May 2008

Beautiful 19th-century script calligraphy – and fine penmanship in general – was based on the mastery of rapid, rhythmic, elastic movements: this was the great secret behind high-quality artistic writing.

Today most calligraphers work slowly, but a few cutting-edge scribes are once again emphasizing rhythm and speed. See, for example, this short video by Denis Brown on YouTube (2:10).

Writing contraptions like the one below were generally not recommended by serious teachers of penmanship in the 19th century. The only clear road to success was thought to be: personal instruction from experts, lots of practice (hundreds of hours), and youth (start ’em young).

Despite the silliness of this “Chirographic Vibrator” (more like a large “Calligraphic RUBBER BAND” plus hook), mounted on a “Revolving Writing Cabinet” (containing a scroll), the descriptions are fun, so here they are:

Revolving Writing Cabinet

“Contains a full set of copy lines, comprising books 1, 2, and 3 of the Writing Book Series, mounted on a continuous sheet upon Rollers, so adjusted as to exhibit but one line at a time and in regular succession, by simply turning a knob at the side. It is furnished with Compartments for containing Pens, Inkstand, Pencils, Blotter, and Writing Pad, ruled to fit the Copies. It also contains the Chirographic Vibrator for suspending, balancing and vibrating the Hand in writing; a valuable help in acquiring Movement. A valuable PRESENT to any child at any Season. (Patented June 23, 1885.)”

The Chirographic Vibrator

“For imparting the vibratory [= elastic] movements of Penmanship to the Learner and an aid to Pen Holding. Size 7 x 11 inches. (Patented June 23, 1885.) — This device is the result of accumulated experience in teaching penmanship and puts the learner at once on the road to mastery of this valuable art. — It consists of a metal upright standard terminating in a hook not unlike a shepherd’s crook, from which depends a loop of elastic cord, to the end of which is attached a wooden perch, which is grasped in the hand so as to allow the supporting cord to pass between the fingers, while its near end, projecting from the hand, supports the penholder against the side of the forefinger. A second elastic cord may be attached to the base of the standard and the perch, for securing the projective motion known as Muscular. This is a valuable adjunct to every desk, where writing is taught.”

The first modern calligrapher to create illustrated envelopes was Francis Courtney (1867–1952). Back in 1908, Courtney sent a series of wonderful envelopes to his friend and colleague, William C. Henning, who was at that time an associate editor of The American Penman (A. N. Palmer’s magazine). Here’s a picture of one of them:

Courtney was a great master of formal calligraphy, in many styles — but his work could also be delightfully strange, casual, and even illegible, when this suited his purpose. (Courtney was way ahead of his time, in this regard.)

Several more examples of these decorated envelopes, all from the year 1908, and many more illustrations of Courtney’s amazing work, can be found in this book: An Elegant Hand: The Golden Age of American Penmanship & Calligraphy.

Today the art of illustrated envelopes is thriving! There’s even an international contest devoted to this art form. Click on winners’ names at bottom of that page, to see some beautiful examples.

Here’s another nice picture from Friedrich Soennecken’s Methodical Text Book to Round Writing (pub. by Keuffel & Esser; New York & Chicago, 1877). It appears on page xxiv, and takes up half the page.

Perhaps it seems odd that Soennecken would publish such a complicated diagram, for such a simple and intuitive concept: keep the pen nib at a constant angle, in this case 45 degrees, and the letterforms will flow naturally from the pen. Even beginners will understand, very quickly, that the shape and angle of the pen nib determine the shape of the letters, and vice versa — since this is just common sense — but things quickly become more complicated as the hand moves across the page, and the angle, relative to the writer’s head, appears to change. So a model like this must be kept in mind at all times, at least while the novice is still learning the craft.

However, much simpler models were also used, like Charles Zaner’s elegant little diagram from 1895, published in his book, Zanerian Alphabets, page 5. On this page he noted: “Use Soennecken’s pens, usually No. 1 for first practice.” Also: “Keep the point of the pen at an angle of 45 degrees at all times, until further notified.” (Later in the book he described how other angles should be used, in different situations.)

Skillful calligraphers often vary the width of their strokes in other ways, as well. One technique for creating tapered strokes is to increase and decrease the downward pressure on the nib, so it spreads and contracts, respectively. The Soennecken broad nibs are flexible and snappy — perfect for this. That’s why the famous scribe Henry W. Ellsworth wrote (in 1897) that “very elastic, square-pointed steel pens may be substituted” for broad-edged quill pens (made from feathers). In this regard, these diagrams show only a basic principle of broad-pen calligraphy, and not the more refined techniques that are generally used.