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Free Online Calligraphy Lecture (Europe + The Americas)

Thu, 26 Mar 2026 09:30:41 GMT

After hosting my first free online lecture in March 2026, I received many messages from people in Europe + The Americas who couldn’t attend live due to the time difference. So I’m happy to share that I’ll be hosting a second free session on April 18th at a more international-friendly time.

WHEN
Saturday, April 18th
Spain: 17:30h
East Coast US: 11.30am
West Coast US: 8.30am

TOPICS I’LL COVER

→ The benefits of learning calligraphy for type & graphic designers
→ The role of discipline and long-term consistency
→ How to train your eye (not just your hand)
→ What structured progression in calligraphy really looks like
→ New demo: Calligraphy mechanics (part 2)

Many people enjoy calligraphy, but the real transformation happens when you practice consistently with guidance and feedback — and I’ll talk about what that process looks like.

At the end of the lecture I’ll also share details about my upcoming 4-month calligraphy course, which begins on May 2nd.

Video credit: Free online calligraphy lecture announcement on April 18th, 2026.

Hey! I'm Maria Montes , a Catalan-Australian multilingual, multicultural designer, calligraphy-and-type educator. My creative practice is set by the principles of never stop learning, sharing knowledge and create emotion through my work.

I have been teaching calligraphy independently since 2014. My favourite way of learning is by teaching others. I offer in-person and online calligraphy courses, corporate in-house workshops, as well as private 1-on-1 tutorials.

Calligraphy Student Spotlight: Neus Sáez

Sat, 14 Feb 2026 09:49:14 GMT

This is a new section on my Writing Calligraphy educational website where I interview professional calligraphers who make a living primarily from their work, as well as calligraphy students at different stages of their learning journey, as I’m very interested in both points of view.

I’m kicking off this Calligraphy Student Spotlight with a dear student of mine, Neus Sáez, whose passion for calligraphy, future goals and respect for this art form are evident in the answers below.

Reach out if you would like to be featured!

Photo credit above: Calligraphy sketchbook by Neus Sáez.

Profile photo: Neus Sáez

1. CALLIGRAPHY STUDENT PROFILE

What is your name, age, current occupation and location?

Neus, 27, Graphic designer, Barcelona.

How long have you been practicing calligraphy?

More than 2 years.

How did you first discover calligraphy, and what drew you to it initially?

I remember being a child and looking at my grandfather's handwriting and marvelling at how he wrote the most beautiful letters using the same pen as everybody else.

When I grew up and became interested in typography and lettering, I learned that calligraphy was at the root of every drawn letter. I wanted to understand how to apply its guiding principles to my drawing practice, and also marvelled at how a letter or a word could look so... "finished" (it's how I would have described it at the time) after just being written with a tool.

Do you consider yourself a beginner, intermediate or advanced calligraphy student?

Intermediate student.

Have you taken any in-person or online courses? If so, do you have a preference?

I have taken both but prefer in-person courses– I'm lucky enough to live somewhere with access to them. I feel like they give more room for discovery and spontaneity, as you are usually in a room with other people who are learning at the same time; unplanned things happen when learning among others. Also, when you're a beginner, I believe in-person classes can make it easier for the teacher to correct things like posture, grip or problems with materials.

Who or what has had the greatest influence on your development as a calligraphy student?

Undoubtedly, my teachers: Oriol Miró , Ivan Castro , Laia Soler , Maria Montes ... The way I've learned calligraphy goes beyond basic and quick instructions to get beautiful results. I think their teachings carry a lot of respect for the practice, its history, and the calligraphers who came before them: setting solid and careful foundations before also giving the freedom to experiment with expressiveness and tools. What I learned from them goes far beyond what I could have ever learned on my own, and I'm very grateful.

Do you have any recommendation for students wanting to start their calligraphy journey?

From a more tactical standpoint, I would recommend them to find classes with experienced teachers and get involved with others who are also interested in calligraphy, if possible. I believe looking at other people's work is very enriching. But my more heartfelt, individual advice would be to find texts (poems, extracts from novels, lyrics from songs...) that they would like to spend time with, any words that resonate with them, and get excited about making projects with them once they've learned how to write in any script. Create your own collection of texts, don't forget to sketch to try out different compositions and enjoy making personal projects.

Which calligraphy scripts or styles do you feel most connected to, and why?

I would say Roman Capitals, Italics, and the Neuland style.

I love how Roman Capitals look very classic but can also be very expressive. I find them very relaxing and rewarding to write with a brush on cotton-based fabrics, since a lot of beautiful textures come up organically.

Italics make me feel very connected to the text I'm writing, since it's easy to flow with them, and writing with Neuland is always just a good time. :)

Is your calligraphy practice 100% analogue? Do you use Procreate or vector-based software at all?

I only use vector-based software if a project requires it; for instance, if a client wants a logotype that is calligraphy-based. In my own practice, I'm fond of the tactility of materials and the happy accidents that occur when going analogue.

Do you see calligraphy more as a hobby, a future job, a possible career or a vocation—or a combination?

A combination of a vocation and a career. Working on calligraphy projects feels very rewarding to me, and I would love to spend more of my time doing it. I like to picture myself in the future combining calligraphy work with lettering and typography projects, which I also love.

Have you done any client work? If so, how did you find the experience? Would you like to do it again? If not, would you like to do it at all?

I have worked as a calligrapher in live events and also regularly work on the handwritten numbering of limited editions of books. I would love to do both again and anything else that comes up.

Live events are very fulfilling, because people are very warm about the things I write for them– names, messages for their loved ones... And the numbering of limited editions makes the books feel truly special. It's gratifying to think about the people that will receive the things you write, and how the handwritten element will add emotion to the final product.

Photo: Glass calligraphy engraving by Neus Sáez

2. Consolidating Fundamentals

Which foundational calligraphy skill do you feel most confident in now, and which still needs reinforcement?

Something I really needed to interiorise was giving myself time and grace to learn new scripts in an unrushed way and without judgement. Looking at manuscripts and working slowly, paying attention to the angles of the strokes and the contrast of the letters, understanding that slow and steady wins the race. I have learned that this kind of patience and understanding the learning process as accumulative helps me feel more confident when working, especially on projects for clients.

On the other hand, I think I still need to be more consistent about working without any kind of guidelines. I know it will help me to better assimilate the proportions of each script, but some days it's hard to be comfortable with the mistakes that come as part of that process– you want your letters to look as good as possible. It's necessary, nonetheless.

What technical habit has been hardest to unlearn as you progressed?

Sometimes, I felt too comfortable with the grip of my pen at a certain angle, and that made the thickness and contrast of some scripts feel a bit off. Stopping more frequently to look at my work and paying more attention has helped me get better at it.

How has your understanding of basic letter structure changed since you began?

It felt really important to learn how different scripts are connected through history and form, for instance, how a capital 'A' goes from being that way to a minuscule 'a' and how its shape is a response to its moment in time. Another thing was the importance of the ductus, understanding why the order of the strokes is not arbitrary, and why it's important to respect it.

What recently “clicked” for you in your practice?

I have been aware of this since I started to learn calligraphy, but the importance of breathing while writing is something that is on my mind a lot lately. How the breath is an extension of your state of mind but also impacts your body, and in doing so, your arm and hand movement while writing. I think part of why calligraphy can feel a bit like a spiritual practice sometimes is because when mind, body, and breath are aligned and you feel connected to your project and its content, you can feel a sense of peace and serenity.

Photo: Sketchbook by Neus Sáez

3. PRACTICE & CONSISTENCY

How do you currently structure your practice sessions?

One of my main goals this year is to build a more consistent and frequent practice routine, and I'm still figuring out what works best for me. As of right now, I think that looks like spending several sessions with the script I'm practicing at that moment, trying out how it looks in different sizes with different nibs, before moving on to the next one. I intend to carve out blocks of time in my week so I can have quality time to practice and hopefully end the year with a bunch of filled sketchbooks.

What helps you stay consistent when progress feels slow or uneven?

Looking at other people's work and asking myself what moves me or inspires me about it, and being really specific about the answer. It varies from day to day: it can be expressiveness, their use of composition or materials… It's about finding that exciting element and chasing that spark in my work.

Something that has also helped sometimes is changing the medium I work on: since last year I've been trying my hand at engraving glass, and I really love it. It motivates me and makes for great gifts.

How do you decide what to focus on when you sit down to practice calligraphy?

Sometimes I already have a text or phrase on my mind I want to work on, and I choose a certain script based on the look I believe it should have and the emotion it evokes.

Other times, I miss practicing a certain script or feel like it needs some “refreshing” in my mind, and then spend some time with it.

What kinds of exercises have been most helpful at this stage?

Copying pages from manuscripts and trying to get as close as possible is something I learned from my teachers at the Barcelona Caligrafia School and I find it really helps when trying to perfect your script. It makes you slow down when writing, really stop to think about how the letter must have been written to achieve that certain look, and then wonder if it's the same way you would write it at that stage or if you have to make any adjustment. It requires time, and if I'm short on it but want to make sure I'm practicing all the letters of the alphabet, I stick to writing pangrams or a list of names (from people I know, music bands, fictional characters…).

Photo: Neuland calligraphy by Neus Sáez

4. LEARNING & OBSERVATION

How has your ability to see and analyse letterforms improved over time?

I studied typography before I learned calligraphy and I believe having a background in both has been really useful when analysing letterforms. Elements like contrast, proportions and thickness are the building blocks of creating letters, and spending time with scripts and building an intuition when it comes to thinking about those elements is very useful to understanding how (and why) they work, especially when looking at others' work.

What common mistakes do you now recognise in your own work that you didn’t notice before?

I see a lot of spacing errors in my first projects and practice sheets! I believe it takes some time to interiorise how the negative space works and how much space you should leave when writing the next letter in a word.

How do calligraphy exemplars or model alphabets support your learning right now?

I believe they're very useful, and I like to keep close all the models I've gathered throughout the courses I've taken when practicing. Firstly, in case I need to make sure the ductus of a certain letter is correct, and secondly, because sometimes looking at other people's models can make you think about their way of doing things and your own: I remember that, after taking Copperplate courses with two different teachers, I compared their models and realised each one had their own way of approaching the script, even if the base of the letters was the same.

What role does repetition play in your calligraphy improvement at this stage?

I think repetition always plays an important role when learning calligraphy, because even though conscious practice is essential, it's also important to build muscle memory to be able to work more intuitively, and the only way of doing that is practicing and practicing. Repetition helps me integrate the right way of doing things so I can later experiment while being aware of the changes I'm choosing to make.

Photo: Expressive Italic calligraphy by Neus Sáez

5. Developing Confidence & Voice

When do you feel most confident in your writing, and when does doubt appear?

