Calligraphy. I. Title.
NK3600.R35 1984 745.6'197 84-12389
ISBN 0-8306-0778-1
ISBN 0-8306-1778-7 (pbk.)
 Comyits
%

Acknowledgments vii

Introduction viii

1 Getting Started in Calligraphy 1

Beginning Tools and Materials—Italic Writing—Sitting at Your Desk—Getting Started —Make It Fun

2 Calligraphy Through the Ages 19

A History of Calligraphic Letters—A Short History of Numerals—Early Writing Tools—A History of
Paper—Calligraphy Today

3 Basic Calligraphy Strokes 35

Why Begin with Italics?—Preparing to Move On—The Basic Italic Lettering Strokes^More about Italic
Writing—How Calligraphy Communicates—The Importance of Concentration and Practice—The Calli¬
graphic Fountain Pen—What Comes Next

4 Forming Calligraphic Letters 47

The a-Body Family—The b-Body Letters—Special Letters—Rectangle-Connecting Letters—Anatomy of
a Letter—Spacing and Joining Letters—Practical Italic Majuscules—Some Common Mistakes and Their
Solutions—Look at Your Progress

5 Building Your Skills 60

The Chancery Cursive Style—Joining Chancery Cursive Letters—A Word about Punctuation-
Numbers—Letter Variations—Using Your Calligraphy—Revising Your Practice Techniques—More Ways
to Improve Your Calligraphy
6 Setting Up Your Studio 69
Locating Your Studio—Planning Your Studio—Furnishing Your Studio—Supplying Your Studio—What’s
Coming Next

7 Planning Calligraphy Projects 76

Project Ideas—Planning Your Project—Putting Your Ideas on Paper—Creating Your Wall Hanging-
Advancing Your Skills

8 Creating Calligraphy 90
Making Your Own Calligraphy Pen —Roman Capitals —Using Color in Calligraphy —Cor¬
recting Mistakes—You Are a Calligrapher—Finding Your Own Style

9 Calligraphy as a Business 101

What Projects Can You Sell?—Calligraphy Is a Needed Service—Researching the Market Place-
Developing the Need—Filling the Needs of Your Community—The Professional Calligraphy Studio-
Money Matters—The Printing Process—Teaching Calligraphy—Your Own Calligraphy

Glossary 113

Index 117
 I have called upon numerous sources in at¬ from “Exotic Alphabets and Ornaments” by William
tempting to make calligraphy as easy as possible. I Rowe and “Calligraphic Alphabets” by Arthur
would like to acknowledge and thank the most Baker; Vearl Blackwell of Clauson’s, Vancouver,
prominent of these sources: The Society for Italic Washington; Linda Kelso for photographic con¬
Handwriting; Faber-Castell Corporation, makers tributions and professional assistance; Nancy
of Higgins Inks; Vemco Corporation; Sheaffer Richards for helpful preliminary work on this book;
Eaton Division of Textron, Inc.; Wing K. Leong of and especially to professional calligrapher Aleta
the Chinese Art Studio, Portland, Oregon; Dover Kelso for supplying sample exercises and numer¬
Publications for permission to reprint illustrations ous examples of easy calligraphy.

VII
Ivitrvduction
Everyone admires beautiful and decorative hand¬ You’ll learn how to make practicing easy and
writing, or calligraphy; yet most people think they fun, how to select inexpensive pens and papers,
have to be an artist to write like one. Calligraphy how to make your own calligraphy pen, how to plan
can, however, be easy to learn and use. calligraphy products, and how to set up a profes¬
Easy Calligraphy: The ABCs of Hand Lettering sional calligraphy studio and make extra money
is a highly illustrated book that can show you how to with your new skill.
write like an artist with smooth, flowing letters that The self-study lesson plans and dozens of easy
are both readable and enjoyable. You will learn my exercises will help you develop these skills easily
simplified approach to calligraphy which takes you and quickly with clear examples and lots of help.
step-by-step from choosing the correct materials The comprehensive Glossary offers easy defini¬
through planning and actually producing artistic tions of more than 100 words you will learn as a
name tags, place cards, certificates, business calligrapher.
cards, signs, and personal letters for fun and profit. Whether you are a professional calligrapher,
Best of all, you’ll be graphically guided each step of an artist, a graphic designer, or someone who sim¬
the way by more than 160 clear illustrations of ply wants to improve your penmanship, you’ll profit
alphabets, strokes, letters, methods, and materials. from learning easy calligraphy.
 In
Calligraphy is the art of beautiful writing. It is an art billboards and store front signs that are lettered in
form that can be learned. By mastering a series of calligraphy. In your daily mail, several letterheads
basic pen strokes you can become one of those may have been designed by a calligrapher, as may
people whose handwriting is admired: a callig¬ the business card someone hands you during the
rapher. All it takes is patient practice and a few day.
inexpensive tools and materials. Calligraphy can be used to design uniquely
The beginnings of calligraphy can be traced to personal invitations, announcements, awards, or
the beginning of recorded history. The term callig¬ placecards for a special dinner. Posters, book jack¬
raphy comes from the Greek kalos, meaning beaut¬ ets, and package labels are also sometimes written
iful and graphos, meaning writing. in calligraphy.
Your study of calligraphy can accomplish many A popular use for calligraphy is beautifully
goals. You can study calligraphy simply to improve lettering a favorite quotation in an appropriate style
your everyday handwriting, or you can use your and framing it for use as a wall hanging. This project
new skills at home or on the job to produce beauti¬ can be done for your own home or for a gift for a
ful, personalized invitations or other forms of com¬ special friend or relative.
munication. More intense study and practice, may The relatively simple, yet functional and
lead to a part- or full-time business. beautiful, Italic modes of calligraphic writing are
As you begin your study of calligraphy, be¬ suitable for use in all your writing. Italic writing is
come aware of the many places where calligraphy is easy to read because of its clean lines. Personal
used. Several advertisements in your morning correspondence, notes, bulletins, and any other
newspaper probably incorporate this form of beau¬ written communication can comfortably be done in
tiful writing. As you drive to work, notice the Italic handwriting.

1
BEGINNING TOOLS AND MATERIALS easy to find. Beginning pens and papers can come
As your study of calligraphy progresses you from an art, stationery, or possibly even a variety
will want, and need, more sophisticated tools and store.
materials, perhaps eventually using a professional The recommended pen for the first section of
calligrapher’s pen and expensive, special papers. this book is a chisel-tip felt pen (Fig. 1-1). The
But what you need to get started is inexpensive and chisel-tip felt pen has a tip that is similar to the nib,

Fig. 1-1. A typical felt pen.

2
Fig. 1-2. This type of fountain pen uses ink cartridges.

or tip, of the true calligraphy pen, but is much easier last longer, be sure to keep it tightly capped
to use. Two good chisel tip pens are the Eberhard- whenever it is not in use. To renew a ragged
Faber “Design” #492 Chisel Point pen and the chisel-tip pen, shave the fibers off the flat side with
“ChizT” AD marker. a very sharp razor blade. Be sure not to alter the
The chisel-tip calligraphy pen is a good choice width of the point.
to use until you have become familiar with the letter A variety of inexpensive papers are available
forms and this new style of pen. To help familiarize on which to practice your calligraphy. One of the
yourself with the calligraphy pen’s characteristics best is lined notebook paper. Standard notebook
carry one of your chisel-tip pens with you and use it paper is 8V2 x 11 inches with ruled lines 5/16 inch
everywhere that you write. apart, a good width for most calligraphy exercises.
An alternative to the chisel-tip pen is the The paper is also thin enough to use for tracing
common, fine-point, nylon-tip pen, such as those exercises.
made by Flair or Parker. The advantage of the Another good choice for practice paper is du¬
nylon-tip pen is the smooth stroke that can be an aid plicator paper, which can be purchased at any office
in the learning process. Some students prefer to supply store. It is least expensive by the ream.
begin directly with a calligraphic fountain pen (Figs. Graph paper is also used by many student cal¬
1-2 and 1-3). These will be discussed in Chapter 5. ligraphers. It should be the type with 14-inch
Ballpoint pens neither feel nor write like callig¬ squares. The advantage of graph paper is that it
raphy pens; they are, therefore, unsuitable for the allows you to more easily see the proportions of the
practice of calligraphy lettering. strokes and letters you are practicing.
To make your chisel-tip pen or nylon-tip pen You may find onion skin or tracing paper a

3
Fig. 1 -3. Calligraphy starter sets can also be purchased.

4
helpful aid in exercises which require tracing from slanted board can be used to simulate a drawing
the book. Onion skin is more translucent than most board.
papers; it permits the page below to show through Another good writing surface is a student
clearly for easy tracing. desk. Whatever writing surface you use should be
As you can see, many inexpensive papers are clean and free of scars or blemishes. If a drawing
available to use to practice calligraphy. Actually, board or student desk is not at your disposal, any
any paper that will accept ink is usable. The choice desk or table can be used.
is yours. Whatever paper you choose, remember to The height of your writing surface is also im¬
use just one side so that it is easy to read and portant. It should be adjusted so that your shoulders
evaluate your work. are level, in a comfortable sitting position.
Other than pens and paper, your beginning Good lighting is vital. You must be able to see
material needs are minimal. Keep sharp Number 2 your work clearly, without shadows or glare. Good
pencils and a pencil sharpener handy. If you choose lighting will also help to avoid eyestrain while you
to begin with a calligraphic fountain pen, you will are concentrating. The best source of lighting is
also want a desk blotter or several newspapers to daylight coming from the left side. When daylight is
protect your writing surface. not usable, resort to a lamp with a 75- or 100-watt
The professional calligrapher often requires a bulb. The lamp should be positioned so that the
drafting table to do his highest quality work. As a light comes over your left shoulder to cause the
beginner, however, there is probably an adequate least amount of shadow on your work.
writing surface in your home right now that will
serve your needs (Fig. 1-4). If available, a drawing ITALIC WRITING
board of at least 20 by 26 inches makes an excellent This book will focus on two forms of Italic
calligrapher’s writing surface. The slanted surface writing. They are Calligraphic, or Practical, Italic
helps to create the ideal lettering position. A (Fig. 1-5) and Chancery Cursive. Italic lettering is

Fig. 1-4. Any large, hard surface can be an adequate writing surface for calligraphy.

5
Fig. 1-5. Practical Italic.

6
the most popular style of calligraphy. It is suitable many letter characteristics. Practical Italics is best
for a great variety of projects, and it is the calli¬ suited to everyday writing, while Chancery Cursive
graphic style that will most influence your current presents a style appropriate to more formal occa¬
handwriting. The popularity of Italic lettering is sions.
probably due to its blend of beauty and readability. Practical Italics is an efficient, easy-to-learn
The Italic form of calligraphy is one of the five hand. Italic letters are oval, with long ascenders
major historic hands. Italic, Roman, Celtic, Gothic, and descenders, extending the tops and bottoms of
and Bookhand each endured as the “true” alphabetic the letters. The letters slant slightly, about 10
form for more than 200 years. There are numerous degrees, to the right. The direct links between
other styles and variations of styles from which a letters make the style efficient, easily read, and
calligrapher can choose. Most, however, are basi¬ quick to write.
cally grounded in one of the five major historic Chancery Cursive, considered by many callig¬
styles. raphers to be the most beautiful Italic style, basi¬
The Italic hand probably evolved when the cally adds flourishes to the Practical Italics. As¬
Humanist or Renaissance, movement began in Italy cenders and descenders are enhanced with serifs.
during the fourteenth century. It appears to be an The Italic hand is the most versatile style for
outgrowth of rapid writing with the humanistic let¬ casual and formal communication without departing
ters. from one basic form. The Italic form also allows
Currently, Italic denotes slanted, connected enough flexibility to develop personal characteris¬
writing that is clear and simple enough to use for all tics in your handwriting.
types of writing. Cursive simply means that the
letters are connected. SITTING AT YOUR DESK
Practical Italics and Chancery Cursive share It’s time to sit down at your calligraphy desk.

Fig. 1-6. First, assemble all your materials.

7
First, assemble all your materials and place them up and walk about, even take a short stroll outside.
on your writing surface (Fig. 1-6). Then place your Do a few relaxation exercises. Tighten and relax
chair at about a 30-degree angle to the desk and sit your shoulders, arms, hands and fingers. Stretch all
so that your entire body faces toward the left. If you over, then sit back down, all relaxed and ready to
are using a desk with an attached seat, turn yourself concentrate again.
at a 30-degree angle to the writing surface. Now, with a stack of several sheets of practice
Sit erectly, but not stiffly. Put your feet com¬ paper in front of you, it's time to pick up your pen.
fortably under the table or desk. If you like, prop The way you hold the pen will be partly determined
your left foot on the chair rung. It is very important by the type of pen you have chosen as your initial
to be comfortable. You will be able to work longer tool.
without fatigue if you learn early to make yourself If you are using the recommended chisel-tip
comfortable and yet be in the proper writing posi¬ pen, you will be using it as you will ultimately use
tion. your true calligraphy pen. With the end of the pen
The proper working position will be reflected resting on the middle finger, hold the pen lightly
in your success in forming the strokes of calli¬ between the thumb and forefinger. The pen shaft
graphic letters. Your shoulders should be level and should rest between the base of the thumb and the
your eyes no less than 10 inches from the paper. base of the forefinger. Keep the forefinger slightly
You must also be relaxed in order to perform arched while writing so that the blood flows freely,
your best. If you become tense, stop and relax. Get keeping the finger from feeling numb. Your elbow

Fig. 1-7. Hold the pen lightly between the thumb and forefinger.

8
Fig. 1 -8. Pull the pen toward you from top to bottom . . .

must be held out, away from the body in order to not control the pen movement. Your arm and shoul¬
maintain the necessary 45-degree pen angle. The der will move the forearm, which will direct the pen
pen must be at a 45-degree angle for the ink to flow across the page.
correctly onto the paper. See Fig. 1-17. In order to maintain correct stroke and letter
If you have chosen the nylon-tip pen, hold it as proportions, your effective working span is limited
you would a pencil. Grip it lightly between thumb to about 5 inches (Fig. 1-10). When it is necessary
and forefinger. The lower part of the pen will rest to exceed this span, move the paper rather than the
on the middle finger. arm, whether you need to move side to side or down
If you are starting with a calligraphic fountain the page (Figs. 1-11 through 1-13). Use your left
pen, it will work like a regular fountain pen, except hand, which should be resting lightly on the writing
that the ink will not flow correctly when you push surface to provide support, for moving the paper
the pen stroke. You must pull the pen toward you (Fig. 1-14).
from top to bottom and from left to right (Figs. 1-8 After just a short time, the initial awkwardness
and 1-9). The pen will only allow ink to flow when of the unfamiliar tools will disappear and you will
the nib, or point, is at the 45-degree angle to the discover that it is less tiring to move your shoulder
paper. If you begin with a calligraphic fountain pen, and arm than it is to write with all the action coming
be sure to use the wide nib. from the fingers and wrist.
Now write a few lines in your regular hand¬ Be sure to wash your hands before beginning
writing with whichever pen you have chosen. Your on your calligraphy and wash frequently while
fingers and wrist move a lot, but there is probably practicing. When you wash, end with a cold rinse to
little arm or shoulder movement. relax your hands. Remove any jewelry which could
In calligraphic writing, movement will come get in your way.
from the arm and shoulder; your wrist and hand will Concentration is important in any learning

9
Fig. 1 -9. . . . and from Jeff to right.

Fig. 1-10. Your working span is limited to about five inches.

10
Fig. 1-11. Beginning a new letter.

Fig. 1-12. Ending the letter.

11
Fig. 1 -13. Move the paper rather than your hand.

Fig. 1-14. Your left hand should be resting lightly on the writing surface.

12
situation. Locate your calligraphy table or desk
where you will have the least distractions. A sepa¬
rate room is ideal, but a quiet comer of the bed¬
room, living room, or even the kitchen is adequate.
A WVVA
GETTING STARTED
When you begin your study of calligraphy you
will be anxious to see rapid progress. You probably
will. Your handwriting will improve rapidly; you
will quickly become comfortable with your new
pen, and you will aquire an understanding of the
/WWW
theory of calligraphic lettering. Don’t rush yourself
though. Everyone learns at his own pace. Allow
yourself plenty of time to thoroughly understand Fig. 1-15. Exercise 1: hold your pen at a 45-degree angle.
and master each exercise before you move on.
A good way to watch your progress is by saving
typical writing samples. Keep a couple of samples
of your writing from before you began to learn
calligraphy. Throughout your studies keep samples
of exercises you did at various times. When you
begin to use your calligraphy on personal projects,
be sure to save some for future comparison. You
will be able to watch your skills grow, and very soon
you will begin to get those compliments on your ll 1 ] f l I rh
handwriting.

Loosening-Up Exercises
limn iiiiiihii
The following exercises can be of use to you
throughout your efforts as a calligrapher. They can Fig. 1-16. Exercise 2: This exercise also requires a correct
pen angle.
serve to check your pen angle as well as help you to
relax and ease into the mood for your calligraphy and bottom, return to Exercise 1 and repeat several
practice. more rows. Then come back to this exercise and
Exercie 1. This exercise will show you if you make several more long and short strokes. If they
are holding your calligraphy pen at the correct 45- now have points at the top and bottom, your pen is
degree angle (Fig. 1-15). If you are, the up strokes at the best angle. The entire point of the pen nib
will be thin, and the down strokes wide. Do several should touch the paper at all times.
lines of this exercise, until your lines become con¬ Exercise 3. Make a number of triangles by
sistent and you are sure your pen angle is right. starting at the upper right corner, pushing the pen
Either lined notebook paper or graph paper is best left to the upper left comer, coming straight down
for all these exercises. to the next line on the paper, and ending with a line
Exercise 2. Make several of these long and back up to the upper right hand comer (Fig. 1-17).
short strokes shown in Fig. 1-16. Do yours look just Your thin and wide lines should be in the same
like the example? The points at the top and bottom places as those in the example. If they are not,
of each stroke also indicate a correct 45-degree pen return to Exercises 1 and 2 for more practice before
angle. If your lines do not have points at both top moving on.

13
 . \ ww\\\
Fig. 1-17. Exercise 3: make a number of triangles.
W\V\
Fig. 1-19. Exercise 5: equal spacing.
'
Exercise 4. These strokes must be kept
parallel at about a 10-degree slant to the right (Fig.
1-18). Start with a down stroke, making sure that
both top and bottom points touch the lines of your
practice paper. Consistency is a vital factor in cal¬
ligraphy. Practice this exercise until you can do a
line rapidly and keep it in proportion. The strokes
on lines above and below should nearly touch each
other.

Fig. 1-20. Exercise 6: continuous “e” shapes.

begin to see how your calligraphy pen functions,

creating the thick and thin lines that give callig¬
raphy letters their distinctive appearance.
If you feel comfortable with your pen and the
results of your first exercises, you are ready to
begin learning the basic calligraphy strokes. If not,
return to the exercises and repeat them again. All of
the exercises can first be traced from the examples
Fig. 1 -18. Exercise 4: keep the strokes parallel and angled at in this book and then drawn freehand. Anytime you
10 degrees. sit down to work with your calligraphy, do a few
rows of each exercise.
Exercise 5. Beginning at the lower edge,
make a few rows of the diagonal lines shown in Fig. Practice, Practice, Practice
1-19. Equal spacing is your goal. The best way to make sure that you will learn
Exercise 6. As your last loosening up exer¬ any new skill is to practice faithfully; this is espe¬
cise, do a number of rows of the continuous “e” cially true with calligraphy. You must train your
shapes shown in Fig. 1-20. Relax your hand and arm and shoulder to do the work of writing. It will
remember that movement should come from your take a great deal of concentration and repeated
shoulder and arm, not your hand and fingers. efforts. Remain on guard that your fingers and wrist
After you complete these exercises, you will do not automatically take over the task of forming

14
letters and moving across the page. degree angle between pen and paper.
Practice for at least 20 minutes each day would • Warm up with the loosening-up exercises de¬
be the optimum practice schedule. If you cannot set scribed earlier in this chapter. These exercises
such a schedule, however, create the best practice will check your pen angle and focus your mind on
schedule you can and stick to it. If you can only calligraphy.
practice three times each week, make the time • Review your recent work. Refresh your mind by
productive. You will still learn a great deal and reviewing your most recently developed callig¬
progress with your calligraphy skills quickly. Try to raphy knowledge. Quickly run through any new
get into a routine of practicing at the same time and material you encountered in your most recent
in the same place each day. practice session. A short practice session on re¬
Stay as faithful as possible to your practice view material will build naturally into a produc¬
schedule, but don’t attempt to keep working when tive learning session.
you are overtired. Your concentration will not last, • Tackle some new material. When you are com¬
and you will become discouraged. fortable about yesterday’s practice material,
Your patient practice will be rewarded by a move on to the next area. Read carefully and
rapid learning of the theory of calligraphy and a study any examples or exercises. Trace new
quick building of your skills. Remember that regu¬ strokes and letters if it will help you to under¬
lar practice will do more to improve your hand¬ stand how they are formed. Then draw the
writing than will raw talent. strokes. Draw each new stroke until it begins to
feel easy and fluent. Do not hurry any step. Your
A Typical Practice Session skills will build most quickly if you spend enough
You will soon discover your own best practice time on each new concept or exercise to learn it
routine. Following is a suggested practice session thoroughly.
that works for many students. • Evaluate your work. When you stop for the day,
• Relax. Your practice will be most productive if look back at your work. You should be pleased at
you begin with a relaxed attitude. If necessary do the rapid development of your calligraphy skills.
a few relaxation exercises before beginning, or • Clean up. Get into the habit of putting all your
do whatever activity helps you to relax—take a tools and materials away at the end of a practice
bath, walk the dog, or read a chapter in a good session. It’s much easier now than at the begin¬
mystery novel. ning of tomorrow’s study time. If you later use a
• Assemble your tools. If you keep all your callig¬ professional calligrapher’s pen, it will be vital to
raphy tools and materials together near your clean it after any use.
practice place this will be an easy task. For a
while all you will need is your calligraphy pen, Hints for Left-Handers
several sheets of practice paper, and this book. If you are lefthanded, learning calligraphy may
As you progress you will want to add more tools be difficult. It will take some adjustments, but it can
and materials. be done. Some suggestions may be helpful.
• Seat yourself at your desk or table (Fig. 1-21 and You must reverse the seating and positioning
1-22). Check yourself for the correct callig¬ directions already given. Experiment with paper
rapher’s posture. You should be at approximately positions to achieve the 45-degree angle between
a 30-degree angle to your writing surface, sitting pen nib and paper. Depending on what works best
comfortably erect. Hold your pen lightly between for you, you may be able to use a regular right-
thumb and forefinger with the pen shaft resting handed pen, or you may need to purchase a special
between the base of the two and your forefinger left-handed pen. Left-handed pens are readily avail¬
slightly arched. Your elbow must be held away able at most stores that carry calligraphy supplies.
from your body to ensure the necessary 45- You may have more trouble adjusting to your pen,

15
Fig. 1 -21. Small drafting tables make good calligraphy desks.

16
Fig. 1-22. Make sure that your desk has sufficient light.

17
but if you relax and keep trying, the adjustment will Calligraphy is an art that is open to everyone.
come. Do not grip the pen too tightly. It’s easy to learn a few basic calligraphy styles and
In most cases you can simply substitute “right” use them. It’s also an inexpensive craft. The cost of
for “left” and “left” for “right” and continue with the beginning supplies is minimal: just a practice pen or
exercises as directed. For some letters, however, two and some paper. Everything else you will need
you must reverse the direction of the stroke. You to get started is probably in your home or office
will learn which strokes must be reversed, as you already: good lighting and a comfortable writing
become more familiar with your pen and its func¬ surface and chair.
tioning. Calligraphy is an ancient art. It’s beginnings
Take care not to smear the ink with your hand can be traced back to very early civilization. In
as you letter from left to right. With a little extra order to appreciate the history that has culminated
work, you can become a successful left-handed cal¬ in such an attractive craft, let’s take time to explore
ligrapher. the beginning and subsequent developments of the
art. Chapter 2 will sketch a history of calligraphy,
MAKE IT FUN discuss major changes and historical influences, and
It’s fun to learn a new skill, and it’s fun to watch introduce the five most important calligraphy styles
that new skill grow. Calligraphy is a skill that grows through the ages.
rapidly with faithful, but not rigorous, practice. While taking the time to learn a little about the
As you become more adept at calligraphy use it background of calligraphy, take a few moments
anywhere you write: to take notes, to write a letter, every day and practice the warm-up exercises. Be
to copy a recipe. In just a few weeks you can be sure to check your pen angle often.
lettering special projects to decorate your home and Relax, take your time, practice faithfully, and
to give as treasured gifts. calligraphy will be both fun and easy.

