The Rhythm of Writing

Since November of 2012, I have been teaching handwriting classes at a local stationery store. It has been an absolute pleasure to deliver the classes and meet so many wonderful people. I have met people who have made handwriting part of their daily rhythm. The class has been delivered in three levels as well as an introductory course for children. Since November, I have been diligently searching out articles online and reading books about handwriting, the neuroplacity of the brain, the digital age and its effect on our minds, etc. The digital age is real and demanding and definitely here to stay. But the more I study the effects of our fast paced lives and digital demands, the more I am convinced that the simple practice of handwriting can bring calm into our lives, restore a peaceful state of mind, help restore focus and a multitude of other benefits.It's not exactly been my Walden experience, but the mindful practice of writing has definitely brought a lot of peace and calm to me over the past few months. I share this with the hope that you will include the act of handwriting in some small way into your daily rhythm. In my level one class, their challenge is to write and mail and note to anyone they choose within one week of the class.

In level two, one of their challenges has been to keep a handwritten daily to-do list. And in level three, their challenge was "Not a day without a line", which was a quote I came across in a Victorian handwriting manual. It encouraged a one line a day diary. I hope you will try at least one of the challenges to incorporate the rhythm of writing in your lives. With gratitude to Mano and Baldeep at Phidon Pens for having the vision for the handwriting classes, my wonderful students and to Platt Rogers Spencer, the hero of the story.

Process Pictures

Every now and then I am asked to talk about my process of work. Since 2010, I have been carrying a journal and mechanical pencil with me wherever I go. I have several of them on the go. These 5 were within closest reach in the studio. They have transformed my process when it comes to designing work. My flourishing work still remains spontaneous and without pre-planning. But larger work, engrossings, Enchanted Letters and Enchanted Meadow pieces get their start in my journals. My Leuctturm Journal with the grid lines is filled to page 207 of a 250 page Journal. I find myself trying not to fill it up! It has been my travel companion for these past 3 years, records the questions that students have at my workshops, hold the roughs of every Enchanted Letter I have designed, has my recipe for making ivory ink, contains handwritng exercises for my penmanship classes, border designs and the list goes on and on. Now I don't know how I could ever travel without it as it has become some a wonderful reference tool for me! I guess I will be brave and fill it up and hope the next gridded journal proves as valuable to me. Even the process of keeping a journal is evolving in my art studio. The pencil sketch now serves me best as a rough draft of my finished piece. In the past, I would have used my sketch to take a tracing or a scan for my final piece. I find though, that the tracing process has a deadening effect on the final piece. I am finding it better to capture ideas in my journal and plan a design, but my recent Enchanted Letter designs are drawn freely on my final art paper. I certainly didn't stray far from my original sketch idea.

The Passionate Pen

Now and then, I can see my work evolve. It is usually a subtle change that starts to dominate my thinking. In this recent evolution, my desire to discover fluid movement in English Roundhand was combined with my desire for the Offhand Flourishing techniques to become slightly more illustrative. My inspiration for English Roundhand has always been the work of George Bickham as well as Thomkins and Milnes. But the past two years, my inspiration has been a single piece of lettering that is from the pen of Ramon Stirling. In reading and studying Roundhand, my challenge has always been to find a fluid movement with it that would work as handwriting. The result of two years of study is culminating in a new workshop to be released in 2014 called The Passionate Pen. I believe that Roundhand is expressive and can be freed up from the more rigid approach of Engrosser's Script.Capital letters can be vibrant and playful while retaining grace and gentleness. I will always love the whisper quality of Spencerian Script and that quality has crept into my Roundhand while retaining its European roots. All my favourites are used on this piece with the exception of Old World Iron Gall ink replacing my McCaffery Brown.Watercolour, Diane Townsend and Finetec Gold were used on John Neal's new diploma parchment.

Forgotten Project!

I should clean my studio more often. I was sorting through folders today and found two pieces that I had lettered and flourished. I had applied the Rolco gilding size to the piece but had not gilded it! This piece was stuck to the back of another piece that I had also forgotten to gild. It has been sized with the Rolco for months! I believe I started this piece in January and had laid it aside with good intentions to complete. Seeing that it definitely still had tack, I applied gold leaf to it and the gold adhered instantly. Quite a testimony to the adhesion power of the Rolco Aquasize. Even though it had adhered itself to the back of another piece, when I pulled it apart (without the least bit of gentleness), it did not damage the piece it was adhered to and there was no residual paper on the Rolco. Quite miraculous. Needless to say, I stopped cleaning my studio ( I was looking for an excuse) and I completed the piece with watercolour pencil, Finetec Gold, Sakura Gelly Roll Pen and the Hot Foil Pen. The paper is Stonehenge.

