Spring, 2003 www.iampeth.com The official quarterly publication of the International Association of Master Penmen, Engrossers, and Teachers of Handwriting. THE ART OF COPPERPLATE ENGRAVING R Learning from the Masters R Lessons in Engrosser’s Script, Part IV R Letterforms Analysis, Part V R Choosing the Right Nib: Fine and Not-So-Flexible Nibs R Update: A Look At Fine and Flexible Nibs More Nibs Reviewed! Special Pullout Section! Complete IAMPETH Convention Information! Cleveland, Ohio, July 7-12, 2003 President’s Message AA NEWNEW BEGINNINGBEGINNING Spring, 2003 www.iampeth.com The official quarterly publication of the International Association of Master Penmen, Welcome to the FIRST EDITION of the IAMPETH Penman’s Journal. What you hold in your Engrossers and Teachers of Handwriting. hand today is a part of a long tradition with roots back to the nineteenth century. The IAMPETH Formerly the IAMPETH Newsletter. Newsletter was actually an outgrowth of several publications devoted to the interests and work of penman, engrossers, and teachers of handwriting. President--Jim Williams Vice President--Sharon Eisman Your comments regarding the improvements and quality of the Newsletter prompted the IAM- Second Vice President-- PETH Board to consider a name change that would emphasize the publication’s status as a major Angela Welch educational agent and as a resource for the discussion of pen arts. In science, technology, and Recording Secretary-- humanities, the term “journal” embraces the concept of research and learning. It was, therefore, Lucile Grassi logical that the new masthead would include the word “Journal”. IAMPETH’s heritage and mis- Corresponding Secretary-- sion provided the other term, “Penman’s”. Kathleen Markham Treasurer--Kathy Saunders In conversations with the Editor, Bob Hurford, I am assured that the renaming and moderniza- tion of the title are only the first of many enhancements to be achieved in the coming months. I Assistant Treasurer--Helen Corley will, however, allow him to describe these to you in a future issue. Newsletter Editor--Bob Hurford Board Member At-Large— The 2003 IAMPETH Pen Arts Conference: Included in this edition is the REGISTRATION Dr. Joseph Vitolo PACKET: the blue insert. Please review these materials carefully. Board Member At-Large— 1. The Registration Form: Nan DeLuca Use a separate registration form for each person registering. Conference fees and dues are combined for attendees. A discount is given for Sen- The Newsletter of The International Association of iors (over 65) and full-time students. Persons not attending should pay dues in the Master Penmen, Engrossers & Teachers of Handwriting section directly below. is published quarterly and is mailed to all current mem- bers. The association year dates from July 1 through The Reverse side of the form is critical for planning. Please check-mark your choice in June 30. Dues are $20.00 per year. For students or each day’s time blocks. those over 65 years of age, dues are $15.00. Dues are For your record, also circle your choice on the Master Schedule on the first page. not pro-rated. Those joining in mid-year will receive all 2. The Schedule: four issues of the newsletter for that year. Checks should To afford as much education as possible, two workshops are offered in each time be made payable to IAMPETH and sent to the Treas- block. There is a mixture of pointed and broad-edge pen instruction. urer at the following address: Kathy Saunders, 1818 All workshop rooms are equipped with Dukane video cameras and lavaliere micro- Kennedy Rd., Webster, New York 14580 USA. Items of interest such as articles, samples of work, phones. Everyone will see the instructor’s pen and hand movements. news clippings, study guides and information concerning NEW THIS YEAR is a pre-conference seminar on Monday evening. The target for IAMPETH members should be sent to the Newsletter this workshop is people new to or just beginning their study of penmanship. Editor: Bob Hurford, 201 Pineville Rd., Wrights- 3. Hotel Reservations: town, PA 18940 USA, e-mail: [email protected]. The Special Room Rate of $87 + 14.5 % tax will be held ONLY to June 12. Some back issues of the Newsletter are available for IAMPETH must assure the Wyndham that we will make our sleeping room quota. $2.00 each. Contact the Treasurer, Kathy Saunders. Please make your reservations NOW by telephone or on the hotel web site. If there is an emergency, you can cancel up to 24 hours before arrival. No part of this newsletter may be reproduced without the consent of the Editor. 