18
The earliest written communication was through The origin of the Greek alphabet is controversial,
pictures. Even before pictographs were used, how¬ but one accepted theory is that it came from the
ever, each primitive culture had a form of silent Phoenician alphabet consisting of 22 letters and
communication. Some included the use of stone dating back to around 1600 B. C. Indications are that
mementos, sticks as account sheets, and knotted the Greeks adopted the Phoenician alphabet before
strings. 1000 B.C. and by 403 B.C. had revised it into an
■ Eventually pictographs evolved into symbols alphabet of 24 formal letters. This Greek alphabet
for sounds, which were combined to make words. proved suitable for all the Indo-European languages
These phonograms were designed by the Egyp¬ and established the course of western writing.
tians, who failed, however, to make the last step to The Romans used the Greek alphabet and
a phonetic alphabet. made modifications that brought the alphabet to the
It is not clear who took that step to the pho¬ form that we now recognize and use. The Romans
netic alphabet. It was, however, probably the most added two new letters, revised eight, and accepted
important advancement in the history of writing. It 13 as they appeared in the Greek. The 23-letter
laid the groundwork for all written communication alphabet comprised what became known as the
since that time. classic Roman alphabet and was sufficient for writ¬
ing Latin. The letters J, U, and W did not appear in
A HISTORY OF CALLIGRAPHIC LETTERS the early Roman alphabet; they were added in the
The beginnings of the alphabet we use in the tenth, twelth, and fifteenth centuries.
western world today are based on the Greek al¬ The Romans are also credited with changing
phabet. Even the term alphabet comes from the two the names of the letters from the alpha, beta,
first letters of the Greek alphabet, alpha and beta. gamma, etc., to the A, B, C sounds that we currently

19
employ. In addition, the Romans perfected the let¬ pensive vellum. A quick, informal style of writing
terforms, resulting in the still-famous inscription in was becoming necessary; the revival of learning
the base of the Trajan column in Rome, carved when peace was restored in the ninth century
around the year 114 A.D. Those beautifully de¬ caused a need for scholarly textbooks.
signed and created letters represent centuries of The first minuscules were even and of a uni¬
development in the art of writing and have influ¬ form size (Fig. 2-1). Letters were joined or not
enced all western writing since their execution. according to strict rules. There was no division
between words. Ascenders and descenders are
Earliest Minuscule Alphabet emphatic. Carolingian did not employ majuscules as
The first minuscule, or lower case, alphabet such.
was developed long after the standard Classic Carolingian, adopted by Charlemagne, rep¬
Roman Capitals were accepted throughout the resented the first attempt to establish a standard
civilized western world. Many styles of writing, hand for all of western Europe since the fall of the
based on the Roman alphabet, were popular for a Roman Empire. Carolingian is an historically im¬
short time, but it was not until the seventh or eighth portant hand also because it was the inspiration for
century that minuscules, or lower case letters, the humanistic writing of the 15th century, which is
came into use. the basis of the lower case Roman letters used
Little information is available about the begin¬ today.
nings of minuscules. How or where they were Carolingian reigned as the dominant hand¬
created and first used is unclear. Some evidence writing style in Europe from the ninth to the
indicates that this alphabet developed from a eleventh centuries, when Gothic began to take
specific type of documentary hand used during the over.
eighth century. It is likely that the monastery in
Constantinople played an important part in its early The Five Major Historic Hands
development. Each of five basic historic hands was a domi¬
The documentary-hand that employed the first nant lettering style for at least 200 years, con¬
minuscules is referred to as Carolingian, or Car- sidered by scribes and readers of its day as the “true
lovingian, after the Frankish dynasty of Carl the form” of the alphabet. Many other styles of callig¬
Great. While the origin of the minuscule is vague, raphy have existed throughout history, but these
the reasons for its instigation and popularity are five were most enduring. We will look at each of
apparent. War-induced poverty coincided with a these handwriting styles, but our focus will be on
shortage of papyrus following the Arab conquest of Italic, the most popular form of calligraphy, as well
Egypt during the seventh century. The use of as the most practical for everyday use.
minuscules reduced the cost of using the more ex¬ The five major historic styles of calligraphy

abrdrftrti
Fig. 2-1. Early minuscules.

20
 Rustica was in turn replaced by a style of let¬
tering called uncial, so named because they were an
uncia, or a Roman inch, in height. Later uncials lost
the uniformity of height. The unicial style consisted
of freely written, rounded majuscules.
All of these Roman styles of lettering are used
still by professional calligraphers.
Fig. 2-2. Roman hand. Celtic. When Christianity was introduced into
Ireland during the fifth century, texts written in
quadrata were distributed. In copying the scrip¬
include Roman, Celtic, Gothic, Italic, and
tures, the Celts used the quadrata form, but they
Bookhand. Following is a look at the characteristics
added their own touches and decorations. The let¬
and historic significance of each hand.
ters became even more rounded, and by the ninth
Roman. The historic significance of the
century the style had become extremely creative.
Roman alphabet has already been discussed. Our
Celtic scribes also began to incorporate runes,
alphabet comes directly from the Roman (Fig. 2-2).
pre-Roman native letters of the British Isles, Scan¬
Classic Roman handwriting has influenced
dinavia, and northern Europe. Runes were once
lettering, as well as contemporary typography, for
used as magic signs and pagan symbols, and then
nearly 2,000 years. The Roman hand consists en¬
were organized into an alphabet. These runes were
tirely of majuscules, but can be successfully com¬
made of straight lines, and the Celts imposed their
bined with Bookhand minuscules.
outlines on the Roman letters, creating a new al¬
Each Roman capital has a personality of its
phabet suitable for abstract ornament.
own, and a great deal of practice is required to
The Celtic alphabet (Fig. 2-3) contains a
produce acceptable Roman letters. It is probably
number of alternate letter forms that are unified by
the most difficult alphabet to learn, even though it is
bulging letters and the unusual Celtic serif. Celtic
the most familiar. Each letter has its own identity,
letters consist of a letter-height to pen-width ratio
and the style cannot be described in a few sen¬
of about five to one, as compared to the Roman ratio
tences.
of about eight to one. This makes the Celtic letters
The unifying factor of the Roman hand is the
appear much heavier than the Roman. A flatter pen
proportion of each letter and its relationship to
angle, about 15 degrees, creates an alphabet
other letters. The letters stand firmly and evenly on
rounder and fatter than Roman.
the base line. The writer’s pen angle must change
Celtic letters allow each calligrapher to de¬
with some letters in order to produce the correct
velop his own personal Celtic style. The choice of a
stroke width. Roman letters are clear and simple;
thick or thin pen determines either heavy or light
the style communicates well.
letters. Celtic letters can be either simple and clean
A broad-tip pen cannot exactly reproduce the
or complex and ornamental. The choice of spacing
precision and beauty of the chisel cuts in the Trajan
creates either an open or crowded appearance.
column, but with much diligent practice a reasona¬
ble facsimile can be achieved.
While Roman capitals were historically used
for inscription, a pen version called quadrata ap¬
peared. A square-cut reed or quill was used as a
pen. Since the quadrata required painstaking detail
to each letter, it soon gave way to another variation,
called rustica. Rustica was a freely written, elegant
form of lettering, characterized by thin upright
strokes and thick cross strokes. Fig. 2-3. Celtic hand.

21
 Spacing between words is one letter wide; spacing
between lines is one letter high.
Gothic lettering consists of one basic shape:

iruiiir
v
the box. The calligrapher’s challenge is to create all
the letters of the alphabet with that one basic shape.
A 30-degree pen angle is required for lettering.
Fig. 2-4. Gothic hand. Gothic capitals are often incorporated into
pictures that help describe the text. This was espe¬
Many Celtic letters have as many as six alternate cially important when Gothic lettering was domin¬
forms. Celtic letters can also be squeezed or ex¬
ant because few people at that time could read.
panded to fill the necessary space. The letters can
Bookhand. During the fifteenth century, Italy
even overlap without losing readability.
rediscovered Carolingian writing, which Char¬
Celtic lettering can be fun. It is most suitable
lemagne had made prominent several centuries
for optimistic, happy quotations or other bright
earlier. The Italians mistakenly thought the many
writing. Celtic calligraphy is a style that encour¬
available Carolingian manuscripts represented an
ages, even demands, that the calligrapher’s person¬
ancient Roman hand. Bookhand, (Fig. 2-5) or
ality shine through. It is a style to enjoy.
Humanist Bookhand, is the script that fifteenth
Gothic. The Gothic influence on lettering
century Italian scribes created through the modifi¬
began during the twelfth century. The Gothic style
cation of Carolingian letters, which were originally
(Fig. 2-4) was the first to employ a combination of
based on the Classic Roman hand.
majuscules and minuscules. Gothic lettering
flourished for more than 300 years. Parchment and Because paper was more readily available and
vellum were scarce during the time the Gothic hand less expensive than in earlier centuries, scholars
was popular; partially the reason for its popularity were able to expand the letter sizes and develop a
was its condensed style, which allows a great deal more open countenance. Type for the earliest
of copy to be written in a small space. printing presses was adapted from the Italian
The Gothic style is used today primarily on Bookhand style.
formal presentations such as diplomas and certifi¬ Bookhand is a familiar letter form today both
cates, and for mastheads. because it is still in use and has been for several
Gothic lettering, properly called Textur or hundred years, and because it resembles Roman
Textura because of its even patterning, reached the minuscules. An easy to read style, Bookhand func¬
peak of its popularity during the fifteenth century. tions well in size. Bookhand is a simple, disci¬
Italy was already moving heavily into a revival of plined style that can employ serifs if desired. A
the Roman calligraphy. 30-degree angle is used to pen Bookhand letters.
The ornate, difficult to read, Gothic form of Italic. Italic writing changed the entire con¬
lettering is deceptive; the style is not difficult to cept of calligraphy. Prior to Italics, calligraphy had
learn. The main objective is to keep the black been restricted to monastic scribes and profes¬
strokes and the white spaces exactly equal. The sional copyists. With the beginning of Italic writing,
style evolved from a combining of the Roman Rus- calligraphy became available to a much larger por¬
tica and the runic capitals from the Celtic hand. tion of the population. Scientists, politicians, ar-

Fig. 2-5. Bookhand. Fig. 2-6. Italic hand.

22
tists, and law clerks, among others, became in¬ Italic writing is characterized by a slight slant
volved in calligraphy. to the right. The pen must be at a 45-degree angle to
The Italic form (Fig. 2-6) was probably a the paper. Letters are oval in shape and usually five
natural consequence of writing the Humanist pen widths high.
Bookhand style quickly. Italic letters represent the The most popular calligraphic lettering style
first time that both the formal court and the ver¬ today is Italic. Within the Italic category several
nacular shared a common writing style that could be lettering variations exist. Among them are Chan¬
widely read. Michelangelo and Petrarch were ex¬ cery Cursive, Formal Italic, and Straight, or Practi¬
pert Italic calligraphers. cal, Italic. This book will fully explore Chancery

Fig. 2-7. Early ornate hand.

23
Cursive as a special handwriting, and Straight or
Practical Italic as a casual, or everyday, handwrit¬
ing style.
History has preserved a variety of handwriting
styles (Fig. 2-7). Those listed above are the most
enduring and the most important for a beginning
calligraphy student to identify.
The art of fine writing has had to survive many
devastating periods of history. As did many other
things, calligraphy nearly disappeared during the
Medieval Ages, roughly from the time of the fall of
the Roman Empire in 476 A.D. until about the end
of the fifteenth century. Poverty was often a way of Fig. 2-8. An illuminated letter.
life, and writing materials and tools were usually
expensive and scarce. Civilization was generally experimented with pen on parchment to attempt to
ruder than classical or present times, and secular achieve the same results. He wrote and illuminated
development was not often encouraged. many texts in Humanistic and medieval fashion
Scribes of the Middle Ages were mainly con¬ (Fig. 2-8); then he began a study of fifteenth century
cerned with preserving the Word of God. Many printing.
scholarly works from classical times were lost. His efforts led papermakers and ink suppliers,
It was not until the Renaissance, which was as well as others, to strive for long-forgotten
initiated early in the fourteenth century, that an standards. An early convert was Edward Johnston,
intellectual movement began a revival of letters and who abandoned his medical studies to become a
art that marked the transition from medieval to scribe. Johnston rediscovered the craft of cutting
modern history. This revival of learning, sparked and sharpening reeds and quills, how to use the
by Italian poets Dante, Alighieri and Petrarch, led to pens, and how to make manuscripts (Figs. 2-9 and
a renewed interest in classical Greek and Roman 2-10).
literature. With this new desire for literature and In 1899 Johnston began to teach at the Central
learning, a natural increase in the demand for book School of Arts and Crafts and later at the Royal
production was seen. College of Art. Among his first students were sev¬
The invention of movable type and the intro¬ eral who became influential calligraphers and de¬
duction to Europe of the Oriental papermaking signers of lettering. In 1906 Johnston published a
technique allowed printing to replace the majority 500-page book on lettering which found its way to
of handwriting in book making. Even though a quest Germany in 1910, where it supported the indepen¬
for knowledge existed, therefore, the need for ex¬ dent work of artists there.
pert calligraphers declined. The art of calligraphy Art schools throughout Europe followed the
practically ceased. lead of the Royal College of Art by offering courses
in lettering and writing. The design of typography
The Arts and Crafts Movement in England passed from the hands of engineers into the hands of
In England at the end of the nineteenth cen¬ artists and craftsmen specializing in calligraphy.
tury a revolt against the mechanization of life,
known as the Arts and Crafts Movement, began. The Revival of Calligraphy in the United States
About 1870 an English writer and artist focused The revival of calligraphy in the United States
attention on the nearly extinct art of fine writing; was about 10 years behind the Arts and Crafts
calligraphy. Movement of Europe. If 1902 Frank Chouteau
Morris studied the work of ancient scribes and Brown authored a book titled Letters and Lettering:

24
JtaLiC J-Sa/VDWRITIN^ 04 practised today U a smtphjud traditional system

which jUrwtsJyont the JtaUan nhtneUssemee . The revival hat become so

widely established thoArthh Soccefy U now represented i*rmMy countries

v h u>ntimcoiuiy tp.pcmdCny at the virtues <jj* the script beteme known,

live versions tf today bcUncj ccnvpltfziy to <nvr tune & curcuwnstcuacos .

feve LajibiUiy (/ beauty oj- italic handwriting v the sjyetrb at which it

can be written wtiwiotJ^lUny intv decay cm its quatitves.

Fig. 2-9. Hand from the Society for Italic Handwriting.

Jt would be mfemHpy h learn

what effect members'luhuiwrdcny has
had upim otherpeople, fer im^tvcnco^
bach m the oar ly fifties^ J had tb do
h as buss with a stonemason; with his
retype was a note CcnpUmunttny me
cm the clarity f my wrdbya.
Jbfirmfrom whtlh Jpurchased a
yerraye wrott' to say that vny letter had
betH placed on the notice hmrdatom
mS -

eformpu to the offfu staff

Fig. 2-10. Sample hand of an SIH member.

25
A Treatise with 200 Examples. membership (Figs. 2-11 through 2-14).
In his volume Brown praised Morris for ini¬ Throughout the United States individuals and
tiating a revival of calligraphy, but pointed out a groups have promoted calligraphy as a craft that
need for more classical balance. Brown gave gener¬ others besides artists can learn. Calligraphy class¬
ous space in his book to Italics, which he felt Morris es are now available in most areas at a reasonable
had neglected. cost.
In London in 1921 the Society of Scribes and
Illuminators, “zealously directed toward the pro¬ East Asian Calligraphy
duction of books and documents by hand,” was Western calligraphy has become an art that
formed. During the 1930s, exhibits of the group anyone can master with practice. In China, Korea
appeared in five American cities. In 1952, recog¬ and Japan, however, calligraphy is considered a
nizing the surge of interest in Italic writing; the true art form, equal to painting. Calligraphy for all
organization established the Society for Italic three cultures derives from the written form of
Handwriting, which quickly drew an international Chinese.

{The rneiverltvfUti ^
d ffitnrrwnj wvrkthpy urgrynth ^ kwt{

bt V
4 wnAcmxc to Mi himtE'

nnrutvna.
Fig. 2-11. An ornate italic sample.

C^ywnuJCtt Jeitttv
¥

liujwrt CtmvrixUtzt rwtttuuj vykS (uCi m MivCbfijy 15 'beitmlrtv 2_»

■ M /-j Ob.m.y 60 Hollow) 'Pxvk. ALovdovc W. II. Tfurse

pmevu- ivtrt - Mrjayfc Crn^ttn, C.B.t., C(uM*yvuc*A.;M«Y)i(frA
S(umA~) M*fS HtAtfctr CCuCd (Srutty UScripts 6c ItUcAuAcxtvr’S Hon. ftt)
CoyAxu*. H.C.Frrt, HonJhnjuurr, Mus W.T. Hrobtv,

SOv FrxttoH Moyntll; MM MxojorU Wnc( MvAlfroi FMrbc^k,

SttrrtTKAy / MaM HaryyMj*
Aw AfoUjijJrv afoevu* MkA rrctiA/i)Jrxrvw fy^tssa-r (fi+jfrey

Tdbstlam ~

Fig. 2-13. A semi-cursive italic sample.

26
 STOP PRESS Early Chinese writing was done with pictorial
images, much as the Egyptian hieroglyphics, al¬
though the Chinese symbols showed more sugges¬
CUve Wilkinson i* one of tion or imagination. These early pictorial symbols
are still in use today. Chinese writing has changed
little in nearly 2,000 years.
three new committee Chinese was the official script of Korea until
the nineteenth century, even though a Korean al¬
member*. He is Headmaster phabet was developed in 1447. Thus, traditional
Korean calligraphy was done with Chinese charac¬
The ColUton County ters.
Gradually Korea eliminated the Chinese
Primary School, Twyford, characters and introduced a style of its own. Fol¬
lowing World War II, however, calligraphy was
treated as only a minor art up until the 1960s when
Berkshire. The others are the Korean government eliminated Chinese
characters from the Korean language and began
brother William Sherwood, promoting the use of calligraphy in the Korean al¬
phabet (Fig. 2-15).
mentioned m the In Japan, the art of calligraphy is as highly
esteemed as it is in China. Japanese calligraphy
Secretary’s Notes; and/ began using Chinese characters at least as early as
the end of the fourth century A. D. A great deal of
Chinese calligraphy was imported to Japan through
Brenda/ Berman who Chinese Buddhist monks who migrated there. This
improved system of Chinese Buddhist calligraphy
teaches cMUyrayhy at is called kanji.
Japan eventually devised its own form of callig¬
chy and builds of raphy, called hira-gana. The elegant, graceful hand
was often used for poetry. Both kanji and hira-gana
are used in Japanese calligraphy today.
London/ School of Art.
A SHORT HISTORY OF NUMERALS
Fig. 2-13. A beautiful example of applied italics. Our numbering system has an entirely dif-

Fig. 2-14. An Italic headline.

27
 ferent basis than our alphabet. While our letters
come from a Roman heritage, our numbers come
from the Hindu culture.
II The Hindu system of numbering was in use in
m India as early as the third century B. C. By about 700
m A.D. the Arab world had adopted the Hindu num¬
HI bers and rapidly became the dominant mathematical
center of the world. From it the system we use still
carries the name of Arabic Numerals.
hi The most important part of the Arabic Numeral
HI system is the use of zero as a positional symbol,
HI making it possible to differentiate between num¬
HI bers such as 11 and 101 without the use of extra
HI symbols.
Hi While the Arabic Numeral system has come
down through history to us intact, the form for
1
writing the symbols has changed through the years.
HI The basic style of numbers we use today was de¬
HI signed by Claude Garamont around the year 1545.
m
1 EARLY WRITING TOOLS
1 Writing has been done with a great variety of
1 tools. Knives have been used to cut notches into
sticks and to carve letters in other substances.
Paint has been applied to many surfaces with
brushes and quills. The Sumerians used pointed
1
instruments on clay and a wedge-shaped reed on
clay tablets. Reed pens, as well as brushes, were
used by the Egyptians.
A principal early Greek writing tool was the
Hi stylus. It was used to incise wax tablets or the

m prepared surface of a skin, such as leather or vel¬

lum. Pens were used to write on papyrus. Also
i written on were lead, wood, pieces of pottery, and
Hi even cloth. The Greeks also probably conceived the
m idea of using a hard reed, split at the end and cut into
m a nib, as a pen.
i Prior to about 300 A. D., ink was usually made
pI of a carbon, such as lampblack, mixed with gum and
water. This ink retains its rich black color even
today. Because of the increasing popularity of vel¬
lum as a writing surface, iron inks became more
H HI widely used.
Papyrus and leather crafted for use as a writing
Fig. 2-15. Korean calligraphy. material were normally sold in rolls made up of

28
either 20 or 50 sheets glued together. With the year 105 A.D. is Ts’ai Lun, a member of the Impe¬
beginning of the Christian Era came the custom of rial Guard of the Later Han court of the Chinese
folding the sheets of papyrus or leather down the emperor Ho Ti.
middle and stitching it into a binding case to form a A mixture of mulberry bark, rags, and water
book. The early Christians chose the book, or was beaten into a pulp and left to dry in the sun on a
codex, form in which to circulate the Christian Gos¬ mold of bamboo strips. The earliest known paper
pels. By the fourth century A.D. it had become the that still exists was made from rags in about 150
dominant form. A.D.
For about 500 years paper was made only in
A HISTORY OF PAPER China, but in 610 A.D. it was introduced into Japan
Credited with the invention of paper in the and about 750 A.D., into Central Asia. Paper ap-

Fig. 2-16. Early freestyle majuscule alphabet.

29
Fig. 2-17. An informal alphabet.

30
peared in Egypt in about 800 A.D. that book printing became practical, and paper was
It was not until about 1150 that paper made its more in demand. The production of the Gutenberg
way to Europe, when the first paper-making mill Bible in 1456 helped stir an interest in paper and
was built in Spain. Over the next few centuries printing.
paper-making spread to most of the European The first mill for making paper in England was
countries, but it was not until the invention of mov- established in 1495, and the first paper-making mill
able type, about the middle of the fifteenth century, in the United States was constructed in 1690.

Fig. 2-18. A Semi-block majuscule alphabet.

31
 Paper was handmade one sheet at a time prior CALLIGRAPHY TODAY
to the invention of the papermaking machine. Indi¬ Calligraphy today is built upon a foundation
vidual sheets were made by dipping a mold into a that was begun when people first communicated
pulp mixture. The papermaking machine was an silently. Tools and materials have changed
invention of Nicholas-Louis Robert of France in dramatically through the years, leading to the
1790. Robert’s machine was improved by stationers sophisticated supplies available today.
and brothers Henry and Sealy Fourdrinier in En¬ The art of calligraphy is truly an accumulation
gland early in the nineteenth century. of the history of writing, papers, alphabets, and
The only inexpensive raw material used for tools. Because of the vast history of calligraphy, we
paper until about 1840 was rags. For about 200 not only have a variety of sophisticated materials
years many substitutes were tried in attempts to and tools from which to choose, we have a number
make paper more readily available. Around 1840 of calligraphic lettering styles from which to
the process of grinding wood into pulp was dis¬ choose. Tools range from chisel-tip felt pins to
covered, and about ten years later the first of the professional calligraphers’ pens to handmade pens.
chemical pulp processes emerged. Papers that can be used include many inexpensive
Currently the United States and Canada are practice papers, machine-made special calligraphy
the world’s largest suppliers of paper, pulp, and papers, and expensive handmade papers.
paper products. Other significant paper producing Calligraphy styles to be studied of course in¬
countries are Finland, Japan, Sweden, and Russia. clude the five major historic styles Roman, Celtic,

Fig. 2-20. The Modified style.

32
Fig. 2-22. Patterns can be used in calligraphy.

33
Gothic, Bookhand and Italic. Many variations of ularly wherever you write, you should now be fairly
some styles exist. Many other calligraphy styles comfortable with the pen and using it consistently at
can also be learned (Figs. 2-16 through 2-22). the correct 45-degree angle to the paper.
Throughout this book you will be introduced to You are probably ready and anxious to move on
both beginner and professional calligraphy equip¬ and begin learning some real calligraphy. Chapter 3
ment and supplies. Examples of many calligraphy will discuss the reasons for the focus on Italic writ¬
styles will be presented. ing; then it will introduce several basic-stroke
Since you have been repeating the warm up exercises that will lead you into writing beautiful
exercises often and using your calligraphy pen reg¬ Italic letters.

34
Basic calligraphy can be both fun and easy. With just to its beauty, ease of mastery, and adaptability.
a few minutes’practice regularly, you can develop a Variations of Italic writing make the style suitable
whole new style of handwriting—one that will for almost any written communication (Figs. 3-1
serve all your writing needs. Once you have learned through 3-4).
the Italic modes of writing presented in this book, This book will focus on two modes of Italic
you may cease your studies and be content to per¬ writing: Chancery Cursive and Straight, or Practi¬
fect your new style of communicating. You may cal, Italics. The Chancery Cursive form is an ele¬
instead decide to continue studying and branch out gant, flourished hand that is used for formal com¬
to learn several other calligraphic forms, perhaps munications. It should not be used casually. Practi¬
even becoming a professional calligrapher and set¬ cal Italics, however, provide a writing style that is
ting up a commercial studio. rapid, casual, and adapted to everyday use.
The letter slant, proportions, and oval shape
WHY BEGIN WITH ITALICS? are the same in Chancery Cursive and Practical
Italic handwriting is the style of calligraphy Italics. The most significant difference is that Prac¬
most often used. Italic letters were named for tical Italic letters do not employ serifs—extra, de¬
Renaissance Italy, which rapidly became a major corative lines that are placed on the open ends of
cultural influence in the postmedieval world. A re¬ basic letters—on the ascenders. For a really effi¬
vival of Italic lettering occurred during the Arts and cient lettering style, some writers eliminate serifs
Crafts Movement of Europe in the late nineteenth on descenders also. Italic writing is probably the
century, and again during the current calligraphy only form of calligraphy that can fulfill both a formal
revival, which began in the 1970s. and casual role without great variations from the
The recurring popularity of Italic writing is due basic form.

35
Fig. 3-1. A popular form of Italic calligraphy.

Italic calligraphy, based on the Classic Roman

pscpfaws Patisserie hand, is also flexible enough to allow personal in¬
terpretation to be incorporated into handwriting,

JhausviLui without significantly altering that historic Roman

beauty. It is an excellent choice for beginning
study.