Doubt always comes tangled with outside perception for me. For instance, I was given a weekly diary for my birthday and each week comes with a lined page for writing notes. I've gotten into the habit of writing poems and songs as a way to summarise the week and I do it trying out different scripts, only writing the skeleton of the letters with an ordinary pen. Since it's just for me and I know I won't show it to anyone, it's when I feel most free writing. Sketching is also a moment I really enjoy and when I feel really at ease working.

It's when I'm doing something that I know I show to others that I start second-guessing whether it's good enough. Nonetheless, at the end of the day, I also know that self-doubt can be my biggest enemy, since it can become paralysing– I know I have to push through, knowing done is better than perfect and that to get closer to the results I want I need to keep going at it.

 Some other times I just need to step away from my work and look at it with fresh eyes to be more objective about it.

Are there early signs of personal preference or style emerging in your calligraphy work?

Lately, I'm noticing I really enjoy working with a flowing baseline– waves, twirls… It adds an element of difficulty because of the spacing issues that may occur if the curves are tight, but I find I really like the results. I also like combining different sizes and scripts.

How do you balance following rules with experimenting a little?

I find both are important. Sometimes it depends on the text I'm working on and what I feel it demands, other times it's more about how I'm feeling at the moment and whether I feel a bit stuck in my practice.

What kind of calligraphy work feels just outside your comfort zone right now?

I would be intimidated by work involving drawing or painting beyond just doing really basic things, since it's not my area of expertise. It's something I would like to get better at and offer, but at the moment it would feel really outside of my comfort zone.

Photo: Gothic/Blackletter calligraphy by Neus Sáez

6. FEEDBACK & COMMUNITY

How has receiving feedback influenced the way you practice calligraphy?

The feedback I received as a student, specially the comments I got more than once, is something that I still keep in mind when practicing– for example, the angle of my strokes feeling a bit off that I was telling you about earlier. I also think a lot about what our teachers repeatedly tell us: "relax your grip and let the pen flow".

What type of feedback do you find most useful at this stage of learning?

Any kind of constructive feedback is helpful, but I really enjoy when people I've studied with (both teachers and fellow students) tell me what they think about my work and how I could take it further. I believe that receiving feedback from your community helps you grow faster.

Do you share your calligraphy work on social media?

Up until now, I've mostly shared things on Instagram Stories, since putting things on my feed felt more permanent and carried those feelings of self-doubt and anxiety I was talking about earlier. However, since I'm now more focused on getting more calligraphy projects to make it my future job, I'm working on getting better at sharing my work and posting more past and current projects to be able to better show what I'm able to do to potential clients.

Photo: Sketchbook by Neus Sáez

7. LOOKING ahead

What are your next goals in your calligraphy journey?

I want to be able to work in calligraphy full-time, so right now my main goal is to get more commissions and calligraphy projects. I know that in order to do that, getting better at sharing my work is the next step, so I am working on that while also enjoying my personal practice.

Where can people find your work online?” (website / socials)

As of right now, my Instagram profile: @nesu.otf

Stay tuned for a lot more posting in the future :)

New 4-Month Calligraphy Course in Melbourne!

Wed, 11 Feb 2026 04:43:33 GMT

I have veeeery exciting news to share with you: In May this year I’m hosting a 4-month calligraphy course in Naarm/Melbourne!

May 2 - August 22, 2026
16 x Saturdays, from 10am - 2.30pm
In-person & live online access available

Video credit: Calligraphy Course in Naarm/Melbourne announcement.

In-person & online Calligraphy Course: May - August 2026

Join me for an immersive, hands-on calligraphy course in Melbourne where you’ll learn the art and technique of calligraphy using traditional tools and modern sensibilities.

Whether you’re a total beginner or looking to refine your skills, this course will ignite your creativity and strengthen your letterform foundation. All materials provided — just bring your curiosity and enthusiasm!

This Calligraphy Course in a Nutshell

This course has been designed to offer total beginners and intermediate students a very solid foundation of calligraphy with an on-going 16-week support in their learning journey.

Image caption: Maria Montes teaching an in-person Copperplate calligraphy class in Naarm / Melbourne at Tractor Design School. Photo by Lauren Vilitati.

Calligraphy Course Overview

Using an attention to detail and in-depth approach, students will discover the foundations of six calligraphy styles: Roman Capitals, Modern Carolingian, Blackletter, Neuland, Italic, Copperplate & Script Brush Pen Calligraphy .

This Melbourne calligraphy course include detailed hands-on demonstrations, personalised feedback and historical contexts of each hand for you to learn about calligraphy as much as to practice it.

At the end of the course, you’ll have completed 3 calligraphy projects to add to your design portfolio. I cannot wait to see what you come up with at the end of this solid introductory calligraphy course!

Image caption: “Never stop learning”. Neuland calligraphy by Maria Montes.

Melbourne Calligraphy Course Calendar

02/05: Intro to Brush Roman Capitals
09/05: Foundational Hand (a-z)
16/05: Foundational Hand (A-Z)
23/05: Intro to Blackletter
30/05: Blackletter Capitals
13/06: Neuland Calligraphy
20/06: Italic Calligraphy
27/06: Italic Capitals
04/07: Intro to Copperplate
11/07: Copperplate Capitals
18/07: Copperplate Variations (Level 2)
25/07: Flourishing, Numbers (Level 3)
01/08: Script Brush Pen Calligraphy
08/08: Intro to Script Lettering
15/08: Design Ideation x 3
22/08: Final Design Execution

Image caption: “The Loop” Fraktur calligraphy by Maria Montes.

The foundations of six calligraphy styles: Roman Capitals, Modern Carolingian, Blackletter, Italic, Neuland, Copperplate & Script Brush Pen Calligraphy.
Letterform anatomy and typographic glossary of terms.
The meaning of cursive, counter form, slant, ductus, ratio, scale, calligraphic colour, swashes and flourishes while writing!
Design principles including harmony, contrast, balance and tension.
Spanglish for sure!

What will you learn?

Photo credit: Maria Montes giving a 1-on-1 private calligraphy tutorial at Rotson Studios in Naarm / Melbourne.

Included In This 4-Month Calligraphy Course

72 hours of in-person calligraphy education
Calligraphy guidebooks for each style
Recordings available after each class
Maria Montes weekly lesson notes
Weekly suggested homework
Personalised feedback to every student
Recommended calligraphy materials & bibliography to support your learning journey.
A special guest presentation

Thank you so much for reading this far!

If you have any questions, or would like to secure your spot by paying for this course in two instalments, please reach out, I would love to hear from you!

Professional Calligrapher Spotlight: Wanissa Somsuphangsri

Mon, 02 Feb 2026 08:52:11 GMT

In this professional interview series you'll discover different profiles —from people who are traditional calligraphers, to others like myself who combine disciplines and move between analogue and digital practices.

I’m kicking off this Professional Calligrapher Spotlight with a dear colleague of mine, Wanissa , who combines calligraphy engraving services for the luxury market with her custom tattoo creations.

Photo credit above: Brush calligraphy by Wanissa Somsuphangsri .

Profile photo: Wanissa Somsuphangsri

1. Background & Journey

And how long have you been working as a professional calligrapher?

Roughly 10 years.

Where are you based? And where are your clients based?

I'm based in Naarm/ Melbourne (Australia). Most of my work is face-to-face, and most of my clients are based here as well.

How did you first discover calligraphy, and what drew you to it initially?

I got into Pinterest when it first started gaining popularity around 2010–2011. When calligraphy began appearing in my feed, I was immediately drawn to its elegance. I was already working as a graphic designer with an interest in type, and I loved the hand-finished, human touch that calligraphy has.

Was there a moment when calligraphy shifted from a hobby to a serious practice for you?

Yes — it was when I received my first commercial job, painting two large walls in North Carlton (Naarm/Melbourne, Australia).

Before that, I had only been doing small projects for friends, like wedding invitations. Being approached by an established business helped me visualise how my work could have a commercial application, and I realised I wanted to pursue this more seriously.

Which calligraphy scripts or styles do you feel most connected to, and why?

Copperplate calligraphy ! I'm drawn to detail, and I love its elegance and delicate, elaborate nature.

Who or what has had the greatest influence on your development as a calligrapher?

I really admire Lisa Taniguchi , Jessica Hische , and Lauren Hom , to name a few off the top of my head. These were mostly online influences, but the most impactful figure for me was someone I could connect with in person — Maria Montes . I attended many of her classes, and it wasn’t just her teaching style or how knowledgeable she is, but also the passion she brought to her work that truly inspired me.

Photo credits: Brush pen calligraphy and lettering by Wanissa Somsuphangsri.

2. PRACTICE & PROCESS

Can you describe what your current calligraphy practice looks like (frequency, structure, rituals)?

Actually, my current practice is tattooing . My tattoo style focuses largely on floral and ornamental designs rather than calligraphy, but I still enjoy undertaking live calligraphy work, primarily engraving.

I often work in-store with luxury brands such as Dior, Hermès, and Balenciaga, offering on-site personalisation of items like lipsticks and fragrances with names or messages.

How do you usually approach learning a new calligraphy script or refining an existing one?

Looking at references, good books and sometimes going to the library.

What tools, materials, or resources do you rely on most in your calligraphy work?

For calligraphy, it would be my engraving machine.

Photo credit: Calligraphy engraving by Wanissa Somsuphangsri.

3. TEACHING & LEARNING

What do you believe is the most challenging aspect of learning calligraphy for beginners?

I'd say finding your own style is the biggest challenge.

Style and individuality can only develop through time, patience and perseverance. Copying and imitating seems to be a common way to learn, but I believe the real work lies in understanding the basics and learning how to make it your own.

Are there common misconceptions about calligraphy you often encounter?

Yes, I often hear people say, “Wow, you have nice handwriting.” In reality, my everyday handwriting isn’t particularly nice — my calligraphy looks the way it does because of deliberate practice and study. I think this applies not only to calligraphy, but to art practices in general. There’s a common misconception that talent appears naturally and effortlessly, when in truth, art is a choice that requires commitment, practice, and dedication.

Photo credit: Lettering tattoos by Wanissa Somsuphangsri.

4. Career & Sustainability

What has been the most unexpected part of building a life or career around calligraphy?

How flexible and adaptable having this skill is. It’s refreshing to see that there are multiple ways to apply our work, if we can learn to adapt to the ever-changing demands and interests. The way the work has evolved and grown through the years has been pleasantly unexpected.

What services do you offer and for whom?

At the moment I do engraving and live calligraphy for brands through an agency, and also I run my own tattooing business, working from a studio in Naarm/ Melbourne CBD (Australia).

What’s the calligraphy service you offer the most to your clients?

For calligraphy engraving, the most popular items at the moment include fragrances and lipsticks.

 For tattoos, there is a big variety of requests, though the arm and leg tattoos are the easiest spots so that’s the most common service at the moment.

Is your practice 100% analogue? Do you use Procreate or vector based software?

For calligraphy engraving, it’s 100% analogue - mocking up script using a fine line metallic pen, then going in with the engraving machine, and finally adding silver or gold shine to finish.

