Hi, all. In the interest of spreading the joy of calligraphy, I'll start posting periodic tips. Links will be mailed directly to members of the Inland Empire/Pomona Valley regional group of the Society for Calligraphy (southern California) and to my students. Anyone is welcome to follow this blog to receive notifications.
A couple years ago, I volunteered to fill in certificates for my mom's church. In the past, I had experienced writing on envelopes where the ink bled, but that was usually remedied by using sumi ink or gouache. The paper used for these certificates and envelopes turned out to be the absolute worst!
I lettered the first batch of certificates in italic. I tried various types of ink with a broad-edged dip pen--sumi, Higgins Eternal, dark walnut, gouache, among others--they all bled. I tried a Manuscript cartridge pen--I prefer dip pens, but these pens usually work on most papers--it also bled on this paper. Finally, I tried a calligraphy marker, which usually works on any paper--even that bled!
I have developed various solutions, which I'll share below.
I spray the certificate pages with Krylon Workable Fixative. You don't want to do this inside--the fumes will make you sick! I lay them on newspaper outside, then spray a light coat. After allowing them to dry for at least 15 minutes, I give them another light coat, then let them dry for at least a couple hours.
For the past several batches I have had good results with writing in English Roundhand (aka Copperplate), using McAffery's Penman's ink (purchased from John Neal Bookseller, or Paper and Ink Arts).
Recently, I've used up my black Penman's ink and will reorder soon--it's a good one for pointed pen users to have on hand. Let it suffice to say that I am currently trying to reduce my stock of probably 50+ bottles of various inks. (Newbies, take my advice and don't accumulate so many--some go bad, but even if they don't, they take up too much space and you have to search for what you need! Just keep your favorites on hand and maybe one or two others you want to try). For this batch, I chose Chinese charcoal ink, similar to sumi. It was thick, so I dipped the pen lightly into water before dipping into the ink. This bled, despite the workable fixative! So, it was time to get out the powdered gum sandarac. This often comes conveniently packaged in a little cloth bundle, as shown in the photo.
I took the bundle and lightly "pounded" it across the writing area--the light-colored particles were visible upon close inspection. Then I rubbed the bundle across the surface a few times, to work the particles into the fibers and ensure they were evenly distributed. I lightly blew to remove excess. That took care of the problem, as long as I wasn't too heavy-handed with the ink, which is the goal, anyway!
If you have any questions about this post or other lettering topics, feel free to post a comment. I hope to never stop learning, so any suggested improvements in my procedures or posts are appreciated, too. Happy writing!
One of the pieces that I drew several years ago, while in Liesbet Bouden's class at the Passionate Pen conference in Sonoma. It was just framed--I should have taken the photo before the work was covered with UV glass! Letters are drawn, gradually enlarged, refining at each step, then painted with gouache using a broad-edged nib.
We met yesterday, for the fourth gathering of our round robin journal group. There are six of us, five calligraphers and one artistic friend, Sharon, who dabbles with lettering.
I'm staying with my mom for a few weeks, while she recovers after surgery. I drove home for a few supplies, and made do with those. I do think I get more creative when faced with limited options.
This page was in Sharon's book, originally entitled Japan in a Nutshell. I choose the section, Ginkos.
I collaged the background from the insides of used security envelopes. I added accents from old green stamps; a label with "Ginko" in handwriting, rather than formal calligraphy; used postage stamps.
Watercolors were painted on the back of ginko leaves, then pressed onto drawing paper. The drawing paper didn't seem as conducive to good results as other paper I've used in the past--it was, however, good enough for my purposes. I cut them out, arranged, and collaged them. Since I didn't have my matte medium with me, I used glue stick, which doesn't always stick as well as I'd like, so stitching on my mom's Bernina was added to make this more permanent.
This was fun--I plan to do more!
Last weekend, my sister was visiting and wanted a card to take to a wedding, so I created this for her. It was done in somewhat of a rush, so I still plan to make some modifications to the lettering. She was very happy with the result.
The foliage was done with a fine point pen and watercolor. The roses and leaves were watercolored, then cut out and collaged. The blue background was created in photoshop, to add a little contrast.
Inside is the sentiment with which the This day was associated.
I created this postcard, as the first step in creating this month's Artist Trading Card exchange. The design is based on a vintage card from my collection. I was inspired to create my own version by a contest featured in the latest Uppercase magazine. I didn't enter--too busy, at the time, but better late than never, to try it! This was lots of fun and great review of Photoshop concepts. And, of course, I incorporated the brush lettering that I teach.
I will experiment more, as there are still a couple things that I want to improve, but as a whole, I'm very happy with the way this turned out.
The image in the lower right-hand corner, features our late, pet ground squirrel, Suzy, when she was a baby. She trusted us completely and we loved her completely.