The Enchanted Meadow Series: The Munk

Time to start seeing these little angels in the garden. I know they are menaces. The last two years they have systmatically plucked every pear on our pear tree. We could see little pears go scurrying across the yard and then disappear into a whole in the ground. Despite their thieving ways, I do find them adorable. Time to start seeing these little angels in the garden. I know they are menaces. The last two years they have systmatically plucked every pear on our pear tree. We could see little pears go scurrying across the yard and then disappear into a whole in the ground. Despite their thieving ways, I do find them adorable. This little guy is 2"x6" on Fabriano Artisco paper. I flat gilded the design with Rolco gold size and 23K Gold leaf.Still experimenting with Marie Angel fur techniques.So much to learn so little time.

Late Night Flourishes

Finding solitude has been a challenge these past few weeks. But shut alone in my studio this evening I found some time to play. I pulled out some Canson Mi-Tientes paper in Stygian Black to work on. It is still my favourite paper although it is getting scarce here in Canada. The black seems richer than my Recollections cardstock and flourishes love to fight with the slight tooth in the paper. My lines are more crisp and clean on this pastel paper. I even broke out a new palette of Fine Tec Gold after using my first palette for over 4 years.

Labours of Love: Snow Day Project

This year, I am trying to branch out and expand my skills. I love working on illuminated letters and illuminated borders but have not done a lot of work combining the illuminated elements with lettering. I am much more comfortable with the pointed pen than the broad edge pen, but I am using some German Text exemplars from the Business Educator Publications as well as exemplars from W.E. Dennis' Studies in Pen Art. My Leuchtturm Journal is never far out of reach and I have been working on sketches of acanthus leaves to incorporate in my border designs. My two sources of inspiration for Acanthus designs are The Guide to Drawing the Acanthus Leaf by James Page and the work of Illustrator Alberto Sangorski.

This piece was done on a 9"x12" sheet of diploma parchement with Watercolour, Gouache and 23 K gold leaf. After the edge pen lettering was done, my border design was transferred to the diploma parchemnt. I used Rolco gold size for the flat gilding.

I did a base coat of the entire border design in very pale applications of the greens, blues, reds and purples.

Once the base coat was dry, I built up the colours in several layers of watercolour. The filigree work was the last step to be completed and is done with a 000 sable brush and Burnt Umber Winsor Newton Watercolour. It was my first attempt at this style of design but it has capitivated my interest.

I have another one in the planning stages now. While the snow was piling up outside and there were no distractions to keep me from my studio, I enjoyed my day of solitude with watercolour and gold leaf.

Reynard the Fox: Enchanted Meadow series

Still finding time to work on my Enchanted Meadow series. Reynard was created as a gift for my sister. I enjoy designing the acanthus scroll work around a little meadow animal.

The design is done on Fabriano Hot Press paper with watercolour, gouache and 24 K gold leaf. While searching for folklore surrounding the Fox, I came across an incredible book online called Reineke Fuchs. The illustrations are so whimsical! I loved looking at the book online. Enjoy!!

Welcome 2013

Starting the year a little pensively. Always thankful for time spent with the pen. Looking foward to seeing what will emerge for 2013. Happy New Year dear friends. It has been such a pleasure to keep in touch through this blog. Tolkien quote on 5x7 cardstock with Bleedproof white and Esterbrook 357 nib. Done at 6 am this morning in honour of my daughter's 25th birthday today! Happy Birthday Holly!

Merry Christmas Dear Friends!

Wishing you all Comfort and Joy for this Christmas season.

Christmas Flourish Video online

Just wanted to wish my blog friends a Merry Christmas. I love this season and had fun with a new Christmas flourish video. You can see it on my website at www.heathervictoriaheld.com or follow this link. Enjoy!!!!! I wish you all a very Merry Christmas!!!!!!

The Enchanted Meadow Series: The Merry Makers

Still playing with ideas for my Enchanted Meadow series. Meet the Merry Makers~ Comfort and Joy. Inspired by the Yuletide season, I wanted these little rabbits to be incorporated into a festive border. I still have so much to learn about designing these little animals and merging them with a Medieval border, but I am enjoying the process.

This piece is done on Fabriano watercolour paper with Winsor Newton & Holbein Watercolours. It is flat gilded iwth 24 K gold leaf. White accents were added with Dr. Ph. Martin's bleedproof White. Finished size is 5 1/2" x 1 3/4".