For tattoos, it’s a blend of digital and analogue. I use ProCreate to make stencils, refine tattoos and create occasional concept mockups for clients. The Flash can be done digitally too, though I’ve been loving working analogue lately, drawing designs on paper. When it comes to creating the actual tattoo itself, it’s of course 100% analogue, using a tattoo machine, ink and needles.

How do you navigate creative blocks, plateaus, or periods of doubt?

If I’m feeling blocked, I like to completely step away and take a few days off — enjoy good food, go to the park, watch a movie and spend time with loved ones. I’ve accepted doubt as a natural part of the work. The nature of what I do is highly competitive, and there’s no guarantee that what I’m doing will last, but my curiosity to create and my drive to continue always outweigh the doubt.

 I also like to remind myself how lucky I am to be able to pursue art as a career.

What advice would you give to someone hoping to pursue calligraphy professionally?

Be patient with yourself. Good work takes time, and look for inspiration outside of Instagram.

Photo credit: Calligraphy and ettering design by Wanissa Somsuphangsri.

5. PROFESSIONAL PROFILE

Where can people find your work online? (website / socials)

Web: https://www.wanissas.com/

IG: https://www.instagram.com/wanisssa/

Photo credit: Tattoos by Wanissa Somsuphangsri.

Collaboration: Profile image by Wanissa Somsuphangsri and custom signature design by Maria Montes.

Reach out if you would like to be featured!

From Analogue to Digital Design: Bridging the Gap Between Blackletter Calligraphy and Vector Art

Tue, 16 Dec 2025 05:10:12 GMT

We often think of calligraphy and digital design as two separate worlds. On one side, you have the messy, tactile joy of ink on paper. On the other, the clean, infinite precision of vectors. But my favourite way to work is right in the middle —bridging the gap between the two.

In my latest “Behind the Scenes” video, I’m breaking down a personal project I created for International Women’s Day, based on a quote by Rosa Luxemburg. It started as a Blackletter calligraphy study and evolved into a polished, textured digital piece.

Whether you are a calligrapher looking to digitise your work or a designer wanting to add more “hands” to your lettering, this workflow will show you how to blend the best of both worlds.

I'm really excited to share with you all a new calligraphy conference and event coming up in Spain in 2026 organised by a very talented dear friend of mine called Sonia Beroiz.

Photography credit: Jimena Cuerva.

Watch My Process

Video credit: "From Blackletter calligraphy, to vector lettering to the final pixel-based design" tutorial.

Phase 1: The Analogue Foundation (Thinking with Your Hand)

Every lettering piece I design starts with about 90% of its DNA on paper. For this project, I knew I wanted the rigid, rhythmic structure of Blackletter calligraphy .

I started by warming up with a Pilot Parallel Pen (6mm and 3.8mm) . At this stage, I’m not trying to make a finished piece of art; I am just getting familiar with the text, the x-height, and the ascender and descender proportions.

The “Old School” Layout Trick

You’ll see in the video that I use a technique that might seem a bit "1900s" to some of you! I wrote the sentence, realised it wasn't centred, and instead of rewriting it immediately, I physically cut the paper and aligned it manually using a central axis.

There is no "undo" button on paper, but scissors and tape are the next best thing.

Once I had the layout, I used tracing paper and a portable light box to refine the composition. This is where I start "thinking with my hands"—making decisions about ligatures (like the double 'f' in 'different') and ensuring my verticals are completely upright.

Phase 2: Vectorising the Shapes

Once the sketch was solid, I scanned it and moved to the computer.

I used Glyphs (a font design software) to vectorise the shapes, though you can easily use Adobe Illustrator for this as well. The goal here is cleanup and refine. Calligraphy on paper has texture and a warm human quality, but vectors are mathematicala and can be very cold at first.

I refined the curves, fixed the spacing, and established the "skeleton" of the design.

Note on editing:

You’ll notice in the video that I originally designed the author’s name (“Rosa”) as part of the lockup. However, once I saw it digitally, I realised it made the piece too busy. Part of the digitalisation process is knowing what to delete to let the main message breathe.

Phase 3: The Pixel Finish (Procreate)

This is where the magic happens. Vectors are precise, but sometimes it can feel a little too perfect—almost sterile. To bring back the warmth of the original calligraphy, I moved the vector file into Procreate on the iPad.

I didn't just colour it in; I actually redrew details on top of the vector forms.

Adding Texture: I added a layer of grain to mimic the bite of ink on textured paper.
Refining Details: I softened the sharp vector edges and added "branches" inside the capital letters to give it a unique character.
Depth: Using the brush tools, I added subtle shading to the ascenders and stroke endings.

The Final Result

The final piece is a hybrid. It has the structural integrity of a vector lettering, but the soul of a hand-written blackletter calligraphy piece.

I used the final design as the header for my newsletter discussing International Women's Day (which you can read more about here ).

I hope this breakdown encourages you to mix your media. Don't be afraid to cut up your paper sketches, and don't be afraid to take your clean vectors back into a pixel app to rough them up again.

Tools Used

Pilot Parallel Pen (6mm & 3.8mm)
Canson XL Marker Paper 70gsm
Tracing Paper & Lightbox
Mechanical Pencil & Precision Eraser
Glyphs App
Adobe Illustrator
Procreate App

I have been teaching calligraphy independently since 2014. My favourite way of learning is by teaching others. I offer in-person and online calligraphy and lettering courses, corporate in-house workshops, as well as private one-to-one tuitions.

New Course: Improve Your Cursive Handwriting!

Mon, 01 Dec 2025 07:09:48 GMT

I'm very happy to share with you my new self-paced, pre-recorded calligraphy course called “ Improve Your Cursive Handwriting”.

16 hands-on lessons!
4:43 hours of on-demand video
32 downloads
Life-time access

Video credit: “ Improve Your Cursive Handwriting” course announcement.

Improve Your Cursive Handwriting: Complete Breakdown & Course Overview

In this video above, I warmly welcome you to my new self-paced, pre-recorded course, where I share an overview of its contents, my teaching approach, and the methodology behind it.

This course is fun and highly educative! It will make you fall in love with our Latin alphabet again, by discovering its close relationships, and by understanding what it means to write a fully connected alphabet.

Additionally, I will introduce you to artistic applications where we’ll bend the rules and shift our attention from speed to form. This is an immersive hands-on experience to learn while doing!

Handwriting Course Summary

This beginners’ course is designed for students of all ages wanting to improve their cursive handwriting skills! The target of cursive handwriting is acquiring speed and flow while experiencing no motor skill pain at all!

Level 1: All writing ages welcome!
PDF Guidebook
Unlimited life-time access

This Calligraphy Course in a Nutshell

4:43 hours of video recordings
20 modules
55 lessons
32 Downloads
Step-by-step lowercase alphabet (a-z)
Step-by-step uppercase alphabet (A - Z)
Writing quotes & longer texts
Journaling & artistic applications
Print vs. Cursive Handwriting

Image caption: “Never stop learning”. Neuland calligraphy by Maria Montes.

The essentials and nice-to-have tools I use in my professional practice.
Pen grip, paper and arm positioning
Step-by-step demos on the entire lowercase and uppercase alphabet
Letter proportions, letter anatomy, and width versus letter spacing relationships
And you'll have fun while learning an creative and mindful skill!

What will you learn?

Image caption: Cursive handwriting exemplar by Maria Montes.

This course is designed for students of all ages wanting to improve their cursive handwriting skills:

Younger students at school
Students looking for a mindful, meditative and creative practice
Writers and people journaling daily
Professionals wanting to cultivate pen and paper handwriting skills again

Who is this Calligraphy Course Best Suited For?

10% Off This Month of December Only

Thank you for being part of my journey. As a valued friend, I’m thrilled to offer you an exclusive 10% discount on my this course. Simply use the code DECEMBER25 at checkout till December 31st only.

Happy lettering!

Photo credit: Cursive handwriting letter by Maria Montes.

Navarra, Spain Launches New Edition of Itinerarios de Caligrafía / Kaligrafia Ibilbideak (ICKI) to Celebrate Calligraphy in the Digital Age

Mon, 24 Nov 2025 04:29:36 GMT

‘Calligraphy Itineraries’ will champion handwritten letters. The program, running from January to August 2026, will offer workshops, talks, labs, and artistic interventions.

The project Itinerarios de Caligrafía / Kaligrafia Ibilbideak (ICKI) is launching a new edition. After a first instalment held in 2019, the program once again champions calligraphy as an educational, artistic, therapeutic and social tool, while inviting reflection on our identity, learning, memory, health, and technology.

The initiative, led by designer and calligrapher Sonia Beroiz (Kö estudio), in collaboration with cultural, academic, and community organisations, will take place in Navarra between January and August 2026. It will combine workshops, lectures, labs, artistic interventions, and public events. At a time when digital devices and typing dominate visual communication, “calligraphy emerges as a conscious, human gesture full of nuance: writing that thinks, that traces, that connects,” explains the project’s organiser.

I'm really excited to share with you all a new calligraphy conference and event coming up in Spain in 2026 organised by a very talented dear friend of mine called Sonia Beroiz.

Photography credit: Jimena Cuerva.

Video credit: "Itinerarios de Caligrafía | Kaligrafia Ibilbideak" Teaser

Topics

This edition will explore the relationship—and the tension—between analogue writing and digital literacy, looking at how these two modes intersect, complement each other, or come into conflict in everyday life. It will also delve into new teaching methodologies for incorporating calligraphy and handwriting both in the classroom and in informal learning spaces, proposing innovative ways to learn and practise.

The program will further examine the effects of calligraphy on cognitive, motor and emotional development, highlighting its role in health, wellbeing and educational support. Finally, the edition will dedicate a significant space to the expressive, creative and identity-forming dimension of writing, understood as a personal imprint: a stroke that becomes a trace, a memory, and a moment suspended in time, transformed by the hand that writes.

Interdisciplinar

The new edition of Itinerarios de Caligrafía will take place in several locations across Navarra, including Civican, civivox Condestable, the Library of Navarra, Centro Huarte, as well as towns such as Tiebas and Marcilla—bringing together both urban and rural settings.

The format includes a range of events: keynote lectures, panel discussions, calligraphy practice workshops, experimental labs exploring the intersection between writing and other disciplines (dance, embroidery, performance), public-space interventions, calligraphic walks, exhibitions, and a final publication.

In line with the project’s commitment to inclusion, the organisers are working to ensure the activities are as accessible as possible. Some sessions and one of the labs will be offered with sign-language interpretation. The project’s communications will also be bilingual, in Spanish and Basque. The confirmed speakers include professionals from fields such as calligraphy, design, education, philosophy, neurology, sociology, artificial intelligence and research—among them Sergio García, Andrés Sohai, Humberto Bustince, Veronika Burian, Laia Soler, Nahia Delgado, Oriol Miró, María Montes, Manu Murie, Glòria Jové, Joan Quirós and Bertha Bermúdez, alongside project lead Sonia Beroiz. Dates and the final program will be announced soon .