4. Avoid Airport security problems by shipping tools to the hotel. Follow the label instruc- tions. Return shipping and boxes are also available at the hotel. If anyone would like to write an article for the 5. Every attendee will receive a large blue canvas tote bag with logo and quill. Newsletter, or would like to see a specific topic 6. Conference Registration deadline is June 20. No refunds after that date. covered in a future issue, please write or e-mail Bob Hurford at the above address. The war in Iraq causes much uncertainty. More than ever, IAMPETH needs your support. To avoid economic hardships and make this conference successful, PLEASE send your registration ON THE COVER: An actual copper NOW. This will give the leadership an ability to notify you and return your money in case of a engraved printing plate that was used in the cancellation due to a national crisis or lack of participation. book, Michael’s Compendium of Plain & Ornamental Penmanship by G.W. Michael, 1886. The Art of Copperplate Engraving starts on page nine. 3 Learning from the Masters For anyone attempting to improve his or her work, the study of a masterwork is one of the best ways to learn. By closely examining, dissecting and trying the strokes of the masters, one’s skill can be immeasurably enhanced. By Bob Hurford One of the great joys of penmanship is to study the works of the the “r” in Bodenheimer—is simple, yet elegant. There is not a past masters. IAMPETH owns quite a number of masterworks jiggly line to be found anywhere. and they are on display every year at the convention. Members The W, H, and the shaft of the B and all of their attendant frequently pour over them until early hours of the morning and flourishing may be written without picking up the pen. it is enlightening to hear their reactions. I first saw A.D. Taylor’s Bodenheimer envelope in Charles P. They marvel over the talent of this penman or that as they Zaner’s Lessons in Ornamental Penmanship, page 91. It was re- turn the pages of a century-old scrapbook. All too often, how- printed in a second edition of Lessons in Ornamental Penmanship ever, I hear the lamentable phrase, “I wish I could do that.” by Parker Zaner Bloser and Earl Lupfer on page 68. Though nei- There is no reason why anyone couldn’t do any pen stroke they ther book specifically states the scale of reproduction, it appears see on a page. It is a matter of examining the lines, breaking likely that it was at or near one hundred percent. them down into their component parts and practicing. Lots of What drew me to this piece was the initial flourish leading to practice. the “W.” As I examined it further, the beauty of the connectors The Bodenheimer envelope by A.D. Taylor. It was reproduced from a halftone between upper case letters became apparent. First I had to figure from Lessons in Ornamental Penmanship by C.P. Zaner, ca. 1915. out the sequence of strokes then decide on the best way to exe- cute them with my style of writing. But one thing at a time. How It Worked for Me Teaching the Hand, Eye, and Brain In my quest for better muscular and whole arm movement, I owe a huge debt to the W.H. Bodenheimer envelope pictured For my inexperienced hand to try and execute the entire se- on this page. Rendered by the wonderfully talented A.D. Taylor, quence of strokes from the “W” to the shaft of the “B” would its fluid lines are about as close to perfection as possible by the have been difficult, frustrating, and in the end, counterproduc- human hand. There are lessons galore in just this small writing tive to improving muscular and whole-arm movement. I had to specimen. divide it into parts and work on the strokes individually, gain Shades are consistent and parallel, crossing at or close to some confidence, then combine them later. ninety degrees. Letter spacing and slant are also consistent. The For the writing, I chose a Spencerian Number Five. The ink grand finale—the swash up, over, and back under the name off is my homemade walnut on a yellow legal pad. Yellow pads, 4 available at Staples, Office Max and other such stores, When rendering the first flour- are smooth without being slick, have great ink holdout ish, muscular movement is es- for fine hairlines, and a inexpensive. At less than $5.00 sential. As the last loop leading per dozen, they are the best practice paper. to the capital stem is penned, the arm must leave the table or I started with the initial flourish that leads to the it will smear the wet ink as in “W.” When first trying a flourish, render it in pencil and the top image. don’t worry about the shades. The object is to orient the At bottom, several practice hand, eye, and brain pages later, the flourish is tak- to the mechanics of ing shape.