PREPARING TO MOVE ON
One of the most important considerations in
learning any new skill or craft is to constantly re¬
view previous material and be sure that you are
building your knowledge on a firm foundation. Let’s
make sure you are doing that with your calligraphy
skills.
First, are you using a pen that will help ad¬
Caffe de Find vance your learning rapidly? The chisel-tip felt pen
is the recommended instrument at this stage. The
calligraphic fountain pen, which will be discussed in
loYte Chapter 5, will be recommended after you are
Fig. 3-3. An Italic name tag. thoroughly familiar with the formation of the Italic
alphabet used for both Chancery Cursive and Prac¬
tical Italics. The chisel-tip pen is better than a plain
John Smith nylon-tip felt pen because it gives you the experi¬
ence of working with a chiselled edge similar to that
1254 JVlaiH st, of the calligraphic fountain pen. With the chisel-tip
pen you will be able to form the thick and thin por¬
SHMutowH, U,S,3l, tions of letters which make calligraphy distinctive.
Fig. 3-4. An Italic letterhead. By this time you should be getting familiar

36
with your pen, and it should be comfortable in your this concept, you will understand how Italic letters
hand. When you practice your calligraphy exercises are penned. The two separate shapes used in Italic
remember that your pen tip must be at a 45-degree letter bodies can be created by dividing a rectangle
angle to the paper in order for the ink to flow freely. diagonally and adding either an upward or down¬
Do a few rows of the second warm-up exercise to ward stroke. Go through the following steps to
make sure you are holding the pen correctly to form clarify this concept before you move on.
the necessary angle. Step 1. See Fig. 3-5. Make the four straight
You should be seated at your calligraphy desk illustrated pen strokes using a 45-degree pen angle.
with your body at approximately a 30-degree angle Notice that strokes 1 and 3 are longer than strokes 2
to the desk, sitting comfortably erect. If you are not and 4, creating a rectangle, not a square.
relaxed, take a few minutes and do whatever it is
that most helps you to relax.
Remember that in calligraphic writing, move¬
ment will come from your arm and shoulder. Your
wrist and fingers should remain in a fixed position
while your arm and shoulder move the pen across Fig. 3-5. Step 1: use a 45-degree angle.
the page. Your effective working space is limited to
about 5 inches. Move the paper when it is necessary Step 2. See Fig. 3-6. Make the same rectangle
to exceed this span, not your arm. with connected lines and at the Italic 5- or 10-
Have plenty of inexpensive practice paper degree slant to the right.
handy. If you are using lined notebook paper or
duplicator paper you can use it freely at small cost.
Graph paper can be useful for checking for correct
letter proportions. Use the paper that you like best,
but for freehand lettering you should use a lined
paper while learning to make your letters uniform. Fig. 3-6. Step 2: use a 10-degree slant.
Use just one side of each sheet of paper so that it is
easy to review your work and not confusing to make
Step 3. See Fig. 3-7. Divide the rectangle,
the letters.
going up. Then make each half of the rectangle
Be sure your calligraphy table has the proper
separately.
lighting in order to avoid eye-strain. Practice your
calligraphy at a time and place when you can con¬
centrate. Keep all your materials clean and wash
your hands before you practice and often during
practice if they become soiled.
Now do several rows of each of the six
Fig. 3-7. Step 3: make each half separately.
loosening-up exercises listed in Chapter 1. When
you are done, go on to the next section, which will Step 4. See Fig. 3-8. Make each triangle
introduce the basic shapes which comprise Italic again, adding a downstroke to the left-facing
letters and basic stroke exercises. The basic stroke triangle and an upstroke to the right-facing triangle.
exercises will lead into the formation of Italic callig¬
raphy letters.

THE BASIC ITALIC LETTERING STROKES

Italic letters are formed on two distinctly sepa¬
WttoMMttk
rate letter bodies. Once you are able to visualize Fig. 3-8. Step 4: add a downstroke.

37
 Step 5. See Fig. 3-9. Once again draw each
triangle, but round off all corners. The two shapes
you have created are the letter bodies upon which
the Italic alphabet is built.
mrnrn
Fig. 3-9. Step 5: round off all corners.

Practice these five steps until they are famil¬

nrnrm
Fig. 3-11. Exercise 8: make identical strokes.
iar, and you can visualize how they will be built into
Italic letters. Before you move on, your practice Exercise 9. This exercise is just the opposite
strokes should look very nearly like the examples. of Exercise 7. The inverted arch is made first, and
The following exercises will make your hand the pen lifted for the final downward stroke (Fig.
familiar with the penning of other strokes that will 3-12). All of these exercises should have the slight
be used in writing Italic calligraphy. Italic slant to the right.
Exercise 7. This exercise will not only help
with forming the letters n and m, but will reinforce
the need to connect all down-strokes at the same
point. Make the first downward stroke straight but
slightly slanted (Fig. 3-10). Lift your pen and make
the second stroke in an arch from just above the
center of stroke 1 to the top of the line and down,
uuuuu
parallel to stroke 1. Relax and don’t rush. All of
these exercises may first be traced and then drawn
freehand.

~uuuuu
Fig. 3-12. Exercise 9: make the inverted arch first.

nnnnn Exercise 10. Figure 3-13 shows a continuous

line of the inverted arch. Strive for uniformity.

nnnnn
Fig. 3-10. Exercise 7: be sure to connect all downstrokes at
the same point.

Exercise 8. This exercise provides good

practice for making identical strokes (Fig. 3-11).
The arched strokes should all be connected to the
previous strokes at the same point. Fig. 3-13. Exercise 10: strive for uniformity.

38
 Exercise 11. This exercise, shown in Fig.
3-14, alternates between the two shapes you have
just learned. Trace several lines if you wish; then
continue freehand until your strokes appear uni¬
form, and the execution is comfortable. mnnnnnm
mi ncrna
nnnunu
Fig. 3-14. Exercise 11: alternate the two shapes.
center line, and end at the lower line (Fig. 3-16).
The diagonal line stops at the center-ruled line, and
the third stroke is downward parallel to the first
stroke.
The next set of exercises will help you to learn
basic letter shapes as well as help you later to join
Take a break now and relax. Remember that letters. They also are designed to develop rhythm
our goal is fun and easy calligraphy. It won’t be long and fluency.
until you can do any writing you wish in calligraphy.
It is a rewarding learning process because you will

ihtililili
be able to see improvement quickly. It is a skill that
you can put to use immediately and without special
effort. Right now you are getting extra practice by
using your calligraphy pen whenever you write.
The more familiar and comfortable you are with
your pen, the easier it will be to learn letter
:
strokes, and soon, Italic calligraphy letters. As
soon as you learn the basic lettering techniques,
you will be able to practice every time you write.
As suggested in Chapter 1, be sure to save
some samples of your writing and practice sheets
for review at various times through the learning
process. Now let’s return for some more basic
stroke exercises. Exercise 14. This exercise also occupies two
Exercise 12. This exercise introduces the ruled spaces (Fig. 3-17). Stroke 1 begins slightly
Italic o shape, which is actually oval and of course is above the center line and ends at the top line.
at the slight right-hand slant (Fig. 3-15). Practicing Stroke 2 goes all the way down to the bottom line
it in conjunction with the straight down-stroke will where it forms a loop and moves into stroke 3,
help you to keep letter parts parallel as well as which ends at the same point where stroke 1 began,
separate letters. slightly above the center line.
Exercise 13. This exercise will require the Exercise 15. See Fig. 3-18. This exercise is
use of two ruled spaces. Begin the down-stroke at simply a continuous line of the shape learned in
the top of the upper line, continue through the Exercise 14.

39
 Exercise 17. In this exercise link a whole
row of the upward and downward loops to further
develop rhythm and fluency.

Fig. 3-17. Exercise 14: end at the same point you began.

Fig. 3-20. Exercise 17: link a row of the loops.

Exercise 18. This exercise, as shown in Fig.

3-21, carries the linked loops a step further, moving
Fig. 3-18. Exercise 15: a continuous line. directly from the upward loop to the downward
loop. This shape covers three spaces on your prac-
Exercise 16. Figure 3-19 illustrates this
exercise, which adds an upward stroke and loop into
a downward stroke to the previously learned shape.
It is an inversion of the same shape.

Fig. 3-19. Exercise 16: an inversion of the shape you just

learned. Fig. 3-21. Exercise 18: covers three spaces.

40
tice paper if you are using ruled notebook paper. relaxed and comfortable again.
Beginning at the second line from the bottom, draw As you work into Chapter 4 and begin forming
a diagonal line through the next line and up to the Italic letters you will see how the basic stroke
top line where the line curves and makes a long, exercises have helped to prepare you for actual
slightly left-slanted line all the way to the bottom calligraphic writing. The curves, shapes, slants and
line. It then curves back upward, parallel to the proportions are all used in Italic lettering. Your
beginning stroke and ends at the second line from mastery of the letters will follow naturally and eas¬
the top. ily once you thoroughly study and practice the basic
Exercise 19. This exercise is simply a con¬ stroke exercises.
tinuous line of the above exercise (Fig. 3-22) Your
objective is to keep all parts of the shapes uniform MORE ABOUT ITALIC WRITING
and parallel. Italic calligraphy has many distinct charac¬
teristics, the most recognizable being its slight, 5-
to 10-degree, right-hand slant. Italic letters are
true to the Classic Roman models, but they add a
great degree of uniformity to the alphabet.
Italic letters can be divided into four separate
letter families. Two of those families are made up of
the letters formed with the triangular letter bodies
you studied earlier in this chapter. Let’s call them
the a-body family and the b-body family. Letters in
the a-body family include a, c, d, e, g, q, u, and y.
The b-body family consists of b, h, p, n, m, and r.
Another family of special letters contains 1, f, t, i, v,
w, k, and j. The last letter family includes o, s, x,
and z, which connect points on the Italic rectangle.
Written with a 45-degree pen-to-paper angle,
Italic minuscules should be approximately five pen
Fig. 3-22. Exercise 19: keep all parts uniform and parallel. widths high, and majuscules should be about seven
pen widths high. A pen width means the width of the
Practice all of the exercises explained and il¬ pen nib, or point. For practice purposes, the ruled
lustrated in this chapter until you can rapidly and lines on notebook paper are sufficient.
uniformly complete each. Go over these exercises, Several techniques exist for spacing between
doing several rows of each at a time, until you are letters in Italic writing and for joining letters in
entirely comfortable drawing them and satisfied Chancery Cursive and Practical Italics. These will
with the results. As you first begin to repeat the be studied in depth in a later chapter. You will be
exercises you may, if you wish, begin by tracing encouraged to try many different approaches to
each one several times. Keep working on them until joining letters. You will discover that some letters
you no longer need to trace, but can draw each set do not join gracefully with any other letter. Eventu¬
freely on your own. ally you will choose your own methods of joining
When you are completely relaxed with these letters; this is another example of where individu¬
exercises and convinced that your attempts are ality can be inserted into your calligraphy. Italic
nearly identical to the examples, you will be ready writing is characterized by a minimum of pen lifts,
to move into learning Italic letters. Anytime using both pushing and pulling strokes. Joins can be
through your studies that you feel awkward, return with diagonal or horizontal lines, and they some¬
to these exercises and repeat each until you feel times call for the addition of a curve.

41
 Italic writing appears with or without serifs. paintings incorporated into the manuscript to help
You will learn the Practical Italics, without serifs, clarify the meaning of the script. This method was
and the Chancery Cursive, with serifs. especially prevalent and important when literacy
Your study of Italic calligraphy can lead to was confined to a small portion of the population.
anything from improved handwriting to a career as a Calligraphy communicates through materials.
professional calligrapher. The choice of mundane or special inks (Fig. 3-23
and papers (Fig. 3-24) can have an impact on the
HOW CALLIGRAPHY COMMUNICATES message the calligraphy is intended to impart. Cal¬
Calligraphic writing communicates more than ligraphy can be used on poster paper to announce a
just the written word. The thought message of special event, or elegant, handmade paper can be
course is the most important, but calligraphy pro¬ used to issue invitations to an event. The callig¬
vides a special way of conveying the idea and offers rapher’s choice of materials makes a statement
ways of intensifying the effect of the message. about the content of the message.
Beautiful writing also communicates visually. By careful choice of calligraphy style, atten¬
A feeling of warmth or of formality can be imparted tion to ornateness or casualness, selection of ap¬
by your choice of style. Elegance is often suggested propriate inks and papers, and choice of a suitable
by calligraphic writing. A message communicated message, a calligrapher can create a piece of hand¬
through a beautiful medium is memorable. Histori¬ iwork that communicates visually and intellectually
cally some calligraphic forms relied on drawings or through expert craftsmanship.

Fig. 3-23. There are numerous inks available to the calligrapher.

42
Fig. 3-24. A variety of calligraphy papers.

THE IMPORTANCE OF up now so that you maintain a flow and gain

CONCENTRATION AND PRACTICE momentum in your studies. With regular practice
Concentration is a key factor in the learning you will find that your skills grow more rapidly.
and execution of calligraphy. Expert calligraphers Your practice time need not be lengthy; 20 minutes
teach serious students special breathing is sufficient as long as it is regular—if not every day
techniques. Our focus is on easy calligraphy, how¬ at least three times a week.
ever; so it would not be appropriate to attempt to Your regular study of calligraphy will not only
teach on an expert level. For those who decide to serve to improve your penmanship and learn new
become serious calligraphy students after com¬ styles of writing, it will develop your sense of
pleting this book, there will be suggestions later in self-discipline and also foster creativity. The craft
the text about how and where to continue further of calligraphy is open to everyone; you can easily
studies. attain the necessary skill through regular, fun-to-do
Concentration is necessary to receive the practice.
most benefit from any study, and this is true oieasy
calligraphy. It is vital to clear your mind of day-to- THE CALLIGRAPHIC FOUNTAIN PEN
day problems, and give all your attention to your The choice of when to advance to a calligraphic
studies and practice. fountain pen is entirely yours. You are the best
By this time you probably have established a judge of your own progress. Remember to work at
regular practice schedule. If you have not, set one your own pace and continue with the chisel-tip felt
pen until you feel a real urge to move on. You can nib unit, the ink reservoir (or cartridge), the barrel,
also use your chisel-tip pen through all your callig¬ and the cap (Fig. 3-25). Figures 3-26 and 3-27 show
raphy studies. how to assemble a cartridge pen.
It is recommended that you wait to use the To fill a reservoir-type pen, screw the nib into
calligraphic pen until you have become familiar with the reservoir and hold it so the ink just covers the
minuscule and majuscule Italic letters. Waiting is nib. Squeeze the metal band around the reservoir
recommended because it is easiest to learn when four or five times and it should be filled. Wipe off
only faced with one change at a time. excess ink, and you should be ready to write. If your
You may already feel the need to use a calli¬ pen has a lever on the side of the barrel, you must
graphic fountain pen, however, that’s fine too. In screw the nib and reservoir into the barrel before
case you are ready, I will discuss the calligraphic filling. Fill as a regular fountain pen, by holding the
fountain pen now. The use of a special calligraphic nib in the ink and lifting the lever four or five times.
pen, which must be dipped in ink, is not yet recom¬ Wipe off the extra ink.
mended. At this point it is of more value to you as a Try your pen. Remember that the entire edge
student to concentrate on penmanship—forming of the nib must be on the paper for ink to flow. If the
your calligraphy letters correctly and uniformly. ink will not flow even with the entire nib edge on the
Later in the book true calligraphy pens will be paper, drop it lightly on its tip to force the ink to
discussed in case you wish to carry your studies begin to flow. Holding your pen at a 45-degree
further. angle, make a series of different strokes. Watch
The calligraphy fountain pen differs from a how your pen works. Take your time and get to
regular fountain pen in two main ways: the nib and know your calligraphy fountain pen well. Your pen
the ink flow. Calligraphic fountain pen nibs come in is your most important calligraphy tool. The better
a variety of widths making possible many changes in you know it, the better it will be able to serve your
writing character. The nib or point of the pen is not needs.
square. It will draw the finest line when moved If the pen you have chosen is a reservoir type,
upward from left to right at the 45-degree angle, and be sure you always use a special calligraphy ink.
the widest line when moved down from left to right India ink can clog your pen and is therefore not
at the same angle. By changing the angle of pen to suitable for the fountain pen. Plain fountain pen ink
paper the width of the line drawn can be varied. is thin and does not create crisp letters. Good
Several satisfactory calligraphy fountain pens choices of ink for student calligraphers include Hig¬
are available at variety, stationery, or art supply gins Eternal Ink and Pelikan 4001 ink.
stores. Among them are the Platignum, Osmiroid, Some pen manufacturers suggest that you
and Sheaffer calligraphy fountain pens. Slightly clean your pen thoroughly every two weeks. To
more expensive, and of a little better quality, is the clean it, empty the pen, separate all the parts, rinse
Pelikan calligraphy fountain pen. With care any of thoroughly under running water, and dry
these pens will last for many years. Some are thoroughly.
cartridge-type pens, and some have ink reservoirs Using a medium nib (Fig. 3-28), go back
which must be filled with a bottle of ink. through the loosening-up and basic stroke exer¬
Your pen is made up of four parts. They are the cises and get used to your new pen. The medium nib

Fig. 3-25. A calligraphic fountain pen.

44
Fig. 3-26. The cartridge is inserted, and the nib is screwed into place.

45
 If you feel ready, by all means change now. If you
wish, change once you are familiar with the Italic
letter formations, or, continue with your chisel-tip
pen throughout your studies with this book. Callig¬
raphy is an individual craft which you can per¬
sonalize by your choices of tools, materials, and
styles of writing. Take advantage of this charac¬
teristic. Follow your own instincts.

WHAT COMES NEXT

You are probably anxious to get started actu¬
ally writing calligraphy letters. In fact you may have
looked ahead and made a few attempts to copy the
Italic letters. Your patience will soon be rewarded.
You are now comfortable with the strokes that
will make up Italic letters. Your hand has become
used to letting your shoulder and arm do most of the
work of writing. You recognize Italic lettering and
know the theory behind the formation of the letters.
Fig. 3-27. The cartridge fountain pen is assembled. You are ready to begin practicing Italic letters.
Chapter 4 will discuss Italic minuscules. Letters
will be introduced in families, and practice exer¬
cises will be outlined. You will learn about the
anatomy of a letter; common lettering mistakes and
their solutions. You will practice word lists and
sentences to sharpen your skills.
By the end of Chapter 4 you will be able to
Fig. 3-28. This is the width of a medium nib. write a complete Italic minuscule alphabet. Chapter
5 will add majuscules, and then you will be able to
will serve your needs through the rest of this book. execute your first calligraphy project.
Remember that the choice of when to advance Keep up your faithful practice, and you will be
to a calligraphy fountain pen is completely personal. a calligrapher in a very short time.

46
Your first calligraphic alphabet will be minuscule, to be the most difficult Italic letter to master. Once
or lower case, Practical Italics. You will learn and you understand and can form the letter a correctly,
practice letters in the letter families identified in however, you will have the basis for the entire
Chapter 3. The letters are grouped by shape rather a-family of letters. Remember that the a-body let¬
than alphabetically. You will begin with the a-body ters are based on the left-facing triangle that is
family. formed by diagonally bisecting a slightly right-
To learn most effectively, use the following slanting, standing rectangle. (See Chapter 3.)
method with each new lesson: Exercise 20. (Fig. 4-1) shows you the correct
• Read the instructions, formation of the letter a. It is made with one stroke
• Study the illustrations, beginning at the waist line, with your pen touching
• Trace the letters, the paper at a 45-degree angle. Your pen will travel
• Draw the letters freely until they look nearly to the left along the waist line, then descend to the
like the examples. base line at a slight right-hand slant. The pen then
On your practice paper, the line that the body angles back upward to the waist line to the begin¬
of each letter rests on is called the base line. The ning of the letter, leaving an almost pointed corner
line above it, which comes at the top of letters such at the base line. The stroke then comes back down
as a, c, m, and o, is called the waist line. Ascenders to the base line on the same slight slant. Practice
are letters such as 1 and k, that extend above the this letter until you are quite confident of its execu¬
waist line. Descenders, such as j, and p, are letters tion. It is your first true calligraphy letter, and it
that continue below the base line. also forms the basis for several other Italic letters.
When you practice individual letters, or letter
THE a-BODY FAMILY families, keep the letters close together. This will
Many calligraphers consider the minuscule “a” help you to get the feeling of true spacing for when

47
Fig. 4-1. txercise 20: the correct formation of an a. Fig. 4-3. Exercise 22: your first ascender.

you begin writing in calligraphy. Spacing between top line, through the waist line, and on down to the
letters is extremely important to the look of callig¬ base line. The ascender should touch the two ends
raphy. of the first stroke.
Exercise 21. This exercise simply adds a Exercise 23. (Fig. 4-4) shows you the letter
descender to the letter a to turn it into either the c, which is formed like the beginning of the a. Place
letter q or the letter g (Fig. 4-2). The q is formed by your pen at the waist line, stroke left and curve
a descender that slants to the right and ends at the down to the base line, where you form the almost
line below the base line on your practice sheet. The pointed curve that ends the c. Once your c is drawn
g is formed with a descender that slants to the right correctly the e will follow naturally.
and ends in a curve to the left.

cccccccc

Fig. 4-4. Exercise 23: the letter c.

Exercise 24. This exercise adds another

stroke to the c to turn it into the letter e (Fig. 4-5).
Beginning a little more than halfway between the
Fig. 4-2. Exercise 21: add a descender. base and waist lines, stroke diagonally up to the
waist line, then continue as you did for the c.
Exercise 22. In this exercise, you will form Move slowly through all these letter exer¬
your first ascender, the letter d (Fig. 4-3). It is cises. The more practice you put into learning the
created by two strokes. The first stroke is identical formation of the letters, the stronger will be your
to the beginning of the a, stopping on the up-swing calligraphy background. You will very soon be able
after making the nearly pointed corner at the base to use your new style of handwriting any time you
line. Lift your pen and make an ascender from the like.

48
 up your own list. Your list of practice words will
become endless as you add letters while moving on
through your studies.

THE b-BODY LETTERS

When you feel completely at ease with the
a-body family of letters, continue with the following
exercises. They introduce the b-body family of let¬
ters, consisting of b, h, p, n, m, and r.
Repetitious practice makes for a good callig¬
rapher. Keep that in mind when you get tired of
Fig. 4-5. Exercise 24: turn a c into an e. one letter and want to move quickly on to another.
We have moved slowly through our study of callig¬
Exercise 25. This exercise uses one of the raphy for good reason. The better your basic callig¬
basic calligraphy strokes you learned earlier to raphy strokes and letters, the better will be your
create the letters u and y Fig. 4-6). The u begins at calligraphy projects in the future. Take your time
the waist line, descends at a slant to the base line, now and learn the basics thoroughly, and you will be
curves back up to the waist line, and descends again pleased with the results. Your handwriting will be
to the base line. To form the y, make a u and admired; you will be able to create beautiful gifts
continue the last downstroke as a descender that and home decorations, and you will be able to easily
ends in a left curve at the line below the base line. move into advanced calligraphy studies, if you take
the time now to get to know your new craft inti¬
mately.
Exercise 26. Figure 4-7 teaches the minus¬

auuuuuu
cule b. With your pen at the top line, draw a slightly
right-slanted line down through the waist line, end¬
ing at the base line. Curve over to the waist line;
then curve back down to the base line, and draw a
flat stroke along the base line to meet the initial
downstroke. The curve at the base line should be
almost pointed.

Fig. 4-6. Exercise 25: create a u and a y.

Now you have learned your first group of

Practical Italic letters, the a-body family. You can
use these letters to begin practicing with complete
words. Here are some possibilities: dad, age, quad,
day, gauge, guy, deuce, cage, gay, and quay. Make Fig. 4-7. Exercise 26: the miniscule b.

49
 Exercise 27. This exercise modifies the b to Exercise 29. This exercise shows you how to
make a Practical Italics h, also made with two create the letter n, using a familiar basic calligraphy
strokes (Fig. 4-8). Beginning at the line above the stroke (Fig. 4-10). Touch the paper with your pen at
waist line, draw a slightly right-slanted stroke all the waist line and make a slanted line just to the
the way to the base line. Lift your pen and start the base line. Lift your pen and start the second stroke
second stroke a little more than halfway between near the bottom of the first. Curve up to the waist
the base and waist lines, touching the first stroke. line and come down to the base line parallel to the
Curve up to the waist line and back down, parallel to first stroke. The n is like an h without the ascender.
the first stroke, to the base line.

"M M M M M M

mmMMPi
Fig. 4-10. Exercise 29: create an n.

Fig. 4-8. Exercise 27: make an h. Exercise 30. This exercise takes the n one
step further to make an m (Fig. 4-11). Just add a
Exercise 28. Figure 4-9 shows you that the third stroke identical to the second stroke of the n,
letter p contains a body of the same shape as the b. taking care that both strokes begin at the same
To complete a letter p, draw a 5- or 10-degree level.
slanted line from the waist line to the line below the
base line and curve left. Lift your pen and, begin¬
ning near the top of the first line, make the curved
part of the body just as you made the body of the b.
mmwiwi
VHwrpm
Fig. 4-11. Exercise 30: now make an m.

