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Messages - Faeleia

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1
Textura is a good foundational script for all blackletter family. Uncial doesn't look similar to, and is not that hard to learn because there's no upper or lowercase it's just 1 case. I think you should be good putting more emphasis on textura & bastard and going to Uncial once in a while. For broad pen, I tried to pick these up in my 4th year:  Italics, fraktur and sometimes Uncial and Foundational script, but like I suspected, it was too many for me, so I dropped foundational and Uncial for now. Someone mentioned to me that Uncial is really easy and you can learn it on your own pretty quickly. I feel like italics is difficult and Fraktur is highly subjective, so I put both of them on the back burner and casually practice them. I've probably not progressed as well as I could have, so I don't show most of my broad pen stuff. So don't follow my ADHDness for this, it's not working well.

2
At the risk of sounding critical, I am a little annoyed. I understand that everybody works at different speeds, but I am interested in what other people's experiences are, what you have done.

I also get the feeling that many people here either have false modesty, or are very self conscious of their work and at the same time their biggest critic.

I find jeanwilson's suggestion on waiting till one has no longer needs the exemplar helpful. Thanks.

I just think everyone IS giving their honest opinion in this thread (assuming false modesty being that they believe they are better but put themselves down to appear humble), and self perception is subjective. They are explaining why it can be counter productive to put a number, because as you go along, this may change. Impatience never helps. Some days you can spend a lot of time writing and dislike everything.

If you really want a general safe estimate for starting new scripts, I recommend giving it 2-3 years (3 is better) of starting until you are sufficient in whatever script you start with, enough to understand the foundation rules of calligraphy (posture, the discipline, drills etc etc)because this will be applied to all different hands), and you know what the proper script should look like, such that you can conjure the image of it in your mind, reproduce it with your nib and it's not an image that differs greatly from the piece of exemplar. But I will recommend to keep coming back to the exemplars, and to pick better exemplars, as you get better trained eye to tell the good from the not so good ones.


I can imagine how spending a few months on different scripts at once when you're new can lead to confusion and mixing up of scripts, like applying different rules to the wrong script and things like that. That happened to me when I started out with copperplate then tried too early to jump to Spencerian and then later get back to Copperplate and Engrossers.  When I first started with Spence I worked on it daily for 3-7 hours, non-stop for about 2 years and only relaxed in the third year before slowly going back to Copperplate to refine it. I skipped socializing, lived and breathed the Spencerian script the first thing and last thing I saw, and I printed out books and exemplars to stick it in office (i still do) and have pictures in my phone and folders), I worked on it during lunch, doing circular drills with pencils, pens.. I pored over the materials on trains and buses. Is that what you're asking? That's what I did on my journey. The amount of time spent is important, but using it productively is important too.

I'm not sure about you. I learn best visually, on my own than having a teacher hover over me. Some people learn better with teachers. I set small goals of things I want to refine for weeks for one thing at a time(like working on the top of the lower letter r, or trying out a different form of f, working on the belly of the lowercase S, working on writing at 3mm, 5mm x height, working on g, j, k, l loops), comparing my writing to exemplars (which is why i stress never ditching exemplars).

Hope it helps.


3
Tools & Supplies / Re: Gilding which size do you use and why?
« on: April 12, 2018, 05:26:53 AM »
I had no idea, that's really important information! I wonder if actual silver leaf will have this characteristic too? I'll also make a mental note to be extra careful if I use loose leaves. If they stick to itself, it sounds like a potential hot mess  ;D

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Tools & Supplies / Re: Gilding which size do you use and why?
« on: April 12, 2018, 03:43:42 AM »
Ahh, alright, that solves my question! I thought imitation leaves are too thick! I got mine off Amazon and it cost a nice penny by the time it arrived, but I'll wait for my actual gold to arrive and see how it fares. I'll definitely let you know if I need your help to bring this to me! I feel better now cos this has been on my mind for some time now, and I really really want that mirror finish *all the sparkles*

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Tools & Supplies / Re: Higgins Eternal destroying nibs.
« on: April 12, 2018, 12:09:59 AM »
I've never found anything as gentle as walnut, but Higgins don't corrode nibs quite as quickly as bleedproof white or acrylics or the infamous iron galls. If you hate higgins, don't try the above mentioned. Or use G nibs. And also, what they mention about adding water, it's helpful.

