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Topics - Daniel Mastrofski

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1
Open Flourish | General Discussion / Guideline Generator for ProCreate?
« on: January 29, 2022, 04:37:37 AM »
Hello again FF :)

I have been learning how to use Procreate and just love it.
Can anyone please help with a suggestion...I am having a hard time finding
a generator to make copperplate guidelines that are compatible with ProCreate.


Thank you for any suggestions!!

2
Eye-popping typeface from the titles in the 1986 classic “Peggy Sue Got Married”. 
A friend of mine was asking me what that “font” is called. 
The best I could say was a mid-century copperplate variant that you would see on old
Appliances, cars, advertisements etc.  the type features non-connecting ligatures and some touches of
Italic.  Clearly the slant is more upright than copperplate at 75 degrees and the miniscules are a bit more squat.   Take a look! Can anyone anyone add any info about this style?
 http://annyas.com/screenshots/updates/peggy-sue-got-married-1986-francis-ford-coppola/


3
Open Flourish | General Discussion / French Roundhand Exemplars?
« on: June 03, 2019, 08:12:35 PM »
Been way too long since I've posted here.

Lately I've been so addicted to French RH.  The first exemplar came from The Zanerian Manual (1924),
the others i just found via google image.

Does anyone know where to look for more exemplars of French RH?  Would love to see!


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Open Flourish | General Discussion / Magna Carta discussion
« on: March 05, 2018, 08:12:30 PM »
I've been pouring over many different copies of The Magna Carta.
I'm going to assume everyone here knows the background of the document.
I was hoping some of the experts here at FF could give us some stories
about the hand that was used.  There were four original copies, only one
is known to survive since 1215.

Here is a link to the original that you can really zoom in on and inspect.
Iron gall ink on parchment!

https://en.wikipedia.org/wiki/Magna_Carta#/media/File:Magna_Carta_(British_Library_Cotton_MS_Augustus_II.106).jpg



This second example (below) is a much finer exemplar of penmanship but I am not sure of it's date. 
Perhaps the experts may chime in and let us know.

Cheers!





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Copperplate, Engrosser's Script, Roundhand Calligraphy / Best Numerals ??
« on: January 22, 2018, 06:54:27 PM »
One thing for certain about roundhand/engrosser's is that the numerals have
a an undeniable beauty.  Was hoping to see some fantastic exemplars if anyone
has a few to share?

6
Open Flourish | General Discussion / What Script are you married to?
« on: December 12, 2017, 07:20:21 PM »
What's up FF People?  I've been hard at work and can't say enough about how much I love
penmanship & calligraphy.  I have completed two years of rather devout studying and I feel
I am only getting close to starting up with the real good stuff.  After this time period I feel myself
gravitating towards putting most of my efforts into learning the absolute fundamentals of English Roundhand &
Engrosser's Script.  I have dabbled in many broad and pointed hands but none has given me as much
challenge and satisfaction than the aforementioned. 

Was wondering what all of your personal favorite script family is and why?

funny enough i decided to begin this thread because I am feeling slightly guilty and sort of missing
some of my favorite broad-edge scripts due to my study of ER & ES.  Does anyone ever feel like they
are neglecting old favorites?  lol....


Cheers!

7
Open Flourish | General Discussion / Guideline usage of The Masters?
« on: November 28, 2017, 09:56:41 PM »
After going through all the excercises of Lupfer, Brown, Zaner, Bloser etc...
I often ponder to what level these masters used the 52-55 degree angle guideline
In their excercises and or commissions.  If they did use this guideline how many slants did thr throw in there? One for every letterwidth or just a few here and there?  There is not much to any reference of the slant guides in these old school manuals, although they do stress the importance of baseline guides.   Food for thought here?

8
Brush Calligraphy / Life expectancy of a Brushpen?
« on: September 18, 2017, 02:53:25 PM »
I am somewhat new to the brush world.
Having a fantastic time getting to know the Kuretake Fude8.
Just curious what the life expectancy of the pen is?
Can anyone run me through what to look for, when it is time to order a new one?

9
Brush Calligraphy / Kuretake Fude8 ink
« on: August 12, 2017, 03:24:28 PM »
Just exploring the wonders of Kuretake Fude8 brush pen!
It came highly recommended by Paul Antonio for Copperplate lettering!

My question to the brush experts here is while I can order refill cartridges,
is there a problem with loading various inks into the pen? My thrifty side
is tempted to just syringe-load empty cartridges like I do with my Pilot Parallels.

Thanks!

10
Open Flourish | General Discussion / Kurrent Font
« on: August 05, 2017, 04:27:14 PM »
Does anyone here at FF have any experience in writing this old German 18th Century Kurrent?
Would love to start learning this one!