Exercise 31. Figure 4-12 introduces the last

member of the b-body family, the r. The r requires
two strokes and begins just like the letter n, with a
straight, but slightly slanted, stroke from the waist
line to the base line. Lift the pen and make a second

50
Trrrrrrr
Fig. 4-13. Exercise 32: the letter I.

Exercise 33. Figure 4-14 illustrates the let¬

Fig. 4-12. Exercise 31: the last member of the b family. ter f. Beginning at the midpoint between the waist
line and the next higher line, curve slightly to the
short stroke from near the top of the first to the left into a downstroke that ends one line below the
waist line, with just a slight curve back down toward base line with another curve to the left. Cross the
the base line. first stroke at the waist line.
Now you have completed the exercises cov¬
ering all of the letters in the b-body family. You
have learned to form more than half of the letters of
the alphabet. With the 14 letters you know, you can
make up a list of many practice words to add variety
to your studies.

mm
Take a few minutes now and review your pro¬
gress in your calligraphy studies. Look at your first
attempts at reproducing the loosening-up exercises
from Chapter 1. Compare them with the loos¬
ening-up exercises you executed yesterday. By
now you should be consistently holding your callig¬
raphy pen at the right angle and using your shoulder
and arm to move the pen. These things, as well as
Fig. 4-14. Exercise 33: make an f.
your growing confidence and skill, will be evident in
your writing practice. Your recent loosening-up Exercise 34. Figure 4-15 shows how to
exercises should be more consistent and more create the letter t, which is made with two quick
surely drawn than your earlier attempts, and the
learning process has been easy.
- 2 -

SPECIAL LETTERS
The family of special letters consists of those
letters that do not fit into one or the other
categories. They include the 1, f, t, i, v, w, k, andj.
Exercise 32. Figure 4-13 introduces the
one-stroke letter 1. To make an 1, simply make a
down-stroke from the line above the waist line,
down through the waist line, ending at the base line.
It is identical to the first stroke in the letter b. Fig. 4-15. Exercise 34: two quick strokes make a t.

51
strokes. Stroke one begins just above the waist line should be a point where the bottom of the v touches
and ends with a small hook at the base line. The the base line.
cross to the t is at the waist line. Exercise 37. This exercise adds to the v to
Exercise 35. This exercise shows the letter i make a w (Fig. 4-18). The first half of the w is
(Fig. 4-16). Beginning with a small hook to the left penned precisely as the v. When the second stroke
at the waist line, the pen then strokes down at a of the v is completed, curve back down to the base
slight slant to the base line, ending with a small line again, and once more back up to the waist line
hook to the right. The i is dotted with just a pen ending with a hook to the left. There is the w.
touch above it.
Practice each letter until you are comfortable
with it. This chapter will probably take the most
study time. Be patient with yourself, proceed
slowly, practice regularly, and enjoy learning cal¬
'\yfeww
ligraphy easily.
1

s' ✓^^//£
\
\

S'

nun u in Fig. 4-18. Exercise 37: now make a w.

Exercise 38. Figure 4-19 introduces the let¬

ter k. Touch your pen to the paper at the line above
y y s' y y y the waist line. Stroke all the way down to the base

ll77 It 1111
Fig. 4-16. Exercise 35: the letter i.
line. Lift your pen and touch down again at the first
line just below the waist line. Make a small curve up
to the waist line and back to the first stroke just
below where the second stroke originated. Then
curve on down to the base line and end with a small
Exercise 36. This exercise shows you how to
hook to the right.
make the letter v (Fig. 4-17). A small hook to the
left starts the letter at the waist line. Then stroke at
a slant to the base line and curve back up to the
waist line, ending with a hook to the left. There

TO7W17V
Fig. 4-19. Exercise 38: the k ends with a hook.

V\'VVW
Fig. 4-17. Exercise 36: a small hook starts a v.
Exercise 39. This exercise brings the last
letter of this family, the j (Fig. 4-20). The j begins
with a hook that touches the bottom of the waist

52
 back up to the waist line. Remember to maintain the
Italic right-hand slant.
Exercise 41. Figure 4-22 illustrates the let¬
ter s. Beginning at the waist line, stroke left, then
reverse and make a diagonal stroke to the right all
the way to the base line, then again stroke left. This
is all done without lifting the pen from the paper.
Note that the places where you change directions
should be almost pointed, rather than curved.

Fig. 4-20. Exercise 39: the letter j.

line. Next, stroke down to the line below the base

line and end with a left curve. Touch the pen above
the top of the letter to dot the j.
Now you have learned the family of special
letters. Practice them, and the a-body and b-body
S55
letters, for as long as you need. Practicing the Fig. 4-22. Exercise 41: the letter s.
letters is the whole key to learning calligraphy.
You have only four more letters to learn. Exercise 42. Figure 4-23 shows you the let¬
ter x. Two strokes are necessary. The first begins
RECTANGLE-CONNECTING LETTERS with a slight hook at the waist line, then travels
diagonally to the right down to the base line, ending
The last Practical Italics letter family consists
with a slight hook. The second stroke also begins at
of the letters that connect the points on the Italic
the waist line, just to the right of the beginning of
rectangle. They are the o, s, x, and z.
the first stroke. It extends diagonally to the left,
Exercise 40. Figure 4-21 shows you how to
crossing the middle of the first stroke, and ends on
draw the important letter o. The o is actually made
the base line with no hooks.
in an oval shape. The letter begins at the waist line,
curves down to the base line and back up to the
waist line. Notice in the illustration that the bottom
of the o is almost pointed where it begins its ascent

i■doooooo

or
X X X X VX
*ouuoooo
Fig. 4-21. Exercise 40: an oval o.
Fig. 4-23. Exercise 42: two strokes make an x.

Exercise 43. This exercise brings you the

last letter of the alphabet, z (Fig. 4-24). The z is

53
 placed on the open ends of basic letters. These will
become important when you begin to learn to form
Chancery Cursive letters.

SPACING AND JOINING LETTERS

As an aid in learning proper spacing and pro¬
portions within and between letters, counters can
actually be drawn at these places. A counter for
Practical Italics should be drawn as an oblong V3 as
high as the space between the waist and base lines.
Counters should be drawn as closely as possible to
Fig. 4-24. Exercise 43: the last letter of the alphabet. the vertical lines of a letter. Use a different color
ink for the counters to make it easier to visualize
made without lifting the pen from the paper. Begin¬ the concept of spacing. Try the following exercise.
ning at the waist line with a hook, make a short Exercise 44. This exercise will check your
stroke to the right, then move diagonally to the left spacing within letters. Draw the series of con¬
to the base line, and finally draw a short stroke to nected shapes shown in Fig. 4-25 with your regular
the right ending with a hook. calligraphy pen. With another color ink, draw
You have now learned the entire minuscule counters within each space. If oblongs one third as
Practical Italics alphabet. Your opportunities for high as the space between the waist and base lines
practice are now unlimited. Use calligraphy when cannot be drawn between the vertical strokes,
you write notes, make a grocery list, write checks, practice the exercise until they can fit. Proper
and any other time you write informally. Once you proportions and spacing are a part of the beauty of
have learned the minuscule forms of Practical calligraphy.
Italics you will be ready to use your calligraphy any The same counter system is used to determine
time. Majuscules will be presented later in this proper spacing between letters, whether they stand
chapter. alone or are joined.

ANATOMY OF A LETTER
Each letter of the alphabet is made up of as
many as six separate parts. They are the body,
ascender, counter, serif, and descender. Let’s take
a look at each part.
Fig. 4-25. Exercise 44: check your spacing within letters.
The body of the minuscule letter is that portion
which appears between the waist and base lines. Exercise 45. Figure 4-26 illustrates the
An ascender, as we have seen, is the part of the counter system for spacing between letters. One
letter that rises above the body, extending over the counter should fit between two letters. Draw a
waist line. series of letters and insert counters between each
In contrast, the descender is the part of a letter in a different color ink. The counters should be
that extends below the base line, below the body of placed beside the widest part of each letter. This
the letter. counter system will also be used for spacing when
A counter is the open space within a letter. It joining letters.
can be either enclosed or open. We will be looking Spacing between words is just as easily
at counters and letter spacing soon. Both are vital to achieved. To learn proper spacing between words,
the apperance of calligraphy. simply insert a minuscule Practical Italics o be¬
Serifs are the extra, decorative lines that are tween the words.

54
 Practical Italics letters are designed for easy
joining and efficient, speedy writing. Even so, you
will find that some letters do not join gracefully,
such as the b. While you are learning the Practical
Italics style as an everyday hand, do not try for so
much speed that you sacrifice the beauty that is the
essence of calligraphy. Join letters when feasible,
but take the time to create individual letters when
Fig. 4-26. Exercise 45: how to space between letters. necessary for a better appearance.
Many ways of joining can be used. Try them all
Exercise 46. This exercise is for practice in
and decide which is the best for you. Remember to
spacing between words. Write a number of words
keep joining lines light and thin by lifting your pen
with your regular pen. With another color ink, in-
slightly when joining letters.
For the purposes of joining, letters will be
divided into three groups, according to ways they
can be joined. The first group consists of letters that
end on an upstroke: a, c, d, h, i, k, 1, m, n, and u.
The second group includes letters that begin on an
upstroke: i, j, m, n, p, r, t, u, v, w, x, and y. The
third group consists of letters that can be joined by
having them touch on the way down: a, c, d, e, g,
and q. You will notice that a few letters appear in
more than one group.
Fig. 4-27. Exercise 46: space between words. Three major ways of joining letters work best
with Practical Italics letters. They are the diagonal
If you spend a little time now studying and join, the horizontal join, and the touch join. Experi¬
practicing proper spacing within and between let¬ ment with all three and decide which way you like
ters and between words, you will quickly and easily best. You may decide to use only one style of join¬
learn to space correctly when writing freehand. ing, or you can easily use whichever style works
Once you are confident of the formation and spacing best for each letter or combination of letters.
of Practical Italics letters, you will be ready to learn Exercise 47. Figure 4-28 illustrates diagonal
to join letters so you can use this style of writing joins; they are used when letters from group one
every day. are followed by letters from group two. To join,

yzy ~ci "cmrWrf^tt

um
Fig. 4-28. Exercise 47: diagonal joins.
nvuwuw
55
simply continue the upstroke of the first letter until Exercise 50. Figure 4-31 presents two
it becomes the downstroke of the following letter methods of joining the letter e. It joins like the c to
Exercise 48. This exercise demonstrates the letters preceding it, but either of the two ways
use of the horizontal join, which necessitates the illustrated can be used to join it to letters that
use of a heavier joining line (Fig. 4-29). The hori¬ follow. Experiment with each until you choose one;
zontal join is mainly used with the letters t and f, and then use it consistently.
is a continuation of the cross of the t or f to a letter
that connects naturally. The horizontal join is also
sometimes used with the letter o to connect it to the
next letter, if it can be done gracefully.

tf cftz Fig. 4-31. Exercise 50: two ways to join the e.

Exercise 51. The letter r is another indi¬

vidual choice. Figure 4-32 shows different ways of
joining the r to letters that come before and after it.
Try them all and decide which you wish to use.

Fig. 4-29. Exercise 48: the horizontal join.

—

Exercise 49. The touch join is used when two

letters cannot be joined horizontally or vertically,
but their strokes can touch, appearing as a join.
Figure 4-30 gives some examples for you to try.
1 t u^tr
Fig. 4-32. Exercise 51: how to join the r.

Exercise 52. Finally, the letters v, w, x, and

z join easily to many letters that come before them,
but look best if not joined to a following letter (Fig.
4-33).

Fig. 4-30. Exercise 49: the touch join.

A few letters either do not join well with other

letters with any method, or they require a special
joining method. The letters b and s are generally
not joined, although the s can sometimes appear
joined when it follows a letter that ends on an
upstroke.
The letters 1, h, and k are not usually joined to Fig. 4-33. Exercise 52: joining v, w, and x.
the letters before them, but they can be joined to
letters that follow, because they end on an up¬ Take the time to experiment extensively with
stroke. The letters g, y, j, and q are not joined each style of joining letters. Try them until you find
unless the tails are made into loops. the combinations that best suit your own personal

56
style of Practical Italics calligraphic handwriting. the capitals illustrated in Fig. 4-34 several times;
Establishing a consistent style for joining letters then break away from them and make your own
will help to build the most efficient and attractive variations. Eventually you will determine a set of
everyday handwriting possible. capitals that reflect your own individuality. Again,
To complete your first entire alphabet, let’s use your creativity and take plenty of time to find
examine Practical Italics majuscules. your own style. Once you have found that personal
style, however, be consistent.
PRACTICAL ITALIC MAJUSCULES You now have a complete alphabet, including
Practical Italic majuscules, or capitals, will be capitals, with which to work and practice. Use your
easy to learn. You already know the basics from calligraphy. Write to friends, begin a personal jour¬
studying the minuscules, or lower case letters, and nal, or copy a favorite quotation or poem. Any
from your familiarity with Roman Capitals. writing that you do will help to strengthen your
Turn your imagination and creativity loose as calligraphy skills.
you design your own individual set of capital letters
to use with your everyday style of writing. A set of SOME COMMON MISTAKES AND THEIR SOLUTIONS
majuscules is presented here as an example, but Now that you have been practicing your callig¬
feel free to make changes. Do remember, however, raphy letters for several days, let’s look at some
that majuscules should be approximately % the common mistakes that beginners make. If you are
height of a minuscule 1, or seven pen widths high. If making any of the following mistakes, make a con¬
you keep the tops of your majuscules about halfway centrated effort to change your habits now. It will
between the waist line and the top line, you will not be much easier now than later, and the results of
need to measure. your calligraphy efforts will be more satisfactory if
Exercise 53. Practical Italic majuscules for your letters are correctly and proportionately
your everyday writing should be kept simple. They drawn.
look best when they are wide and angular. Practice Early common mistakes usually involve an-

A R(~DFFin HI. /

Fig. 4-34. Exercise 53: make majuscules angular.

57
gles, either too rounded or too pointed; letters, too
narrow or too wide; curves, either too straight or
too curved, or the wrong letter slant (Fig. 4-35).
Check letters such as the i, 1, and t for hook
ends that are too round or too pointed. The flip up at
the base line is made by lifting your pen quickly at
the end of the letter. Match this carefully because
the small hook at the end of the letter occurs fre¬ Fig. 4-35. Common mistakes.
quently in Italics. Other angles that can become too
rounded or too pointed are at the top of the body of
letters such as the h, m, n, b, and k.
Many letters can also appear too narrow or too
wide (Fig. 4-36). This is most evident in letters
such as the r, n, m, and w. If the letters are too
narrow, the writing looks crowded, and if the let¬
m wi jtj
ters are too wide, the writing begins to look
scrawled. If your letters look either too narrow or
too wide, return to the section on counters and Fig. 4-36. Incorrect spacing.
repeat the exercises designed to help you learn the
proper proportioning of letters.
Curves on letters such as j, y, p, and q can
become too curved or end without enough curve
(Fig. 4-37). A slight curving back up from the base
line is all that is required.
The correct letter slant is vital to Italic writ¬
wr%
ing; it is one of the style’s most distinctive charac¬
teristics. A slight 5- or 10-degree slant to the right Fig. 4-37. Incorrect slanting.
is correct. Letters that are too slanted look out of
kilter, and letters that are straight up and down do learned a complete alphabet that can be used in all of
not fit with the Italic image. your everyday writing. In Chapter 5, Chancery
If you are having any of these problems with Cursive letters will be introduced. Once you have
your writing, take the time to do some extra prac¬ learned the Chancery Cursive mode, you will have
ticing before you move on to Chapter 5. Concen¬ two styles of writing. They can be used for any
trate on any letters that are giving you trouble. Do a occasion: Practical Italics for informal, and Chan¬
few extra rows of each problem letter. Review the cery Cursive for formal.
exercises explaining how to form each letter and try Also in Chapter 5 you will learn more about
to make your letters look as nearly like the illustra¬ using calligraphy—how to paragraph, break up
tions as possible. If you continue to have trouble text, divide words, punctuate, and abbreviate.
with a particular letter, find a similarly formed let¬ These are the things you will need to know in order
ter and practice it. Then return to the difficult letter to create your first calligraphy project. You will
and it may come easier.
learn more about evaluating your calligraphy and
how to correct mistakes.
LOOK AT YOUR PROGRESS You have learned one style of calligraphic
You now have a solid basic knowledge of callig¬ writing. All you need now to perfect that hand is
raphy, specifically Practical Italics. You have practice. With practice will come a feel for correct

58
proportion, uniformity, and fluency. If you end your you choose to continue, however, you can quickly
study of calligraphy right now, you have already and easily build on that foundation and become a
learned a new type of writing that can be useful. If devoted calligrapher.

59
Your practice and study of calligraphy can go on for Italic style, and of course Italics in general is the
years. You will become more and more expert as most popular calligraphy style.
you use your calligraphy. You can also go on to learn Chancery Cursive letters are oval, as are
several alphabets: Gothic, Celtic, Bookhand, or Practical Italic letters, and have long ascenders and
less well-known hands such as Copperplate and descenders, which are bent. The slight right-hand
French Roundhand. slant is characteristic of all Italic lettering. Chan¬
Once you have mastered the Practical Italics cery Cursive letters should be approximately five
and become adept at Chancery Cursive, which will pen widths high. Lined notebook paper is ruled at
be presented in this chapter, you will have learned about the right width. The letters are written with
the two most useful calligraphy styles. You will be the pen touching the paper at about a 45-degree
able to use your skills to create informal or formal angle.
calligraphy projects. Basically, Chancery Cursive letters are
formed like Practical Italic letters. The bodies are
THE CHANCERY CURSIVE STYLE identical. The difference lies in the ascenders and
The design of the ornate Chancery Cursive sometimes in the descenders. Practical Italics ac¬
mode of Italic handwriting is attributed to Ludovico tually represent a simplified version of Chancery
degli Arrighi, early in the 16th century. Although Cursive. Practical Italic letters are simple and un¬
the term cursive means any writing that is con¬ adorned. Chancery Cursive letters employ swashes
nected, and is usually meant for everyday use, on the ascenders which give the style its ornate
Chancery Cursive is more flourished and not really appearance. A swash is an extra horizontal stroke
suitable for everyday use. Many calligraphers con¬ on the right of an ascender or the left of a descender.
sider Chancery Cursive to be the most beautiful Exercise 54. Figure 5-1 illustrates the Chan-
 Remember that there is even more freedom in
the formation of Italic capitals than in the formation
of minuscules. Practice this new style of capitals as
well as the one previously presented; then try your
own variations.
Exercise 56. Figure 5-3 presents the first six
letters of the Chancery Cursive flourished capital
Fig. 5-1. Exercise 54: some chancery cursive letters differ alphabet. Follow the arrows for the direction of the
from Italics. strokes. Be free and loose as you make these bold
strokes.
eery Cursive letters that differ from those of Practi¬
Exercise 57. Figure 5-4 illustrates the let¬
cal Italics. Practice writing a few rows of each
ters G through L. Practice each letter until it feels
letter, until each feels comfortable. Notice how few
familiar
changes you will have to make to learn the Chan¬
cery Cursive alphabet. Exercise 58. Figure 5-5 shows how to form
Exercise 55. This exercise will help you to the letters M, N, 0, P, Q, and R. The tops of these
become familiar with the entire Chancery Cursive majuscules should be about halfway between the
alphabet (Fig. 5-2). Write the alphabet a few times waist and top lines on your practice paper, or about
while thinking about the differences from Practical seven pen widths high.
Italics. Exercise 59. In this exercise, you will prac¬
Simple majuscules, such as those you learned tice the letters S, T, U, and V (Fig. 5-7). Check to
in Chapter 4 for use with Practical Italics minus¬ see that your letters are at the correct 5- to 10-
cules, can be used with Chancery Cursive letters. degree right-hand slant.
You cari instead choose the slightly more compli¬ Exercise 60. Figure 5-7 presents the last
cated flourished capitals which will follow. Let the four letters of the alphabet: W, X, Y, and Z. Notice
use of the lettering dictate which type of capitals to and copy the slight curve of the W and the wavy top
employ. and bottom lines of the Z.

JMM

Fig. 5-2. Exercise 55: become familiar with the Chancery Cursive alphabet.

61
 Fig. 5-7. Exercise 60: the last four letters.

Once you have practiced these capital letters,

you can begin to experiment and find your own
Fig. 5-4. Exercise 57: G through L. style. You may decide to develop several different
styles of capitals for use on different occasions.
Altering your capitals can give an entirely different
look to your writing.

JOINING CHANCERY CURSIVE LETTERS

Chancery Cursive lettering is used as a formal
hand; therefore it is often not connected. There
may, however, be instances when you want the
formality of Chancery Cursive, but you do want it
connected. Even then there will be many letters
that do not connect gracefully. Remember that
when you use Chancery Cursive lettering, beauty is
the main objective; do not connect the letters just
because it is faster.
The same basic lettering theory applies that
Fig. 5-5. Exercise 58: make the M through the R. you used in joining Practical Italic letters. Lift your

62
pen slightly when joining to keep the lines light and
thin. Try different ways of joining letters; then
consistently use the ones that suit you best.
Letters are divided into the same three groups
for joining as were used for Practical Italic letters.
Group one consists of letters that end on the up¬
stroke: a, c, d, h, i, k, 1, m, and u. Group two
includes letters that begin on the upstroke: i, m, n, Fig. 5-8. Punctuation.
p, r, t, u, v, w, x, and y. Group three is made up of
majuscule Chancery Cursive Italics. Now you need
letters that are joined with previous letters by
some punctuation, abbreviation, and word division
causing them to just touch on the way down.
guidelines.
The letter b is almost never joined to another
Punctuation marks should be clear and bold
letter, and the letter r joins better with letters that
(Fig. 5-8). Question marks, quotation marks, and
come before it than with those that come after it.
exclamation marks are penned the same height as
The letter s can appear joined when it is followed by
the majuscules used in the text. Parentheses and
a letter from the first group. The letters v, w, x, and
ampersands correspond in height to the minuscule
z are best joined only at the beginning of a stroke.
ascenders. All normal punctuation and grammar
Lift your pen and cross the t and f before you join
rules govern manuscripts drawn in calligraphy. The
them to the letters that follow them. Often it is best
clarity of the message is of utmost importance.
not to join them to the next letter.
One use of abbreviations, other than the ac¬
Do not join b, 1, h, or k to previous letters, but
cepted Mr., Mrs., Ms., Dr., etc., should be
1, h, and k can be joined to letters that follow. The
avoided in calligraphy, except when using Practical
letter o often can stand alone, but sometimes you
Italics for casual writing.
can link it to letters that precede or follow it with a
If at all possible, do not divide a word at the end
horizontal join.
of a line. Later in this book you will learn about line
Most letters are joined with either the hori¬
finishers and how to use them to fill space at the end
zontal or diagonal line. To join letters from group
of a short line. Never divide proper names, dates,
one to letters from group two, simply continue the
or places. When it is unavoidable, make a clear,
upstroke of the first letter until it becomes the
recognizable hyphen. When you do divide a word,
downstroke of the letter from group two that fol¬
be sure to make the break between syllables.
lows it. Paragraphing should also follow normal En¬
If any of this discussion is difficult or unclear,
glish usage rules. Shorter paragraphs are more in¬
return to the section on joining Practical Italics
viting to read, and it is best if there is a variety of
letters in Chapter 4. The guidelines are the same.
paragraph lengths. It makes the text look more
Practice joining letters using sentences that use interesting.
most, or all, of the letters in the alphabet. A familiar When you are penning a formal piece of callig¬
one is: A quick brown fox jumps over the lazy dog. raphy where precision is vital, try a special
Practice different ways of joining letters and breathing trick used by professional calligraphers.
develop your own style. Remember that not all Simply hold your breath while writing. Breath
letters will join well. If you are in doubt about a join,
deeply between words, at the end of the line, before
do not use one. you cross your t’s and fs, and before you dot your
i’s. In other words, breathe any time you lift your
A WORD ABOUT PUNCTUATION pen. Do not breathe while your pen is touching the
You are ready to use calligraphy in almost any paper.
place that you write. You have learned minuscule Although this breathing technique may sound
and majuscule Practical Italics and minuscule and awkward and difficult, it will become natural if you

63
practice often. It does make conversation nearly numbers are being drawn in the correct propor¬
impossible, but you should be concentrating on tions. The widest part of each number should al¬
your calligraphy anyway. most touch the widest part of the next number.

NUMBERS LETTER VARIATIONS

As you use your calligraphy, you will often The Italic alphabets, while retaining the clas¬
need to use numbers. Numbers used with the Prac¬ sic Roman look, offer the calligrapher the oppor¬
tical Italics should be kept simple and easy to read. tunity to be creative even in letter formation.
Numbers used with Chancery Cursive can be more Exercise 63. A standard variation on the let¬
decorative. ter e is explained in Fig. 5-11. The e presented in
Exercise 61. Figure 5-9 gives an example of a your original Practical Italic and Chancery Cursive
clean, easy-to-read and easy-to-write set of num¬ alphabets was penned in one stroke. This variation
bers. Practice them in different sequences until all is drawn with two strokes. The first stroke nearly
are comfortable for your hand. duplicates the letter c, and the second stroke begins
at the waist line and curves to the right and back to
the original stroke about halfway down toward the
base line.

Fig. 5-9. Exercise 61: easy-to-read numbers. Fig. 5-11. Exercise 63: a variation of the e.

Exercise 62. Figure 5-10 presents a more

Exercise 64. The letter s can also be mod¬
ornate set of numbers, suitable for use with Chan¬
ified into a form that is often easier to join with other
cery Cursive Italics.
letters. It is a form that is probably familiar from
Use the counter system to make sure that your
your own previous style of handwriting. Figure
5-12 illustrates the changed s.
When using Practical Italics for casual com-

Fig. 5-10. Exercise 62: more ornate numbers. Fig. 5-12. Exercise 64: the letter s can be modified.

