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    dgford
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        CALLIGRAPHY TUTORIAL
        COPPERPLATE MINUSCULES

        OUTLINE:
        My General Plan
        To present a basic, formal minuscule Copperplate hand, with letters presented in groups requiring similar strokes;
        To present, with eventual choice, two differing methods of pen movement,
        To keep instructions as precise as possible ;
        To allow about 14 days to practise, to post for comments, to practise refinements, etc
        To establish personal criteria right from the start;
        To maintain correct paper placement and penhold from the beginning;
        To attend to joins within the letter and within the word.
        To control pen pressure to attain regular pen widths in the downstrokes;
        To use letters in words as soon as possible;
        To present a number of self-chosen words at the end of each lesson;
        To attain as soon as possible the practice of “calligraphy — beautiful writing.”

        Materials
        Pens: Pointed nibs — from Inks: Keep to your favourite easy flowing black ink — but definitely steer clear of India Ink! Sumi is good. For general practice it is quite OK to add a little distilled water to any old botlle of ink that may have become “gluggy” or even hardened to a cake. But for final work always use truly black ink.
        Paper: A4 Bleedproof paper (or any smooth finish paper with sandarac dusting).
        Drawing Board fixed at a gentle slope and with a heavy sheet of smooth paper fixed on top.

        Preparation
        Copperplate writing guidelines 10mm for the “x-height” — 10mm spacing for the ascenders and for the descenders . Slope lines at 55degrees to the horizontal (ie 35 degrees from the vertical.)

        To save time and effort, save a copy of my sheet and use that to print half a dozen sheets to start with.

        Historical Comment
        In the 17th century, the French began to use the quill pen with a more pointed tip and to use flexing to make the wider strokes. They had introduced a new “hand“ (French) Ronde for use in their civil offices. The English liked the new style — as a simple, legible and fluent model and quickly adapted it in their own style for use in the offices of their rapidly increasing commercial world.

        This initiated a quick surge in the need for teachers of the style, who penned their instruction sheets and took them to the printers to be printed as work copy-books. There they were handed over to the engravers who worked on copper sheets to make the printing plates. Competition was so fierce between these writing masters that they had to resort to displaying exceptional virtuosity and called upon the skills of the engraver and his burin to add the swirls, flourishes and the thin and thick stroked ornamentation.

        The engraver twisted and turned his copper plate on a round leather cushion to enable him to achieve the correct direction in the thicks and thins of his curlicues — and this meant that often the penman copying the ornamentations had to do the same with his sheet of paper !

        Various differences identified the styles of letter formation and letter linkages of each of the individual writing masters. So there was no set pattern to be used in general. In the early to mid 1800s, Birmingham, in England, became the centre of the manufacture of the flexible steel nib and the handwriting style flourished in schools and offices throughout Britain, parts of Europe and USA. But still much emphasis was being placed on ornamentation — in fact, of 70+ pages in one writing book published in Detroit in the 1890s, only the first 15 were devoted to the actual mechanics of writing. The rest was solely concerned with making the embellishments !

        But Round Text, Engraver’s Script, Engrossing Script, Copperplate, English Roundhand, Spencerian, call up what you will, flourished as a commercial script and therefore handwriting became an important subject in the schools. In the late 1800s and early 1900s, in Britain there was revival of the italic hand,, and the square edged nib, in some schools but in the USA the Spencerian hand had made such a major impact that its influence may still be seen today in many of the schools’ models.

        The style presented here (and which we will be learning) has been formalised from a hand introduced initially as handwriting in the 1820s by Mulhaüser in Geneva, Switzerland but whose books were soon published in France and, by 1842, in England. His method of using basic strokes to be built up into the making of the letters was to be the mainstay of almost every handwriting teaching scheme since. The required discipline is strict and quite rigid but the results can be quite beautiful as they move towards perfection!

        But remember that this will be a built-up formal hand and will necessarily be slow to execute as you move towards eventual competency.


        This is shown as a sample of most of the letterforms you will learning, so that you may know beforehand whether it is a style that you may be interested in tackling. You will immediately notice that there no ascender loops (except in the f ). Although the joins look to be continuous, there are really a large number of pen-lifts throughout — even within the letter itself.

