Monday, May 25, 2009
Saturday, May 23, 2009
Tuesday May 19 Westchester
Westchester Tuesday, May 19, 2009
It is a pleasure to come into class and listen to “Mozart” and write pretty copperplate writing. We wrote on color paper with gouache, watercolor or ink. Everyone is working on a poem using the small (1/8th inch) guidelines. Most copperplate is written at this small size. The large writing is usually for embellishment, titles or flyers, otherwise most is written very small.
We learned how to paint flowers last week that are “dot” flowers originated by Etchie Mura at the County of Los Angeles Graphic Arts. We incorporated these flowers into the design of the piece.
The roman capital people also combined these flowers into their graphite pencil pieces. The result of the graphite and watercolor was stunning!
This week we critiqued the pieces from last week and I used some of the work to demonstrate how to add leaves and other embellishments to enhance the designs. Wow, some were really gorgeous! I wish I could figure out how to up load the pictures so you could see them. The homework is to create pieces of artwork with good materials, writing text on good paper. Remember, this kind of practice is a “Rehearsal” for the performance. So you want to work with the same materials that you would use for the “real” thing. And if it turns out well it could “be” the original finished piece.
Copper Plate Course
Class of Copperplate for May 18, 2009 at Beverly Hills.
Today DeAnn covered writing with watercolor and decorative capitals and addressing envelopes in fun ways.
Decorative Capitals: look at the handouts of different styles of capitals. For the primary stem stroke and terminal dot, envision an oval in the curve.
The flourish of the capital should be at least as wide as the distance to the terminal dot on the left (e.g. T). Don’t finish the flourish close to the primary stem stroke, it creates a dark area. Most of the letters are pretty skinny, it’s the flourishing and slant that make them wide (e.g. the space within the H isn’t wide).
Analyze the decorative aspect of a capital. For example, on a T, the primary stem stroke and the horizontal cross bar are the main elements of the letter. The terminal dot and flourish on the cross bar are decorative. So you can create your own flourishes in these areas. Think of slant, thicks & thins, ovals, figure 8s, circles, proportion. A more interesting flourish than two ovals within each other (a spiral-like shape) are ovals on different axes (more of a pretzel-shape).
Be careful of where you end the flourish – instead of finishing the stroke so that it points outward, finish the flourish so that it points back into the direction of the letter. This draws your eye back into the letter, not away into space.
Be aware of overlapping flourishing – the top & bottom can overlap but should not create a dark spot or be too busy.
TIP: Cross with thin over thick but NEVER thick over thick.
Be careful how wide you make the flourish on the right side of the capital – the rest of the word needs to be written there.
Another flourish accent is the carrot – set, press & release.
Remember: Flourishes should be BIG!
Writing with Prang watercolors: 2 water containers (1 for dirty, 1 for clean); Royal #3 brush, rag. Put a few drops into the watercolor pans to soften them. Load brush with color and put into a clean palette space; add water to ink consistency. If you use the watercolor pan itself as the palette, the ink will get thicker and thicker.
Feed pen nib with brush away from your work, not over it, to avoid splatter. Initially, brush color on top and bottom of nib. Then feed by just brushing the top of the nib. Hold the envelope or paper with your left hand holding the brush pointing away from the work.
For envelopes, pull the flap out so that it’s easy to tell which way is right-side up.
Start with one color and add a 2nd color to the nib before the first one is completely gone so it blends. When switching colors on your brush, first rinse it in the “dirty” cup, then in the “clean” cup. Wipe off excess ink or water on rag. Be careful of colors on opposite sides of the color wheel (e.g. red & green), the blend may be brown/gray. This look can be organic though.
If the color changes too abruptly, go back and touch some of the 1st color into the still-wet strokes for a smoother transition. As long as it’s still wet, the color will continue to migrate out.
Tip: Red-violet and yellow-orange make a good combo
When addressing envelopes with copperplate & watercolor, look at the overall look to do your flourishing. Try to balance top and bottom.
Ergonomic Tip: if your shoulders ache from writing, try writing at a slant with a board against the table so your shoulders are relaxed. Write at table-level to keep your shoulder from becoming raised.
