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Tools & Supplies / Re: Oblique Holder for Business Writing?
« Last post by AAAndrew on Today at 11:03:17 AM »
Just to throw in a word for the oblique pen (nib). While, historically, oblique holders were relatively rare, more common were oblique pens.

Below I've posted a photo of an oblique gold pen dating from the 1850's, and labeled as "Spencerian Pen." It was made in Detroit, MI by C. Piquette, a jeweler and gold pen maker. This is a shape that follows the original Mordant patent I mentioned above.

In my proposed glossary for pen shapes out on my site (https://thesteelpen.com/2018/12/07/pen-shapes-a-proposed-glossary/) I suggest four specific types of oblique pens: Spear Oblique, Mordant Oblique, Elbow Oblique, Oblique Tip. A picture of all four types can be found below.

What's interesting to note is that many oblique pens are not set at quite so steep an angle as many modern oblique holders. This says that either the slope of the letters was different, or that the straight holder was held at an angle already (probably through rotating the paper) and didn't need quite as much angle from the pen.

I don't think anyone today makes oblique pens, but you can still find vintage ones, occasionally, for sale. They are not nearly as common as many other straight pens, but they do exist.
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Ornate majuscule P written with an oblique penholder in a tripod (triangular) handhold: copied from an historical, 18th century source.
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Copperplate, Engrosser's Script, Roundhand Calligraphy / Imitation money
« Last post by Ken Fraser on June 13, 2021, 04:57:25 PM »
These imitation notes were for the Justerini & Brooks casino.
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Design & Layout / Re: Guideline alternatives...
« Last post by jeanwilson on June 13, 2021, 12:34:58 PM »
I posted some photos and tips on my blog.
Good luck with your project.

https://pushingtheenvelopes.blogspot.com/2021/06/extra-post-regular-daily-post-is-below.html
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Design & Layout / Re: Guideline alternatives...
« Last post by jeanwilson on June 13, 2021, 07:09:17 AM »
Yes, I do have a method for writing in a book.
It will be easier to explain with some photos - so, I'll post a response later today.
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Design & Layout / Re: Guideline alternatives...
« Last post by Erica McPhee on June 13, 2021, 02:29:23 AM »
This kind of job always stressed me out. Some like to do the writing on a separate piece and then “tip in” the paper using photo corners or double sided tape (archival).

If you are OK with writing right in the book, you could try a phantom liner which reflects the guidelines onto the paper. Good luck!

@jeanwilson Didn’t someone ask about something similar recently?
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It has the perfect charm!  :)
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Thank you Ken! Very good point regarding legibility and especially when done for reproduction. Good to keep in mind for future work.  ;D
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Calligraphy Guilds / Re: Idaho, Boise Inkspots Guild
« Last post by Janna Mauldin Heiner on June 12, 2021, 08:21:47 PM »
I think the location needs an update, though I let my membership lapse because pandemic and life, and am just now thinking of getting back to it.  But I believe we now meet at VineArts:
4902 W Chinden Blvd, Garden City
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Design & Layout / Guideline alternatives...
« Last post by Janna Mauldin Heiner on June 12, 2021, 05:11:27 PM »
Hi!

I'm not a professional calligrapher. I'm a semi-skilled amateur with decades of off-and-on practice behind me. But I was just handed the most amazing project, and with one small exception, it's perfectly suited to my skills and abilities.  It's a book inscription--but the book is a massive leatherbound tome with a tooled cover, inset stones, pivoting latches down the side...oohhhh, it's so beautiful.....and the inscription is a poem that's Wiccan in tone and spellbook-themed, so perfectly elegant copperplate would be out of place and my half-elegant efforts will be perfect!

Anyway, here's the problem.  The book is bound in multiple signatures and is over 1.5" thick.  The paper is fairly thick and slightly toothy and so soft I honestly thought it wouldn't take ink well, but the client had an extra sheet for me to test on, and the ink laid down without feathering or starring, with nice hairlines even.  However...I can't figure out how to manage the guidelines.  I'm almost certain that putting my lightboard inside the book and under the page I need to work on will be a bad idea--I'm super nervous of damaging this gorgeous volume.  But I tested my finest eraser on the same sample page I tested the ink on, and while erasing doesn't create a visible roughed-up area, it does pull fibers from this soft paper. 

How would you handle something like this?  Any tested methods, best practices, or crazy ideas?

Thx
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