Labours of Love

My Dad is a gifted musician and October 28th, he celebrated 50 years as a church organist. To commemorate the event, he gave an organ recital at Alexandra Presbyterian Church in Brantford. The concert was well attended and the local paper printed an article about his music ministry. I was unable to attend Dad's concert as I was teaching workshops in California. It was difficult to be so far from home while Dad was performing his concert. I don't think I have ever missed one of his organ recitals. The event was very successful and well attended. Our family was so proud of Dad's achievement and I wanted to make him an engrossed certificate to mark the occasion. I kept the certificate as a surprise to be presented to him at his concert with only my sister, Holly and Chris knowing about my plans. I had attended two previous Engrossing Sagas with Michael Sull. One was in 2006 and the other in 2011 but I had never really tried to combine techniques I had studied with Michael into a larger piece of work. I generally work very small and keep to illuminated miniatures, Spencerian Script, English Roundhand and Offhand flourishing. This piece would stretch my comfort zone. I ended up creating two pieces for him. The first piece would be presented at his concert but I was not entirely happy with it. I had chosen to draw my capital letters and draw lower case German Text letters that I would gild and paint. It seemed like a good idea but the finished design wasn't as clean looking as I had hoped for. On my second attempt, I drew my capital letters, but used a parallel pen with Best Bottle Ink for my lower case German Text.

The piece was then gilded with 23K gold leaf and I applied a very light application of watercolour pencil.

I used my Victorian line and wash technique on the flourishing. The English Roundhand was done with a Vintage Eagle 750 EF pen point which has a medium flexiblity and is incredibly smooth.

It was done on Fabriano 140 lb watercolour paper using McCaffery Black and Staedtler Aquarelle watercolour pencils. While my parents were away this weekend visiting my sister, I went over to their house and removed the first certificate I had done and replaced it with this final piece. I am happier with it than my first attempt. I learned valuable lessons in the execution of both certificates. I am so very proud of my Dad and wanted to do something to honour his achievements. Way to go Dad!!!!!!

Beautiful Penmanship

This past weekend I had the absolute pleasure of teaching my first class in Handwriting to eager adults at a local stationery and fountain pen store. The class was filled to capacity with professionals who wanted to improve their handwriting for their day to day tasks! We will be having follow up classes in the new year. Preparation for the class had me diving into my penmanship archives. Just seeing the beauty of ornamental penmanship has ignited my passion to practice these historic letterforms. I wanted to share a few treasures from my archives. Enjoy!

Bookplate Design

Exploring the effects of graphite with Old World Iron Gall ink on this bookplate design. It adds a bit of dimension. Finished size is 5"x 3.5" on Arches HP Paper. The Old World Iron Gall ink works well for work that will be reproduced. It is quite a bit heavier than McCaffery black and thickens up rapidly as it exposed to air. I still prefer it to any sumi inks for work that will be reproduced. It allows for the delicate hairlines and crisp shades without getting overly heavy. This design was done with an Esterbrook 357 in a straight holder.

S is for Study

I have had a love/ hate relationship with reading the treatise on designing acanthus leaves "Guide for Drawning the Acanthus and Every Description of Ornamental Foliage by James Page. Originally published in 1886, I was able to find a copy online to read but eventually purchased an excellent reproduction by Pravana Books. Unlike other print on demand books that I have purchased, this publisher has successfuly reproduced this out of print book in two beautiful volumes. There are 245 pages of analytical diagrams and endless descriptions of how to draw foliate forms. The author is very opinionated throughout the book and both insults and encourages the student in his instructions. As I continue to peruse the volumes I get more comfortable with designing foliate letters. This 1"x4" 23K flat gilded letter S is done on 140LB. Arches HP paper and painted with watercolour, gouache and then burnished with Diane Townsend Pastels. The browns of the acanthus are painted in three stages with Yellow Ochre, Brown Ochre and Burnt Sienna. The Blue acanthus leaveas are Prussian Blue and Payne's Grey. The book has made quite an impact on me as I return to its diagrams over and over again and try to really understand the acanthus form. The author keenly observes nature and I have been trying to be more aware of natural forms. "My eyes are on everthing that I pass or that passes me." James Page

A Glimpse of the Charlton Howe Collection

During the Milwaukee Iampeth convention, it was my pleasure to view Iampeth's recenlty acquired Charlton Howe collection. The collection contains many of his original specimens of Engrossers script as well as drafts and layouts of large engrossed pieces. I was amazed at the size of the Engrosser's script.

There were many examples of these calling cards. The penciled baseline and headerlines were still visible in some cases but the accuracy of the strokes at such a small size were inspiring to see.

This exemplar of Upper and Lower case was surprisingly small. The dimensions were probably 4" x 6'. Wish I had measured it.

The layouts with the pencil lines and pencil sketches were a wealth of information. I appreciated all the detail of the layout sketches and drafts. To see the use of pencil lines to give the pieces their structure and stability reminded me of the lessons I learned when viewing the Healey Collection in 2010. These masters did not have the availability of computer aided layouts for their work. They were carefully drafted in pencil and meticulously executed. I wish I knew how many hours it took them to do their designs from start to finish.

This final piece made me do a double take. Years before the invention of the hot foil pen, I would swear that Howe was using Hot Foil dots on his decorated letters. The work had the glow of foil. The dots were debossed in the paper. I am going to experiment with making a depression in hot press paper with a stylus and then seeing if gilding will get the same effect. I can certainly do this with a hot foil pen, but wondering what Howe used was intriguing. Howe did he do it???