64
munications, many calligraphers leave out not only to place the address on the envelope for the most
the bends at the tops of ascenders, but also the attractive appearance. You will begin to see how to
bends at the bottoms of the descenders. The al¬ plan a calligraphy manuscript.
phabet becomes even more efficient then. While you are practicing your calligraphy by
Exercise 65. Repeat the descenders in Fig. using it in a variety of situations on different kinds of
5-13 several times before you decide which method paper, you will be training your most valuable cal¬
you wish to use. The descenders f, g, j, p, q, and y ligraphy aid: your eyes. As you produce early cal¬
are flexible and look attractive with the clean, ligraphy projects, you will probably rely heavily on
straight lines shown in this exercise, or with the measuring instruments to show you where to place
bends employed in earlier exercises. different parts of the manuscript so you end up with
a balanced product.
The more you practice, however, the more
you will trust your eyes. You will learn to judge how
to achieve a balanced look without measuring, but it
will only come with a lot of practice.
Although you now understand the theory of
Italics and can write both alphabets and numbers, it
is best if you continue with a regular practice
schedule in addition to using your calligraphy
Fig. 5-13. Exercise 65: practice these descenders. whenever you write.

Practice your calligraphy with all of the REVISING YOUR PRACTICE TECHNIQUES
methods taught in this book and try variations of Keep practicing on a regular schedule, but now
Italic letters that you see used elsewhere or that you should review your practice techniques and
you create with your pen and paper. Experiment perhaps implement some revisions. Your know¬
with all kinds of combinations of letters and joins ledge and skills have grown considerably, and you
until you feel ready to decide on your own personal should now be more critical of your calligraphy.
choices. Then be consistent; you will have created As always, come to your calligraphy practice
your own unique style of beautiful handwriting. session relaxed. Remember to start with clean
When creating your style of handwriting, fol¬ hands and plenty of inexpensive practice paper.
low your instincts. The instructions in this book are Start your practice with the loosening-up
only guidelines. If something does not feel comfort¬ exercises you learned in Chapter 1. These exer¬
able to you after giving it a fair try, substitute your cises serve to warm your hand up to calligraphy and
own method. transition your mind from everyday cares to the
concentration you need to study and practice callig¬
USING YOUR CALLIGRAPHY raphy. To help achieve that level of concentration,
You have the knowledge now to do a great avoid practicing in a noisy area and avoid conversa¬
many things with calligraphy. You have practiced tion. Background music, however, may be benefi¬
two sets of letters: Chancery Cursive and Practical cial.
Italics; and you have just become familiar with Once you have completed the loosening-up
numbers suitable for use with each alphabet. exercises, critically evaluate the products of your
Use that knowledge. Actually using your cal¬ last practice session—not calligraphy you have
ligraphy skills is the best way to further them. done in everyday writing, but calligraphy you exe¬
When you use calligraphy to address envelopes, cuted in your last formal practice session. You can
you will be concentrating on correct letter forma¬ evaluate your calligraphy from two different
tion, proportion, and spacing. You will judge where perspectives: close up to examine details, and from

65
a distance to judge the overall appearance. on any joins or combinations of letters that were
From one foot away, critically eye your hand¬ difficult.
writing for correct letter formation, proportion, and This part of your practice may take up most, or
spacing. Compare your letters to those in the exer¬ all, of your alloted time; it is worthwhile. If you
cises in this book. They should be nearly identical, catch and correct poorly formed letters now, you
unless you have made a deliberate deviation from will save extra work later.
the alphabets presented. Use the counter system to Once you have worked on any problem areas,
determine whether or not your letters are propor¬ continue your practice session by penning the al¬
tional and to check the spacing between letters. phabet several times. You know four alphabets;
Actually draw in a number of counters at various practice each one.
places throughout your practice sheet. When you do After completing the alphabets, practice by
find something that needs extra attention, mark it in writing various words. Be sure to use a word list
red. that includes all the letters of the alphabet, includ¬
ing the q, x, and z. Words such as queen, quilt,
Next, stand back about 10 feet away from your
tranquil, xylophone, extra, zebra, zero, and zesty
paper and look at the overall image projected by
will help you to practice those infrequently appear¬
your calligraphy. Notice the proportion of black
ing letters.
lettering to white, or negative, space. Does the
Use sentences, also. The following sentences
writing appear too dense? Are there generous mar¬
use all the letters of the alphabet:
gins at the sides, top, and bottom of the page? What
is your impression of the total look? Is it neat, • The quick brown fox jumps over the lazy dog
clean, and crisp? This critique of your calligraphy is (Fig. 5-14).
not vital when you are practicing letters, words, • The wizard jumps quickly over eleven green
and alphabetic sentences. It will, however, be very boxes (Fig. 5-15).
useful when you are practicing projects, such as a • Barking with zeal, the vixen jumped on her foe
familiar quote or piece of poetry for a wall hanging. quickly.
Once you have critically evaluated your callig¬ • In the woven zipper bag, Jack’s man found exactly
raphy from close up and from a distance, your prac¬ a quarter.
tice can begin. Start by practicing any letters that Make up your own zany alphabetic sentences
were not well formed. Take plenty of time, and to add variety to your repetitious practice. By using
work on each letter until it is acceptable; then work several alphabetical sentences you will work on all

Fig. 5-14. A typical project sample.

66
Fig. 5-15. A project sample.

the letters and many letter combinations. some of your best work for later review and com¬
If you would like, finish up your practice time parison. If you have saved earlier work, take that
by copying a favorite quotation or poem. Use a clean out now and compare it with your current callig¬
sheet of practice paper and try to position your raphy. Your marked improvement should be moti¬
quote or poem so that it looks attractive on the vation to continue with your studies.
paper. Fluency in your calligraphic handwriting will
During your practice sessions, periodically come with time. Your hand, shoulder, and arm will
check to see that you are sitting in the calligrapher’s learn to automatically move correctly to create the
posture and holding your pen correctly. Be sure to letters that your brain dictates. The more you
take a break from your practice whenever you begin write, the sooner that fluency will surface.
to feel tense or tired. If taking a break does not ease
the tension or tiredness, it is time to quit for the MORE WAYS TO IMPROVE YOUR CALLIGRAPHY
day. You will not make progress, and only become Now that you have a firm grasp of the basics of
frustrated, if you persist in studying and practicing calligraphy and Italics in particular, it may be time
when you are tired or tense. to consider taking a class in calligraphy. Classes are
If you have not yet changed to a calligraphy offered in many places. All cities and large towns
fountain pen, now would be a good time to do so. will have calligraphy classes, and even many small
You are by now comfortable with using a chisel tip, towns or rural areas have possibilities.
and the letter formations are familiar. If you are Calligraphy classes are offered by most col¬
ready to switch, return to Chapter 3 and read again leges, including many community colleges. Often
the description of a calligraphy fountain pen and community schools or centers and YMCAs or
how to use one. Do some extra practice in order to YWCAs include classes in calligraphy. Also check
become acquainted with your new pen. in your yellow pages under calligraphy, art, and
As you continue to practice calligraphy, save crafts and call your chamber of commerce. Some-
times art stores or art centers offer classes. Ask at ences and knowledge. There may be a calligraphy
your library. group in your area. To find out if there is a group,
Another way to learn more about calligraphy is again check your phone book’s yellow pages, under
through the many books available on the subject. organizations and associations. Check the library;
Look them over and study the techniques that call the chamber of commerce; ask at the nearest
interest you. Use books to study the master callig¬ college or university, community center, or YMCA
raphers through the ages, too. Your library proba¬ or YWCA, and talk to people. Someone you know
bly has books on both modern calligraphy and how may be a member of a calligraphy group, or have a
to learn it, and biographies of master calligraphers friend who is a member.
with beautiful illustrations of their exceptional If there is no calligraphy group in your area,
work. think about starting one. If you want to start one,
You can learn a great deal by studying those you can reach interested people through an ad in the
illustrations. Look at the letter bodies. Notice the classified section of your newspaper or shopper and
proportions and the precision with which all letters with notices on bulletin boards. Again ask the lib¬
are drawn. Check the percentage of white space to rary, chamber of commerce, college, community
black lettering. Study how the text is arranged on center, and others to circulate the information.
the page. Look at how the manuscript is flourished. Once the word is out, and you have a few interested
Spend a few minutes studying each illustration with people, set up an organizational meeting and pub¬
your new calligrapher’s eye, and you will be sur¬ licize it well. At the meeting, you can discuss the
prised at how much you understand of the artist’s purpose and function of the group, how often to
planning and how he created his work of art. You meet, and what type of organizational structure
will see how your new craft can be used to create should be used.
truly beautiful pieces of art. You are a calligrapher. Use your skills in many
Now that you are well into your studies of ways, keep on learning, and share your interest
calligraphy, you may want to talk to others about with others. The guidelines in Chapter 6 will help
the subject, compare techniques, and share experi¬ you set up a calligraphy studio in your home.

68
By now you are ready to move your calligraphy spaces in their attics, basements, garages, and
work area off the dining room table and to a more even in recreational vehicles, bams, and porches.
permanent and comfortable location. Certainly While one calligrapher is happy using his or
there is no reason to leave the dining room table if it her skill occasionally at the dining room table to
is working well for you. If, however, you are be¬ address Christmas cards, birthday cards, and invi¬
coming frustrated with a lack of space, poor light¬ tations, another calligrapher will develop both the
ing, the wrong slant to the surface, or the necessity talent and ambition to become a professional, com¬
of clearing your work space for every meal, it is plete with expensive studio needs and desires.
time to look around your home again and find a new Most likely your requirements will fall somewhere
location for your calligraphy. in between. The location, furnishings, and mate¬
rials for your studio will reflect your own personal
LOCATING YOUR STUDIO goals, talents, and style.
Most homes offer several options for a small Living/Family Room. Many families find
calligraphy study or work area. After experiment¬ that they do not fully use both their living and family
ing with your calligraphy, you are now better rooms. If your family tends to use just the family
equipped to evaluate your needs and your available room, consider setting up your calligraphy studio in
space in order to design a comfortable, permanent a corner of the living room. If your needs are mod¬
calligraphy space that will not interfere with other est, a neat work area can be tucked away in a corner
aspects of your family life. without causing any difficulties. Your calligraphy
Calligraphers work in the living room, family career may be such that all of your needs would fit
room, bedroom, spare room, and other comers of easily into an attractive desk that would also be a
their living space. They also develop new work beautiful addition to your furnishings.

69
 If your family room is large, it may be the can be an advantage to an artist.
perfect work space for a desk or drafting table, as Your basement may also be a candidate for a
well as a file and cabinet for storage. The family's successful calligraphy studio. A partial or full
pool table can possibly be relocated to the garage, basement, whether finished or unfinished, can be
and the sewing machine can be moved into the converted. The cost, of course, will depend on the
bedroom. Don’t overlook the possibility of rear¬ initial condition of the basement and the details of
ranging furniture and activities to help accommo¬ the finished studio.
date your new craft. Your garage could offer the best site for a
Bedroom. Some bedrooms are too tiny to studio. Many garages have room to spare with two
house more than a bed and dresser; many, how¬ cars parked and family belongings stored on the
ever, are more spacious. Often that space is left shelves. Some framing and a few pieces of plywood
vacant. A bedroom calligraphy studio offers pri¬ can partition off a private calligraphy work space.
vacy, quiet, and a door to shut away the clutter Other Spaces. Take a tour of your home and
when you are in the middle of a project. Depending any other structures or possible work sites. You
on its size and your calligraphy needs, your bed¬ just might come up with a very creative calligraphy
room could offer a viable alternative as a work studio. A seldom-used motor home or travel trailer
space. can make a comfortable, attractive work area. Many
Spare Room. A lucky few calligraphers have of the necessary furnishings are already installed.
a spare room in their home just waiting to be used. If The dining table may double as a desk; cupboards
you fall into this category, take full advantage of and drawers present plenty of storage space. A heat
your good fortune and set up the studio of your system is available and lighting can be easily ar¬
dream, as far as your budget allows. Since you have ranged.
the space available, try to anticipate your needs for In some climates, the front porch of your home
a few years ahead. Allow a little extra space would be a natural setting for a studio. In other
everywhere and purchase a little better quality cal¬ climates, a porch can be made habitable year round
ligraphy furnishings and materials than you cur¬ by enclosing it with glass. A porch offers the feel
rently need. It will pay off in the long run because and attraction of the outdoors even if it is enclosed
you will be satisfied with your work area for years in glass. Wiring for lighting should be a simple task:
to come. in fact natural light may need very little sup¬
Sometimes the term “spare room” is used very plementation.
loosely. Your spare room may already be used for a Look around for other unique possibilities. Do
number of things such as sewing, ironing, and you have a bam, boathouse, or storage building?
crafts, and may even double as a guest room. Don’t Keep your imagination active as you explore your
be discouraged. Decide which items you really home for the best location for your calligraphy
need in the room and move the rest to the attic, studio.
garage, family room, or other appropriate space.
You may have opened enough room to easily house PLANNING YOUR STUDIO
your calligraphy equipment. After taking a leisurely tour of your home,
Creating Space. Wonderful new spaces can make a list of the sites that could be made into a
sometimes be developed in attics, basements, and calligraphy studio. List all possibilities, then begin
garages. A home with an unfinished attic offers to eliminate. You should be left with the best
endless possibilities. Go up to the attic and turn choices.
your imagination loose. The corner next to the Now make a list of needs for your space, fol¬
chimney may easily be converted into a cozy work lowed by a list of wants. On the needs list will be
space. Attic windows may offer the best lighting in items such as adequate lighting, heat, enough work
the whole house. Even the atmosphere of the attic space, storage, and whatever else you consider

70
absolutely necessary. Some calligraphers will re¬ While searching out your calligraphy studio,
quire total privacy, while others can work with remember that in order to produce clean, neat
other activity around them. Be honest in your work, you must work in a clean environment. Keep
evaluation of your needs so that you will be happy this in mind especially when checking attics, gar¬
with your work space. ages, basements, and outbuildings.
Your wants list will be even more personal. As you decide what needs to be done to your
You might want to have soft background music a- calligraphy space, write down the changes that
vailable or a window with a beautiful view. You need to be made, and find out how much they will
might want a space that stays warm in the winter cost. If you or someone in your family is handy with
and cool in the summer with little artificial help. a hammer, conversion may cost little. If no one in
Now it’s time to compare your two lists. You your family wants to tackle the job, consider bar¬
want to find the site that has the most of your needs tering for the services. Maybe the first project out
and wants. It is very likely that none of your choices of your new studio can be the creation of a let¬
meets all of your needs and wants, but with a few terhead and business cards for the carpenter who
alterations at least one of the choices will make an builds your studio.
excellent calligraphy studio. Also consider your time when you plan your
The area you choose must have sufficient remodeling. If you are a very busy person, it may be
space to house your calligraphy needs, whether it worthwhile to contract for the required work. If you
be a small table, drafting table, or large desk, and like to fix and change in your spare time, by all
adequate storage. A too small space will soon feel means do your own conversion. Evenings and
cramped, and you will be dissatisfied and looking weekends for a short time may be all that is needed.
for a new space. Perhaps it can be a family project. Children like to
Adequate lighting is also a necessity in every fetch and help paint; older ones can do some of the
artistic studio. Natural lighting is, of course, best, carpentry, and your spouse may want to be in¬
but artificial lighting can simulate natural lighting volved.
very well. Indirect sunlight coming from over your
left shoulder is ideal. Be sure to keep this in mind FURNISHING YOUR STUDIO
when planning placement of your work surface. A The furniture you choose will depend on your
75- or 100-watt light bulb is the next best lighting. It talents and taste. Your work surface is the most
also should be positioned so that the light falls over important item to consider. By now you have ac¬
your left shoulder to eliminate glare and shadows on quired personal preferences. Do you need a prop¬
your work. erly slanted writing surface, or is a flat desk best for
If your intended calligraphy work space has you? Calligraphers use tables, drafting tables, port¬
most of your needs and wants, you can quickly and able drafting tables, desks, and homemade sur¬
inexpensively equip your studio. If some major faces. Whatever works best for you is what you
items are missing, however, you will want to do a should use.
cost analysis before beginning your conversion. You will probably need to augment the storage
While your attic offers privacy and perfect space in your potential studio site. You can build in
daylight through a well-placed window, it may lack storage cabinets or purchase freestanding cabinets
heat and finished walls. Maybe you can live with the at a hardware or department store. You may also
unfinished walls for the time being, but you must want to purchase a two- or four-drawer file cabinet
have enough heat to keep your fingers nimble. so you can keep track of projects. The cabinet, of
Sometimes heat can be obtained by installing a floor course, will be used for keeping supplies, including
grate to allow heat to rise from the room below. If papers, ink, frames, and others.
your studio is to be in a small enclosure, a space A comfortable chair is essential; a secretarial
heater may provide the inexpensive heat you need. chair is a good choice. You must be able to sit with

71
your back straight, at the proper angle to the writ¬ felt-tip pen with a chisel point, or you may have
ing surface. advanced to a professional Mitchell calligraphy pen.
If you intend to have clients in your studio, you
will need additional seating, which can be anything The Calligraphy Nib Pen
from a straight back chair to an easy chair. Many professional calligraphers depend on the
Decorate your studio with samples of your own Mitchell pen as the foundation of their calligraphy
calligraphy as well as that of others, including re¬ studio. At this point in your training, you may be
productions of professional calligraphy. Keep in ready to experiment with this true calligrapher’s
mind your goals for your calligraphy career as you tool.
decorate. If you want to just use your calligraphy The Mitchell pen (Fig. 6-1), as well as other
casually, collect samples of greeting cards and in¬ professional calligraphy pens (Fig. 6-2) differs from
vitations that you like and tack them on the walls. If the fountain pen in that it is designed to use India
you want to specialize in business cards, decorate ink. India ink is waterproof, permanent ink. It can
with them. If you like, decorate with calligraphy only be used in a pen that is disassembled and
wall hangings, or whatever inspires you. Make your cleaned following each use. If left in a pen, India ink
studio as unique as your calligraphy; both are an will dry up and ruin the nib.
expression of yourself. The Mitchell pen consists of a wooden or plas¬
tic shaft with a brass collar and a reservoir nib
SUPPLYING YOUR STUDIO holder with a detachable steel nib (Fig. 6-3). Before
Your studio can be supplied with a minimum of the pen is used for the first time, the light layer of
materials at this point and added to as the need oil applied to the nib by the manufacturer to keep
arises. Right from the beginning, however, there the nib dry must be removed. The oil can be re¬
are several items you will want to have on hand. moved by either washing the nib with soap and
The first consideration is your basic tool—your water or by sucking on the nib. Next, flex the
calligraphy pen. You may still be working with a reservoir slightly and slide the nib between the

Fig. 6-1. Mitchell-type pen.

72
 minute, it should be emptied. If ink is left in the pen,
it will dry to a crust, and an accumulated crust will
quickly ruin the pen by pushing the nib open at the
slit, which will alter the ink flow and the nib width.
To empty the pen for a short time between
uses, lay it nib side down on a folded tissue, clean
rag, or damp tea bag. When you are ready for it
again, simply refill it. When you are finished with
the pen for the session, blot out the ink that remains
in the pen with a tissue and then disassemble and
rinse the nib and reservoir.
Other good broad-edged pens which resemble
the quill pen, are manufactured by Speedball, Peli-
kan, Heintze and Blanckert, and Boxall. These pens
vary somewhat in shape, range of nib widths, and
reservoir design, but all perform the same function.
All draw the thick and thin strokes required in
calligraphy.
India ink may be used with all of these pens.
Some calligraphers find India ink too dense, and opt
for another type, such as Higgins General Drawing
Ink. When colored inks are required, Dr. Martin’s
and Luma bottled water-based dye are good
choices. Many colors are available, and they pro¬
Fig. 6-2. Professional calligraphy pens,
duce a luminous quality.
layers of the collar. As always, the key is a lot of practice to be¬
The pen can be filled either of two ways, by come familiar with the new tools and materials. If
dipping or with a dropper. To fill by dipping, simply you wish to create calligraphy projects that endure
immerse the nib in India ink to cover the hole and over many years, you will need to become compe¬
wipe off any extra ink. To fill with a dropper, put tent with the calligraphy nib pen and permanent
just one drop of ink onto the hole in the nib and tap inks. Permanent ink cannot be used in your callig¬
raphy fountain pen, because it will clog and ruin it.
the pen lightly until the drop of ink runs into the pen
Whatever your preference, be sure to have
reservoir. By filling the pen with a dropper you
know exactly how much ink is in the pen and you enough pens on hand so that you do not have to
pause in the middle of a project to make a trip to the
begin your work with a clean nib tip.
Go ahead and try your pen now. After you have art supply store for a new pen or tip. This may also
be the time to branch out and try a variety of pens.
used it a few minutes, check to see that you are
Like most calligraphers, you might discover that
using it correctly and that the ink is flowing prop¬
you like one type of pen for one project, and another
erly. Make several straight downward strokes. Too
type of pen for another project.
much ink coming over or under the nib rather than
flowing from the center hole causes ink blobs on the
paper. To correct this situation, wipe the excess Other Writing Tools
ink off the pen before writing and be sure the ink Be sure to keep your pens stored in a dry,
drop flows into the reservoir. clean place so they will always be ready to use and
Never let the ink dry up in your Mitchell pen. If will not be harmed by dried ink.
you will not be writing with your pen within one You will also need several sharp pencils, eras-

73
msigi
WjMm
■Mi I 1 ;::

smf'l mum mu€<mom imil

lillll#

iUja

■ MU
- ^_

■Mfl
«' *
jA
• - *' '. , v-*->- ' 'X' "X

Fig. 6-3. An assortment of steel nibs.

ers, and a good pencil sharpener to plan and mark Other Calligraphy Needs
your calligraphy paper. If you are adventurous, add Other tools useful to the calligrapher include
a variety of paint brushes to your shopping list. rulers, guides, curves, protractors, scissors, glue,
Some calligraphy jobs will call for brushes, rather tacks, tape, and other assorted art supplies. You
than pens, for execution. Practice working with may add frames, mounting boards, and other mis¬
them, and your skills will be broadened considera¬ cellaneous items. Your particular needs and choices
bly. If you wish to get into sign painting, you will will become evident as your calligraphy career ad¬
need skills with paint brushes. vances.

74
 Papers are again a matter of choice; the most calligraphy section of your favorite art store and try
popular are lined notebook paper, unlined typing a new ink or paint periodically. Don’t buy more ink
paper, graph paper, and drafting paper for the be¬ than you can use in a reasonable amount of time,
ginner. As you continue, you will advance to fancier however. Always store your ink in tightly closed
papers, including bristol board and other rag con¬ containers; Storage in a dark cabinet will also slow
tent papers, poster board, and other appropriate deterioration of color and consistency.
papers. When you are finished you should have the
calligraphy studio or work area of your dreams. It
Storage of Supplies will be uniquely yours, an expression of your artis¬
The storage of your paper supply is important. tic ability and your personality.
Paper should be stored flat on shelves large enough
to accommodate the entire piece of paper. If possi¬ WHAT’S COMING NEXT
ble, store paper in its original container until you Now that you have learned four calligraphy
need it. If paper is allowed to become damp, it will alphabets and are familiar with many calligraphy
warp and curl, becoming nearly impossible to use tools and types of materials, you are ready to pro¬
for calligraphy. If you invest in a variety of papers, duce your first calligraphy project.
you will be able to attempt nearly any calligraphy Chapter 7 will take you step by step through
project you wish. Of course, you can also add to the planning, designing, and executing of a creative
your paper supplies at any time. piece of calligraphy. You will choose a quote or
In addition to the all-purpose black Higgins poem, decide on page layout, choose a calligraphy
General Drawing Ink, you may want to experiment style, design a border, create a handline, and finally
with a variety of mediums. Browse through the begin work on your first calligraphy creation.

75
You now have the penmanship skills necessary to choice of papers at a reasonable cost. If you have
create a beautiful piece of calligraphy. You may time, it is wonderful practice to actually write each
even have been asked by a friend or civic group to separate announcement or invitation. Greeting
design and produce a sign, bulletin, or invitation. cards (Fig. 7-3) can also be done in this fashion.
You can do it. This chapter will take you through the Design your own personal stationery (Fig.
step-by-step process of planning and creating a wall 7-4). Make it elegant or casual, depending on your
hanging for your own home. The process can be correspondence. You could also design two, one for
adapted to many other calligraphy projects. personal letters and one for business. You can also
make matching business cards.
PROJECT IDEAS A family tree would make a cherished gift for a
Calligraphy can be used anywhere that hand¬ loved relative or as an addition to your own home. It
writing is used, and in many instances it can also be can be small and simple, beginning with your par¬
used in place of typography. The many places you ents or grandparents, or it can be large and com¬
can use calligraphy include announcements, quota¬ plex, tracing your ancestors back generations be¬
tions, personal letterheads, poetry, invitations, fore they crossed the Atlantic.
greeting cards, and family trees (Fig. 7-1). The most popular calligraphy project is the
Announcements and invitations can be warmly handlettered favorite quotation or piece of poetry
personal if they are lovingly designed and penned (Fig. 7-5). A simple quote or short poem is an
(Fig. 7-2). They can give the appearance of being excellent first calligraphy project because it can be
individually created if you make an original and have easily planned and quickly completed. As with any
it professionally printed. Modern printing facilities learning process, it is best to begin with an easy
can produce top quality reproductions on your task and work up to more complicated work.

