Hello Unscripted! You mentioned Copperplate drills, so I'll reply based on that. Still working on my Copperplate, though, but I've been using pointed nibs with a modern style for quite some time now.
Are we supposed to press hard on the downstrokes such that the tines expand to their max? I’ve seen some videos and some calligraphers seem to press so hard while others don’t. The result’s always decent though.
During a Copperplate class with Eleanor Winters, she told me that my swells using the Nikko G were too thick, and advised me to lessen the pressure.
If you find a holy grail nib that you’re happy with, do you still search on for new nibs? I’m excited about receiving new nibs I ordered, but at the same time I’m wondering what will happen to the rest of my nibs once I find one I love working with (if I do! *fingers crossed*).
I have an obsession for nibs, looking for and purchasing ones that I think might be nice to use. But I have my go-to nibs kept in a tin for both professional and personal works. So you're not alone on that one!Besides good letter form, what else would make you say one piece of copperplate calligraphy is better than another? I think spacing between letters is one factor, but I’m not sure whether to strive for tight or loose, or does it not matter as long as it’s even?
Good composition and legibility is always a factor for me. Copperplate is a pretty strict hand, and it takes a lot of practice! You can never go too loose or too squished on Copperplate. For a modern style though, it doesn't matter if it's tight or loose but I personally think that the same rule applies – composition and legibility is very important. 'Pretty' writing won't mean anything if no one can read it, right?