        COPPERPLATE

        LESSON 1
        The strong controlling influence in this Copperplate is the slope of 55 degrees from the horizontal. In the example below, I have inserted a half-way line in the ascender area and in the x-height section to give some guidance to the beginnings and endings of the joining (linking) lines.

        But before we start, (for right-handers) place the sheet of paper just a bit farther to the right than usual, then line up your paper by pushing away the bottom right corner of the paper until the slope lines appear to be vertical — meaning the bottom edge of the sheet is at 35 degrees to the near edge of your table. Left-handers push away the bottom left corner the same amount. After a while you may decide to vary this slightly, according to how you hold your pen (especially if you are using an elbow-pen or nib)— but don’t vary it too much, otherwise you may find it unnecessarily difficult to control the pressure strokes.

        With a slope line drawn and the x-height lines marked out, the width of the letter is determined by dropping a vertical from the top left-hand corner to the baseline (drawn in red in the next figure). From here, you can mark off and draw the remainder of the slope-lines. You can now see the basic unit size and shape for the letters. (This has already been done for you on your provided guidelines sheet.)

        For the thin lines the point of the pen just skims over the paper. For the thick downstrokes (“shades”) pressure on the pen causes the splines to splay and leave a thicker line of ink. That pressure must remain unchanged to achieve your chosen thickness and even width throughout. With a Hunt 101 I have found that I can quite happily achieve shades of 3mm width (which is too heavy for this letter-height) but that at 5mm the splines start to lose their recovery to a writing point.

        There are only three basic strokes and one basic shape used in this hand

        the upward curved entry line;
        the upward curved exit line; and
        the downstroke.
        The basic shape is the oval or the ellipse. But, as you may expect, there are slight variations often associated with them all.


        This is an extra guideline sheet that has wider spacing, if you prefer, for this exercise. The mid-lines have been retained here to help you to see where strokes begin and end.

        This is not intended to be a lesson in “handwriting” but of formal calligraphy and therefore will not be demanding a cursive continuity of pen flow. A more cursive approach may be used for work of lesser calibre — invitation cards, place cards, lapel labels, envelopes, names on certificates, etc. For those commissions of the higher level ( e.g. designing Honour Certificate, Presentation Testimonial, Freedom of Entry scroll, Monogram, Commendation, Business Letter Heading, quality Business Card) a much more controlled technique will need to be applied. The aim is perfection !!!

        So to start off, I am going to ask you write the following 7 letters by using pull strokes only. Every pen movement is a pull towards the body — with no skimming upwards or using the side of the pen. Read the instructions for the sequence and direction of the strokes for each letter before attempting it — you will see soon the simple logic being used. Time is not so important here but work of the very highest quality is !

        First, get into a good writing position, with your paper at a tilt so that the slope guidelines are coming down vertically towards your body. Have a cleaning cloth or paper towel handy to keep wiping your nib point clean. Looking at letter n , the “entry”stroke is not made by moving upward but by starting at the top and coming downward.
        That starting point (at 1) is just to the left of the slope-line and starts very briefly by a very tiny horizontal movement to the left before curving down to the mid x-height point on the preceding slopeline. .
        Come back to the starting point (1) again, and this time move to the right and down, applying increasing pressure during the first third of the stroke — before reaching the full stroke width.. (Remembering this “thirds” will become more important as we progress.)
        The next stroke is a repeat of the first stroke but the new starting point (2) is placed in exactly the same spot just to the left of the next slopeline.
        Come back to that starting point again (2) and move down to the right as before , increasing the pressure during the first third of the stroke, holding that same pressure during the next third then easing off smoothly for the final third as you curve to the right — finishing with a very tiny horizontal movement on the baseline. Always avoid any swelling of the pressure stroke moving into the counter — keep it on the outside, Go to point (3) at mid x-height of the next slopeline and pull the pen towards you to make the exit line.

