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Posts Tagged ‘Calligraphy’

Ever since starting this blog I have hinted on a post focusing on me finding a grail pen in the wild. I have never seen one of these on Ebay and never really anywhere else either. I have seen some similar Watermans and Mabie Todds. But never an Edward Todd BHR clipless, silver overlay pen. I am going to make a post about this pen on FPN as well, so we’ll see if I get any interesting comments or more information (please comment if you have any information!).

I found this pen in a truly sumgai way, maybe not technically in the wild since it was on the Swedish equivalent of Ebay. The main item of the auction was an extremely ugly and broken (!) ceramic pen stand glazed in a hideous beige-light brown-grey colour, “some pens included”. The pens were huddled in a miserable heap in the shadow of the monstrous pen stand. I took a chance and made a bid. I won the whole lot for less than 20 dollars (shipping included). Amazing, I can hardly believe it myself.

The metal is slightly discoloured at the breathing holes (two in the cap) resistant to polish. The BHR has become brown/olive with age. I did polish the silver (marked sterling on the cap). The pen is not marked except for STERLING printed on the barrel.

Here is a writing sample in my own bastardized Spencerian/Copperplate/nonsense scribble…

Yes! I misspelled “whiskey’s”, due to making a jumble of the last three letters…

Pen: Edward Todd silver overlay pen. Nib no 2. I dare claim this is a wet noodle. It does railroad sometimes, but not in writing the sample above. It is (of course) an eyedropper.
Computer manipulation: Exposure +0.25. Removal of stuff from left hand corner and top middle (not engaging the text).
Ink: J Herbin Cacao du Bresil. I love the shading.
Room for Improvement: I could still use some practise to perfect the readability and the flourish detailing. I would also like to have more continuity in my lines and lettering, making the end result more orderly. On the other hand, I do like a little irregularity and whimsiness as well.
Verdict: Instant feeling of I-am-not-worthy-ness and joy.

Close-up on the nib (click on the image to see it REALLY big).

One more pic (just because it is so wonderfully gorgeous) (more…)

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When I was in 6th grade I decided to learn the Morse-code. About a year later, my school decided that all students should be obliged to write journals (that would be left in the classroom during the school year). The teachers told us that the journals would be private for each student, that nobody besides ourselves would read them. I did not trust the teachers. In a silent protest I wrote my entries in Morse-code. I got told off for it, especially after sweetly asking why they cared which alphabet I was using if they weren’t sneaking looks at what I wrote. Thankfully, I changed schools a short time after this incident. As an adult, I wonder what in the world the teachers, just a little older than I am right now, were thinking assigning this “journal-project” and handling my protest the way they did.

Like many other bullied little kids without any friends I had an active fantasy life and read a LOT. Of course I had read Tolkien, repeatedly, by 6th grade. What changed everything was a book named ”The Languages of Middle-Earth” that I got my hands on a year or so after I moved. Tengwar, Tolkiens elvish alphabet, among several of his constructed languages and a bit general lingustics if I remember correctly. For me aged 13-14ish it was an epiphany. I promptly got inspired by ways to shorten the longish morse code characters and invent ways to shorten words and sentences. I also made a foray into various shorthands. (Still looking for a good book about shorthands, any tips?).
What you see is the rather impractical but somewhat pretty result. Unfortunately it takes too long to write to be practical for everyday use. Sometime I use it to remember codes or initials that I don’t want others to see, like when noting passwords etc. I’d like to work with it more. There are more advanced versions as well, I might post some in the future.

Note the flourishes that indicate capital character and punctuation. Also, the Tengwar-inspired diacritics. The ink is J. Herbin Cacao du Bresil, the pen is the Edward Todd Wet Noodle. A great combination, I love the greyish brown.
In the detail below (from another writing example) you can see the nice shading of this ink and the almost magical flex capabilities of the pen.

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Well, I have a thousand ideas on blogposts. I need to write more about London, books I’ve read and great fellow artists and artisans (note to self, look up the difference of those words) that I have found lately. I have several such posts planned and I thought I was going to write one of them today. My muse thinks differently. Apparently.

In London I bought some other colours of Daler-Rowney acrylic ink. Despite them being almost half-price in London at CASS art than in Sweden I pranced around the Islington flagship shop acting like a skint idiot, not buying stuff I actually could afford. Yes, I have a giant, monstrous neurosis about money after being a student for so many years. Maybe I should make a drawing of it? But I digress. After much unnecessary angst, I decided on the rather unusual colour combination of these: (Note my unprofessional bloggerness, not being able to arrange the bottles prettily in a row with the label turned to the front)

Daler-Rowney Acrylic Ink in Light Green, Gold, Silver Moss and White 011

Anyway. I had my lovely Seawhites of Brighton that I fell in love with last time I was there. Very inexpensive, great for drawing, the perfect surface and colour, etc. They have a black “jacket”. Here is a pic:

So, they all look alike and I bought plenty. I wanted a way to differentiate between the several medium sized (A4) I bought. Ergo:

The “1” and “2” are made with the shimmering inks “Silver Moss 129” and “Gold (imit) 701” respectively (the gold I find to be more like bronze in colour, or maybe rose gold as when gold is mixed with copper). The “3” is made with the amazing, cthulhuish (sic, happily) “Light Green 348”.
Here is a close-up of the “1”:

I did the translucent shading by blending the colour with different water-washes and mixing with opaque white. Used several different brushes, all synthetic. I especially like the glittering effect of the shimmering inks in “1” and “2”.

I have exciting things planned for the bigger (A4 and A3) Seawhites. The secret, gory, sunshine-yellow drawing and the sketch of the swamp elf I have planned to sculpt in the future for example. It’s all on its way, I promise. Also, eyeballs deluxe, coming up shortly.

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