IAMPETH virtual Nov. 2022: Wrap-up

[tiffany.c.a]

IAMPETH had their second virtual conference. It was a great event. All of the demos were well done and very interesting. Teachers were all on hand for a live Q&A after their taped demo was played. (Each instructor also answered questions during their video via chat.) Each one brought so much experience and insight, and of course practical tips. 

The chat was also extremely instructive and valuable. The whole group of calligraphers - instructors and participants - were giving each other tips and encouragement, and just having fun conversation.

I attended all the demos, even though I wasn’t sure I’d take to all the styles. I figured I could learn something from watching each calligrapher work and listening to their process. I ended up finding much of value from each demo, and definitely the instructor Q&A.

Now, post-conference, I have committed to trying each demo content. My goal was to watch all the demos over again and actually TRY each one. We have access to them till Dec. 11. I’ll see if I can make that goal by then.

As I work through each demo, I’d like to post some of my practice here. Maybe it will help motivate me, and perhaps pique someone’s interest in a calligrapher or style they didn’t know before. (I’ll probably say a little about each class also. These are just my personal and independent viewpoints.)

Did anybody else attend? Would anyone else like to post their practice? Feel free.

[tiffany.c.a]

Lush Lettering - demo by Kamaljeet Kaur

The style Kamaljeet demonstrated was definitely lush. Her examples were gorgeous. In the demo she showed how to make different patterns, many from nature, to fill in hand-drawn open letters.

I had a piece of Strathmore black paper that I had used as scrap to test a couple gel pens, and saved to use later. Also ignore the holes in the corner - I had needed a few black dots for something and took a hole punch to it. There was plenty of open space left. Perfect for this practice page. I used a Nikko G and straight holder throughout.

As she suggested in the demo, I first went through drawing some of the elements in pencil and then outlining and filling in the elements with metallic gouache. (Colors used were Turner gouache and since I wanted a greenish metallic, I tried mixing W&N gold metallic and olive. Sometimes a bit too green, but good enough.)

Then on the other side of the paper I drew the letter T to fill in using the style she taught. I threw the flower and vine on the page just for extra practice. Well, that led to me later wanting to tie all those elements in as one composition, even though that was not my original intention. So, the page eventually became very full as I tried to tie it all together.

These are practice pages, but I like the result. Most importantly I learned a lot, and I even started coming up with some of my own motifs. I plan to do more of this at least for journal fun in the future. I think this practice will also translate to doing illuminated letters and borders, giving me more variety.

[Erica McPhee]

Thank you so much @tiffany.c.a  What a great recap! I signed up but wasn’t able to attend live as we have been in FL and Thanksgiving prep, etc. But I am looking forward to watching this week.

This work is absolutely lovely! Wow! I love it!

Great share! 

[tiffany.c.a]

Kilian Caps (with pointed pen)- demo by Sabine Tack

Sabine was adept at showing how to write these unique letters. Seeing how Sabine manipulated the pointed pen to create the letters was very helpful. I was tentative about writing these letters at first but gave them a try. I found I liked writing them more than I thought I would. I practiced them in my journal, top half. (Later I realized that “Kilian” only has one L.)

As I tried writing this style, my letters wanted to morph into a more classic pointed pen capital style. Certain letter forms, and knitting the letters into a composition, would take lots of practice as Sabine said.

While “knitting the letters” gives a look that can make the piece harder to read, it gives the calligrapher good layout/composition practice as you have to think ahead about design choices and pencil it out beforehand, perhaps making several versions or tweaks. I switched to using a fineliner marker instead of nib/ink to get the hang of writing words and knitting.

Overall, this was really fun to write and helpful in general for improving calligraphy skills, like pen manipulation and composition.

[Erica McPhee]

I took a Kilian Caps class. It was much more difficult than it looks.
Your practice looks like a work of art! Love the blue in the background.

[tiffany.c.a]

Thanks Erica. Very kind.

[tiffany.c.a]

The Ruling Pen - demo by Rachel Yallop

At the start of the demo, Rachel gave us a look at different ruling pens and the marks they make. The type and thickness of marks differed between tools and also depending on what angle a tool was held. Rachel then went through writing the alphabet. 

I have a folded pen that fits into a straight holder just like a regular nib. I had used it before, but just doing my own thing. I was excited to have a structured demonstration of this group of tools. The ink is Higgins Eternal (I just dipped the pen in the bottle and wiped off against the rim). Practice papers so far have been on the smoother side, fine for practice. I also finished off the bottom of the (more textured) journal page (above post, reply #3). Another page from today’s practice attached. I need more of every word on that page!

This was a lot of fun. Still, as Rachel pointed out, control (or at least intentional thought) is very important with ruling pen letters, in terms of letterform, pen position for the desired thickness, and even amount of ink in the pen for ink flow. I found I had to really concentrate. Some concerns are the same as with any calligraphy like consistency, rhythm, spacing.

I’m starting to get the hang of some of the movements and how to smooth out the curves, which were very choppy at first. But I’m a ways away from getting the control + flair Rachel’s letters have. It will take time as with anything else, but I hope to continue practicing it.

[Erica McPhee]

I love how in tune you are to the skills for each style. Ruling pen (and folded Folded Soda Pen really requires rhythm to get the bounce that gives it energy - more so than most other scripts.