Read the original article written in Spanish by Ana Oliveira Lizarribar for Noticias de Navarra . Article translated into Australian English using Chat GPT.

ICKI Visual Identity: Design Process

Below, I'm sharing the design and creation process of the visual identity of this event, from the initial references to the final outcome. Please, note that the video is in Spanish and you'll be able to change it to your language of choice on Youtube.

Key Dates & Info

Event Dates

January - August 2026, Navarra, Spain

Workshops, Talks, Labs & Artistic Interventions | Locations

Several locations across Navarra, including Civican, civivox Condestable, the Library of Navarra, Centro Huarte, as well as towns such as Tiebas and Marcilla—bringing together both urban and rural settings.

Official Website

https://itinerariosdecaligrafia.com

Conference Dates

February 19 - 21, 2026

How to Prepare a Week‑Long Copperplate Calligraphy Course

Tue, 18 Nov 2025 04:46:08 GMT

Between 2014 and 2018, I traveled to the south of France to attend several week‑long calligraphy courses with Keith and Amanda Adams, studying Brush Roman Capitals, Italic, Celtic, Fraktur, and Copperplate calligraphy.

After a couple of years traveling from Australia to Europe for these residential courses, I developed a process to ensure I made the most of my time and learning experience. Below are a few tips I’ve learned along the way that may help you prepare for any course involving letterforms.

Photo source and credit:

Saint-Antoine L'Abayye 2014-2018

1. Prepare your content before starting a Copperplate calligraphy course

Content is queen. One of the most time‑consuming tasks during a lettering or calligraphy course is coming up with messages you want to letter/write/design. Content matters to me, so I carefully choose what I want to feature in my personal work.

Photo source and credit:

Calligraphy materials from Keith and Amada Adams.

Ask yourself: Are you more interested in writing captions, titles, or headings? Or do you want a longer text to showcase your work? I recommend preparing short, medium-length, and long texts:

Short texts/titles are usually larger, so individual letters, capitals, and spacing take centre stage.

Medium texts make you think about line spacing and the final text size.

Longer texts shift focus to the calligraphic texture of the page—the “typographic colour.” In these cases, text size, line spacing, and layout matter more than individual letter shapes. As Matthew Carter said: “Type [and calligraphy] is a beautiful group of letters, not a group of beautiful letters.”

Image captiom:

Water and air, the two essential fluids on which all life depends, have become global garbage cans.” — Jacques Cousteau, explorer and marine researcher.

A few days before my last week‑long Copperplate calligraphy course, I visited “Basics,” an exhibition curated by Studio Pichiglass and Needlab at Barcelona Design Hub. Its content was so inspiring that I chose several quotes and reflections from it to feature in my work—like the one below.

Image captiom:

“When the last tree is cut, the last fish is caught, and the last river is polluted; when to breathe the air is sickening, you will realize, too late, that wealth is not in bank accounts and that you can’t eat money.” — Alanis Obomsawin, from Who Is the Chairman of This Meeting? (eds. Ralph Osborne & Ted Poole, 1972).

Think about paper type and size. In the first hours or day of a week‑long course, you're warming up your hand, arm, and eyes while wiring your brain into Copperplate calligraphy.

Use regular 100% recycled copy paper for this stage. If you’re using acrylic paint and a brush, old newspapers work well where the column width can naturally define your x-height.

Once you’re warmed up, experiment with smoother surfaces like bleed-proof or marker paper. These are thinner and very smooth—perfect for Copperplate calligraphy. I use Arttec (Australian made and owned) and Canson XL Marker 70 gsm.

On the opposite end, try thicker, textured papers—such as Canson Watercolour (300 gsm)—ideal for cards and greeting work (more on paper ).

Bring different paper sizes (from A5 to A2) and various inks/paints so you can plan short and long pieces. Learn more about calligraphy paper.

2. Select a diverse range of calligraphy papers

Photo credit: Canson XL Marker paper and Canson XL watercolour paper.

3. Choose the best Copperplate nibs and brushes

Spending consecutive days writing? Bring several nibs to experiment with. For Copperplate, nib flexibility is key. You can also use synthetic or natural brushes for a pressure-sensitive feel.

I recommend trying:

Nikko G , Zebra G , Zebra G Titanium , Tachikawa G – medium flexibility, beginner-friendly.

William Mitchell Elbow – stiffer, great for those who apply more pressure or want less stroke contrast.

Gillot 303 , Gillot 404 , Hunt 22B Extra Fine – softer than G nibs, offering thinner upstrokes.

Hunt 101 Imperial , Leonardt Principal EF – very flexible, ideal for intermediate/advanced work. I’ve used Hunt 101 since 2020 for large x-heights and I love it! (more on nibs)

Try different nibs and find what fits you—there’s no one-size-fits-all. More on pointed flexible nibs.

An alternative to metallic flexible nibs are felt brushes. This is my go to:

Pentel Sign Brush , Pentel Touch , Pentel Fude Sign Pen – these brush pens are highly flexible and portable. Be aware, though: their tips soften over time, resulting in thicker strokes—so plan to replace them. They’re under USD $3 each.

Image captiom:

“Until you dig a hole, you plant a tree, you water it and make it survive, you haven’t done a thing. You are just talking.” — Wangari Maathai, environmentalist and Nobel Peace Prize winner.

4. Bring a selection of inks and paints

Here are my top picks:

Walnut ink – great for learning and final pieces. Using crystals lets you customise your ink colour.

Liquid watercolours – I use the global brand Talens Ecoline and the Spanish one called Vallejo. Similar to walnut ink in consistency, semi-transparent, and great for gradients and stroke visibility.

Gouache – Talens for practice and Winsor & Newton for professional work. Also bring a low-quality brush, small jars, and a dropper or syringe to mix your gouache with water till finding the perfect consistency that will run though your nib.

Gum arabic – adds gloss and durability to final pieces—Talens liquid version works well. A bonus: adding gum arabic prevents ink bleeding on regular copy paper (more on inks ).

Image caption: “We’ll never know the worth of water till the well is dry.” — Thomas Fuller, historian and royal captain

5. Progress Is the Inspiration!

I’ve been practicing Copperplate calligraphy since 2011. Believe me, at first I totally sucked at it! But instead of giving up, I did the opposite – I decided to spend even more hours working on it.

One trick that’s helped the most? Dating and filing my work. Whenever I feel stuck or see no improvement, I revisit my Copperplate work from a year ago. Then I realise how far I’ve come – and I keep going. So here’s my final tip:

On Day 1 of your week‑long Copperplate course, write the following lines on a sheet of paper and date it:

The quick brown fox jumps over a lazy dog

The Quick Brown Fox Jumps Over A Lazy Do g

On the last hour of your course, write those same two sentences on a new sheet and place them side by side. Seeing your progress will be your inspiration!

6. Conclusion: Your eye is the muscle to train

Calligraphy, lettering, and typography courses are all about learning to see—understanding that positive and negative spaces are equally important. Copperplate calligraphy synchronises your brain, eye, and hand. There are no shortcuts; only practice and awareness.

Image caption: “Earth provides enough to satisfy every man (and woman’s) needs, but not every man’s (and woman’s) greed.” — Mahatma Gandhi, activist and pacifist

Train your eye to see balance and inconsistencies. Learning to see and enjoying the process are the keys to progress!

7. Recap

Here’s a checklist to prepare:

7.1. Content Prep

10 short messages (2–5 words)
10 medium-length messages (1–2 sentences)
5 longer texts (1–3 paragraphs)

7.2. Paper Selection

100% recycled copy paper (daily warm-up)
Canson XL Marker paper (smooth practice)
Canson XL Watercolour paper 300 gsm (final pieces)
Bring sizes from A5 to A2

7.3. Tools

Flexible pointed nibs: Nikko G, Gillot 303 & 404, Hunt 22B, Hunt 101 Imperial, Leonardt Principle EF, William Mitchell Elbow
Pentel Touch/Sign brush pen(s)

7.4. Inks & Paints

Walnut ink crystals
Liquid watercolours
Gouache

7.5. Observation Skills

Sharing My Design Process: Awarded Calligraphy Editorial

Thu, 03 Jul 2025 06:15:58 GMT

My creative practice is set by the principals of never stop learning, sharing knowledge and create emotion through my work.

Following these principles, I’m sharing with you the creative process behind a calligraphic editorial, recently awarded by TDC70 and Communication Arts Magazine.

Video credits: Educational video by Maria Montes.

Video Contents

1 calligraphic editorial explained in detail
The client's visual references
The original brief
Every iteration I went through
The digital and analogue tools I used to execute it
The final calligraphic outcome

Nib: Hunt 101
Pen holder: Oblique pen holder
Ink: Walnut crystals + liquid watercolours
Mechanical pencil
Galgo 70gsm paper

Tools I used on this project

Calligraphic editorial commissioned by Pentagram, part of their full Middlebury Magazine redesign, including the magazine rename to just “Midd”.

The feature showcases a highly ornamented and fully customised pointed-pen calligraphy piece, displaying high contrast, angular attributes and a discontinuous ductus to match the energy and personality of the partner illustration by André Carrilho.

Calligraphy Editorial Description

Design credits: Calligraphic editorial by Maria Montes.

Awards

Communication Arts Magazine | 2024 Typography Winner
TDC Certificate of Typographic Excellence 2024

Credits

Designer + calligrapher: Maria Montes
Creative director: DJ Stout
Design lead and art director: Stu Taylor
Design firm: Pentagram (US)
Editor: Matthew Jennings
Client: Middlebury Magazine (US)
Nib + ink: Hunt 101 + walnut ink mixed with liquid watercolours
Paper: Galgo Parchemin 70gsm
Editorial: “We’re all just reading with one another” Elianna Ran’10 in conversation with professor Stephen Donadio.

Everything You Need to Know About Calligraphy Inks, Paint & Pigments: The Complete FAQ Guide

Tue, 27 May 2025 10:36:30 GMT

(!) Seriously nerdy alert: Whether you’re a beginner wondering what’s actually in your ink bottle or an experienced calligrapher experimenting with new mediums, you’ll find practical solutions and insights that make your creative process smoother and more enjoyable. Got more questions not covered below? Get in touch and ask away!

If you are a complete beginner, I recommend reading this article about calligraphy inks first .

Photo credit: 'Amsterdam' Brush calligraphy using Jo Sonja's acrylic paint and a sable ox round brush by Maria Montes.

What’s Actually In Your Ink Bottle? Understanding Inks, Paint & Pigments

Calligraphy inks are liquid mediums specifically formulated for writing instruments. They typically contain colorants (either dyes or pigments) suspended in a liquid carrier with binders to help adhesion to paper. The quality and composition of these inks can dramatically affect your lettering results, from how smoothly they flow from your nib to how they appear on different paper types. Examples of calligraphy inks are Vallejo and Talens Ecoline Liquid Watercolours .

