This was the message inside my Christmas card this year. Written with a Kuretake Calligraphy marker, and reduced. The ascender of the final d in ahead, as originally written, sloped too far to the right. This was rectified in Photoshop — first, I selected that portion of the letter, then used Transform/Skew to bring it in line with the slope of the rest of the message. Finally, I cleaned up the d by cloning and erasing parts of the letter.
Sunday, December 27, 2009
Monday, December 14, 2009
Friday, December 11, 2009
Monday, December 7, 2009
On the left is a poster-sized mocktail menu for a fund-raising event organized by a student group (of which I was staff adviser). As my students knew I practised calligraphy, they asked if I would supply the handwriting for the menu — I was, of course, delighted to, and so wrote out all the menu items using a black calligraphy marker. On the right is one such sheet of writing, which the group leader, Adrian Tan, scanned, cropped and rearranged to form the poster on the left.
Who says students don’t give their tutors homework? :-)
Sunday, December 6, 2009
This batch of wedding invitations and envelopes, however, was done fairly recently, in April 2008. I almost invariably turn down such jobs because they are incredibly taxing on the mind and especially the eyes, and demand far more time than I can usually afford — but the person who commissioned these was very nice and extremely persuasive, so it was a pleasure to be able to do this for her and her husband-to-be. It also helped that this was a very small job, just 22 or so sets of envelopes and invitations.
My greatest fear came true, however — the beautiful gold envelopes had their colour printed on them, not dyed in. This meant I couldn’t write with my usual gouache and had to look for an alternative. Fortunately I tried Daler Rowney Acrylic ink, and it worked beautifully for the most part, although the nature of the ink meant that I had to be careful to flush and wipe the pen every so often, and could not achieve the fine hairlines that good gouches like Talens produce so easily.
Thursday, December 3, 2009
Writing ‘Copperplate’ is a tactile experience — one has to know where to press the nib in order to get thick strokes and where to begin gradually easing off; and one needs to be gentle yet controlled on light, unpressed upstrokes. With lots of practice this comes naturally — and it begins to feel like the rhythm of breathing.