[tiffany.c.a]

Ink Making - demo by The Creative Kinds

This demo was given by Bas and Nana. First of all, they were adorable. Business-wise, Bas and Nana make a great team. They make handmade watercolors and sell them through their Etsy shop.

Their products look great with some attractive and fascinating colors. I looked through the photos and most of their metallics/shimmers seem to show up equally well on white and black papers (they have helpful online color swatches and sample calligraphy using the color). They also have “crema” (matte) colors.

Their IAMPETH demo showed the process Bas uses to make the colors, and how the two of them test/critique the colors. Nana also demoed using their paint in a calligraphy example. The time and care it takes to create, test, and refine the colors is to be appreciated.

I’m not saying I recently bought any of their gorgeous colors, but you might see a future sample page using their paints. . .

[placeholder for future sample page]

[tiffany.c.a]

Dancing Dry Brush - demo by Loredana Zega

Loredana made everything look easy. (All of the instructors did.) She is definitely very creative with the brush and the techniques she uses.

Practicing this “dancing script” was a lot of fun. I’ve written letters with a brush before, but this script and color technique (dry brush) were both an entirely new thing. Loredana explained very well the brush angle changes to become more proficient in, and when/how to write with the corners of the brush. Not easy. (I didn’t use an overly wide brush - DaVinci 10. Winsor & Newton prussian blue. JNB practice paper.) Plus there’s controlling the amount of paint on the brush and “touch” so that the color is more consistent in its gradation from letter to letter (darker at top, lighter by the bottom).

You can see the uncertainty in some wiggly downstrokes. I’m sure the brush used has something to do with that as well. Maybe a snappier one would help with control?

Loredana encouraged people to be creative with variations. This is reassuring actually. The fact is that you cannot get certain effects with certain brushes, but what effects CAN you get with the ones you have!

Attached is a practice sheet, and then I tried to write a nice message for all of you.
(Tap on it and I think it will be right-side-up.) 

[Erica McPhee]

Wow! That's so unique looking. I love it! Thank you for sharing. I have one day left to view the workshops. Yikes! 

[Zivio]

The Ruling Pen - demo by Rachel Yallop

Wow, a ruling pen!  This is my first encounter with the term, but after looking up Erica's soda can pen and other YouTube clips on the topic, I realize that my father had a set of them and compass, though I'd never seen him use them.  I'm astounded by the finessed lines that can be had for engineering/architectural drawings and, of course, the possibilities for calligraphy. 

Thanks for sharing!

[tiffany.c.a]

Zivio - I remember hearing/reading somewhere that many architects who used ruling pens for their plans also used them incidentally for quick lettering in their plain style, but eventually it was realized how expressively and artistically they could be used for more styles of writing.
The folded pen I have is more like the soda can version.

[tiffany.c.a]

Hand Embossing  - demo by Viktor Kams

Viktor taught his clear and accessible process for making embossings. I followed the steps as he outlined them, including when to add calligraphy, and tried to heed the tips he gave along the way.

Instead of a stylus, I used a bone folder to do the embossing (which he mentioned as a possibility). I am happy to say that attempt was generally successful. A bone folder will work. It might come out nicer with a stylus though. (They can be ordered online and I think some craft stores have them, maybe not expensive.)

I like the process and result enough that I’ll probably buy a stylus eventually. Right now I’m really happy that I can use something I already have. One must be careful, especially depending on the paper, not to rush and not to press any tool too hard, which could tear the paper.

I believe I will be doing this process again. It’s a pleasant and rewarding process. And fun. It’s almost like opening a gift with the anticipation of seeing how the embossing will look face up. This process will make for great cards and other projects.

Paper in example:
For the “A” stencil: heavy watercolor paper (maybe Saunders 140lb/300gsm) (notice the stencil is backwards)

For the embossings:
Canson Colorline I think the 92lb/150g version (white)
Aquabee Heavyweight Drawing 93lb/150gsm (off-white)
Strathmore Drawing 400 series which is 80lb/130gsm (plain “A”, darker off-white)

[Aries M]

Hand Embossing  - demo by Viktor Kams

Viktor taught his clear and accessible process for making embossings. I followed the steps as he outlined them, including when to add calligraphy, and tried to heed the tips he gave along the way.

Instead of a stylus, I used a bone folder to do the embossing (which he mentioned as a possibility). I am happy to say that attempt was generally successful. A bone folder will work. It might come out nicer with a stylus though. (They can be ordered online and I think some craft stores have them, maybe not expensive.)

I like the process and result enough that I’ll probably buy a stylus eventually. Right now I’m really happy that I can use something I already have. One must be careful, especially depending on the paper, not to rush and not to press any tool too hard, which could tear the paper.

I believe I will be doing this process again. It’s a pleasant and rewarding process. And fun. It’s almost like opening a gift with the anticipation of seeing how the embossing will look face up. This process will make for great cards and other projects.

Paper in example:
For the “A” stencil: heavy watercolor paper (maybe Saunders 140lb/300gsm) (notice the stencil is backwards)

For the embossings:
Canson Colorline I think the 92lb/150g version (white)
Aquabee Heavyweight Drawing 93lb/150gsm (off-white)
Strathmore Drawing 400 series which is 80lb/130gsm (plain “A”, darker off-white)

This looks so elegant and beautiful! Well done