Reminder: no class next week, 5/25, Memorial Day)
Homework: Look at all the capitals handouts & put a check mark next to the ones you like. Practice those. Then make an exemplar of all the capitals you like so they’ll be on hand when you need them. Practice with the medium guidelines and small guidelines. Write out text on the small guide (1/8” x-height with 2-1-2 ratio). DeAnn uses the 1/8”, 2-1-2 ratio size the most.
Nibs for writing small: EF 66 (very sharp but also very flexible, so use very light pressure); Hiro 40 (blue pumpkin); Gillot 303 (also very flexible so use light pressure); Gillot 1068 (sharp but stiff); Mitchell Copperplate
Wednesday, May 13, 2009
Class Schedule
DeAnn Singh
Designing Letters
4032 Marcasel Ave, LA. 90066
DeAnnSinghCalligraphy.blogspot.com
Continuing Studies
(All Levels Welcome)
Stampin’ from the Heart
(Rubberstamp store)
11720 Washington Place
LA CA 90066 310-391-0466
Beginning and continuing studies.
For info and exact dates see
Begin Sept. 23, 2009 Usually Wed nights
except for 3rd week of each month when it’s held on Thursday night.
Classes are $20 per class with a minimum
commitment of 6 weeks. You can pay for as many classes as you would like to commit to up to 10 classes. This class is considered “guided studies” so you can learn at your own rate. I will teach the letterform and give assignments and correct homework. Choose the subject and the project.
12 students maximum
Contact the store at 310-391-0466
Private classes
Located at my home studio
$35 per hr–learn at your own pace.
See my website for more details:
Beverly Hills Adult School
701 Whittier Dr, Beverly Hills
310-551-5150
Summer Class Journal your vacations and Special Events
Call or go online to register for this 2 session class. See advertisement for this class in last entry. June 29, 10-2pm and July 6 10-2pm.
Fall semester begins
September 14, 2009 10 weeks
Intermediate & Beginners
Subject to be determined
Emerson Adult Learning Center
8810 Emerson Ave.,
Westchester, 310-258-2000
A new system is in place at Westchester.
The classes will be 6-8 weeks long with a determined subject and letterform. You will pay for each session separately. Subjects and tuition will be posted on my website. It’s an exciting new time for LA unified School District.
May 11, 2009 Materials and Media
Class of Copperplate for May 11, 2009 at Beverly Hills.
Today we experimented with different inks on different papers. Types of ink used: Daler Rowney Pearlescent, FW Acrylic Artists Ink, Dr. Ph Martin Spectralite, Calli, Pelikan 4001, Rotring Artist Color Opaque. Use different nibs to write on papers with different textures. Label nib & ink on each writing sample and record observations. For example:
Shiny paper: may need sharp nib
Textured paper: need smooth nib
Using Colored Inks:
1. Stir bottle with end of pen holder
2. Put some ink into your inkwell with a pipette
3. 1/2 Vermillion with 6 drops of Higgins Eternal = sepia (brown)
DeAnn gave us each an antique pre-World War II nib, either the Hunt 56 (similar to Gillot 404), Hunt 22 (similar to Gillot 303), or Hunt 30EF.
Observations:
1. Sharp nib needed for shiny paper.
2. Sharp nib not good for rough paper.
3. Sharp nib makes better thins.
4. Sharp nib makes better thin/thick contrast.
5. Dull nib better for rough paper.
6. Dull nib not good for shiny or plate finish paper.
7. Dull nib needs more pressure on down strokes to get contrast between thick & thin.
8. Flexible nib better for large writing.
9. Stiff nib better for small writing (some exceptions) 303, EF66
10. Stiff nibs can write faster (1068)
11. EF66 best for BIG writing
12. EF66 & 303 write small very well. Keep pressure very light.
13. Pearlescent – good for copperplate; Calli – bad; Vermillion Yasutomo – good; Black Yasutomo – fair; Higgins Eternal with gum Arabic – fair; Pelikan 4001 – bad;
Types of nibs (with Gillot 404 as the standard of medium flexible, medium sharp):
Dull: Hiro 41, Gillot 1068
Sharp: Hiro 40 (Blue Pumpkin), Gillot 303, Brause EF66
Flexible: Gillot 303, EF66, Hiro 40
Stiff: Gillot 1068, Mitchell Copperplate, Hiro 41
DeAnn likes the Mitchell Copperplate nib because it’s sharp and strong, and lasts a long time.