@Estefa Can you shed any light on kurrent?


11
Open Flourish | General Discussion / Rhapsodie Font
« on: August 02, 2017, 05:14:37 PM »
I have always loved this rather modern and legible gothic font that everyone calls Rhapsodie.
I get this feeling it has its origins from the pen of Rudolf Koch but maybe someone here
at Flourish can shed more light on this? @Ken Fraser ?

12
I know this convo hasn't been awakened for a while so I thought I'd add a few thoughts.

I use a straight holder for Copperplate and only use oblique for Spencerian/Ornamental Penmanship.
It's not that I can't use the oblique for Copperplate but there is one point no one mentioned in past threads
which Paul Antonio stressed greatly in his vimeo video from 5 years back.

Essentially the angle the nib in an oblique is much lower to the paper,
much flatter vs a straight holder.  This effects how easily the tines will spread and with this
it is less forgiving when it comes to controlling the uniformity of the line. 

Copperplate has less fat lines than a weighted Spencerian stroke; it is more uniform
in width.  It's no surprise with such fat strokes that ornamental penmanship & spencerian
have such support from the oblique holder.  With a straight holder the angle of the point
of the nib is at a much higher degree which makes copperplate much easier to control the tines
in Copperplate. 

Another point Paul makes is that the ligatures between the two scripts require different
angle of the nib in order to avoid catching the tines.  Oblique holders tines catch so much
easier on a copperplate ligature because the angle of the nib is too low and a Copperplate ligature
has an upward motion to it.  Straight holders tend to promote less catching on Copperplate ligatures
all-together (at least in my experience)


Another point which I don't understand entirely which Paul made was that oblique holders
tend to shift the text closer to a 60 degree angle on the right hand of the page.  Very interesting
and I will contemplate that further until I understand.

We've heard the arguments about the strokes in F, T & Q; however those can be worked
around by either turning  your paper if you are an oblique user or turning your straight holder
to achieve the same effect.

Clearly it's up to the individual which holder works best for them.
My only issue with oblique and copperlate is the uniformity;the tines spread too easily,
the tines catch on ligatures because the angle is too low. Flourishing is way easier with
a straight holder in almost all regards.

Spencerian? Bring on the oblique!

Point being is that Spencerian & Copperplate are ENTIRELY two different scripts in so many ways!




13
Question for any expert practitioners of these two scripts:

Having gone through several Zanerian manuals, the instruction for Engraver's is to lift
the pen at the baseline before making your ligatures.  After getting this info pushed on me
Joe Vitolo and much to my delight it made such a huge difference in the quality of my Engraver's
that I also wonder is this lift also instructed by the masters of Copperplate?
I am a big follower of Paul Antonio online and I can't tell if he is just doing some speed writing in his videos or if when he has a commission does he use lifts on the baseline for copperplate as well?

It seems everyone employs a different technique here and I will just have to follow what gives me the best result but I'd be happy to hear what the practitioners of copperplate here think. 

Cheers!


14
Open Flourish | General Discussion / Painful Penman's Thumb
« on: June 06, 2017, 12:37:54 PM »
still within my first two years of calligraphy and need some advice about
sore joints in my right thumb (i am a right hander).
More specifically since I took up copperplate & spencerian about a year ago,
 a whole new ache appeared.  both joints in my thumb have become super
sensitive and the slightest bump or twist will give me reason to put it on ice.
I use a Triflora gel that is used to reduce swelling in arthritis.

Just wanted to hear anyone else who can share stories & remedies for these
pains.  It's not so much when I am in the act of calligraphy that it hurts but
afterwards.  If i lay off the scribing for a day or two generally the pain goes
away, until i jam my thumb or it gets twisted in a funny way.

my instinct tells me i have arthritis.  i am age 39 and all this is a bit new to
me.   any thoughts???

thanks!

15
Broad Edge Pen Calligraphy / Hairline tails advice.
« on: March 31, 2017, 06:48:41 PM »
Looking for some sound advice on achieving hairline tails with broad nib.
I am no longer a beginner with broad nib work but this one is phasing me.
My hunches are telling me this may be an ink problem.

I am currently using higgins eternal.  On all of my broad nibs (speedball, mitchell & brause)
i am having a hard time getting hairlines on my tails such as "t" or "h".  The desired effect is shown in my attached exemplars.
After dipping i do lay a few strokes on a scratch paper to get rid of any blobs but still to no avail.
I've noticed the less ink loaded on the nib the better the nib performs a tail.
I am well-versed in using the corner of the nib to get a hairline...so, i don't think it's so much in the technique but in the ink.
Gum arabic needed here?

Just wondering if anyone can make any suggestions here.  Wasn't sure if my ink needs a few drops of water
or something else?  any advice is appreciated! 

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