Calligraphy paint like gouache and watercolour are pigments mixed with binders (usually gum arabic) that can be diluted with water to achieve ink-like consistency. While they require more preparation than ready-to-use inks, paints offer incredible colour variety and opacity control that many calligraphers prefer for finished pieces. Examples of calligraphy paint are Talens and Winsor & Newton gouache paint .

Pigments are the actual colouring particles found in both inks and paints. Some products are pigment-based, offering long-lasting, lightfast results, while others are dye-based, providing vivid colours but with more tendency to fade over time. Understanding this difference helps you choose the right medium for your project’s intended lifespan.

3 Dye-Based Inks & Paints (vibrant, non-lightfast, often not waterproof):

Dr. Ph. Martin’s Radiant Concentrated Watercolours
Brilliant, liquid dye-based colours
Great for vibrant effects but not lightfast (will fade over time with light exposure)

Talens Ecoline Liquid Watercolours
Dye-based, fluid, and very vibrant
Ideal for practice or digital scanning, but will fade in sunlight

Winsor & Newton Calligraphy Inks (some colours)
Some shades (like Blue or Apple Green) are dye-based
Flow beautifully in dip pens but not all are waterproof or fade-resistant

3 Pigment-Based Inks & Paints (lightfast, water-resistant when dry, archival):

Dr. Ph. Martin’s Hydrus Fine Art Watercolors
Liquid watercolour made with lightfast, artist-grade pigments
Great for brush calligraphy or pointed pen (with dilution)

Ziller Inks
Acrylic-based, waterproof, pigmented inks
Popular for pointed pen calligraphy and broad-edge nibs

Finetec/Coliro Pearlcolours
Mica-based metallic and shimmer paints
Activated with water and applied with brush or nib; pigment-based with high opacity

Pigment-based mediums contain tiny particles of colour suspended in the liquid, like microscopic pieces of coloured sand floating in water. While they might appear slightly less vibrant initially, these physical particles are much more lightfast and suitable for work you want to preserve long-term. The trade-off is that pigment-based mediums can sometimes settle in their containers and require stirring, and they may behave differently on various paper types.

Dye-based mediums have their colours dissolved completely in the liquid carrier, similar to how sugar dissolves in coffee. This creates brilliant, transparent colors that often appear more vibrant initially. However, these dissolved dyes can fade when exposed to light over time, making them less suitable for archival work. Most fountain pen inks fall into this category.

What’s the difference between dye-based and pigment-based mediums?

What’s actually in different types of calligraphy inks?

The composition of your ink affects everything from flow characteristics to longevity.

Sumi ink combines soot with shellac to create that smooth, velvety black that's perfect for practice and finished work alike.

Walnut ink typically contains pigmented water from boiled black walnuts mixed with gum arabic as a binder, creating that beautiful earthy brown that many calligraphers adore.

Iron gall ink has a fascinating historical composition including iron sulfate, tannins from oak galls, and water. This combination creates an ink that actually darkens as it oxidizes, meaning your work develops richer tones over time.

India ink uses carbon black pigment with either shellac or acrylic binder, while most fountain pen inks are dye-based with water as the primary carrier.

It’s worth noting that not all inks are vegan-friendly. Some use animal glue as binders, and shellac comes from lac bugs. If this is a concern for you, research ingredients before purchasing, as many manufacturers now offer plant-based alternatives.

Can I make my own calligraphy ink?

Creating your own calligraphy ink opens up a world of unique colours and textures that commercial products can't match. Coffee creates beautiful warm brown tones with interesting texture variations, while wine produces gorgeous burgundy colours (though they're not lightfast for permanent work). Tea offers various shades depending on the type and strength you choose, from pale amber to deep reddish-brown.

For more permanent options, you can boil black walnut hulls to extract natural pigment for homemade walnut ink, or dilute tube watercolours to ink consistency for an economical source of any colour imaginable. The key is ensuring your homemade medium has the right viscosity for your nibs and won’t clog or damage your tools.

Getting Your Inks Ready to Write

How do I properly dilute thick inks and paints?

Proper dilution is crucial for achieving the perfect consistency for smooth writing. With commercial inks that have thickened due to evaporation, add water gradually using a dropper, stirring gently between additions. Test the consistency on scrap paper before committing to your final piece, as it's much easier to add more water than to remove excess.

When working with gouache, start with the paint and add water drop by drop until you reach a light cream consistency. Mix thoroughly to avoid streaks in your lettering.

For inks that have completely dried and become jelly-like, patience is key. Add small amounts of distilled water and stir gently, allowing time for the medium to reconstitute fully.

What’s the proper way to load different nibs?

Loading techniques vary significantly depending on your nib type and chosen medium. For pointed flexible nibs , use a brush to carefully load ink between the tines, or dip directly if working with thinner inks. The key is avoiding overloading, which leads to blobbing and poor line variation. Clean your nib regularly during extended writing sessions to maintain consistent flow.

Broad-edge nibs require a different approach entirely. Always use a brush to load paint or thick ink rather than dipping, which can cause overloading and uneven flow across the nib's width.

For brushes working with any medium, load directly from your palette or bottle, ensuring metallics are thoroughly mixed before application. Automatic pens work best when you brush medium onto the blade rather than dipping, giving you better control over ink distribution (more on calligraphy pens ).

Photo credit: Fia Yang via Unsplash

Troubleshooting Calligraphy Ink Common Problems

Why is my ink blobbing or flooding on the paper?

Ink blobbing typically results from an overloaded nib combined with paper that’s too absorbent for your medium. When you notice flooding, immediately tap off excess ink and blot your nib on scrap paper before continuing. Sometimes the issue stems from ink that’s too thin for your paper type, which you can remedy by adding a binder like gum arabic or switching to a thicker medium altogether.

Paper choice plays a crucial role in preventing blobbing. Highly absorbent papers will pull ink from your nib faster than you can control it, leading to irregular line weights and messy letterforms. Switch to bleedproof, marker, or hot-pressed paper for better ink control (more on my types calligraphy paper ).

Writing speed also matters; maintaining a steady rhythm prevents ink from pooling while you pause between strokes.

My ink won’t flow smoothly. What’s wrong?

Poor ink flow frustrates even experienced calligraphers, but it's usually fixable once you identify the cause. If your ink has thickened beyond ideal consistency, dilute it gradually with water until it flows smoothly from your nib. Sometimes the problem lies with a dirty nib that’s accumulated dried ink or paper fibres, requiring thorough cleaning with soap and water.

New nibs often come with manufacturing oils or protective coatings that prevent proper ink adhesion. Remove these by gently cleaning with toothpaste, dish soap, or even your own saliva, which contains natural enzymes that dissolve oil residues.

Paper texture can also impede flow, so switch to smoother surfaces if you’re experiencing consistent problems. Finally, check your writing pressure; flexible nibs especially require a light touch to function properly.

Why is my ink bleeding or feathering?

Ink bleeding and feathering occur when your chosen medium spreads beyond your intended strokes, creating fuzzy, unprofessional-looking edges. This problem almost always stems from incompatible ink and paper combinations, where the paper absorbs liquid too quickly for the ink to maintain crisp lines. The solution often involves changing either your paper choice or your medium (more on calligraphy glossary terms).

Bleedproof, marker, or hot-pressed papers provide the smooth, less absorbent surface that most calligraphy mediums need to perform well. If changing paper isn’t an option, try adding gum arabic to thin inks to reduce their absorption rate, or reduce the amount of ink you're loading onto your nib.

Some ink and paper combinations simply don't work well together, so don’t hesitate to experiment with different pairings.

My metallic ink won’t flow properly. Help!

Metallic mediums present unique challenges because the metallic particles tend to settle quickly and can create inconsistent flow. Always mix metallic inks or paints thoroughly before each use, as even brief periods of sitting can cause separation. If your metallic medium seems too thick, thin it slightly with water, but be conservative as over-dilution can reduce the metallic effect.

Loading technique becomes critical with metallics. Use brush application rather than dipping, as this gives you better control over the amount of medium on your nib. Keep your palette moist during extended work sessions to prevent the metallic particles from drying and becoming unusable. Consider working in shorter sessions with metallics, cleaning and reloading your nib more frequently than you would with regular inks.

How do I fix ink that’s dried on my nib?

Prevention works better than correction when it comes to dried ink on nibs. Mist your palette regularly during work sessions and clean your nibs frequently, especially when using fast-drying mediums like acrylics. However, when dried ink does occur, gentle treatment preserves your nib's delicate tip.

Soak the affected nib in lukewarm water to soften dried ink, then use a soft toothbrush to gently remove stubborn residues. Avoid using sharp objects that can damage the nib's carefully shaped tip. For particularly stubborn dried ink, wash with dish soap after the initial cleaning. Taking time for thorough cleaning prevents long-term damage and maintains optimal nib performance.

Why do I get rust on my nibs?

Rust develops when metal nibs are exposed to moisture combined with certain chemical conditions, such as the acidic nature of iron gall ink. Poor storage conditions, inadequate cleaning, or leaving ink on nibs for extended periods all contribute to rust formation. Once rust appears, it can permanently damage your nib and affect ink flow.

Prevention requires immediate cleaning and drying of nibs after each use, especially when working with acidic mediums. Store clean, dry nibs in low-humidity environments, and consider using rust-preventive oil for long-term storage. If you frequently use acidic inks like iron gall, invest in stainless steel or gold nibs that resist corrosion better than standard steel options.

Photo source: 'JG' initials written with a pointed brush and Lumiere Acrylic paint for the luxury brand Marcs.

Calligraphy Compatibility and Mixing

Can I use fountain pen ink with dip pens?

While it’s possible to use fountain pen ink with dip pens, the results often disappoint due to consistency differences. Fountain pen inks are formulated to be much thinner than ideal dip pen mediums, leading to inconsistent strokes, poor line variation, and ink that runs off the nib too quickly for controlled lettering.

The solution involves modifying fountain pen ink by adding a small amount of gum arabic to thicken it to more suitable consistency. This modification transforms the ink into something closer to traditional calligraphy ink while maintaining the color characteristics you desired. Test your modified ink on practice paper before using it for final work, adjusting the gum arabic concentration as needed.

Can I use dip pen ink in fountain pens?

This combination rarely works well and can damage your fountain pen. Most calligraphy inks contain larger pigment particles specifically designed for the open flow systems of dip pens. These particles can clog the intricate feed systems and narrow channels inside fountain pens, potentially causing permanent damage to the pen's mechanism.

Only use inks specifically labeled as fountain pen compatible in your fountain pens. These specially formulated inks provide the color variety you want while maintaining the proper particle size and flow characteristics that fountain pens require. When in doubt, contact the manufacturer to verify compatibility before risking damage to an expensive fountain pen.

Is it safe to mix different inks and paints?