Waterproof inks: FW, Calli, Ph Martin
Homework for this week: Try to write on all the papers with all the nibs; record your observations on what works & doesn’t work. Then, write with the small guide (1/8” x-height). Try the sepia ink. Suggestion: write song lyrics or poetry to get a mix of uppercase & lowercase.
Beverly Hills Adult School
Summer Registration
Journal your vacation or special events
Have you ever wanted to journal some of your vacations or special events? I’ll show you what I use and how to draw and write what you see. You don’t have to draw very well to do journaling. We will use some drawing, painting, collage, and other interesting techniques to add to your pages. Call the school to register and get material list. Or go to designingletters.com
2 four hour classes
Monday June 29 and July 6th
10-2pm 10-2pm 4 hour class
Journal your vacation or special events
In two 4 hour classes, we will learn enough to get started on our journals. If you already journal we can work on improvements or just get new ideas to make it better. We will schedule some classes later to continue improving your journaling skills such as; mixing colors, how to draw what you see, how to draw quickly and polishing-up your illustration techniques.
Materials needed:
1.Fanny pack
2.Small watercolor set that is meant for outdoor painting.
There are many brands, some are as cheap as $16. They generally come with a pointed watercolor brush. I use a Windsor and Newton Cotman set with 12 colors. If a brush is not included bring a Windsor and Newton Series 707 size #3 sable brush.
3. Small jar,
1 oz. size, something like a little honey jar or jelly jar from a restaurant. This needs to be water-tight. Put into a small zip lock bag till you know for sure if it’s water-tight.
4. Small container with water (1oz.)
5. Journal that will fit into fanny pack.
I like a 5x7 with black hard cover and spiral bound. It usually has paper suitable for sketching but will take watercolor. Canson and Strathmore make journals. Bring what you have and we’ll see what works best.
A waterproof fine tip black pen. I use Zig Millenium black .01 pen or Micron Pigma .01
A mechanical pencil that the lead can be retracted to keep a tip. It can be HB or 2H lead.
Small blunt tip scissors
Glue stick
I will show a photo of materials on my website designingletters.com so you can see what everything looks like. I will post some pictures of journaling examples on the website or on my blog site: DeAnnSinghCalligraphy.blogspot.com. The blog will have current and up-to-the-minute information.
I will put pictures of materials
Tuesday, May 5, 2009
Copperplate Flourishing & design
Today at Westchester we learned how to design a piece of calligraphy. It is called a "broadside". These are the steps that you would take to develope a page of calligraphy.
- Thumbnail sketch. Vertical or horizontal format of your paper.
- Comp., Dummy or Model. This is where you write the text out on the good paper, good ink or paint and cut it up and tape it to a page the correct size. This way you can write it many times and pick the best parts and combine them on a page. You can tape up the illustrations or large illuminated letter or other elements to the page. Make all the measurements and note them onto the page. Get all the details worked out on this step.
- Finished piece. When you line up the paper, line at least 2. This way if you make a mistake you can easily move on to the next sheet without breaking your rhythm.
REMEMBER THE PRACTICE YOU DO IS THE "REHEARSAL" FOR THE PERFORMANCE. So rehearse with the same materials and paints and determination. This will determine how the performance will be.
The finished page will be in paint; gouache, watercolor, or ink. The initial capital will be much bigger and decorated with a choice of techniques to embellish the letter. You will most likely need to line the paper. We are going to use 140 lb. hot pressed watercolor paper. This paper is easy to work with and you can correct mistakes, or write on the other side if needed.
We learned how to flourish within the text itself and around the text. We will be working on this project for a couple of weeks. I suggested that you use song lyrics for text because it's easier to get a rhythm with words that you already know and don't have to look back and forth to a book with words.
Margorie brought some samples of books and decorated papers to share with us. Metallics and rubberstamped images inspired many students to make a completed piece.
The Roman people are working on pencil capitals. Margorie made 2 very nice pieces on black paper with color pencils. She wrote first with white then went over it with color pencil. and added a little color to the text. She drew a little illustration in white that enhanced the design.
Francine has a piece that she's been working on that she xeroxed and played with placement on the page and background enhancement. She found that just having more white space around the words made it look better all the way around. She added illustration to her original and didn't like it as well as the mock up. We suggested that she smooth out the watercolor so it didn't have the "straw-ation" that she had as yet. Also, she needed to darken the lettering that has the illustration behind it.