        Now write the letter n , repeating it until you are confident and getting a good letter shape. With this method you will soon notice what very fine control you will be able to maintain over every stroke and shape — unhurried precision — and it will become even more evident with the majuscules. This one letter will have already introduced most of the basic skills !!

        For letter o we will again be using only pull-strokes and again starting at point (1).then moving down the slopeline (keeping out of the counter), increasing the pressure for the first third, holding that pressure for the next third and easing off with a final short movement to the right on to the baseline. Come back to the starting point (1) and move down to the right increasing pressure but stopping at about one-third down, Stop and start the new stroke down from (2) to join with the end of the first stroke, waiting on the baseline. It has an oval shape rather than an ellipse. Write and, if necessary, practise the word no .

        Letter e uses the same order of strokes as letter o but has a quite delicate pressure as it rounds down from the beginning of the second stroke (1) , just giving a hint of weight. This time try the word one.

        Letter a moves in the same two directions from the starting point (1) and then the usual pull down from point (2). Go to point (3), push down on the nib to splay the points to the widest width used in the previous letters, pull it down and then ease it off for the last third. Stop, as usual, on the baseline. Complete from point (4). Use the word nano for practice.

        The letter z should have a generally slimmish appearance, with a little extra weight in the upper third of the second stroke from point (1) but keep it to the outside of that stroke. From point (2) move that little bit to the left to the bottom tip of the previous stroke then come back to make the weighted downstroke of the descender loop. Be very conscious of the counter shape whilst completing this loop from point (3). As in letter e , make that delicate little weight to the bottom left of the loop. For practice write zone.

        Letter b is simple — two strokes come from point (2), the second with weight and smaller.

        The s has its first stroke moving in a slight curve from the top right corner to the bottom left, flattening just at the end. The next movement starts above and in line with that first stroke. With a little pressure then an ease off to the waist-line, continue by moving — in a generally vertical direction — with the pressure again in thirds (with slightly more used in the bottom third, the opposite of in z ). Finish from (2) with a dot just in contact with the first stroke, ending with a join up to the previous stroke. Use the word beans for practice.
        (How did you tackle the joining from n to s ?)

        That is your introduction to writing copperplate with pull strokes. But your experience needs now to be extended ! I want you to write those same practice words again but this time by using the normal cursive flow of up-and-down and left-to-right as in very careful handwriting — for example, as in writing names on invitation cards.

        After you have finished, I want you to assess your results by placing a tick for “best”, x for “worst” or 0 for “too close to judge” under the headings for pulled and for cursive :

        Please let me know the result of this survey so that I know how to proceed with your future lessons.

        Do not allow the pressured shading to encroach into the counter but let it venture to the outside when necessary– especially in the curved strokes.

        Success is a Journey
        #515476
        marie_d
        Default

            Hi Geoff, thanks for posting the copperplate tutorial so quickly.

            Can I just confirm before I start ruling up my guideline sheet that we are working on 10.10.10 and not the usual copperplate ratio of ascenders and descenders 1.5 times the x height being 15.10.15 (if the x height is to be 10mm).

            Not sure about the ‘pullstroke’ method of forming the ‘hairlines’ but will try it if it is a comparison test against the usual ‘upward’ stroke for same.

            Will be having a go tomorrow, see you soon.

            ~ Marie ~
            #515500

            Geoff – thank you for the lesson. It introduces new possibilities for me and helped me make up my mind to go for the drawn, as opposed to the written, form of Copperplate.

            At the beginning of the lesson I was sure that I will be voting for the cursive style of instruction in your survey. Two hours of practice changed that! After just a couple of hours of practice I can draw the letters more consistently with the pull only method. I have been practicing the cursive method for over 3 weeks now.

            Here are the practice words beans, nano and zone in both cursive and pull methods. The first two lines are written in the cursive style and I can notice the inconsistencies in the first n in both nanos and the different e in zone.

            I am sure there are other flaws that my untrained eye does not see yet.

            (I apologize for the over-exposed scan. For some reason it scanned this way and I couldn’t fix it. The guidelines don’t show, which is good, because the ink bled into the printed lines badly giving the letters flat feet that looked really bad. Does anyone know how to fix/circumvent that?)