76
Fig. 7-1. Typical calligraphy projects.

77
Fig. 7-2. Announcement.

Use your own favorite quotation or choose • All that we see or seem Is but a dream within a
from the following list. Look at this project as a dream. Edgar Allan Poe
learning exercise, and if it turns out well you will • The soul of man is immortal and imperishable.
have a special gift or new decoration for your home. Plato
Here are some possible quotations: • Nothing is so firmly believed as what we least know.
• I never met a man I didn’t like. Will Rogers Michel de Montaigne

78
 • In your day of trouble, May the Lord be with you!
Psalms 20:1
• Because The Lord is my Shepherd, I have every¬
thing I need! Psalms 23:1
If one of these quotations does not inspire you,
and you have none other in mind, thumb through
Bartlett’s Familiar Quotations or your Bible, and
you will find many quotations and poems worth
preserving. You can also make up your own phrase
or poem for an original piece of art.
To follow through on a project, throughout this
chapter the quotation “All that we see or seem, Is
but a dream within a dream,” will be used.

PLANNING YOUR PROJECT

Your first calligraphy project should be kept
simple. Choose a short quotation and plan a simple
design using only black ink on good quality paper.
Later in your calligraphy career, you will have to
choose whether or not to use other colors and in
what medium. The use of colors will be briefly
discussed in Chapter 8.
Since you are using only two styles of Italic
writing, the choice should be easy. You will proba¬
bly decide on Chancery Cursive for this project,
since it is an attempt at formal calligraphy. If you
Fig. 7-3. Greeting card.
have become familiar with the true calligrapher’s
pen and nibs, use them for your finished product.
Your calligraphy fountain pen will also do a satis¬
• He is now fast rising from affluence to poverty.
factory job.
Mark Twain
Next comes the main part of planning your
• Cauliflower is nothing but cabbage with a college
project: designing the layout of the page. The layout
education. Mark Twain
is how the page will be put together; it is a rough
Many favorite quotations are taken from the plan showing the arrangement of all parts of a de¬
Hole Bible. The following are all from The Living sign. It can be considered a floor plan for the
Bible. finished product.
• For God loved the world so much that he gave his As you make your layout, you must consider all
only Son so that anyone who believes in him shall the elements that will be present in the finished
not perish but have eternal life. John 3:16 project, including the text, any illustrations, mar¬
• Look! I have been standing at the door and I am gins, white space, a headline if appropriate, bor¬
constantly knocking. If anyone hears me calling ders, and line finishers. Since this is a creative
him and opens the door, I will come in and fellow¬ process, all decisions are subjective and will reflect
ship with him and he with me. Revelation 3:20 your personality and judgment. Follow your own
• 0 Lord, I will praise you with all my heart, and tell inclinations.
everyone about the marvelous things you do. Your first decisions are general ones, such as
Psalms 9:1 the image you wish to project. Try to visualize the

79
Fig. 7-4. Letterhead and envelope.

layout in your mind. Your job now is to transfer that a design into your project? Do you visualize a bor¬
image in your mind onto paper. Do you want your der surrounding the text or simple white margins?
piece of artwork to appear elegant or casual, simple The easiest project to begin with is a simple
or ornate? Is the content of the message the most quotation or very short poem that will be centered
important factor, or is the appearance of primary on the page, without illustration and with a very
interest? All of these things will influence your simple border, if any. A heading or title is not
design. necessary on a quotation but may enhance a poem.
Do you intend to incorporate an illustration or It is always appropriate to give credit to the author
by penning his name at the end of the text. For the some variety stores. If you want to use a higher
short quote, no line finishings will be necessary, quality paper, both the Bainbridge and Strathmore
but for some poems, line finishings may be used to companies offer good quality 100% rag bristol board
achieve a balanced look to the text. in five different thicknesses. This is a good, all¬
Now that you have considered all the elements purpose calligraphy paper. As your skills increase,
of your project and have a visualization of it in your and your calligraphy projects become more ambi¬
head, it is time to transfer that image onto paper, tious, you will want to experiment with many differ¬
first with pencil as a blueprint, and eventually with ent types of writing surfaces, including handmade
your calligraphy pen and ink. paper. These, as well as other advanced tools and
In addition to your calligraphy pen, the tools materials, will be presented in Chapter 8.
and materials you will need for this first project are
minimal. You will need rough draft paper (inexpen¬ PUTTING YOUR IDEAS ON PAPER
sive typing paper will do nicely), pencils, an eraser, Sketch out a rough draft, or layout, of your
a ruler, and good paper for the finished product. intended piece of calligraphy. You might make sev¬
For this piece of calligraphy, and for many to eral layouts, especially when you move on to more
come, you may wish to purchase a special callig¬ complex projects, before you are satisfied and
raphy paper that is available at stationery, art, and ready to begin the actual lettering

Fig. 7-5. Framed quotation.

81
The Rough Drafts its width. To decide, I quickly sketched my planned
To make a layout for “All that we see or seem, project on a piece of practice paper using both
Is but a dream within a dream” (Fig. 7-6) I first methods. For this quotation, I chose to use the
determined approximately how much space the text paper on its width.
and any embellishments would occupy. I decided to The technique of quickly sketching your ideas
use the text alone, with no title, no illustrations, a onto practice paper is useful in making many deci¬
simple line finishing, and a simple border. I gave sions about your final layout. A good way to plan
credit to the author by penning his name under the your project is to make a list of proposed elements,
quotation. Since the content of the message is the and then sketch them out in many different patterns
most important element, the design should not to determine which methods you prefer. You may
overpower the message. A simple, clean, change your design several times while experi¬
straight-forward design best conveys the meaning. menting. Keep on trying until you think you have
Wishing this to be more than a casual communica¬ the best possible layout that will help create a piece
tion, however, I used the Chancery Cursive mode of calligraphy which will impart your message both
of Italic handwriting. intellectually and visually.
When all of these decisions had been made, I Since I was using such a short quotation, I
was ready to transfer the image in my head onto my needed to take care that my page not look empty.
rough draft paper. I intended to have my finished Too much white space can detract from the mes¬
product on a piece of 8I/2- x-11-inch standard callig¬ sage and aesthetics as much as can a crowded ap¬
raphy paper. Plenty of white space conveys pearance. With my short quote, I could change my
simplicity and elegance to me, so used wide mar¬ mind and decide to use a smaller finished size. If I
gins. were penning a long quotation that looked crowded
There are three styles of margins used most on the page, I could opt to use a larger piece of
often. One option is to have equal margins on all paper. When a great deal of text is involved, it is
four sides of the text. Another is to have the top and vital to retain a good-sized margin on all sides to
bottom margins equal but larger than the side mar¬ avoid a crowded look.
gins, which are also equal. The third option, and the
most popular, is to have the sides and top equal, but Justification and Spacing
the bottom margin obviously larger. I chose to use After making several sketches of “All that we
the third option. see or seem, Is but a dream within a dream,” I
Since my quotation was extremely short and I decided that the finished wall hanging should be
chose to use no illustrations and only a simple smaller than the 8 V2- x-11-inch size I earlier consi¬
border, the layout was quite easy. My next decision dered. I retained the 11-inch width, but cut the
was whether to use the paper lengthwise or to use height down to approximately 6 inches.

7IIIfloat we 5ee. or seew

Xs but a. dream wi-ibir a
dreary,
Fig. 7-6. Project’s rough sketch.

82
 Again, since my quotation was so short, my line length. Now count the characters in the line,
layout decisions were easy. Since I had only two allowing one character between words and two
lines that are of differing lengths, I did not need to characters between sentences. The line should be
worry about justification. Justification is how the flush to the right margin, even if that means stop¬
lines end, whether they all begin flush at the left ping in the middle of a word.
margin and end flush at the right margin. Nonjus- Perhaps you counted 45 characters in your
tified writing or printing is said to have ragged single line. Let’s say your full text contains 415
margins. If you are using a lengthy piece of text, you characters. Divide 45 into 415 to find a close esti¬
will need to determine how you want your lines to mate of how many lines your text will require. In
begin and end, justified or nonjustified. It is much this case it is 9 lines plus a few extra characters.
more difficult to make your handlettered lines ap¬ With this information, you can more accurately plan
pear justified on the right margin than it is to allow your project and devise a useful layout.
that margin to be slightly ragged.
Of course it is best to make the lines as nearly The Final Layout
as possible the same length, but save the extra By now you have chosen the quotation or poem
difficulty of true justification for later in your callig¬ you are going to copy; the lettering style, pen, ink
raphy career. To make the text appear justified, use and paper you will use and a rough draft of your
line finishings, which will be discussed later. layout. Now make a final, precise layout before you
For the purpose of spacing, if your text is attack your final product (Fig. 7-7).
lengthy, you will need to know how many charac¬ To make this final layout, use either your cal¬
ters are in the text. To determine the number of ligraphy fountain or nib pen or a chisel-tip pen. Any
characters, type your copy with your typewriter of these can make the layout exactly like your pro¬
margins set for 60 characters per line. Then simply posed finished piece of artwork. Using your prac¬
multiply the number of characters per line by the tice paper, lightly mark in pencil the margins you
number of typed lines. will use, using a ruler for accuracy. Also lightly
The next step is to letter a line of the text in the draw lines so your writing is straight. Next letter in
style chosen for the finished work, using the exact your text and any headlines, forming the letters
letter spacing and letter form and size intended. precisely as you expect to do in your wall hanging.
Make the line the length of the proposed finished This procedure will ensure that your spacing is

1
\[f that: m see or5eem,
/*
dam widm a ■
[5 but a Ok i

cmam.
1 SdcjarMCan Poe
Fig. 7-7. Planning the project.

83
correct and that you have chosen an appropriate nib is still best at this stage—make several lines of
lettering style and size. the three-dot line finishing. Trace first, if it helps,
then draw the finishings freehand. Follow the num¬
Line Finishings bered sequence when making your finishings.
If you need to use line finishings to give your Exercise 67. This exercise takes the dot de¬
manuscript a completed look, be sure to include sign of finishings one step further, making a se¬
them in your layout. Your layout should be exactly quence of four dots (Fig. 7-9). Again, follow the
like your proposed project except for the tools and numbering for the correct construction of the de¬
materials you use. The design should be identical, sign.
or it will not give you a true prediction of what your
wall hanging will look like when finished.
Line finishings are ornamental designs used to
fill those white spaces at the end of a line of writing.
«$♦ «$♦
They are useful when a word or sentence ends close
to the end of a line, but without enough space to
accommodate the next word. Blank spaces can also
occur at the end of a paragraph or at the end of the Fig. 7-9. Exercise 67: a sequence of four dots.
text.
Exercise 68. Figure 7-10 shows one more
If the empty space is minimal, it can likely be
variation on the dot design. The three dots are
filled with a flourish to the end stroke of the last
stacked vertically with a flourish in each direction
letter of the line. If the space is larger, however, it
from the center dot.
will require specially designed line finishings. Line
Several other line finishings are illustrated,
finishings should always be drawn with the same
and their creation is self explanatory (Fig. 7-11).
pen as used for the text, and they should be unob¬
trusive. Although line finishings are useful for plug¬
ging small white spaces, they should not be used so - — ....--—

often that they call attention to themselves.

When you choose a line finishing, consider the
style of handwriting that is being used, and match *♦♦
the line finishing to the lettering characteristics.
Following are some standard line finishings and
how to create them. Try them all and see which you
Fig. 7-10. Exercise 68: another variation.
like. Even if you do not intend to use line finishings
—

in your first calligraphy project, this is a good time

to become acquainted with them. ♦
Exercise 66. Figure 7-8 illustrates line
finishing that is often used. Using your ruled paper
and your favorite calligraphy pen—a medium point

4?+ |*3

Fig. 7-8. Exercise 66: line finishing. Fig. 7-11. Sample line finishers.

84
Experiment with all and use the one that appeals to
you and is best suited for your first calligraphy
project. You can also create your own line finishings
and study those used in professional calligraphy. As
your eye becomes more trained, you will learn a
great deal by studying professional and master cal¬
ligraphers.
Once you have decided on a line finishing
style, insert any you need in your layout. Re¬
member to keep their use to a minimum so you do
not detract from the text or the overall appearance.
Used in moderation, line finishings can enhance a
work of calligraphy;

Borders
Borders are often not necessary in calligraphy,
especially if the piece is to be framed. When bor¬
ders are used, they should compliment the lettering
style used. When in doubt, simplicity is best. With
my quotation I chose an easy-to-do black border.
Since I planned to frame it, my wall hanging could
be produced attractively without any border. wwvww
If you decide a border is necessary to your
Fig. 7-12. Sample border designs.
product, choose one from those illustrated in Fig.
7-12, design your own, or experiment with those
Now is the time to make any changes you think
you see in other books or on other pieces of callig¬
would improve your wall hanging. If you are not
raphy. At this point your borders should be kept as
satisfied with your layout, you will not be satisfied
simple black-line designs. Later in your calligraphy
with the final project. If you have any doubts, return
career, you can learn about and use colors in ornate
to your practice paper. Try changing the part of the
patterns. The border you have chosen should ap¬
layout you are not satisfied with or begin all over
pear on your final layout.
again. Extra time in planning will pay off when your
Now that your layout is complete, take an
final project is produced. If your planning is careful
inventory of it. Does it include all of the elements
and thorough, the results are almost guaranteed to
needed to convey the message you wish to com¬
bring satisfaction.
municate? Study your layout from about 1 foot
away. Does it appear balanced? Are there too many
CREATING YOUR WALL HANGING
line finishings? If the line finishings are noticeable,
there are probably too many. Is your quotation or You have a layout that you like, and you have
poem easy to read? Is there too much white space? the skills to make that layout come alive in a real
Are the margins wide? piece of art: your first true piece of calligraphy.
Now tack your layout to the wall and stand back
about 10 feet for an evaluation. Consider the overall Preliminaries
appearance. Does it look like you want it to look? You can only produce your best work when you
Does the text seem crowded? Does it appear simple are rested, relaxed, and in the mood to work.
and elegant, or warm and inviting? Is it the feeling Choose a time when your concentration will not be
that you want to convey? interrupted. Make sure your hands are clean and all

85
your materials are gathered before you start. short break and relax. Do a few more loosening-up
As you are working, proceed slowly and cau¬ exercises. Then come back and try a few strokes on
tiously. Stop often to rest. The concentration a scrap piece of the kind of paper you will use, with
needed to work on your calligraphy project is de¬ the pen you have chosen.
manding. If you find yourself becoming tired or Now go ahead and letter your heading. Doing
frustrated, stop for the day. Perhaps it will take the large lettering first will serve to further relax
several sessions to complete your project. Re¬ your hand before moving on to the small letters of
member that it will endure for many years. A few the text. It is perfectly natural to feel tense when
extra hours invested in its creation will be re¬ beginning a project. Even professional callig¬
warded many times during the coming years. raphers often tense up at the start for fear that they
Your work area must be tidy and clean. It can will irreparably ruin the writing surface.
be very disheartening to find a smudge on your While lettering the text, you may need to con¬
half-finished project because of a dirty tool, work sciously slow your mind down to correspond with
area, or hands. the slow progress of your hand. One of the most
Settle in at your desk or table in the comforta¬ common mistakes in lettering is to let your mind to
ble calligrapher's posture and go through a com¬ race ahead of your hand, causing the hand to omit
plete session of loosening-up exercises. If you are letters, words, or entire lines. If the text is lengthy,
nervous about your first true calligraphy, do some it may help to cover all but the line on which you are
extra loosening up. It may help to copy your project working.
text once or twice on your practice paper. When starting a new line, take care to begin on
When you feel confident you are ready to the correct guideline. In lengthy text with numer¬
begin, tack your layout in front of you where you can ous guidelines, it is easy to accidently begin letter¬
constantly refer to it. It is your blueprint and can ing on a line that is meant only to contain descen¬
only assist you if you follow it conscientiously. ders, or to begin lettering on the waist line rather
The first step in the actual execution of your than the base line. You can avoid this problem by
calligraphy is to mark guidelines on your paper very lightly marking each base guideline with a small
lightly with a soft lead pencil. All guidelines should asterisk.
be drawn as lightly as possible while still being If you should make a mistake in lettering your
visible. project, unfortunately the best solution is to begin
For easy reference, the first guideline should again. Do not become discouraged. The extra prac¬
be a light vertical line down the center of the page. tice is incalcuable. All calligraphers make mistakes
This line will help to keep your page as nearly and have to begin many pieces of art a second, third,
perfectly balanced as possible. The next task is to or even fifth or sixth time.
mark guidelines for the text, along with any head¬ After you have completed the heading and text
ing. To keep lettering precise and proportioned, (Fig. 7-13) you will be able to see what your wall
four lines are needed for each line of text. They are hanging is really going to look like. Do critical
the base and waist lines, which contain minuscule evaluation like the one you did when your final
letter bodies; the top line, which guides ascenders layout was ready. Does the project live up to your
and majuscule letter bodies; and the bottom line, expectations? Does it communicate the message?
which stops descenders. If these guidelines are Is it attractive?
drawn carefully, the job of lettering will be Is there an area that will still appear empty
simplified. when the design is finished? If so, it can still be
added, but be sure that it will add beauty to the
Lettering Your Wail Hanging manuscript and not look like an afterthought. One
It is time to start lettering. If you have become way to test is to add the missing element on a very
tense while preparing your writing surface, take a light paper overlay that will allow the original to

86
 dff that we see or seem,
Is hut a cfream within a
dream,
Edtjar Mhan Poe
Fig. 7-13. Your finished project.

Fig. 7-14. Your next project?

87
show from below. Any additions at this time should is to cut it to its finished size. With your soft lead
be simple and kept at an absolute minimum. pencil, lightly mark the finished size on your origi¬
If there is artwork or ornamentation to be in¬ nal piece of art. Then, using a sharp cutting edge,
cluded, transfer it to the original now. Follow your very carfully cut your art to the proper size. An
guidelines for accurate placement. Be sure that the excellent cutting edge is an Olfa utility knife with a
lettering ink is thoroughly dried before you apply sharp blade. A stainless steel ruler makes a good
art, ornamentation, or borders. Allow at least V2 straightedge for the cutting. The cutting tools must
hour after you finish lettering before you again be immaculate in order to keep the art clean. A
touch the manuscript. clamp fastened to your table edge will keep your
Once any artwork or bordering is completed, work immobile while you cut. One clean cut should
again allow the wall hanging to dry thoroughly. sever most papers. If you are using heavier bristol
Then, very gently, using either a Faber-Castell board, however, two light cuts are more effective
Magin-Rub eraser or a pointed kneaded eraser, than one bold stroke. Be sure to have a backing
eliminate the guidelines. Erase as little as possible below your piece of art that will not be harmed by
and work slowly and very carefully. Do not erase the sharp knife.
over your working surface; it must be kept clean. If
you erase before the ink has had sufficient time to Your Finished Project
dry, or if you erase vigorously, you will have disas¬ There it is. Your first calligraphy project. You
trous results. Be patient and work gingerly. can frame it if you wish, or hang it on your wall as it
The last task in completing your wall hanging is.

Fig. 7-15. Your project can be a colorful story.

88
 First, however, do one more evaluation. Does improve the art.
the piece look finished? Is it crowded? Is there too Plan another project (Fig. 7-14). Keep using
much white space? Is the message communicated your calligraphy. The best practice and the best
clearly and attractively? Study your calligraphy way to grow is to keep busy. Planning and creating
from about 1 foot away and from about 10 feet away. calligraphy art will provide a lot of interesting prac¬
Be critical but not harsh—it is your first attempt. tice while supplying you with decorations for your
Are you satisfied? There will probably be at home or original gifts for others (Fig. 7-15).
least a few minor points about your calligraphy that
disturb you; that also happens to the professionals. ADVANCING YOUR SKILLS
It is always easiest to see what we should have In Chapter 8 you will learn about a variety of
changed after the project is completed. things that will add to your calligraphy skills and
The important factor is to learn from those knowledge. Advanced materials will be discussed,
things you would change. They will make your next as well as advanced lettering and ornamenting
project better. Now that you are finished, it would techniques. The use of colors will be introduced,
be good practice to make a new layout of your and you will learn how to make your own calligraphy
project, incorporating any changes you think would pen.

89
s.

Paper is, of course, the most commonly used writ¬ creating a stronger paper.
ing surface for calligraphy today. A wide variety of The choice of calligraphy paper naturally de¬
papers that would astound ancient calligraphers is pends on the intended use. As explained in Chapter
available. 7, both the Bainbridge and Strathmore companies
The very best paper is made of either linen or manufacture a 100% rag content bristol board in
cotton rags and has a neutral pH. The neutral pH several thicknesses. It comes in two finishes, kid
means that only a small amount, if any, of chemicals and plate. The plate finish is a smooth finish, while
are used, and the paper is neither too acid nor too the kid finish is slightly rougher. Many callig¬
alkaline. Durable, 100% cotton or linen “rag” paper raphers prefer the kid finish.
offers a fine writing surface. Many manufacturers produce good quality
Inexpensive wood-pulp paper is good practice handmade papers. The best way to find the one you
paper, but it lacks the durability and excellent like is to experiment with as many as possible.
writing surface of rag content paper. If a project is to be reproduced, such as an
Handmade paper sounds elegant and inviting, invitation or announcement, expensive rag content
but take care when choosing it. The content of the paper is not required. Your choice of paper will
paper is more important than the method of man¬ come at the time of printing.
ufacture. If content is equal, the advantage of hand¬ Explore art shops and stationery stores in your
made paper is in its toughness. Machine-made area for the types of paper available. Many stores
paper has a grain that allows the paper to tear easily will have samples of the paper which you can try.
in one direction. Handmade papers, on the other Also, talk with other calligraphers who may be
hand, are made by a four-way shaking method that interested in sharing a ream of paper. This way you
makes the fibers interlock from all directions, can try a new type of paper without purchasing an

90
entire ream, yet getting the less expensive ream • Again using a hard cutting surface, cut the tip at
price. approximately a 70-degree angle to the pen shaft.
Perhaps the best all-purpose black calligraphy The Quill Pen. Cutting a quill into a nib is a
ink is Higgins General Drawing Ink. It is permanent similar operation, but first the quill must be pre¬
without being thick. Many calligraphers employ pared by eliminating the greasy outside membrane
India ink, while others find it too thick for use with a and the soft interior pith, called clutching, or
calligraphy pen. clarifying, the quill.
Again, within certain limits, the choice is up to Dutching, or clarifying, is done by heating the
you. Experiment with inks until you find those that quill over a hot plate. Hold it about IV2 inches above
best suit your individual needs. the hot surface and rotate it every 10 seconds to
shrivel both the pith and the membrane. Then,
MAKING YOUR OWN CALLIGRAPHY PEN holding the quill by the feather end, quickly touch
By now you have probably tried several differ¬ the barrel to the hot plate. Scrape all the film from
ent pens to create your calligraphy: chisel tip, the barrel with the back edge of a pen knife. After it
calligraphy fountain pen, and professional callig¬ cools, the quill can be polished with a woolen or
raphy pen. For a truly unique and personal pen, you linen cloth.
can make your own. Two historic types of callig¬ After these steps are completed, the quill can
raphy pens are still made by hand today: the reed be shaped into a nib in the same way as the reed.
pen and the quill pen. The feather barbs should be smoothed away and the
The reed pen works best for large writing and shaft cut to about 8 inches. Since the quill is a much
is softer than the quill. Quill pens offer smaller, harder substance than the reed, it will be more
finer writing edges and are hard and dense. Reeds difficult to cut.
can be found in marshy areas, near water, or in plant The Ink Reservoir. An ink reservoir for
stores. Quills can be found at chicken or turkey either the quill or the reed pen can be fashioned
farms. from flexible metal about 2 inches long and cut to
the width of the nib. The thin strip of metal is gently
The Reed Pen. There are six steps to making
curved into an “s” shape. The bottom loop of the
a reed into a nib.
metal is placed in the barrel under the nib, creating
• Choose a reed about 8 inches long and obliquely slight pressure that will hold the reservoir in posi¬
cut off the end, using a very sharp knife. tion. The second loop should be placed about Vs inch
• About halfway into the first cut, make a second behind the writing edge in the reed pen. In the quill
cut toward the writing end. With the knife blade pen it should be placed about 1/16 inch behind the
nearly flat to the reed, shave away the inner writing edge. The second loop of the thin strip of
growth, leaving only the hard outer shell of the metal holds the ink.
reed. That is all it takes to make your own reed quill
• Place the reed, cut side down, on a very hard calligraphy pen. Your handmade pen is uniquely
surface and cut the top off at a right angle to the yours. There is not another exactly like it any¬
shaft. where.
• To start the slit in the middle of the tip, insert the The uniqueness of your handmade pen can
knife edge at the center of the tip and press cause some difficulties. Since each pen is individu¬
lightly. ally made, you cannot make two pens that produce
• The slit must be carefully lengthened. To do so, identical pen strokes. If something happens to your
hold a pencil under the nib while pressing on the pen in the middle of a project, therefore, you will
top to ensure that the slit does not extend too far. not have another pen to resort to for completing the
Gently move the handle upward and sideways project, as you would if you used a standard pen
until the slit is about % inch. from a major manufacturer.

