PAScribe Copperplate Script Issues
Вставка
- Опубліковано 28 кві 2024
- Copperplate Script Issues???
I would love to hear from you about the issues you are facing with the script.
As you may know, I am working on the 2nd Edition of my ‘Copperplate Script - A Yin & Yang Approach’ and I felt it was necessary to not only include what I want to teach you but cover things which you are clearly struggling with.
I would love to hear from you in the comments below.
Ink - Pelikan 4001 Green
Paper - Canson Marker Pad
Nib - Gillott 303
@pascribe @paperandinkarts @pelikan_passion @cansonpaper @cansoninfinity @cansonusa @william_mitchell_calligraphy
#pascribe #pascriber #calligraphy #flourishing #copperplate #pointedpen #writing #handwriting #handwritten #learning #caligrafia #portugalcaligrafia #pascribeliningtemplate #paslt #pascribedaily #lineofuniversalbeauty
Follow Us:
PAScribe.com
pascribe?h...
/ pascribe
/ paul-antonio-scribe-11...
pascribe-community.circle.so
I’ve been tattooing for 15 years, and lettering has been my first love throughout the career, you’ve truly humbled me with this knowledge, I’m relearning everything I thought I knew, thank you Paul you’re a beast of calligraphy!
I am touched and honoured I am able to help you in your understanding and application of this wonderful craft.
I’ve practised using the first manual, still do, and i quite enjoy it. I’m certain a version with updated content will be just as enjoyable and instructional. I appreciate all the time you take to create videos and i can’t wait to see the new release of your manual. Thanks!
Thank you. I am glad you are still using the 1st edition and enjoying it. I really appreciate you letting me know this.
I love your content!! Pls, never stop!
Thank you very much.
I am thrilled I will finally be able to get your manual.❤. Have looked for years.
As soon as it is out I will post about it.
this script was the first thing I learned as an engraver apprentice
It is has a special relationship with engraving
Cant wait to see the new edition. I still using the original reguarly
I am so happy to hear this. I can’t wait to start on the writing up of these new pages.
Thank you! I am very happy with the first edition. Of corse, more script and letter-form variations are great, and maybe some practice phrases to help with rhythm and spacing. If it works with your interests, I would be curious to see guidance and advice with making and using quills suitable for historical English Roundhand.
The phrases are a good idea. Thanks for that. This is a 2nd edition of the copperplate manual so I can’t add ERH info into it. That would mean taking the manual in another direction entirely. ERH deserves its own manual.
Firstly, I love the Yin Yang approach and reference it frequently when working on practicing Copperplate and Round Hand scripts. There are a couple of corrections/changes I would like to bring to your attention, though, for the second edition (absolutely cannot wait to get my hands on one). These will be small and we can certainly open to some interpretation, it may be less a correction and more of a learning experience for me, we shall see.
Both of these are regarding the Non Latin Scripts on the Political Misgivings page:
- The first one has to do with what I believe to be (beautiful) examples Kurrentschrift mislabeled as Sütterlin. In my understanding, Sütterlin is a simplified version of Kurrent that is characterized by simplified letters and vertical strokes. It was commissioned by the Prussian Ministry of Science in 1911 from the graphic artist Ludwig Sütterlin to be taught in schools, and was taught from 1915 to 1941 in all German schools. The letters presented, the roundness, flow, and writing angle, are much more closely matched to Kurrentschrift used in Germany (and the Netherlands) from the beginning of 16th to the beginning of 20th century. There are some beautiful examples to look at, such as letters by Johann Wolfgang von Goethe from the beginning of 19th century. There is a wonderful article called "Kurrent - 500 years of German handwriting".
- The second has to do with the first Cyrillic letter. The difficulty is in placing what letter that is intended to be. The other examples in this section lack any extensive or maybe extending, difficult to explain, but basically they have minimal decoration, letters are very readable. If the first Cyrillic letter is intended to be an S - "C", then the following upstroke with the little loop is quite confusing. If it's intended to be a SH - "Ш", then the chosen letter form is poor and you would have to guess the letter contextually, which is, as you would agree, not desirable. The only letter that looks like, really is a rounded W, which would be the letter O - "Ѡ", which is a super peculiar letter in itself as it started as a lower case Greek omega (ω) which was used as an o in certain cases, and the upper case letter didn't follow the Greek upper case omega form and was rather replaced with a larger lower case version - "Ѡ". This letter was used in a certain set of situations, and especially interesting in the frequently used Ѿ - "От" ligature form. Here's the problem, the official use of this letter was stopped by the first Peter reform sometime around 1706 to 1708 (I can look up the exact date if necessary), so it would be quite strange to show it as an example in the context when you have other non-Latin (and really annoying to match stylistically a lot of times) letters relevant to current language to use, such as "Ю", "Ч", "Я", "Ц", or "Щ".