            And here is the form you asked us to fill up. While I set out to learn the written style of Copperplate with the intention of using this hand in my letters and other correspondence, I think learning proper formal Copperplate is the way to go for now.

            Looking forward to your feedback.

            Regards,
            Salman

            Those who say it can't be done should get out of the way of those doing it.

            My Blog
            #515477
            dgford
            Default

                Good to receive that, Salman. Very well done except for the occasional heavier placing of the pen from a link stroke — see both letters n in nano in line 3

                Your next stage will be coming up shortly — I am in the process of resizing my illustrations.

                Geoff

                Success is a Journey
                #515501

                Thank you Geoff. I will be looking forward to the next assignment.

                In the meantime I will be practicing making the links properly. I also see that my hairlines in the pull method are not as fine as in the cursive examples. I will work on that too.

                Salman

                Those who say it can't be done should get out of the way of those doing it.

                My Blog
                #515478
                dgford
                Default

                    With the pull-stroke method continue with the large ruling.

                    PULL STROKE METHODYou have chosen to go for this higher level of writing Copperplate/Engrossing script. Great ! The groups of letters will be presented in the same order as for those tackling the cursive method so that if, for any reason, there is a later change of mind you will need only to step across to the same level. Remember to have your paper at the correct tilt.

                    All beginning strokes start at the top, finishing with the slight curve to the baseline. All exit strokes start at the midpoint and come down to the baseline to contact the end of the first stroke. The crossbar of letter t moves from right to left. Ensure that each new stroke merges imperceptibly from or into the previous stroke – usually by not making a new dip into the ink.

                    LESSON 2
                    The groups of letters will be presented in the same order as for those tackling the cursive method so that if, for any reason, there is a later change of mind you will need only step across to the same level.

                    For the thin lines the point of the pen comes down lightly over the paper. For the thick downstrokes (“shades”) pressure on the pen causes the splines to splay and leave a thicker line of ink. That pressure must remain unchanged to achieve your chosen thickness and even width throughout. With a Hunt 101 I have found that I can quite happily achieve shades of 3mm width (which is too heavy for this letter-height) but that at 5mm the splines start to lose their recovery to a writing point. So use a nib of the greatest flexibility which is available to you.

                    Do not allow the pressured shading to encroach into the counter but let it venture to the outside when necessary– especially in the curved strokes.

                    The mid-lines have been retained here to help you only to see where strokes begin and end. Use the smaller ruling guidelines sheet.
                    For letter i , at first press the point of the pen onto the paper so that the splines immediately splay to the width you desire and then, keeping to that pressure, pull the pen down the slope-line, using a consistent pressure to maintain your chosen thickness , until you are two-thirds on the way to the baseline. Ease off all pressure smoothly before you meet the baseline,
                    curving into a finish with a very small horizontal movement. Starting at the halfway spot on the next slopeline, pull the fine, slightly curved line to link with the end of the previous stroke. (Return to square off the top of the beginning, if necessary).

                    If your pen runs out of ink whilst making the shaded stroke, don’t stop — carry on with the pressure stroke, curve towards the baseline and then lift off. Chances are that you will leave two very thin lines showing the outer edges of the thick-stroke — that will help you when you have charged your pen with more ink and returned to continue with the same thickness of stroke. Some rig up a reservoir to fit on the nib to allow more writing before running out of ink. If you try this, make it a top reservoir and make sure that the grips on either side are well back from the expansion slits. Use a well-flowing ink and regularly clean the writing tip.

                    The second stroke of the u is a repeat of the first stroke. Letter t is not a full ascender but reaches only to the halfway line — the cross-bar lies halfway up from the waist-line, reaching not less than half the way on either side. Letter l is a full height and made with a firm even pressure all the way down — rest your hand on your little finger and slide your whole hand down as you make the longer stroke. Return to square off the end, if necessary.

                    In the joined letters section, note that the inter-letter spacing is controlled by the spacing between the slope lines. In this style it is regular spacing that catches the eye at first and sometimes may allow the reader to miss any hairline weaknesses elsewhere !

                    Now practise the combinations in the second line, and post only your best effort to me.