91
ROMAN CAPITALS Exercise 71. Figure 8-3 introduces the
Roman majuscules are often used in conjunc¬ rounded letters. The 0 and Q are nearly circular,
tion with other calligraphy styles to adorn a manu¬ while the C and G are more egg-shaped. Be sure to
script. They are sometimes illuminated or or¬ follow the numbered arrows for correct formation of
namented at the start of a piece of decorative writ¬ the letters. Your pen should again be at the 20-
ing. The following exercises will help you become degree angle.
familiar with Roman Capitals.
A few Roman Capitals are written with the pen
at the same 45-degree angle you use for all Italic
lettering. These letters are N, V, X, W, and M.
The letters B, C, D, E, F, G, H, I, J, K, L/ 0,
P, Q, R, T, and U are written with the pen held at a
20-degree angle to the paper. To do so, your elbow
Fig. 8-3. Exercise 71: rounded letters.
must be kept near your body.
Both the 45-degree and the 20-degree angles Exercise 72. Figure 8-4 illustrates the last
are used in writing the Roman Capitals A, Y, Z, and family of letters that is drawn entirely with the
S. 20-degree pen angle. The H should be crossed
Exercise 69. Figure 8-1 illustrates the first of slightly above the middle line.
six Roman letter families. With your pen at a 20-
degree angle, follow the numbered arrows for cor¬ 2
rect formation of the letters. Notice the I and the
backs of the L, E, and F are identical.

THfF1
Fig. 8-4. Exercise 72: the last family of letters drawn with a
20-degree angle.

Exercise 73. Figure 8-5 shows how to form

the diagonal letters N, X, and V. They are made
Fig. 8-1. Exercise 69: a Roman letter family. with a 45-degree pen angle.

Exercise 70. Figure 8-2 presents four more

letters that are formed using a 20-degree angle.
The top loop of the letter B is visibly smaller than
the bottom loop. Note the flat stroke on the top
edge of each letter.
Fig. 8-5. Exercise 73: diagonal letters.

Exercise 74. The letters W, J, and M are also

made with a 45-degree pen angle. Notice in Fig. 8-6

6 DPR that the W is wider than the M.

Fig. 8-2. Exercise 70: use a 20-degree angle. Fig. 8-6. Exercise 74: use a 45-degree angle.

92
 Exercise 75. Figure 8-7 presents the special USING COLOR IN CALLIGRAPHY
letters A, Y, Z, and S. All require both the 20- Colored inks and paint can be used in many
degree and the 45-degree pen angles in their for¬ ways to enhance a piece of calligraphy. Illuminated
mation. The A, Y, and Z call for the 45-degree pen letters and ornamental letters are created with
angle on the horizontal strokes, and the 20-degree color. Many illustrations are done with color.
angle on the diagonal strokes. The letter S is more Sometimes colored ink is used for all or part of the
complex. Your pen should follow the center curve, text.
with the pen angle always perpendicular to the During the Middle Ages, calligraphers often
curve. The 20-degree angle is used on the second hired rubricators to add color to manuscripts. The
and third strokes. color offered a transition from the illuminated capi¬
Roman letters are strictly proportioned. The tals to the black lettering of the text. The term
letters 0, C, G, Q, and D are exactly as wide as they rubricate is still used to mean red writing on a
are tall. The E, F, L, B, P, R, and S are twice as tall manuscript.
as they are wide. The H, T, U, K, N, A, V, J, X, Y, Illuminated letters are letters that are deco¬
and Z are approximately 3A as wide as they are tall. rated with color or gold. Illuminated letters are
Only two letters are wider than they are tall—the M larger than letters of the text, but smaller than
and W are about lA wider than they are tall. ornamental letters, which will be discussed later.
Since this is a new lettering style, requiring Fine-point drawing pens, such as the Crowquill
the use of a new pen angle, some extra practice may Point Brause 66EF, manufactured by Pentalic, are
be necessary in order to become comfortable with needed for drawing illuminated letters. The best
the Roman Capitals. practice paper to use with the drawing pen is good
quality drafting paper; inexpensive papers will
cause the pen point to become clogged. Also neces¬
sary are a few good paintbrushes.
An inexpensive enamel paint that works well
for illumination is Tester’s Pla Enamel, which is
intended for model making. Tester’s paint thinner
is useful for cleaning brushes.

Fig. 8-7. Exercise 75: special letters. Exercise 77. This exercise will acquaint you
with illuminated letters (Fig. 8-9). Draw a complete
Exercise 76. Once you are familiar with the alphabet of Roman Capitals, using a draftsman’s
entire alphabet, experiment with adding serifs to all pencil that is very sharp. Trace over these lines in
letters but the 0. An easy, graceful serif that can be black ink using your drawing pen.
used on all the letters is illustrated in Fig. 8-8. Exercise 78. Figure 8-10 illustrates a com¬
Once they are mastered, these Roman majus¬ plete set of built-up letters that are nearly ready for
cules can be used to beautify many items written in illumination. Trace them if you like, then draw
calligraphy. Some short texts may also be appro¬ them freehand with your draftsman’s pencil. Again
priate in all Roman Capitals. trace over the lines in black ink with your drawing
pen.
Exercise 79. In this exercise, you will add
the serifs to the letters to be illuminated. Using the
alphabet you made in Exercise 78, add serifs as
shown in Fig. 8-11. Lay another piece of drafting
paper over this sheet and trace the outline of the
Fig. 8-8. Exercise 76: add serifs. letters with your drafting pencil. Remove the bot-

93
Fig. 8-9. Exercise 77: illuminated letters.

tom sheet and go over the alphabet with your Ornamental letters can be created very simply,
drawing pen. with just the use of serifs, or complexly, with the
Exercise 80. In this exercise you will prac¬ incorporation of an elaborate illustration.
tice drawing illuminated letter outlines freehand. Color is used in calligraphy in a number of
Make your letters look as nearly as possible like the other ways also. Illustrations that accompany the
examples in Fig. 8-12. text on a piece of calligraphy can be all in black, all
Exercise 81. In this exercise you can illumi¬ in one other color, or in two or more colors. If you
nate your alphabet (Fig. 8-13). Shake a bottle of feel capable of illustrating your own calligraphy, by
enamel well, dip in your paintbrush and begin. all means use your artistic talents to add beauty to
Work with just a small amount of enamel on the your projects. If you do not feel capable of creating
brush. When finished with one color, close the illustrations that will enhance your text, find a local
bottle tightly and clean the brush with paint thinner artist and commission him to illustrate your callig¬
and dry it with a paper towel. Try several colors and raphy. Perhaps you can work out a trade arrange¬
visualize how they will add to your future callig¬ ment where he illustrates your calligraphy and you
raphy projects. supply his lettering needs.
When you finish with your paintbrush for the Another way in which color is added to a piece
day clean it with paint thinner; then remove all the of calligraphy is in the use of colored ink for letter¬
thinner by washing in dish soap and rinsing. ing. Color should always be used with caution and in
An ornamental letter is a decorated Roman moderation. The variety of colors in different
letter that is illuminated and used as the first letter mediums makes it tempting to use many colors
of a portion of text. It is much larger than the text. often in a variety of ways. Historically, medieval

94
Fig. 8-10. Exercise 78: a complete set of letters ready for illumination.

scribes generally reserved the use of color for il¬ Jars, bottles, tubes, powders, and cakes of all
luminators and rubricators. Color calls attention to colors are available. Oils, acrylics, and watercolors
itself and can subtract from the overall image. When can all be used in connection with lettering. A stroll
working with your calligraphy, experiment widely through your art supply store will show you all
with color, but use it sparingly and carefully on your these color possibilities, and maybe even others.
calligraphy projects. For use with calligraphy, however, the choices

95
Fig. 8-11. Exercise 79: add serifs before you illuminate.

can be narrowed. Color that can be used with both

paint brush and calligraphy pen is a good choice;
this eliminates oils and acrylics as well as plastic
paints.
Inks and watercolors seem to be the best
choices for adding color to calligraphy. Ink’s fluidity
works well with both pen and brush, and the colors
Fig. 8-12. Exercise 80: draw the illuminated outlines
freehand. are vivid. Pelikan, Higgins, and Winsor and Newton

96
 Newton all produce quality lines of these fairly
permanent paints in jars, tubes, or cakes.

ABCDE
The color used most often for the majority of a
calligraphy text is still black. It is the most readable
and creates a good contrast to calligraphy paper,
which is generally white, tan, beige, or ivory.
Early in your calligraphy career it is best to

FGHIJ limit your use of color in the text to one color other
than black. A traditional color, which dates back to
earliest Egyptian history, is Vermillion, a red-

KLMN
orange color. The color is made from Mercuric
sulfide and is still appropriate on most calligraphy
projects. It would be a good choice to use with your
mostly black text.
As your calligraphic ability and confidence

OPQR. grow, you jean happily experiment with other col¬

ors, but always remember to use restraint. Callig¬
raphy is a dignified art that should retain its ele¬

5TUV
gance and simplicity.
When planning a project for reproduction, you
must check with your printer to learn his capability
to handle certain colors. Your use of color is re¬

W.XYZ
stricted by his ability to accurately reproduce the
color.
When you have created your first piece of cal¬
ligraphy with a color other than black, take the time
to carefully scrutinize the results. Again, be objec¬
Fig. 8-13. Exercise 81: now illuminate your alphabet. tive and critical, but not harsh.

all manufacture good-quality colored inks that can CORRECTING MISTAKES

be purchased as single bottles or in sets. Colored Mistakes when applying ink to paper happen to
ink is not meant for illustrating. It will not create an all calligraphers, no matter how expert and experi¬
even color in large areas. enced they are. In some cases it is most efficient to
Several types of watercolors can be success¬ discard the piece and begin again, but in many
fully used in calligraphy. Transparent watercolors instances the work can be saved.
are thinned until very watery and work better with a Mistakes in original calligraphy that is to be
brush than with a pen. reproduced can be corrected with the use of Liquid
Concentrated watercolors are highly concen¬ Paper, a standard typist’s correction fluid. A letter
trated colors that require only a few drops of color or word can be covered with the fluid and then
for several brushfuls of water. The colors are not relettered. If it is done neatly and carefully, the
permanent, but they are very intense. Luma is a correction will not show at all when the piece is
brand of concentrated watercolors that can be used reproduced by a printer. For the correction of small
as you would use colored inks. details white correction fluid applied with a small
Designer’s colors are designed to fully cover a watercolor brush, works well.
surface on which they are used. The colors are Sometimes fountain-pen ink can be removed
brilliant and opaque. They can be thinned to trans¬ from the paper with an ink eradication kit. This kit
parency. Pelikan, Grumbacher, and Winsor and includes bleach and a neutralizer to stop the action

97
of the bleach. It can only be used in an area where them slowly and learn each step thoroughly before
you do not plan to reletter because the ink will blot moving ahead.
and spread.
India ink, and once in a while fountain-pen ink,
YOU ARE A CALLIGRAPHER
can usually be removed with an abrasive eraser. An You have learned to write in an entirely new
Eberhard Faber Pink Pearl eraser or a pencil-end way. By this time Italic handwriting should come
eraser will remove the ink, especially on sturdy fairly easily to your hand. Roman Capitals are also
papers. India ink will erase more easily than within your capabilities. You know the steps to
fountain-pen ink since India ink does not soak into conceiving, planning, and creating calligraphy as an
the paper. art form.
Another good correction technique for India Continue to practice regularly and to learn new
ink is to very carefully shave off the top layer of the techniques, but also put your skills on public display
paper along with the mistake. It takes a light touch now. Show off your calligraphy projects. Don’t use
to successfully make such a correction, but it is a your talents only in everyday correspondence and
very useful technique to learn. An X-acto utility practice. Others will enjoy seeing your efforts, and
knife with a #16 blade works well. you may convert a friend or acquaintance into a
Some mistakes can be corrected even more calligraphy lover and student.
easily. When you do make a mistake, stop and If you have not already done so, offer your
analyze it. You may be able to correct it by simply services as a calligrapher to an organization,
altering one or more strokes. In other cases, an school, or to your friends. Soon you may find that
error may be too serious to correct. It is dis¬ you are being paid to continue with your hobby.
couraging to begin all over, but the end result will
be worthwhile. Errors too large to be corrected FINDING YOUR OWN STYLE
include spacing difficulties and other layout prob¬ Calligraphy is a highly individualized art form.
lems. You have experimented by now with several let¬
If layout problems occur regularly in your cal¬ tering variations. Use those that best fit your own
ligraphy, the problem is probably in the planning. personality and the work that you have in progress.
You need to take more time with your rough drafts. Keep an open mind and never be afraid to try a
Your final layout for a piece of calligraphy should new style or variation. Design your own unique
reflect accurately what the finished piece will look system of handwriting. Remember, however, that
like. If you find that your finished piece does not your lettering should always be readable. Don’t
look like the final layout you need to determine why sacrifice legibility for omateness.
it is so different. Is your layout not complete? Are As suggested earlier, study master callig¬
you changing the plans while executing the piece of raphers for clues and insights into ways to improve
artwork? your writing. Now that your own skills have ad¬
If you are having difficulty with the transition vanced, you will learn even more with this study.
from final layout to finished product, return to Your eyes will observe more details, and you will
Chapter 7 and go through the step-by-step process better understand how certain appearances and il¬
of creating a piece of calligraphy. Choose a new lusions are achieved.
project and follow it through from concept to Many texts about calligraphy are available.
finished product. To make it interesting, and to Now that you have a basic understanding of the
learn more, choose a very different project from the subject, you can analyze those books and decide
one you created your first time through the chapter. which might be most appropriate for your own cal¬
It takes a lot of time and patient practice to ligraphy talents and goals. You may wish to further
learn calligraphy, but that practice can and should refine and extend your Italic handwriting, or you
be fun. The steps to learning are easy if you take may wish to study another style, such as Gothic,

98
Carolingian, Celtic, Bookhand, or a less well- ligraphy class and share your interest with others.
known specialized hand, such as Dover (Figs. 8-14 You can also quit your studies and just concen¬
through 8-23). trate on your Italic writing. It is versatile and will
You may also feel the need of an experienced serve all your writing needs.
teacher to critique your work now. Enroll in a cal¬ Calligraphy is also a highly developed art form.

Fig. 8-18. A Dover letter K.

Fig. 8-15. A Dover letter B.

Fig. 8-17. A Dover letter E. Fig. 8-21. A Dover letter R.

99
 The choice is yours. Your calligraphy can simply be
a hobby that improved your handwriting; it can be a
very personal art; it can be a part-time job with good
pay, or it can be a lucrative full-time business.
Chapter 9 will tell you how to turn calligraphy
into a business. Just as it is easy and inexpensive to
learn calligraphy, it is easy and inexpensive to
launch a business based on calligraphy.
The tools and materials you will need for a
professional calligraphy studio will be presented;
the location and design of the studio will be dis¬
cussed, and ways of advertising will be explored.
The printing process will be briefly examined,
along with how to prepare originals for reproduc¬
tion. You can find out how to price your services,
and how to serve potential customers and their
Fig. 8-23. A Dover letter V. needs.

100
A serious calligrapher can earn a full-time income with which to begin advertising and to purchase the
with a freelance business based in your home. The tools and materials you will need for a professional
investment is small, and the business can grow calligraphy studio.
gradually as orders become more frequent. Calligraphy as a business has many advantages
Many calligraphers find themselves with a for the independent craftsman. Your talents will
small side income without even trying. As word grow rapidly as you perform a variety of tasks; you
circulates that you are becoming an accomplished will be earning money doing something that is
calligrapher, you are likely to begin getting in¬ pleasurable, and you will be able to work in your
quiries on producing calligraphy for pay. The pos¬ own home or at location of your choice.
sibilities for establishing a calligraphy business are On the other hand, starting any small business
greatly varied. is risky. The monetary investment and the invest¬
If you seek a part-time income that will support ment of your personal effort could be lost. The
your calligraphy hobby, consider creating and business could also survive, but only a shoe¬
framing a number of quotations and poems and string. It can take several years for any business to
selling them at local craft bazaars. Of course you become established and lucrative.
can always take special orders at the bazaar to fill It can be done successfully, however. The
later. By appearing at a bazaar with your pieces of safest way to begin is to begin on a small scale.
art, you are also becoming known as a local callig¬ Don’t give up your other source of income until the
rapher. At your table, hand out business cards for calligraphy business grows to the point where it
future contacts. Later, if you decide to expand your demands the majority of your time and efforts, and
business, you will have the income from the bazaars is providing a steady income.

101
WHAT PROJECTS CAN YOU SELL? with an established, expert calligrapher in your
All of the calligraphy projects that have been area where you handle his routine, overflow work,
mentioned throughout this book can be sold. and he or she takes over the jobs that are too
Poetry, quotations, invitations, greeting cards intricate for your still-growing talents.
(Fig. 9-1), placecards, and name tags can be poten¬ The same arrangement can be used with art
tial orders. Many businesses and organizations also that is needed on calligraphy. If you are not an
need programs, advertisements, signs, let¬ expert artist, call on one when original artwork is
terheads, menus, business cards, awards (Fig. required on a piece of commissioned calligraphy. In
9-2), posters (Fig. 9-3), envelopes, labels, book or turn you can furnish calligraphy when the artist is in
album jackets, and packaging. need of lettering.
Look around you during the day, and you will Be flexible. Tailor your business to fit the
discover many more ideas. Once your services are calligraphy needs of your community. If the needs
known, customers will bring you ideas. are minimal, keep your business small. If the needs
Design your business to fit your needs and are great, take advantage and let your business
talents. Take on jobs that will stretch your skills grow. Consider a partnership with another free¬
and imagination, making you grow. Don’t attempt to lancer, or with an artist, or share office space with
tackle jobs that are beyond your capabilities, how¬ an artist or other compatible service. The ways of
ever. Perhaps you can work out an arrangement setting up your business are endless. A thorough

Seasons

Fig. 9-1. A professionally designed calligraphy greeting card

102
 . Oregon COMPANY

P<?r<£&i ^^ts-J^v^jx2pzrs

Fig. 9-2. Awards can be your greatest business.

analysis of the calligraphy needs of your area is salesman hands you may be done in calligraphy.
critical; it will determine the scope of your busi¬ The list could go on. Promotional buttons often
ness. Careful planning can mean the difference carry calligraphy. Fabric and wooden wall hangings
between the success or failure of your business. sometimes have messages written in calligraphy.
At some point a calligrapher was paid for in¬
CALLIGRAPHY IS A NEEDED SERVICE itiating each of those products. Sometimes a callig¬
There is a need for calligraphy. Look around raphy job can be the creation of one unique item.
and see all the ways that calligraphy is used every Other times a job may consist of readying an origi¬
day. The jacket of a book you pick up to read may be nal for reproduction thousands of times, or a job
designed in calligraphy. Billboards and advertise¬ may consist of producing 10, 20, or 100 originals.
ments often are lettered in a calligraphy style. A One advantage of a career in calligraphy is the true
letter you receive in the mail may have a letterhead variety of tasks.
originated by a calligrapher. The business card a Perhaps by now you have decided to turn your

103
 Northwest Association
oj Retail Bakers
Annual Meeting, Dinner, Dancing
Installation of officers

Saturday,January 2g, ig8j

Cocktails 6-30 jf.m. Meeting y.oop.m.
Dinner S'oo y>vn. Dancing g:oop.m.

Steak or Halibut dinner

n.50 each 25.00 a couple

Elks Lodge #141

1515 S.W. AAorrison, Fbrtland
Guests oj member Larry Thayer

ft raffle tickets for }$o cash prize

Reservations needed: Tickets availablefrom

allied sales people, or call Larry Thayer
at <5oj) 235-5923
Fig. 9-3. A poster done entirely in calligraphy.

hobby into a real business. Selling at bazaars and freelance business you must first of all extend your
through a classified ad can support your calligraphy research into the calligraphy market in your locale,
hobby and even bring in a small income, but it takes
more to earn a living at your craft. You have the RESEARCHING THE MARKET PLACE
opportunity to pursue a career in calligraphy in One of your best sources of information will
several different ways. probably be other freelance calligraphers. Talk
In order to turn calligraphy into a full-time with several who are in your part of the country but

104
far enough away so that they will feel comfortable nesses. Get from them any price lists available, and
giving you detailed information. A calligrapher who ask about discounts.
will be in competition with you for business is going People who teach calligraphy in your area also
to be unwilling to divulge much helpful information. have a great deal of inside information about the
Ask the freelancers questions about the begin¬ field. They may even sell some of their calligraphy
ning of their business. Why did they begin a free¬ on a freelance basis also, but since it is not a full¬
lance calligraphy business? How long have they time business they may be willing to share their
been in business? How much capital did they put knowledge. They will know of suppliers, other cal¬
into the business? When did they begin to see a ligraphers, and the local market, and they probably
profit? Do they earn a full-time living? What per¬ have many suggestions concerning the implemen¬
centage of their income is profit? How do they price tation of your business.
their work? How many hours a week do they work? Talk also with local artists, writers, callig¬
Do they barter some of their services? Do they raphy clubs, and related associations. Ask for
work with an artist on some jobs? If they do work copies of club newsletters.
with an artist, how is the commission shared? How You will be gathering as much information as
did they find the best printer in the area? Is the possible about calligraphy and making a living as a
business growing? Is there room for more freelance freelance calligrapher.
calligraphers? What have they found to be the most After talking with all of the people associated
effective advertising? with calligraphy, there are still other people who
The more questions you ask, the better pre¬ can be extremely helpful in the planning stages of
pared you will be for opening your own business. your career. Interview all of the local printers; you
What kind of record-keeping system do they use? will probably need printing services early in your
How are clients billed? What supplies and tools do career, when a customer orders invitations, busi¬
they recommend for a beginning freelancer? What ness cards, or other reproducible items. Some
do they predict for the future of their business? questions to ask printers are suggested later in this
Prepare for your interviews as if you were an chapter, along with explanations of the printing
investigative reporter. Write down all of your processes.
questions beforehand, but don’t intimidate your Preliminary contacts with prospective clients
sources of information with an onslaught of ques¬ can also be useful now. Advertising agencies and
tions like an interrogator. Keep it casual, but get publishers maybe among your major clients. Talk to
the most information you can. It would be a good their representatives in the nearest city in your
investment to buy lunch for your fellow freelancer. area. They will be able to tell you if and when they
Many valuable tidbits of information and business use freelance calligraphers, and on what types of
ideas are shared over lunch. projects. Contact the local newspaper about de¬
In addition to interviewing several freelance signing and/or lettering some of their advertise¬
calligraphers in person, you can write letters. If ments. Call on local businesses, asking about the
your sources of information are too far from your potential for business cards, letterheads, fliers, ad¬
base of operations, a friendly letter might elicit vertising supplements, signs, window displays, and
some helpful comments. other calligraphy needs.
Other sources of information will give you dif¬ Visit your library or bookstore for books on
ferent points of view. Suppliers of calligraphy mate¬ how to start a small business. There are many
rials and tools may have a good overview of what is excellent manuals available. Read several, or parts
happening in the field in your part of the country. of several, and glean out the pertinent information.
They should know which cities and towns purchase After you have gathered all of the information
the most calligraphy supplies. They also may have about the local calligraphy market, freelance callig¬
valuable contacts with people in related busi¬ raphy, and beginning a small business, take some

105
time to assimilate all of the data. Read it, take window posters, and sample advertisements for
notes, organize the data, and make a notebook or newspaper or magazines.
folder about your potential freelance calligraphy
business. It could be the start of a new way of life for Setting the Scope of Your Business
you. You must also make another decision. You
must determine the scope of your business. Do you
DEVELOPING THE NEED intend to limit your business to simply lettering
You know the value of calligraphy. You know exactly what a client directs, or will you also act as
where and how it can be used. You know how an artistic consultant, advising a client on his callig¬
calligraphy can be used to enhance advertising, raphy needs? Can you design advertisements?
correspondence, information, and almost any Set the parameters of your business before you
written communication. begin accepting assignments. It is much better for
your business image for you to decline an assign¬
Educating Clients ment than for you to have to return it to a client
In order to make your calligraphy business unfinished after two or three weeks. This is where
profitable, you must educate your potential clients it can be a real advantage to work closely with a
to the benefits of calligraphy. You must confidently more advanced calligrapher, so that between you
show your community how you can help them in both, you can probably accept every project that is
many different ways. You must show businessmen offered.
and individuals that they have a need for callig¬ To make it easy for a customer to have access
raphy, and you must convince them that you are the to your services, offer to make a presentation in his
person to fill that need. You will need to accomplish or her office. This presentation can be an advantage
this objective in several simultaneous ways. to you in that you will get the feel and flavor of the
You need to convince those potential custom¬ operation to which you are attempting to sell your
ers that calligraphy is the right medium for their services as a calligrapher.
message, and you must make them realize that you
are the right artist to fill the assignment. Many Other Potential Customers
future customers will see your work at bazaars or In addition to local individuals and businesses,
other places where it may be displayed. Any time there are many other contacts you can make for
you hang a piece of calligraphy where it will be seen customers and referrals to potential customers.
by potential customers, be sure it is signed. If Trade associations often host conventions, offer
possible, have business cards nearby so that some¬ certificates of merit, and need membership cards.
one in need of calligraphy can get in touch with you You can find a list of these associations in local
easily. telephone books. Send them a package with sam¬
Since displaying your work is one of the best ples of your work, along with a personal letter
advertisements for calligraphy, you can make up a suggesting ways in which they can use your talents.
variety of samples, similar to an artist or photo¬ Contact all local publishers, and even regional
grapher’s portfolio, which a businessman can study, publishers if you are willing to travel some for your
and which may give him new ideas of ways he can business. Most or all of the business for a client 150
use calligraphy. or even 1,000, miles away may be able to be han¬
You can also take several pieces from the dled by mail. Nearly all newspaper and magazine
portfolio and design a flyer to distribute through publishers are supported by advertising, which
direct mail advertising. Some prospective clients must be designed and originated by an expert. In
may warrant a specific portfolio done about their some cases a calligrapher may be the best choice for
company, including business cards for the presi¬ an ad designer. You may be able to set up a regular
dent, company letterhead and envelope design, schedule with a publisher to do a certain amount of

106
Fig. 9-4. Assorted colored inks.

; ■

*S1

crystal
CLEAR FIXATIF
■HI

»‘L,
jSWijj
HHM

Fig. 9-5. Spray finishes for professional calligraphy projects.

his advertising, or you may be on call to supplemnnt There is always a way to improve. If you are
regular staff when necessary. constantly striving to improve, your business
Advertising agencies also design and produce should not only survive, it should prosper.
ads of all types for a great variety of clients. The
majority of their ads may be commercially typeset, Keeping Customers
but for an occasional account they may need the You have become a professional calligrapher.
elegance of calligraphy. If the agency has a portfolio You deserve the respect that every artist should
of your work on file, you may be the calligrapher receive. You have established a business and are
they call. busy filling orders. You’ve got those first orders,
These contacts with trade associations, pub¬ but it’s very important to ensure that those custom¬
lishers, and advertising agencies can lead to offers ers return.
of full-time employment, or they can lead to a few Make It Easy for Them to Return. Be sure
regular clients who produce enough business to that they have your name and telephone number. It
keep you busy full time as a freelance calligrapher, should be prominent on your business cards, let¬
setting your own hours and working from your own terheads, and invoices. If feasible, offer a pick-up
location. and delivery service on all orders. Offer an extra
Setting your own hours, however, doesn’t bonus with orders; it should be simple and inexpen¬
mean that you only have to work when you feel like sive, but it should remind them of you and the
it. To be a successful small business manager or quality of your work—perhaps a sign, plaque, or
freelancer, you need to keep fairly regular hours, name card. Regular, satisfied customers are the
but don’t be afraid to bend the rules to suit your heart of your business.
family at times. That’s another of the advantages of Be Flexible. The needs of the community and
being a self-employed artist. your own talents will determine the direction that
your freelance calligraphy business will take. As
FILLING THE NEEDS OF YOUR COMMUNITY your business grows, allow it to mature naturally;
that way it will reach a comfortable compromise
Your research and the early months of your
between the calligraphy needs of the area and your
calligraphy business will tell you a great deal. Most
own talents and future aspirations.
of all you will learn what the needs of the area are
for calligraphy, and you will know how well equip¬
THE PROFESSIONAL CALLIGRAPHY STUDIO
ped you are to meet those needs.
The well-equipped studio will house a variety
of pens to suit the talents of the calligrapher and the
Improving Skills needs of the clientele. A variety of inks and paints
You will learn in what areas you need to extend will also be necessary. Begin with a few standard
your knowledge and skills to meet those needs. basics and add more as they become necessary.
Additional practice of your present skills is of Among your inks will probably be Higgins Water¬
course helpful. You may wish, however, to tackle proof Ink, Higgins General Drawing Ink, India Ink,
other styles of calligraphy, either through advanced and a Chinese inkstick with an inkstone. A few good
calligraphy books, or through classes with expert colored inks will also be needed (Fig. 9-4).
calligraphers. Other materials that every professional callig¬
You may also decide that a class in advertising raphy studio should contain include: pencils, eras¬
would be beneficial. Classes are offered in adver¬ ers, a t-square, pencil sharpener, an erasing shield,
tising layout as well as in selling advertising. pen cleaner, storage unit for materials and finished
Classes in small business management or in ac¬ art work, frames, razor blades or a utility knife,
counting may be helpful in making your operation brushes, rulers, masking tape, spray finishes, rub¬
run more smoothly. ber cement and thinner (Fig. 9-5).