Thank you for this. I really appreciate it. The nonlatin scripts were only meant to indicate that pointed flexible metal nibs (PFMN) were used for different scripts so as to get the reader to expand their script thinking. The scope of the manual could not encompass anything other than Latin letters, that would mean other books due to page numbers. My understanding of kurrent is a different script altogether. Sütterlin was indeed written with a PFMN and there are many historical examples of this, again this is about calligraphy not handwriting. The 2nd edition has a lot more to include. I am panicking a little as I have learned so much in the past 7 years. Thank you for liking the manual. It means a lot to me to hear this.
@@PAScribe I am not at all arguing that Sütterlin's Kurrent alphabet was written with a PFMN. I have, to that end, seen a lot of Kurrent (cursive) written with an oblique instrument - quill most often, although it also significantly predates pointed metal nibs (first reference to PMN is in the London Times in 1792?). There are examples of Kurrent, calligrapher examples of Kurrent, written with a PFMN as well (I don't think I can post links in a comment, but I have seen them). I am, of course, not a trained paleographer, not even a trained calligrapher, sigh, best I can claim is maybe an amateur historian, which still sad. I just wanted to caution you that if the historical examples you are referencing and referring to are older than 1911 - the Sütterlin script didn't exist, and if the examples you are referencing are older than 1865, the guy who created the script didn't exist. It may be worth reaching out to someone like Dr. Paul Peucker or Thomas McCullough of the Moravian Archives who teach a course called the German Script Course (it's the 54th year the course has been running)? This is just a suggestion, of course, I have plead my case, and will not continue henceforth.
On a bit of a livelier note, since we are talking calligraphy, I am curious if you have seen or have some thoughts on the alternative to the less playful Sütterlin circa 1927ish, offered by Rudolf Koch (who probably needs no introduction) referred to as Offenbacher Schrift. I believe there is an example of it in a less rigid form in "Das ABC Büchlein".
There are a number of folks that have offered a number of interpretations of anxiety from Kant and Hegel, Kierkegaard, Heidegger and Sartre, Levinas, Nietzsche, Freud, even Darwin. The common thread running through a lot of their philosophies is the distinction between fear and anxiety: fear has an object, you know what scares you, with anxiety you feel the same sense of disquiet of fear, but you cannot find the object for it. Building on the works of the above, Bergo ventures a hypothesis that "knowledge, including philosophical knowledge, may palliate anxiety". It may then be helpful to soothe your feeling of anxiety to lean on the knowledge you have and have undoubtedly extended in the past 7 years. Some anxiety may, in fact, be able to help you through this revision process. As Ellen Hendriksen said in “How to Be Yourself: Quiet Your Inner Critic and Rise Above Social Anxiety.” - a certain degree of anxiety can help people anticipate obstacles, remain cautious and stay organized; so it may not be all bad.
I leave you with a little excerpt from the Preface to "The Little ABC Book Of Rudolf Koch" written by Fritz Kredel. "One of the first things I noticed was a sheet of paper behind the glass door of his (Koch's) bookcase. On it, in large letters, he had written, 'Trachte ich denn nach Glücke? Ich trachte nach meinem Werke!' (Do I strive for happiness? I strive for my work!)" I hope this Nietzsche quote finds you well as well. You are a hard and conscientious worker, and whatever the changes, the additions, the revisions you end up making, will be a reflection of your collected knowledge, your understanding, of yourself and your hard work. I cannot wait to see what you have in store for us this time :)
Could your new book also contain information about the different pigments that could be used for writing and their lightfastness ? I am very interested in these aspects. It is known that the fineness of thin lines depends on the paper, nib and ink used. Many commercial inks are not very good from this point of view, even unusable. It is necessary for the ink to be carefully prepared, with ingredients that do not decrease its surface tension too much and ensure its optimal viscosity.
I haven't seen the above discussed by anyone before. Could your book also refer to them or is it limited only to the actual writing ?
There is a huge section on tools and materials. The issue with pigments is having to explain how to prepare them for writing. Much more work must be done to prep them for writing vs painting. The binder ratio and substrate to write in are other matters to consider and unfortunately the manual cannot get in to that in detail. I will discuss pigments though and the pros and cons of using them.
E Winters show false letters, i find, this is a good way
I will also be including poorly constructed letters so people know what to look out for
More traditional alphabets are fine. Can we order the new content in addition seperatly?
It will be embedded in the book. It is too much hassle to separate it out as the existing text will also be altered.