                    This next section will introduce the entry strokes and the exit strokes — either of these may be used as a linking stroke within a letter..

                    Don’t forget to practise each of these letters individually until you are satisfied with your pen control before moving on to the next.

                    The first three letters show entry strokes, starting just to the left of the slopeline changing from a very little horizontal movement to a shallow curve finishing at the mid x-height. Go back to that starting point, move slightly right and then curve over, gradually increasing the pressure for the first third of the way down the slope, holding that maximum pressure for the rest of the way to the base line to make a squared off finish. For the next part of the n repeat just what you have already done but for the bottom third ease off as you did for the letter i. Letter m , based on the movements used in the n is straightforward , providing you keep to equal counters.

                    Letter r has the variation where the first stroke is identical with that of the n but the next movement is a thin line coming from just above the waistline, at the slope down into the downstroke on the counter side. Return to that spot above the waistline, come down in a curve with a little pressure on the nib but ease it off smoothly and quickly to end in a special exit stroke which doesn’t go any further than a quarter of the way down.

                    Letters h , and p (note size of ascender and descender) are just variations of the letter n.

                    The letter k is the most complicated letter you have to make using pull-strokes — so let’s deal with it now, bit by bit. The red arrow-head shows the starting point for each stroke.

                    That needed 7 strokes! But I am sure that you will soon find a smoother method of negotiating that little loop !

                    The first word, trunk, is specially chosen to show you a few variations of the inter-letter joins. From the r to the u there will be a slightly wider spacing between the two letters. When the exit curve has to join into an entry curve (see un ), to prevent the two letters getting too far apart, start the joining line from the top of the second letter a little closer to the preceding letter and bring it down more steeply to the exit spot of the previous letter Although this makes the downstrokes a fraction further apart than the usual spacing (as being the distance between the slopelines) it compensates a little for the greater intrusion of connecting lines. If that connection had not been made steeper, the two pressure downstrokes would have been forced to two full spaces apart !

                    In the second word you see the letter r joining directly to the beginning of the downstroke of the letter i , but still needing a little more inter-letter spacing. Would you prefer to use that type of join in the word trunk ?

                    Check your criteria:
                    — all strokes are pulled towards the body of the writer;
                    — entry strokes should start at the waistline and curve gently to the mid x-height ;
                    — return the pen to that starting point before beginning the downstroke;
                    — curve smoothly down from the waistline before applying any pressure i;
                    — each downstroke has controlled pressure for each of its three thirds
                    — downstrokes must follow the slope lines;
                    — the pressure on the middle third should remain consistent;
                    — start and stop ends of pressure downstrokes must be squared off;
                    — when approaching an exit, in the last third of the downstroke, pressure must be eased off completely before ending at the baseline with a very slight horizontal movement;
                    — slopelines are used as an aid to inter-letter spacing;
                    — regular spacing enhances the overall appearance of the work;
                    — an adjustment in steepness is needed in some letter connections.

                    Post to me the two words trunk and thrill, plus one word of your own.

                    Success is a Journey
                    #515502

                    It took me a bit longer to get this one in. The longer shades are hard to get consistent and it took a bit of work to get all the words right, or almost so – we’ll soon find out :-)

                    I apologize for the bleeding on the second line – my ink/paper/printer decided to sabotage my efforts by bleeding into the printed guidelines.

                    Looking forward to the feedback.

                    Salman

                    Those who say it can't be done should get out of the way of those doing it.

                    My Blog
                    #515479
                    dgford
                    Default

                        Salman — what can I say? I wish that I could clain them as mine !!!

                        The negative spacing is superb, giving a beautiful regulairty in the strokes. There is also a lovely consistency in the shades. Good control and fine sense of rhythm. Conratulations

                        Geoff

                        Success is a Journey
                        #515480
                        dgford
                        Default

                            COPPERPLATE – PULL-STROKE

                            LESSON 3The next set of letters depend on the oval-shaped letter o — which you met in our introductory exercise but I will repeat again for you.

