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Copperplate Tutorial by SMK / Re: Copperplate Minuscules - Group 3
« Last post by NevadaDeb on Today at 02:57:17 PM »
Hi Salman,

Oh, yes! I now see those abrupt shade to hairline transitions as VERY problematic, and they are now glaring at me. I will work on those from this point on. Thank you so much for pointing that out!

And one more true story. Years ago, I was picking up a friend at the airport, who came in on a red-eye flight. It was about 3 am when we were on a pretty much deserted Detroit freeway, when I spied a billboard with John Stevens calligraphy on it. Of course, I quickly glanced in my rear view mirror, and seeing no lights behind me, I abruptly stopped the car right there in the lane to swoon over the lettering. My horrified friend screeched, “Debi, you just stopped in the middle of the freeway to look at a sign?!”  Well, of course I did. It would have even been worth a traffic ticket. I mean, John Stevens! Hahh!
Copperplate Tutorial by SMK / Re: General Feedback - Copperplate
« Last post by Salman Khattak on Today at 01:58:21 PM »

Hi Vipul - sorry for the late reply.

About the 'ss' join - the exit hairline of the 's' does indeed start a bit further to the left than in other strokes. This is an excellent observation. One can either draw the stroke a bit flatter from the point where the shaded stroke touches the base line and moving up when the stroke 'clears' the shade. Or just start the exit stroke with a bit of a gap at the base line.

Your script is very nicely controlled - especially in the transitions from hairline to shade and back in the 'o' and compound strokes. The ascenders and descenders play a big role in the overall look of a composition, especially when they are extra tall. The looped ascenders are just upside down descenders (as in the 'j' stroke) and need to be balanced around the slant guide. In the samples above the ascenders lean to the right while the descenders lean to the left - as if being blown by a gentle breeze in opposite directions.

The majuscules follow a similar rule to the minuscules in the proportions of being twice as tall (along the slant line) as they are wide. Yours are a bit too narrow. Make the middle stroke of the 'N' vertical and you will have nice proportions for that letter (you can have a slight 's' curve in that stroke but it should be balanced around the vertical).

Also, not sure if the tiny 'c' ending stroke of the 'r' works - it seems to break the flow to my eyes.

- Salman
Thank you, Salman! I'll keep working on refining those problem areas, and I'm so grateful to you for pointing them out. It helps me to focus, especially when I see so many glaring problems and don't know where to start in fixing them. You've helped immensely!

And now, for today's sharing, and a funny thing that happened on the way to the doctor's office. See my attachment!

Awesome story Debi - one could have worse things on one's mind :-)

Your lettering is very nice. You have achieved good control of all the strokes up to this point. There is one minor refinement I would suggest at this time. I see a tendency to make the transitions (from hairline to full shade and back to hairline) on the 'o' stroke to be a bit abrupt. The same thing has started to happen with the compound stroke. A slightly more gradual transition would make the script even more attractive IMO.

- Salman
Copperplate Tutorial by SMK / Re: Copperplate Minuscules - Group 3
« Last post by NevadaDeb on Today at 07:58:18 AM »
I'm totally enjoying practicing the group 3 letters!
Open Flourish | General Discussion / Re: Christmas Selection Box
« Last post by Ken Fraser on December 14, 2018, 06:46:17 PM »
Very nice, may I ask what script the White Christmas one is?

Sorry for the late reply.

It's a handwriiten version of a font called Behrensschrift.

Copperplate, Engrosser's Script, Roundhand Calligraphy / Oblique pencil
« Last post by Ken Fraser on December 14, 2018, 06:30:16 PM »
This is my version of an oblique pencil as devised by Dr Joe Vitolo on the IAMPETH site.
I have used it often as it can be very useful in studying and practicing letter forms anywhere
without the danger of ink spillage,Applying some pressure on the downstrokes can produce
some of the feeling and simulation of writing with ink. It is inexpensive and relatively easy
to construct.

Open Flourish | General Discussion / Re: Elfen Fraktur
« Last post by Erica McPhee on December 14, 2018, 01:05:38 PM »
At first I thought I was going to see a fraktur exemplar for Elves!

From this article, it states Elfen Fraktur cannot be written because of the additional changes the designer made to the font. However, you could modify it and/or draw it.

Elfen Fraktur - a monolinear Blackletter

It has its own charm in its perculiarity, yes?  :)
Open Flourish | General Discussion / Elfen Fraktur
« Last post by RD5 on December 14, 2018, 08:21:55 AM »
Can Elfen Fraktur, or a variation be written? It is described as monoline, but it certain lines are thinner. Perhaps it was written with a square Redis?
Copperplate Tutorial by SMK / Re: Copperplate Minuscules - Group 3
« Last post by NevadaDeb on December 14, 2018, 02:44:55 AM »
Practicing in between making Christmas cards. I don't see much progress since my last posts, but considering I'm not able to practice as much this close to the holiday as I'd like to, I'm happy that I'm not backsliding.
Cursive comeback?

Exciting news!  Atrocious grammar in that article though.  I also desperately want that pencil sharpened...

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