108
 The studio will need to offer a variety of good up shop. Individuality, as in all other phases of
paper as discussed in Chapter 7. Again, begin with a calligraphy, determines how and where the busi¬
limited supply and add more as necessary. ness will be set up. No matter how small or large
You can establish your business with a drawing you envision your business, however, accurate re¬
board and graduate later to a drafting table. The cord keeping is a must.
drawing board should be at least 20 x 26 inches, For tax purposes, as well as for income deter¬
with a true edge on the left side. Also available is a mination, records must be kept. All orders should
portable drafting table, which has the advantage of be in writing and the customer and the calligrapher
being a permanent table on a stable base. It should should each keep a copy. The order form should
also have a true edge as well as a retaining strip at include details about the item ordered, number re¬
the bottom edge. It can be constructed of metal, quested, customer’s name, address and telephone
wood, or plastic. The table top should be protected number, and the estimated price. All payments
from scratches with a vinyl sheet, which is available made to or from the business should also be re¬
at art supply stores. corded. At tax time it will then be easy to do the
A comfortable chair that allows the callig¬ required paperwork or have it done by a profes¬
rapher to work easily at the drafting table is vital. sional tax preparer.
Good lighting is required in your calligraphy studio. Setting the fees for your service is difficult. It
When possible, take advantage of the natural is another area where a freelance calligrapher in a
morning light. When natural light is not available, noncompetitive location can supply much valuable
use a combination of incandescent and fluorescent information. The cost of materials, your time and
lighting to create the light most nearly imitating expertise, the difficulty of the job, and the size of
natural sunlight. It is more expensive than either the job all must be considered when you quote a
incandescent of fluorescent alone, which are both price.
acceptable. Most important is that no glare reflect Prices are different for one piece of original
off the working paper. work, a quantity of originals, and one original and
All of your tools and materials must be kept printed reproductions. As with setting up your
scrupulously clean, or your finished products will business, there is no set formula to tell you how
have smudges that seriously detract from the ap¬ much to charge for your services. Most beginning
pearance. calligraphers tend to price their services too low,
but as their confidence and abilities progress, their
MONEY MATTERS prices are adjusted to reflect that growth.
Naturally you are concerned about the cost of Some jobs will consist of one original piece of
starting your freelance calligraphy business. The calligraphy. Some jobs will include artwork for
amount of investment will be dictated by your finan¬ which you may need to hire an artist. Some jobs will
cial assets and needs, as well as your plans and require the services of a print shop. When these
goals for the business. There is no set formula. cases occur, and you are responsible for the total
The investment of a few dollars in materials job, add a service charge for handling the entire
and tools, along with the price of renting a table or project.
booth at a few local bazaars, is enough to get some There is one last money matter that must be
calligraphers set up in business. Others, due to considered—advertising. The best advertising is
different goals and talents, as well as capital availa¬ word of mouth. Tell your friends what you are
bility, may initially plunge hundreds or even doing. Tell your local calligrapher’s group that you
thousands of dollars into the business. are ready to do some calligraphy for pay.
While one calligrapher may begin making Another effective way of getting the word out
bazaar items in a vacant corner at home, another is with letters, in calligraphy of course, to local
may rent a downtown studio or office in which to set businesses and organizations who might be possi-

109
ble clients. You can make one original and have it indicated. One is gravure. Gravure is well suited
reproduced inexpensively at a print shop. for very large quantities because the quality can be
The classified section of your newspaper is a controlled more consistently. Gravure is a form of
good place to list your new business. Also consider etching that began in the fifteenth century. A gra¬
the yellow pages of the telephone book. vure plate is etched, and ink is then applied to the
Make up some fliers or posters promoting your plate surface. A scraper is then used to remove any
business and post them on local bulletin boards. ink except that which is in the recessed areas of the
Also call people who you think are potential clients. plate. The image on the paper is then formed when
To come up with more ways of advertising, analyze the pressure of a large cylinder causes the ink to be
your community for possible customers and deter¬ drawn from the recessed areas.
mine how you can most inexpensively reach them The third printing process is called letter-
with the information that you are now in business. press. One advantage of letterpress is that it can be
used with embossing. Letterpress, or relief, printing
THE PRINTING PROCESS is the oldest of the three printing methods generally
The very best way to learn about printing is to used. To make a plate for letterpress printing, a
visit all of the local print shops. Talk to the man¬ photographic negative is made of the original art.
ager, ask about his machines, and ask for samples of The negative is placed on a metal plate and exposed
what the machine will do. Find out what papers are to light. The light hardens the exposed surfaces,
available and if any others can be specially ordered. and the unexposed areas are eliminated in an acid
Ask about prices; get a price list if possible. Is there bath, leaving just the image areas raised slightly
a discount for repeat customers? What colored inks above the plate’s surface. This raised part of the
are available? How long will it take to have an order plate then receives the ink and transfers the image
filled? to paper.
Carefully examine any samples you get. Is the Look at each job you receive individually and
printing clear and crisp? Is it clean? Are the colors determine the best method of printing for each. As
bright or faded? Also notice the condition of the your business grows, and you work with printing,
shop. Any print shop will have stacks of paper you will learn exactly what local printers can ac¬
around and a certain amount of clutter, but if the complish, and you will learn how to best prepare
shop is truly dirty, chances are your orders will copy and artwork for each printer.
come back smudged and dirty. At times you will need to have artwork or your
Also pay attention to the manager’s attitude. calligraphy copy enlarged or reduced. Many print
Hopefully you will be working with the manager shops have the machinery to do such work. Re¬
often; so a compatible relationship is desirable. member, however, that any enlargement or reduc¬
The method of printing for calligraphy used tion will be proportional; that is, the entire piece
most often is offset lithography. It is readily availa¬ that is being changed will differ both horizontally
ble and relatively inexpensive, and the quality is and vertically by the same percentage.
excellent. Most quick print shops offer offset Check with your local printers about how to do
lithography printing, and these shops can be found color separations. When more than one color is
in all metropolitan areas and even most small called for in printing, each color must be done sepa¬
towns. rately. Each printer will tell you how color jobs are
In offset lithography, the camera-ready page is handled in his shop.
photographed, and an aluminum, stainless steel, or
paper plate is made of the image. The image from TEACHING CALLIGRAPHY
the plate is then transferred to a rubber ‘'blanket” Another way of earning money using callig¬
cylinder, which prints the image onto the paper. raphy is by sharing your talent. Calligraphy is
Two other forms of printing are sometimes taught in many art centers and community schools.

110
YMCA and YWCA chapters offer a variety of fully. Remember that your students are beginners
classes, and they may like to add calligraphy to their who need a lot of praise and encouragement. Keep
course offerings. Perhaps a museum in your area criticism gentle and constructive.
hosts classes. Check your library, telephone book,
and chamber of commerce for ideas about where to
YOUR OWN CALLIGRAPHY
offer your services as a calligraphy teacher. You
could also set aside a room in your home, or use Whether you choose to launch a career teach¬
your calligraphy studio, as a classroom. Advertise ing calligraphy, set up your studio and go into the
in the classified section and begin your own callig¬ freelance calligraphy business, or limit your callig¬
raphy lessons in your home. raphy to personal use, you have acquired a useful
Until your calligraphy skills reach the expert new talent. Use it.
level, limit your instruction to beginning classes. Calligraphy can be a creative, enjoyable,
Italics is the most common form of calligraphy used beautiful way of expressing your thoughts and
today and can be useful to people in many ways. ideas. Make it your own art. Now that you know the
Beginners may wish only to improve their everyday basic rules of calligraphy, experiment until you
handwriting, or they may take your class as a first have a truly individual form of handwriting. Callig¬
step toward becoming a professional calligrapher. raphy means beautiful writing. Through a series of
Keep your lessons simple and direct, and con¬ easy steps, you now have beautiful writing at your
stantly encourage your students to practice faith¬ command.

Ill
acrylics—Plastic paints in which pigments are calligraphy—The art of beautiful writing.
dispersed in an acrylic emulsion. They do not Carolingian—The first alphabet to use true
work well for calligraphy. minuscule letters with ascenders and de¬
ascender—The part of the letter that rises above scenders. It was discovered in France and prom¬
the body. oted by Charlemagne.
asymmetrical — Nonsymmetrical. The two centered—Symmetrically balanced.
halves are not the same.
Chancery Cursive—An ornate form of the Italic
alphabet which is featured in this book. It origi¬
base line—The line on which the body of most
nated during the fifteenth century.
letters rests.
chamois—Smooth, clean doeskin. Often used for
blackletter—The dense, compact Gothic style of
wiping calligraphy pens.
writing.
body—The portion of a letter that is contained chisel point—Another term for broad edge, which
between two guidelines. means a pen nib with a flat edge like a chisel.
bookhand—A style of writing based on ancient cipher—Letters that are interlaced to create a
manuscripts done in Carolingian. design for identification or ornamentation of per¬
broad-edge—Pen nibs with a flat edge like a sonal items.
chisel. Copperplate—Writing style from the eighteenth
built-up letters—Letters that have been widened century when pointed nibs were first used by
by adding extra strokes. Filled in built-up letters scribes to copy the fine lines made by an en¬
become illuminated letters. graver’s burin.
burnisher—A hand tool with an agate tip that is counters—Spaces within letters that are used to
used to polish gold leaf. correctly form and proportion letters.

113
Cursive—Writing that is formed rapidly with machine-made paper but not in handmade paper.
joined letters. guidelines—The lines that set the vertical bound¬
aries of a letter. They can be real, such as the
deckle—A frayed edge on handmade paper. It is lines on your practice notebook or graph paper,
caused by the frame that holds the paper. or penciled-in or imaginary lines.
descender—The part of the letter that falls below
the bottom guideline. hairlines—Fine lines, most often used with
designers’ colors—Opaque water colors that are Blackletter, at the end of a stroke.
well suited for calligraphy. half-Uncial—A style of lettering that preceded
dipping—The way in which nibs are filled with ink. the Carolingian. It looks like a minuscule al¬
draftsman’s pencil—Mechanical pencil with a phabet but is not.
slip-proof knurled grip. heading—A title for a manuscript. It is usually
drawing pen—A special pen for drawing very fine emphasized in some manner.
lines. hone—To sharpen.
dry cleaner—Powdered cleaner in a cloth pouch. Humanist—A period in history when scholars at¬
It is used for cleaning large areas of paper, and tempted to regain some of the cultural excel¬
for roughening very smooth paper surfaces. lence of ancient Rome.

elbow nib—A specially designed pen with a bend Illumination—A method of decorating the text of
in the shaft. It is used for writing in the Cop¬ a manuscript with gold, silver, and colors.
perplate style. interlinear spacing—The amount of space be-
ween lines of writing.
filler—Design drawn with a pen to fill blank spaces Italic—Writing that is slanted. It is also the name
in the text. of the specific form of calligraphy that is most
final draft—A complete plan for the finished popular today.
manuscript.
finisher—A stroke that extends from the last let¬
ter at the end of a line or paragraph and used to join—The line connecting two letters.
justify—To adjust the space between words so
decorate the open area.
that lines of lettering or type fit the allotted
flourish—Decoration of letters, usually achieved
space and are even at both margins.
by adding sweeping strokes.
flush—Handlettered or typeset lines with one
margin of the text even along the edge. kid—The surface texture of bristol board of
format—General design, shape, content, or size, medium tooth. It is very popular with callig¬
such as a newspaper format. raphers.
French curve—A plastic or metal drafting tool
that is used to draw arcs or ovals. layout—The overall design of a page.
leading—In typography, the amount of space be¬
gild —To illuminate a manuscript with gold leaf, or tween lines of type.
with gold leaf and colors. letter familes — Groups of letters that share
Gothic—A general style of writing that became characteristics.
popular early in the twelfth century. Majuscule letterpress—A printing process in which the plate
letters designed to be used only with minuscules image to be inked is above the surface of the
also appeared during this time. plate.
grain—The direction of the fibers in a piece of logotype (logo)—Letters combined into a sym¬
paper. There is usually a dominant grain in bolic design.

114
majuscules—Capital letters, that features oval letters with long ascenders
manuscript—A book or document done in hand¬ and descenders, with a slight right-hand slant. It
writing. is one of the styles taught in this book and is
minuscules—Lowercase letters, suitable for everyday use.
monogram—Two or more letters combined in a printing plate—The surface carrying the inked
design in which one letter forms part of another. image that is transferred directly to paper or, as
in offset lithography, to a rubber blanket that
nib—The part of the pen that draws ink from the transfers the image to the paper,
reservoir to the point. It is also the actual point proportion—The ratio between parts of a letter.
of the pen.
nibbing—Making a nib from a reed or quill. rag content—The amount of linen or cotton rags
used in making high-quality papers; most com¬
opaque—Impenetrable by light; too dense to be mon papers are made of wood pulp,
seen through. ragged—The arrangement of lines of type or let¬
offset lithography—A printing method where the tering so that either the right or left margin is
inked image is on the same plane as the plate, uneven.
ornamentation —Anything that is used to ream—The amount of paper of any dimension,
beautify a letter, word, or manuscript, usually 480 to 500 sheets,
overlay—A sheet of transparent paper or film that reed—A tubular plant stock that can be used to
is placed over artwork to protect it and indicate make a crude pen.
instructions. reservoir—The permanent or removable device
that is attached to a pen’s nib and holds the ink or
Palmer—A method of penmanship instruction paint.
using the Copperplate hand script form, Roundhand—Another term for Copperplate used
papyrus—Writing material used by the ancient because of its rounded strokes,
Egyptians, Greeks, and Romans and made from rubricate—To use the color red when writing on a
the pith of a sedgelike plant native to the Nile manuscript, especially on illuminated pages,
region. ruling pen—A drafting instrument used for draw¬
parallel rule—A drafting instrument that is at¬ ing lines of varying degrees of thickness with the
tached to a drafting board and which consists of a assistance of a straightedge.
single straightedge riding on a track of wire or Rustica—A letterform using a very steep pen
waxed twine and used in place of a t-square. angle; preceded the Uncial alphabet.
parchment—Writing material that is made from
the skin of a goat or sheep, sable—Hair used in the finest watercolor brushes,
pen angle—The angle made by the flat end of the scaling—Determining the percentage of enlarge¬
pen and the horizontal guideline, ment or reduction of artwork by using a scaling
pen width—The width of the writing edge on a wheel or geometric proportions,
broad-edge pen drawn at a perfect vertical; used scrivener—A professional penman, scribe,
as a standard measuring device to establish copyist, clerk, or secretary,
proportions between ascender, descender, and scroll—Normally a document that has been pre¬
body. pared by a professional scribe or scrivener and
pointed nib—A steel pen nib with a single slit at usually rolled up when presented or stored,
its point; found on common fountain pens as well serifs—Small, decorative strokes placed on open
as the elbow nib and crow-quill pens used for ends of basic letters.
copperplate. shades—Copperplate strokes with both a thick¬
Practical Italics—A calligraphy style of lettering ness and a squared-off end.

115
spacing—The distance between letters, and Latin manuscripts deriving its name from the
stylus—A pointed instrument used to impress a Roman uncia or inch.
drawing into a surface.
swash—A separate, decorative pen stroke added
value—The degree of darkness or lightness in
to the basic form of the letter,
color.
swells—Copperplate strokes that begin and end as
vellum—A writing material made from the skins of
hairlines, with a tapering bulge in the middle of
lambs, kids, or calfs.
the body.
Vermillion—A red pigment found on ancient
Egyptian manuscripts and made from mercuric
tempera—A common term for opaque water col¬
sulfide. It was popular on medieval manuscripts.
ors and poster colors.
Today, it can be duplicated by cadmium red
Textura—B lackletter.
light.
transparent—Any medium capable of transmit¬
versal—A letterform deriving its name and
ting light, such as transparent watercolors.
characteristics from the first letter of a verse
triangle—A metal or plastic instrument used with
which is enlarged and decorated.
a t-square to draw vertical and diagonal lines,
true edge—A metal strip attached to a drawing
board and used to assist the t-square in smooth waist line—The line that corresponds to the
and accurate movement. center of a letter or to the top of a minuscule.
t-square—A drafting device that can be used in waterproof—Inks that are resistant to water after
calligraphy to accurately draw horizontal lines, they dry, though not necessarily permanent.
typography—The composition, arrangement, and watermark—A faint, translucent design im¬
design of printed matter from movable type. pressed into paper that identifies the maker. It
can often be read by holding the sheet up to the
Uncial—A majuscule letterform found in Greek light.

116
 A Color, 93-97 H
a-Body family, 47 Common mistakes, 57-58 Hira-gana, 27
Alighieri, 24 Correcting mistakes, 97-98 History of calligraphy, 19-34
Alpha, 19 Counter, 54 Arts and Crafts Movement in Eng¬
Alphabet, 19 Cursive, 60 land, 24
Arts and Crafts Movement, 24 Bookhand, 22
Ascenders, 47 D calligraphy today, 32-34
Dante, 24 Celtic, 21
B Descenders, 47 earliest miniscule, 20-24
Base line, 47 Dover, 99-100 early writing tools, 28-29
b-Body letters, 49-51 Dutching, 91 East Asian calligraphy, 26-27
Beta, 19 Gothic, 22
Bookhand alphabet, 22 E history of numerals, 27-28
Borders, 85 East Asian calligraphy, 26-27 history of paper, 29-32
Brown, Frank Chouteau, 24 Exercises, loosening-up, 13-14 Italic, 22
Revival in United States, 24-26
C F Roman alphabet, 21
Calligraphy, 1 Forming letters, 47-57
Calligraphy nib pen, 72-73 a-body family, 47-49 I
Calligraphy project, 76-89 b-body letters, 51 -53 Illuminated letters, 93
creating, 85-89 majuscules, 57 India ink, 72
ideas, 76-79 rectangle-connecting letters, 53-54 Ink reservoir, 91
layout, 81-85 spacing and joining, 54-57 Inks, types of, 96
planning, 79-81 special letters, 51-53 Italic writing, 5-7, 22-24, 35-36, 37-42,
Celtic alphabet, 21-22 47-57
Chancery Cursive, joining letters, G a-body family, 47-49
62-63 Garamont, Claude, 28 basic lettering strokes, 37-42
style, 60-62 Graphos, 1 b-body letters, 51-53
Chisel-tip felt pen, 2-3, 36 Gravure, 110 Chancery Cursive, 5, 7
Clarifying, 91 Gothic alphabet, 22 majuscules, 57

117
 Practical Italic, 5, 7 0 Reed pen, 91
rectangle-connecting letters, 53-54 Ornamental letter, 91 Researching the market place, 104-
spacing and joining 54-57 Quill pen, 91 106
Rubricate, 93
i P Rustica, 21
Johnston, Edward, 24 Paper, history of, 29-32
S
Justification, 83 types of, 90-91
Serifs, 35, 54
Pens, calligraphy fountain, 72-73
Special letters, 51-53
K chisel-tip felt, 2-3, 36
Studio, setting up, 69-75
Kalos, 1 quill pen, 91
furnishing, 71-72
Kanji, 27 reed pen, 91
location, 69-70
Kid finish, 90 Petrarch, 24
planning, 70-71
Plate finish, 90
supplying, 72-75
L Practice techniques, 14-15, 65-67
Swash, 60
Letter anatomy, 54 Printing process, 110
Letterpress, 110 gravure, 110 T
Letter variations, 64-65 letterpress, 110
Textura, 22
Line finishers, 84-85 offset lithography, 110
Tools, 2-5
Punctuation, 63-64
U
M Q Uncial, 21
Majuscules, Practical Italic, 57 Quadrata, 21 Using color, 93-97
Mistakes, common, 57-58
correcting, 97-98 V
R
Variations, letter, 64-65
Ragged margins, 83
N Roman alphabet, 21 W
Numbers, 64 capitals, 92-93 Waist line, 47
Numerals, history of, 27-28 Rectangle-connecting letters, 53-54 Watercolors, types of, 97

118 Edited by Suzanne L. Cheatle

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 RAM°6 Ramsey’ Judy
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05/07/85

362364 0020 7

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r
Easy Calligraphy: The ABCs of Hand Lettering
by Judy Ramsey

Imagine being able to create beautiful and artistic name tags, place cards,
business documents or decorative certificates for almost any purpose or
occasion ... think how proud you’ll be to show off your penmanjship skillsanc/
the fun you’ll have developing a unique new hobby! Or better yet, envision
yourself creating business cards, signs, or advertising lettering in an amaz¬
ingly profitable part- or full-time business of your own!
It’s all possible when you know the secrets of decorative handwriting or
calligraphy! You don’t have to be an artist to learn this much-in-demand art
form . . . you don’t even have to spend big money taking courses in an art
school or college. All you need are a few inexpensive tools and materials, a
little time and patience, and the easy-to-follow, step-by-step guidance pro¬
vided by this expertly written and lavishly illustrated handbook!
Everyone admires beautiful handwriting, but few people know how really
easy it is to achieve even if you’re left handed! Now you can become an expert
at calligraphy whether your goal is simply to improve your everyday handwrit¬
ing or you plan to use your skills for personal or business lettering.
Following the easy-to-follow instructions and exceptional!^ clear illustra¬
tions, here, you’ll learn a complete range of letters and pen moves called
strikes. You’ll find out how to form letters in basic italics, in chancery cursive
style, and Roman capitals. Arranged so that you can progress at your own
speed, lessons include fun-to-do exercises that help you develop amazing
new skills, quickly and confidently. j
Plus, you’ll find a wealth of exciting projects! You’ll get tips on using color
in your calligraphy, on making attractive borders, on correcting any mistakes
you might make, even how-to’s for making your own individualized calligraphic
pen! And, once you’ve mastered the art of calligraphy, you’ll find all kinds of
practical hints on setting up your studio, managing your personal calligraphy
business, and teaching others your newly acquired art!
Judy Ramsey is a freelance writer with a background in newspaper
pubiishing and communications.

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