Mixing mediums can create beautiful custom colours, but successful combinations require understanding the underlying chemistry. Water-based mediums generally mix well with other water-based products, while combining different chemical bases (like water-based with alcohol-based or oil-based) often produces unpredictable and sometimes unusable results.

Staying within the same brand family usually offers the safest mixing results, as manufacturers formulate their products with similar base chemistries. Always test mixtures on scrap paper before using them for important work, as some combinations may appear fine initially but develop problems as they dry or age.

Successful combinations include mixing different watercolours together, combining gouache with watercolour, or adding white paint to any water-based medium for opacity control.

Photo credit: C ustom Copperplate numbers for a limited edition for the Biennale of Sydney 2025 using Winsor & Newton metallic silver ink.

Calligraphy Ink Storage and Longevity

How should I store my inks and paints?

Proper storage dramatically extends the life of your calligraphy mediums and ensures they’re ready to use when inspiration strikes. Airtight containers prevent evaporation and contamination while keeping your mediums at the correct consistency. Always store containers upright to avoid messy spills when you open them, and choose cool, dry locations away from temperature extremes that can affect medium stability.

Light exposure can fade or deteriorate many mediums over time, so dark storage areas work best for long-term preservation. Consider transferring bottled inks to small, wide-mouth jars for easier nib access during work sessions. Keep all mediums safely away from children, and label any containers you transfer to avoid confusion later.

Do calligraphy inks expire?

Quality calligraphy inks can last for years or even decades with proper care, though they may require occasional maintenance. Signs that indicate potential problems include mold growth (which means immediate disposal), separation that may be fixable with thorough stirring, or dried and cracked surfaces that are often reconstitutable with careful water addition.

Some inks develop a jelly-like texture as water evaporates, but this doesn’t necessarily mean they're unusable. Regular use helps prevent settling and separation, while proper dilution when needed extends usable life significantly. Store your mediums properly and use them regularly rather than saving them for special occasions, as active use actually helps maintain their quality.

How long does ink take to dry?

Drying times vary considerably based on multiple factors including humidity, paper type, ink thickness, and the specific medium you're using. Quick-drying options like sumi ink and Ziller typically set within minutes, while thicker mediums like Bleed Proof White can take ten minutes to become touch-dry and several hours to cure completely.

High humidity environments significantly slow drying times, while absorbent papers speed the process. Thicker applications of any medium naturally take longer to dry than light washes. As a general safety rule, allow overnight drying before erasing pencil guidelines, as this timeframe accommodates most climate variations and ensures your ink won't smear during cleanup.

Safety and Health with Different Calligraphy Ink Types

Are calligraphy inks poisonous?

Most modern calligraphy inks are formulated to be non-toxic for normal use, but certain precautions make sense for any art material. Iron gall ink contains iron compounds that can be harmful if consumed in quantity, while some industrial or specialty inks may have ingredients you'd want to avoid ingesting. Always check safety information when purchasing new products, especially if you have specific health concerns.

Basic safety practices include keeping all art materials away from children, avoiding ingestion of any medium regardless of its safety rating, and washing hands thoroughly after use. Ensure good ventilation when working with strong-smelling mediums, and be particularly cautious with any product that creates noticeable fumes during use.

Travel and Transportation

How can I travel with my inks?

Successful travel with calligraphy supplies requires different strategies depending on your transportation method. When driving, keep all containers upright and secure them to prevent spills from sudden stops or turns. Pack liquid containers in leak-proof bags as an extra precaution, and avoid leaving supplies in vehicles during temperature extremes that could affect medium consistency.

Air travel presents unique challenges due to TSA liquid restrictions. Never pack liquid inks in carry-on luggage, as they'll likely be confiscated at security checkpoints. Instead, use dry watercolor palettes that are TSA-friendly and can be activated with water at your destination. If you must transport liquid mediums, pack them securely in checked luggage with plenty of protection against leaks and pressure changes.

Calligraphy Paper Compatibility

What paper works best with different mediums?

Paper choice can make or break your calligraphy project, as different mediums perform best on specific surface types. For daily practice with pointed pen work, Canson XL Marker paper provides the smooth, bleedproof surface that allows you to focus on technique without fighting paper texture. Broad-edge practice benefits from slightly more textured options like Torreón laid paper, which provides just enough tooth for good ink adhesion without catching your nib.

When using Pilot Parallel Pens, bleedproof or marker paper prevents the feathering that can occur with fountain pen inks on absorbent surfaces. For finished pieces, hot-pressed watercolor paper offers a smooth surface that handles wet media beautifully, while Bristol board excels for precise work requiring crisp edges. Avoid rough or highly textured papers that can catch nibs and create inconsistent ink flow.

Calligraphy Corrections and Mistakes

How can I fix smeared ink or erase mistakes?

While prevention remains the best strategy, mistakes happen even to experienced calligraphers. When they do occur, several correction methods can salvage your work depending on the type of error and medium involved. For wet ink smears, immediately blot with clean paper to absorb as much ink as possible before it sets permanently.

Once ink has dried, gentle scraping with a craft knife can remove the top layer of paper along with the unwanted ink. This technique requires practice and patience to avoid damaging the paper surface.

For small errors, opaque white paint can provide coverage that allows you to re-letter over the mistake. Sometimes the most creative solution involves turning mistakes into decorative elements that enhance rather than detract from your overall design. Always test correction methods on practice paper first to understand how they'll affect your chosen paper and medium combination.

Advanced Calligraphy Ink Techniques

Best Calligraphy Inks, Paint & Pigments for Every Need: The Beginner Guide

Tue, 27 May 2025 07:45:29 GMT

Choosing the right medium for your calligraphy can make the difference between frustrating practice sessions and beautiful, flowing letterforms. Whether you’re a complete beginner picking up your first nib or an experienced calligrapher exploring new techniques, this guide will help you find the best ink, paint, or pigment for your specific needs.

Unlike basic ink guides that focus only on traditional options, we'll cover everything from classic calligraphy inks to modern paints and metallic pigments—organised by what works best for different nibs, skill levels, and project types.

Photo source and credit:

https://silt.work/products/ink-walnut-black

Best Calligraphy Medium for Complete Beginners: Walnut Ink

Why walnut ink is perfect for beginners?

Walnut ink offers the ideal calligraphy learning experience because it's forgiving, slightly translucent (so you can see your stroke mechanics), and flows beautifully without being too thin or thick. The natural brown colour is easy on the eyes during long practice sessions and shows beautiful stroke variation.

Best for: Pointed flexible nibs , square-edged nibs, brush practice

Calligraphy skill level: Beginner to advanced

Preparation: You can buy pre-mixed liquid walnut ink or make your own from crystals

Photo source and credit:

https://www.kalligrafie.com

How to Prepare Walnut Ink from Crystals

Making walnut ink from crystals is economical and lets you control the colour intensity:

Use a small glass jar and add 80ml of water (about one-third of a glass)
Add two teaspoons of walnut crystals to the water
Stir with a wooden stick like instant coffee (but don't drink it!)
The ink should have a coffee-like color
Too light? Add another teaspoon of crystals. Too dark? Add more water
Wait until air bubbles disappear from the surface before using

Pro tip: Walnut ink works beautifully with all nib types and is perfect for refilling Pilot Parallel Pen cartridges using a pipette.

Ink sticks are a great way of conserving and transporting ink. The ink is obtained by rubbing the ink stick, called ‘Sumi’, upon the surface of a stone vessel called ‘Suzuri’. This way of producing ink is very calming for the mind, giving you the opportunity of slowing down and progressively landing on your calligraphy page. Most ink bars produce a black or dark grey ink colour which is extremely durable. Sometimes the ink bar can be modified to produce brown and blue colours as well.

This video gives a very good overview on the production process of premium Japanese ink sticks geared towards professionals and master calligraphers. Not all ink sticks have these superior quality and you can also purchase affordable ink bars from many art stores.

Sumi Ink and Japanese Ink Sticks

If you are looking for a ready-to-use sumi ink premix, I use Kuretake Sumi ink which comes in different colours and the result is opaque and wonderful.

Best for: Brush lettering, flexible pointed nibs, broad-edged nibs, mixed media projects
Calligraphy skill level: Beginner to advanced
Loading technique: Load directly from the bottle with a brush onto your nib, or dip directly if your stone vessel allows.

Liquid watercolours (like Talens Ecoline or Vallejo ) offer the transparency and blendability of traditional watercolours with the convenience of ready-to-use consistency. They’re perfect when you want to add watercolour washes around your lettering.

Best for: Brush lettering, flexible pointed nibs, broad-edged nibs, mixed media projects
Calligraphy skill level: Beginner to advanced
Unique advantage: Can be mixed to create custom shades and gradients
Loading technique: Load directly from the bottle with a brush onto your nib, or dip directly if your ink pots allows. Perfect for creating color transitions within single words.

Best Medium for Watercolour Lovers: Liquid Watercolours

Photo credit: Neuland Calligraphy by Maria Montes

Best Paint for Opaque Results and Dark Paper Surfaces: Gouache

Gouache provides opaque, vibrant coverage that’s perfect for the clean, crisp edges that square-edged and pointed pen calligraphy nibs demand. When mixed to the right consistency, it flows beautifully while maintaining rich colour saturation.

Gouache is your best friend for all these occasions where you are planning to use a black/dark paper for your final piece.

Best for: Any calligraphy style
Calligraphy skill level: Beginner to advanced
Recommended brands: Talens Gouache for daily practice; Winsor & Newton for finished pieces

How to Mix Gouache for Calligraphy

Start with a small amount of gouache paint
Add water gradually until you reach light cream consistency
Mix thoroughly and test on scrap paper
The mixture should flow smoothly without being too thin

Loading technique: Use a brush to load gouache onto broad-edge nibs. Avoid ink pooling by gently blotting on scrap paper before writing.

Best Metallic Medium: Finetec/Coliro Watercolour Pans

These metallic watercolour pans provide incredible shimmer and opacity while being easy to control. Unlike liquid metallics that can separate, these stay consistent and can be reactivated even after drying.

If you are looking for a solid and opaque finish over a black/dark paper surface, then I would recommend metallic gouache paint.

Best for: Special occasion pieces, black paper, decorative elements
Calligraphy skill level: Intermediate to advanced
Pro tip: Always mix thoroughly and load with a brush onto the back of your nib
Loading technique: Activate with water, mix well, then brush onto the back of your nib. Works with both pointed and broad-edge nibs.

Photo source: Brush calligraphy original using Dr Martin’s Bleedproof White ink by Maria Montes.

Best White Medium: Dr. Ph. Martin’s Bleedproof White

Why it outperforms other whites?

This paint offers exceptional opacity and beautiful consistency on dark surfaces. Unlike many white inks that appear gray or chalky, Bleedproof White maintains true white coverage.

