Copperplate Calligraphy

By Dick Jackson

No need for copper or plates to achieve the distinctive calligraphic script of eighteenth-century Europe ― just a pen, ink, and this comprehensive workbook will do. Master calligrapher Dick Jackson explains the basic strokes for almost all letters of the copperplate alphabet. Simple instructions and examples introduce the swirls, flourishes, strikings, and thick and thin strokes that make copperplate calligraphy a source of pleasure for the practitioner and a delight to the reader.
A historical introduction traces the growth of copperplate from its roots in the French ronde of the seventeenth century, to its adaptation by English clerks into their copybooks, and the development of the style known as round hand. In addition, guide sheets and instructions for individual letters and numbers offer aspiring calligraphers a practical approach to this enduring art form.

• Language: English
• Publisher: Dover Publications
• Release date: Mar 21, 2016
• ISBN: 9780486810034

Book preview

Calligraphy

Materials

THERE ARE FOUR INGREDIENTS necessary to produce calligraphy of any kind: the pen, the ink, the paper, and the calligrapher. You are, or will be, the calligrapher. So this section will briefly cover the other three components.

You will need an offset (or oblique or elbow) penholder and flexible nibs. The penholder has an offset so that you can aim the nib along the paper at a steeper angle than would be comfortable otherwise. Aiming and angle will be discussed later. The nib is flexible so it spreads when pressure is applied to it and closes when the pressure is released.

The nib, like all metal nibs, is shipped from the manufacturer with a thin film of oil on it. In order for the ink to flow well, this film of oil should be removed. You can do this in several ways. Hold the nib in your mouth awhile and your saliva will remove the oil. They really don’t taste all that bad, but a sudden sneeze might create a problem. Spray it with one of the liquid household cleaners, rinse, and dry it. The quickest and easiest way is to hold it briefly over the flame of a match or cigarette lighter. Move it back and forth to get it black all over, but don’t let it get red hot. It’s a good idea to insert the nib in the holder before you heat it so you don’t burn your fingers on the hot nib.

A good paper to learn and practice on is a tablet of translucent white, unruled paper. Having the paper in a tablet serves several purposes that loose sheets won’t. The tablet will hold the underlay guide sheets firmly enough so that you won’t need paper clips or tape to keep them from slipping. The paper in the tablet will serve as a good pad under the sheet on which you’re writing. It’s better not to write on a hard surface since any irregularities will affect the pen strokes, and, even if the surface is perfectly smooth, the pen just works better if there is a little padding under the paper. If you don’t tear the sheets out, the tablet will serve as a chronological file of your practice efforts. It’s great for the morale, when you’re a little dejected after some hard practice because you don’t feel you are making any headway, to go back through the sheets from previous practices and see just how much progress you’ve made. It would be desirable for the reader to make tracings of the guide sheets at the back of this book. Guide sheets should then be used as suggested.

Some papers that work well for regular or italic pens may not be as good for Copperplate and vice versa. The only way to tell for sure if a particular paper is good is to try it, or ask another Copperplate calligrapher who has.

Ink for the flexible nib needs to be a little thicker than ink for other pens. A good ink is Higgins Eternal, made slightly more viscous by the addition of ten or twelve drops of gum arabic. This ink dries to a dark, flat black. There are other inks which work very well. Some, like the oriental inks, dry to a glossy finish. A good ink will be viscous enough to allow the nib to hold a full load without it all flowing out when pressure is applied for a dark down-stroke, but thin enough to flow at the lightest possible touch of the nib on paper.

If you don’t have gum arabic, you can thicken the ink some by leaving the cap off the bottle and letting the ink evaporate a few days. The number of days depends on how humid the air is. You will soon find that the opening in the standard two-ounce ink bottle is too small to dip your nib in easily, so you may want to get a wider-mouthed bottle. Small baby food jars or some types of medicine bottles serve very

Reviews for Copperplate Calligraphy

[Dionisia Devona · Rating: 5 out of 5 stars]

Really helpfull for beginner calligrapher, because he break down each alphabeth