Gail has a piece that is nearly done with the name in large writing stacked on the left with text on the right. The author is set on the left, letter-spaced, oriented from bottom to top and she has added gold dots between letters. Nice touch. I'll learn how to upload pics and post them.
Monday, May 4, 2009
Copperplate Capital Lesson
Class of Copperplate for May 4, 2009 at Beverly Hills. By Judy Shibata
Today we learned how to write the capitals.
First, some things to be aware of from reviewing the homework:
1. You want a nice triangle space from the #7 stroke to the #8 stroke within a letter
2. The #8 should be more hotdog-shaped than hamburger-shaped; think Oval.
3. Don’t overlap the #8 stroke and the #3 stroke, for example in the “a”. Even if the strokes don’t touch, our eye will make the connection.
4. Tricky letter connections: “we”, “ve”, “ow”, “of”
5. Remember to jog over for the #5 stroke; you want a definite white-space in the loop (e.g. “f”)
6. #9 should be a definite dot; make a counter-clockwise oval.
7. Each stroke in the “m” should be a complete #3 stroke; don’t intersect the next stroke from the top of the arch of the first #3 stroke. You want a complete white-space.
8. Check that all your downstrokes are the same. You should be applying consistent pressure so that they’re all the same width.
9. All your white spaces should be the same. The white space inside the #8 should be the same as those in the #2, #3, and #4 strokes.
10. Remember that the #2 shape should be like a hairpin or paperclip. Don’t take the curve too soon.
One student asked what the ratio should be to write copperplate. Because the copperplate nib is not a chisel point, it doesn’t have a measurement (e.g. 1mm, etc.). Instead, the ratio is between the x-height and the ascender/descender length. The standard is 3-2-3, so if the x-height is 1/4”, then from waist to ascender would be 3/8” (also from base to descender). I would use this for envelopes and ordinary writing in copperplate. For a more elegant look, the ratio is 2-1-2. So if the x-height is 1/4”, then from waist to ascender would be 1/2”. I would use this for writing invitations or poetry because it gives me more room for flourishing. The 1-1-1 ratio, like notebook paper, is very legible and fast to write. It would look like pretty regular handwriting.
The typical slant for copperplate is a 35° slant from the vertical, which is the same as 55° from the horizontal baseline.
99% of the work I do is the size of the small guideline sheet (x-height of 1/8”). I only use the large size (x-height of 1/4”) for titles, for example. So from today, use the medium guideline (x-height of 3/16”) for your practice.
Exercise:
The capital letters are really just a bunch of flourishes. But they are also letters with their own rhythm.
To warm up, we did an exercise: Put your arm on the table. Use a pen/pencil and draw an oval on a piece of paper. In the air, wave your arm in an oval shape. Is it clockwise or counter-clockwise? On paper, draw an oval in the direction opposite from your “air-drawing.” Draw spiral shapes in both directions. Try drawing in vertical, horizontal, and diagonal axis directions. Try wide and narrow ovals.
Draw a figure-8 in the air – did you start from the left or the right? From the top or the bottom? Is it horizontal or vertical? Be aware that the direction you start from affects where the thicks and thins are. Try repeating figure-8s and altering the widths.
Draw circles in contrast to the ovals.
I recommend doodling in your spare time or when you’re on the phone – this improves the muscle memory in your hand. The goal is to get your hand to do what your brain is thinking. This improves the fluidity of your capitals. See the flourishing handout.
See the two Capitals handouts. Capitals will go all the way up to the ascender. The primary stem stroke starts at the ascender and goes down to the base. Start with no pressure, then full pressure, then no pressure, with a terminal dot. This is the thickest of all the strokes – think of it as the backbone. You decide how thick it should be. Try an oval starting at about 2 o’clock and going counter-clockwise. Practice some smaller ovals.
Tips for capitals: The flourish has to be BIG! It’s better if the flourish is way too big than too small. Connectable capitals are: A, H, J, K, M, R, U. Maybe connectable are: F, I, X, Z if it has a descender.
Homework for this week: Practice capitals. If you’re having trouble, try tracing the capital by putting the exemplar underneath your sheet. Write list words, e.g. flower names. (Go to http://www.designingletters.com, pick “About” from the main menu, then go to “About Calligraphy” and download alphabet lists for flowers, gems, cities, etc.). NEVER write all capitals side-by-side in a word.
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