Best for: Dark paper, black backgrounds, highlighting
Calligraphy skill level: Intermediate to advanced
Preparation: Comes thick and needs dilution with water for optimal flow
Loading technique: Dilute to desired consistency and load with a brush. Allow extra drying time compared to regular inks.

Best Medium for Black Paper Projects

For maximum impact on dark surfaces, you can combine:

Dr. Ph. Martin’s Bleedproof White for crisp lettering
Finetec metallics for decorative elements
Gouache paint for colour variation

This combination provides the opacity and vibrancy needed to make your lettering pop against dark backgrounds.

Why it’s ideal for permanent work: Acrylic inks dry quickly to a completely waterproof finish, making them perfect for pieces that might encounter moisture or for layering techniques.

For my brush lettering work I use Jo Sonja’s acrylic paint , and the brush soap from the same brand.

Best for: Brush calligraphy , finished pieces needing permanence
Calligraphy skill level: Intermediate to advanced
Important note: Do not use acrylic ink with metal square-edged or pointed nibs as it dries too quickly and can damage the nib
Loading technique: Works best with brushes and brush pens. Clean tools immediately after use.

Best Waterproof Option: Acrylic Ink & Acrylic Paint

What is Iron Gall Ink and why is it exceptional?

Iron gall ink (also known as common ink , standard ink , oak gall ink or iron gall nut ink ) is a purple-black or brown-black ink made from iron salts and tannic acids from vegetable sources. It was the standard ink formulation used in Europe for the 1400-year period between the 5th and 19th centuries, remained in widespread use well into the 20th century, and is still sold today.

Iron gall ink has incredible flow properties that glide smoothly across the paper, allowing for the thinnest hairlines and richest downstrokes. This historical ink oxidises over time, meaning your work will develop deeper, more elegant tones as it ages.

Best for: Pointed flexible nibs and dip pens in general
Calligraphy skill level: Intermediate to advanced
Special considerations: Iron gall ink is acidic, so clean your nibs thoroughly after use
Loading technique: Use a brush to load ink between the nib tines, or dip directly. The excellent flow means you won't need to reload frequently.

Comparing Iron Gall ink and Fountain pen ink on inexpensive paper

This video is showing how iron gall performs on copy and marker paper and under water.

Best Budget-Friendly Option: Fountain Pen Ink + Modifications

While fountain pen ink is typically too thin for dip pens, you can modify it for calligraphy use while keeping costs low.

Best for: Pilot Parallel Pens
Calligraphy skill level: Beginner
Modification: Add a small amount of gum arabic to thicken fountain pen ink for dip pen use.
Loading technique: Works best with Pilot Parallel Pens in original form, or can be brushed onto nibs when thickened.

Fountain Pen Inks Explained: What Ink Should You Use in a Fountain Pen?

This video all about fountain pen inks, they go over the different ways to use fountain pen inks with your pen whether it's cartridges or ink bottles and converters, explain the differences between dye-based, pigment-based and iron gall inks, and give an overview of some popular ink qualities such as shading, sheening and shimmering. The video contains a demo experimentation with different papers and different nib sizes to determine how to bring out the most shading, sheening and shimmering in your writing.

Video credit: This video by Maria Montes explores the different types of inks used in Copperplate calligraphy.

Nib-Specific Recommendations

Calligraphy Ink Pro Tips for Success

Storage: Keep all mediums in airtight containers away from direct sunlight. Shake or stir pigment-heavy options before use.

Paper selection: Use bleedproof paper, hot-pressed watercolour paper, laid paper or smooth Bristol board for best results. For daily practice: Canson XL Marker paper for pointed pen work, Torreón laid paper for broad-edge practice.

Nib preparation: New nibs can have an oily residue. Clean with toothpaste, dish soap, or even your own saliva (which naturally dissolves the oil layer) before first use.

Color mixing: Experiment with mixing different mediums from the same family (water-based with water-based) to create custom colours.

Final Thoughts

The key to beautiful calligraphy lies not just in technique, but in understanding how your chosen medium behaves with your tools and paper. Start with walnut ink for learning, then experiment with other options as your skills develop. Each medium offers unique properties that can enhance different aspects of your lettering.

Remember: the best ink, paint, or pigment is the one that helps you create the effect you're envisioning while being enjoyable to work with. Don't be afraid to experiment and find your personal favourites!

A Guide to Calligraphy Pens: Choosing the Right Writing Tools for Your Practice

Tue, 08 Apr 2025 14:20:25 GMT

Let’s talk about calligraphy pens a little more in-depth! And let’s start with its definition: Any writing or drawing instrument designed to deliver liquid medium to a surface.

Beyond contemporary markers and mechanical pens, calligraphers typically prefer dip pens for refined work, where precision and delicacy of stroke are crucial.

Photo credit: Mark Lobo at Rotson Studios, Naarm (Melbourne).

What Is a Dip Pen in Calligraphy?

A dip pen is a writing instrument with a detachable metal nib that must be dipped into ink before writing or drawing. Unlike fountain pens, dip pens do not have an internal ink reservoir/ink cartridge.

These pens are commonly used in calligraphy, illustration, and fine art due to their ability to create expressive strokes and varying line widths.

The versatility of dip pens is remarkable - they can be used with different types of ink, including:

Metallic inks
Watercolours
Walnut ink
Gouache
Japanese ink (Sumi ink), Chinese ink

This versatility makes them an essential tool for artists and calligraphers seeking expressive line work.

In most cases, a dip pen is composed of a pen holder and a detachable metal nib, with the exceptions of bamboo/reed pens and old-school quills.

Image source: R oci Delappena at Rotson Studios, Naarm (Melbourne).

A pen holder in calligraphy is the handle that holds the nib, allowing the calligrapher to write with precision and control. It serves as the main tool for holding and guiding the nib while applying ink to paper. Pen holders come in various materials, including wood, plastic, and metal, each offering a different weight and feel to suit individual preferences.

Wooden pen holders feel more natural to the hand due to the organic wood material they are made of. Plastic pen holders are super affordable and I have used a Speedball straight and oblique pen holder for years!

Please, note that my personal supply recommendations focus on simple and low-key materials that can take you far, as these are the same materials I have been using since my first time holding a calligraphy pen back in 1996 —that is last century!

Straight vs. Oblique Pen Holders

Straight and oblique pen holders are two common tools used in calligraphy, each designed to suit different writing styles and hand positions.

Straight pen holders

Hold the nib in line with the body of the pen and are ideal for scripts that require little to no slant. They provide a natural grip and control, making them a versatile choice for both beginners and experienced calligraphers.

I personally use straight pen holders for the following calligraphy styles: Roman Capitals , Modern Carolingian , Italic , Blackletter and Neuland calligraphy.

Understanding Calligraphy Pen Holders

Photo source: Speedball oblique pen holder.

Oblique pen holders

Feature a small flange (usually metal or plastic) that holds the nib at a certain angle. This design is beneficial for right-handed and left-handed calligraphers working with highly slanted scripts like Copperplate and Spencerian.

The angled nib placement helps maintain a consistent slant while reducing hand strain, allowing for smoother, more controlled strokes. Left-handed calligraphers may also benefit from straight pen holders designed to accommodate their writing angle.

Choosing between a straight and an oblique holder depends on personal preference, writing style, and the level of comfort a calligrapher experiences while practicing.

I personally use oblique pen holders for my Copperplate calligraphy practice.

Photo credit: Roci Delapenna. A range of broad-edge writing tools.

We can categorize calligraphy pens into three broad categories:

1. Broad-edge pens (or square-edged pens)

Used for scripts like Roman Capitals, Rustica, Uncial, Half-uncial, Carolingian, Celtic, Italic, Blackletter amongst others. These pens create thick and thin strokes mostly based on the angle of the nib rather than pressure.

2. Pointed flexible pens

Used for scripts like Copperplate and Spencerian. These create line variation through pressure - pressing down creates thicker strokes, releasing pressure creates thinner strokes.

3. Brush pens

Used for modern calligraphy, Copperplate and expressive lettering. These offer the most dramatic line variation and fluidity.

Different Types of Calligraphy Pens

Video credit: This video by Maria Montes explores the different types of nibs used in copperplate calligraphy, focusing on their flexibility and how to test them.

Best Calligraphy Nib Manufacturers for Beginners and Professionals

Notable manufacturers and their distinctive metal nibs include: Mitchell, Brause, Tape, Hunt, Speedball, and Gillott. See a comprehensive description of each below.

Mitchell

Their Mitchell Round Hand broad-edge nibs are valued for exceptional flexibility and sensitivity, though beginners may find them challenging until developing sufficient control and lightness of touch.

I started my Copperplate calligraphy journey (back in 2011!) using a William Mitchell Elbow nib , which is on the stiffer side of the spectrum and ideal for students who have a lot of strength in their hands/ arms or apply way too much pressure against the paper.

Brause

Known for producing very firm, stiff broad-edge nibs that provide a familiar feel similar to ballpoint pens or pencils, making them particularly suitable for novices.

I started my calligraphy journey (back in 1996!) using a Brause nib 3mm , and I'm still using them regularly for all my broad-edge pen work.

Tape

Broad-edge nibs offering moderate flexibility—more responsive than Brause but more forgiving than Mitchell—creating an excellent transitional option for developing calligraphers.

Hunt

Widely recognised for their Speedball nibs, commonly available in art supply stores. Hunt also produces numerous pointed nibs for Copperplate styles, with the #101 Imperial being particularly esteemed.

I have been using Hunt 101 Imperial for my Copperplate calligraphy work since 2021 and I'm in love with this nib! That said, if you are a beginner, see my recommendation below.

The G Nib Series for Beginners

If you are a total beginner, or have been spending only a few hours with your Copperplate calligraphy practice, I strongly recommend using a Nikko G, Zebra G or Tachikawa G nibs . They are great pointed flexible nibs for learning to drive, before purchasing (chipping, denting and/or scraping) a sports' car!

Gillott

For Copperplate calligraphy, many calligraphers use Gillott 303 and Gillott 404 , which are really great options as well.

Other manufacturers (Hiro, Esterbrook, etc.) offer diverse options with varying characteristics. Experimentation remains essential for finding nibs that complement your individual technique and writing style.

Speedball

My favourite from this manufacturer is called Speedball Steel Brush Nib . This nib is a unique calligraphy and lettering tool designed to mimic the expressive strokes of a brush while providing the precision and control of a metal nib.

Unlike traditional dip pen nibs, this nib features a flexible, brush-like tip made from fine steel tines, allowing for dynamic thick and thin strokes depending on pressure and angle. Key features:

Brush-Like Effect: Designed to replicate the look of a brush while maintaining the crisp edges of a metal nib.
Flexible Steel Tines: Allows for smooth transitions between thick and thin strokes with controlled pressure.
Ideal for Expressive Lettering: Suitable for calligraphy, sign painting, and expressive script styles.
Ink Versatility: Can be used with a variety of inks, including traditional calligraphy inks, gouache, and acrylic-based inks.
Durable Construction: Made of high-quality steel for longevity and consistent performance.