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Tools & Supplies / Re: Gilding which size do you use and why?
« on: April 12, 2018, 12:04:04 AM »
Hi my friendly and knowledgeable Calli Peeps, I'm sorry to revive such an old topic, but I've been having trouble with my instacoll.. Was so excited to get this until I realized it's difficult to use. I'm not getting my imitation leaves to stick well. I've tried several methods of waiting for it to dry for an hour (completely non sticky) breathing on it to attempt reviving (not effective). I've tried diluting it a little with distilled water, I've tried laying several layers on and the only tacky time I found worked was before it completely dried (like 15-20mins of waiting), but I don't like that because it kind of shrinks and wrinkles the leaf after it dries. I've tried hot press watercolour paper and cold press watercolour paper and they are the same. i don't turn the fan on when I lay the instacol or leave it to dry, but it's really humid and warm in Singapore.

I ordered real gold leaf thinking it may be because imitation gold are too thick, but I'm not too excited at wasting actual gold.. Surely it can't be that difficult to get it to stick? I also can't burnish the leaves properly (I have tried Q-Tips, just dry brushing, agate after waiting for a day and they go on patchy, or fly off. I think it's because the base isn't fully dry hence burnishing makes a mess, but if it's dry it won't stay tacky. I currently try to go about this by laying instacoll first then adding mona lisa adhesive where leaf won't stick (which is so whack job and I don't like how it almost doesn't dry ever - opposite prob of instacoll) :/ What am I doing wrong?

7
The Library / Re: Five Centuries of German Fraktur
« on: August 27, 2017, 10:14:38 PM »
Thanks Andy! :D It looks interesting! I downloaded it to read later. :)

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Wow I'm starting to learn broad pen, so this is helpful, thanks for sharing these! and I'm so sorry to revive a 3 year old thread. The good thing is, calligraphy is better the older it is :D

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sorry if I'm late sending this one out. i haven't gotten the list yet and will be overseas until 1st june :/

10
As you may have noticed, I've been doing some research into old newspapers on the topic of steel pens, especially early steel pens. As I've been seriously perusing the old sources I've come across some fun or interesting mentions of steel pens. Some you enjoy, some you may not, but it would be a funny old world if we were all alike.

So, here are a few of the finds I've run across. I'll post them individually as I'm including images.


For the first, from the Evening Post (New York City), 23 July 1833, an account of a murderer escaping from a jail in Mount Holly, NJ by means of sawing off his chains using a hidden steel pen. They must have made them much more robust in those days.

Thank heavens he wasn't sawing his leg off. I have watched too many horror movies.

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OH BOY oh boy i love such things! Thanks for the link! I like how it has little topic markers. Modern books should do that. I need summaries of paragraphs lol.

12
Thanks for this bit of discovery! It's pretty interesting. Looks like we have a pretty busy little mercenary over here lol. Sometimes I like to imagine how these people would be like in modern day. Would they be advertising all over ebay and amazon and online websites? He would be kind of like the Paper Ink Arts of today

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Signing up but the form keeps hanging on me. Sorry peeps who get mine will probably have to wait longer!

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Guidelines / Re: Copperplate Grids
« on: January 09, 2017, 04:14:53 AM »
Yay thanks stef you amazing human being!!!

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No worries, because of metal lid expands with heat and water soluble gouache will dissolve. The nightmare is if the bottle contains acrylic paint. SMK suggests what I would. Though it probably means you should have a new habit to clean the glass neck with some wet tissues to prevent clumpy lumps of paint. I depot the paint into a smaller container so I won't contaminate the paint. Sometimes if the water is iffy with a dirty brush it can ruin the bottle of BPW with possible mold growths etc.

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