                            In the letter o the shade stroke is the downstroke on the left side. Start at the waist-line, just to the right of the slopeline guide, and come anti-clockwise from the top. On the way down, start smoothly to apply pressure, reaching your maximum at about one-third of the way down — keep that shade (at the 55 degree slope and outside the counter) until about two-thirds of the way down and then slack off in a curve well before reaching the baseline, where you will turn into the beginning of a small horizontal Go up to your starting point, curve over clockwise and put on a slight pressure. Stop. Pen off. Start again with a light line curving down to the base of the first stroke. Keep the counter shape true always (slightly wider at the top than at the bottom, which reflects the shape of the link line) and keep the shading to the outside.

                            Letter c is an incomplete letter o. Return to place the upper terminal dot — keep the dot dainty . The e starts as in letter c . Then return to the top and apply a very little shade to the outside of the right-hand line before it turns completely under to meet the downstroke at midway.— making an “appleseed” shaped counter This very slight shading helps to lessen the lack of weight in that portion of the letter.

                            The letter a is made as an o with a letter i striking down the right side, whilst d is an a with a full ascender.

                            Letter g is letter a again, but this time terminating in a loop. In making that loop, as the descender goes below the baseline, and after it reaches the midway down point, start slacking off the pressure as you curve to the left. Make the descender’s bottom limit at about mid letter-width. Return to the mid x-height point on the next slope line. Pull down a fine line in a shallow snaking shape, applying a slight pressure to the eoutside of the final curve before tucking under. It echoes that in the letter e , for the same reason. Note that slender “apple-seed” counter shape and aim for that in all descender loops.

                            The descender of the q curves quickly to the right and the joining line comes down quite steeply.

                            Check your criteria:
                             the paper should be tilted so that the slopeline is pointing towards your body;
                             all pen strokes are pulled and made moving towards your body;
                             shaded downstrokes must keep to the letter slope;;
                             the pressure on these downstrokes should remain consistent;
                             start and stop ends of pressure downstrokes must be squared off;
                             in curved letters, the counter is slightly narrower at the bottom;
                             in curved letters, shading should not encroach into the counter;
                             in curved letters, shading must be applied to the outside of the stroke;
                             the pressure on curved downstrokes should be slightly greater in the central third portion;
                             move smoothly from the waistline before any pressure is applied;
                             pressure must be eased off completely before meeting the baseline;
                             slopelines are used as an aid to inter-letter spacing;
                             regular spacing enhances the overall appearance of the work;
                             an adjustment in steepness is needed in some letter connections.

                            You have now met and used just about all of the strokes that are used in this pulled-stroke method. There is little else to learn !

                            Post to me the two words quote and cadge , plus one word of your own.

                            Success is a Journey
                            #515503

                            Salman — what can I say? I wish that I could clain them as mine !!!

                            The negative spacing is superb, giving a beautiful regulairty in the strokes. There is also a lovely consistency in the shades. Good control and fine sense of rhythm. Conratulations

                            Geoff

                            Wow – thank you Geoff. The credit goes to your excellent instructions that brought my month long practice and the desire to learn together.

                            I hope to maintain a good level for future lessons.

                            Regards,
                            Salman

                            Those who say it can't be done should get out of the way of those doing it.

                            My Blog
                            #515504

                            Here’s lesson 3. I had some trouble getting the ovals wider at the top, I tended to make them uniform top to bottom. Here’s what I have managed so far:

                            The bleeding issue is still there even though I’ve been leaving the printed pages out to dry overnight or more before using them. I’ll have to revert to pencil drawn lines if I can’t get rid of the problem :-(

                            Salman

                            Those who say it can't be done should get out of the way of those doing it.

                            My Blog
                            #515481
                            dgford
                            Default

                                Salman, have you tried dusting your paper with gum sandarac? I find that it makes particularly good crisp strokes and may prevent your ink from bleeding into the printed line.

                                Two points that you will need to watch carefully — (1) the crossbar on your t is a little too high and (2) the counter of your letter e is a too full— look at how directly I bring the stroke in my letter down to the midpoint whereas youis is quite fully curved. Make the “appleseed” a little slimmer.

                                The fuller counter top of this letter c I think is more attractive than the slimmer one you were using previously.

                                Try the words teenage , checkout amd picture

                                Geoff

                                Success is a Journey
                                #515505

                                Geoff – I’ll see if I can get some gun sandarac, don’t have any at the moment. I read somewhere that hairspray helps with this too but don’t have any of that either :-)

                                I can see the rounder counter of the ‘e’ now that you mention it. I was too intent on making the appleseed uniform.

                                I fully agree with your comment on the ‘c’ – the slimmer counter top didn’t add enough weight to that part of the letter to balance the shade on the left. Thanks for pointing this out, I wouldn’t have realized the significance of this if you hadn’t mentioned it.

                                Regards,
                                Salman

                                Those who say it can't be done should get out of the way of those doing it.

                                My Blog
                                #515482
                                dgford
                                Default

                                    COPPERPLATE – PULLED
                                    LESSON 4.

                                    The letter y starts with an up-sweeping entry stroke and continues as in the u but moves down into a loop, made just as you did in g .

                                    Letter z begins with an entry stroke, curves very quickly over the top, has the pressure applied quite quickly so that it has a fraction more weight above the mid x-height, and aims to meet the baseline over to the left. How far? Look at the full width from beginning of the entry stroke and\straight across to the outside of the thick stroke, from the midpoint of that width come down at the correct slope to the baseline — that’s the spot ! Then move immediately a short distance up to the right, over quickly and down into a loop.

                                    The next letter, x looks like an inverted c with a thin-stroked c to its right. It is — with the left edge of the thick stroke at the correct slope. The dots must not exceed the greatest width of the downstroke.

                                    The s is a very graceful letter and worth taking care with the making of it. Sweep up in a shallow curve from the bottom left corner to the top right — in other words, a full width. Go to just above the waistline,and make a gentle pressure down the slopeline but easing off by the time you reach the waistline. Continue on vertically downward increasing the pressure to the full width within the middle third and then easing off as you move under and to the left, to meet the baseline. That meeting place is at the correct slope down from the top point. It is usual for the dot to just touch the right side of the upstroke and not creep over it.

                                    Post to me the words six dozen today.

                                    LESSON 4
                                    Here are the final letters of the cursive method of writing copperplate.

                                    The y , z , x and s you have met before. Just take sweet care with the counters in those descenders !

                                    Letter v starts just like the y but finishes as in the b . The w is written as a u and finishing as a v does. The letter x is made as two of c with the first inverted and having the shading and the second upright but with simple line.

                                    The letter k looks as though it’s going to be an h but on the way down it nips in to make a little horizontal loop. A tiny bit more weight to the outsides of these two parts of the downstroke helps to give them a little more strength.

                                    The next letter, f , has the longest stroke for you to tackle. Make the curving start at the top, keep your eyes ahead of your pen and note where you are going towards, pull it down at the correct slope, square it off — and you are done !! Make the top loop but don’t make it extravagant. Finish by making the little curving upstroke to the left to the waistline followed by the sweeping down to the right into a linking line. Look at it with all its anomalies — the longest stroke of any letter, a loop at the top, a loop that goes to the left, a linking stroke that begins by going to the left before it changes its mind and then decides to do the right thing and move to the right !!!

                                    Write the following words and post to me.

                                    An alternative letter k has been shown in the above example. — use whichever you prefer.

                                    Sometimes this style is written with ascenders and descenders made much longer — up to twice as long. Here is an example of them made twice as long. If you like it then why not use it in future? But if you are a bit shaky making the letter f remember that it will stretch the distance from the top of the h to the bottom of the y ! Maybe you would prefer to make them one-and-a-half tines the x-height — whatever you choose, keep them consistent.

                                    The next lesson will present a simple set of majuscules.

                                    Success is a Journey
                                    #515506

                                    I have been trying but am very frustrated right now. I seem to have lost the ability to control the pen and can’t even make simple loops with any consistency! I have decided to give it a rest for a few days (today is rest day no. 2) and see if I can make a comeback with some degree of control.

                                    Salman

                                    Those who say it can't be done should get out of the way of those doing it.

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