The Speedball Steel Brush Nib is a favourite among calligraphers and letterers looking to bridge the gap between traditional broad-edge nibs and the fluidity of a flat brush.

Photo credit: Teagan Glenane.

Traditional Calligraphy Pens: Bamboo and Reed

Bamboo and Reed Pens

One of humanity's earliest writing implements, fashioned from hollow plant stems (typically reed or bamboo). Historically significant as the first tool used with liquid ink on papyrus, reed pens remain valuable for writing on textured surfaces where metal nibs might catch or snag. Their naturally firm yet slightly yielding character produces distinctive marks with organic variation.

Photo source: 'In the middle of a shitstorm' blackletter calligraphy artwork done with a Pilot Parallel Pen 6mm by Maria Montes.

Best Contemporary Calligraphy Pens for Beginners

In recent years, many calligraphers have started writing with contemporary broad-edge pens including Pilot Parallel and Automatic pens. Let's dive into them!

Pilot Parallel Pens

The Pilot Parallel Pen is a popular calligraphy tool known for its innovative nib design, which consists of two parallel metal plates that allow for smooth ink flow and crisp, consistent strokes. Unlike traditional broad-edge calligraphy pens, this unique construction enables seamless transitions between thick and thin lines and even allows for blending colours.

Available in various nib sizes (ranging between 1.5mm, 2.4mm, 3mm, 3.8mm, 4.5mm and 6.0mm), the Pilot Parallel Pen is widely used for scripts such as Gothicized Italic, Fraktur, Uncial, and other broad-edge calligraphy styles.

It comes with replaceable ink cartridges in a variety of colours, though many calligraphers also refill them with custom inks using a converter or syringe.

Favoured by both beginners and professionals, the Pilot Parallel Pen is appreciated for its smooth writing experience, versatility, and ease of use, making it an excellent choice for calligraphy practice, expressive lettering, and artistic experimentation.

Tip! Pilot Parallel Pens bleed and feather with most types of papers, so my recommendations are:

Purchase bleedproof paper such as Canson XL marker 70gsm
Use a Rhodia pad
You can learn more about paper .

Photo source: Fabrikat Working Goods

Automatic (Dip) Pens

Automatic Pens are handcrafted in London, England, and are renowned worldwide for their quality and distinctive design. Made from non-rust nickel silver, each pen comes with a non-slip ABS plastic holder for comfortable use.

The range includes thirteen pens:

Eight plain pens ranging from 1/16″ to 1″
Four border pens from 1/8″ to 1/2″
A 1/2″ five-line music ruler

These pens are compatible with all inks, dyes, and gouache.

To maintain their performance:

Rinsing in clean water is usually sufficient for cleaning
A sharp craft knife can be used to remove any stubborn debris
They are typically used with the small serrations facing upwards
Ink is loaded between the blades using a brush

Photo credit: Roci Delapenna. Pointed flexible brush pens and nibs including: William Mitchell Elbow nib, Tombow, Pentel Sign Brush, Sharpie brush, Pentel Aqua Brush pen, Daiso Japanese brush and round Natural Ox Sable brush . Check them all on my brush supply section.

Contemporary Brush Pens for Calligraphy

There are many synthetic brush pens in the market including Faber Castell, Tombows, Sharpie, Ecoline, Pentel Aquash Water Brush and Pentel Touch/Fude Sign brushes . I use the last two the most, and I have developed an entire calligraphy course using synthetic/felt brushes.

In my opinion, contemporary calligraphy pens are great as take-away options where you don't need to carry ink with you, and can set up a writing station anytime, anywhere.

Image credit: 'Back to School' Neuland calligraphy by Maria Montes. Calligraphy pens featured: mechanical pencil, William Mitchell Elbow nib with a straight pen holder, Brause broad-edge nib with a straight pen holder, bamboo pen, Pilot Parallel pen 3.8mm, Nikko G with an oblique pen holder, a broad nib made out of a beer can with a bamboo straight pen holder, round sable ox brush and a Pentel Touch Sign Brush pen.

Alternative Calligraphy Tools for Creative Expression

Beyond conventional metal nibs, innovative calligraphers employ diverse tools to create expressive letterforms, including:

Drafting ruling pens
Handmade folded pens from various materials
Wooden craft sticks
Foam brushes
Paper towelling
Mops (for large-scale work)
Feathers (both quill and brush ends)
Markers
Balsa wood pieces

These alternative instruments offer unique mark-making qualities that expand calligraphic expression beyond traditional forms.

Video title: Broad-edge calligraphy tools. In this video, Maria Montes talks about different broad-edge calligraphy pens and tools you can use for multiple hand styles including and not limited to: Roman Capitals, Rustica, Uncial, Half-Uncial, Carolingian, Celtic/Insular, Blackletter, Italic, Neuland amongst others.

Choosing the Right Calligraphy Pen for Your Skill Level

When selecting calligraphy pens as a beginner, consider these factors:

1. Start with forgiving tools

G-series pointed flexible nibs, Brause broad-edge nibs, or Pilot Parallel Pens offer more stability and are less likely to catch on paper or splatter ink.

2. Consider your calligraphy style

Different scripts require different pens:

For Italic, Blackletter, Uncial: Use broad-edge pens
For Copperplate, Spencerian: Use pointed flexible nibs
For modern, expressive styles: Consider brush pens

3. Budget appropriately

Begin with quality starter tools before investing in expensive pens. A few good quality pens are better than many low-quality ones.

4. Pair with appropriate paper

Even the best pens perform poorly on inappropriate surfaces. Match your paper to your pen and ink combination. Learn more about paper.

5. Progress gradually

Move from firmer nibs to more flexible ones as your skills develop. Master control before attempting tools that require greater precision.

Image credit : Digital editorial design by Maria Montes for Ted Lasso's Apple TV series written by Nate Burgos and published by Design Feast .

Frequently Asked Questions About Calligraphy Pens

I'm a Catalan-Australian multilingual, multicultural designer, calligraphy-and-type educator. My creative practice is set by the principles of never stop learning, sharing knowledge and create emotion through my work.

A Calligrapher’s Guide to Paper: Choosing the Right Surface for Your Practice

Tue, 01 Apr 2025 10:26:24 GMT

Let’s talk about calligraphy paper a little more in-depth! And let’s start with its definition: Any substrate composed of plant fibres formed into sheets for writing, printing, or other purposes.

Below you’ll learn about paper characteristics, essential terminology, and my go-to papers from regular calligraphy practice to final pieces.

Photo source: Maya Calligraphy Pads from the Rhodia Touch collection. With 120gsm premium smooth paper and a subtle dot grid. Available in white, grey, and black Clairefontaine Maya® paper. Made in France.

Why Does Calligraphy Paper Matter?

For calligraphers, several paper characteristics are particularly significant and directly impact your work:

Sizing

Substances added during manufacture to control the paper’s absorbency, affecting how ink behaves on the surface. Properly sized papers prevent ink from bleeding or feathering, allowing for crisp letter definition.

Rag Content

Papers containing cotton or linen fibres (in varying percentages) offer superior strength, texture, and archival quality compared to wood pulp papers. The percentage of rag content directly correlates with a paper's durability and working properties.

Acid Content

Measured on the pH scale, with 7.0 being neutral. Truly archival papers must be both acid-free and lignin-free. Pure rag papers naturally meet these criteria, while wood pulp papers require additional processing to remove acidic compounds that accelerate deterioration.

Formation Method

Papers may be handmade (formed sheet by sheet on individual screens), mould-made (created on a cylinder mould machine that simulates handmade qualities), or machine-made (produced on high-speed Fourdrinier machines). Each method imparts distinctive characteristics that influence writing quality and aesthetic properties.

Construction

Laid papers retain visible chain lines and wire marks from the screens used in their formation, while wove papers present a uniform, unmarked surface. These structural differences affect both appearance and writing quality.

Paper Grain

In machine-made papers, fibres align predominantly in one direction, creating greater flexibility along that axis. While not crucial for single-sheet works, grain direction becomes significant when folding paper for books or cards. Handmade and mould-made papers typically have more random fibre distribution without a pronounced grain.

Surface Finish

Typically classified as hot-pressed (HP, the smoothest), cold-pressed (CP, moderately textured), or rough (R, highly textured). Commercial papers use terms like “plate,” “calendared,” or “vellum” to indicate surface characteristics. Coated papers feature applications of clay or other substances that create a slick surface, generally unsuitable for calligraphy.

Paper pH

The measurement scale for acidity or alkalinity, with 7.0 representing neutral. Values below 7.0 indicate acidity, while higher values indicate alkalinity. For archival-quality papers, a slightly alkaline pH (7.5-8.5) is preferred, as it provides a buffer against environmental acidification over time.

Photo source: Canson XL Black paper 150gsm.

Bleeding & Feathering

Both terms are common issues when using a lot of ink, especially on lower-quality or highly absorbent paper.

Bleeding happens when ink soaks through the paper, often appearing on the other side.
Feathering refers to when ink spreads out into the paper fibres, creating a fuzzy or frayed effect around the edges of the strokes.

Calligraphy Paper Terminology Worth Getting Familiar With

Buckling & Cockling

Both are common issues in calligraphy and watercolour work.

Buckling refers to the paper warping or curving due to excessive moisture from ink or water.
Cockling is a more specific term for the wavy, rippled texture that forms when paper absorbs too much liquid and dries unevenly.

Laid Paper

Laid paper is a type of paper that has a distinct textured pattern of parallel lines, created during the papermaking process by a wire mesh in the mould. These lines, known as laid lines (closely spaced) and chain lines (wider apart), give the paper a traditional, handcrafted appearance.

Historically, laid paper was the standard before wove paper became common, and it is still used today for fine stationery, calligraphy, and high-quality printing. The texture of laid paper provides a unique writing surface, making it popular among calligraphers and artists. More on calligraphy glossary .

Photo course: Arches Aquarelle - Watercolour - Acuarela paper 300gsm.

The paper you choose for daily practice should differ from what you select for finished pieces. Practice paper should be affordable yet functional, while special project paper needs superior archival qualities and aesthetic appeal.

For practice, you need paper that:

Is cost-effective for frequent use
Handles ink well without excessive bleeding
Provides adequate feedback for your writing tool
Allows you to see line quality clearly

For special projects, consider papers that:

Offer archival quality for longevity
Provide aesthetic appeal appropriate to the project
Handle your specific ink and technique beautifully
Present a professional finished appearance

Calligraphy Practice Paper vs. Calligraphy Paper for Special Projects

Photo credit: Italic calligraphy by Maria Montes. More on calligraphy supplies here.

Papers to Avoid When Doing Calligraphy

Not all papers are suitable for calligraphy. Here are some types to avoid:

Highly coated or glossy papers : These prevent ink from properly adhering to the surface, causing smudging and extended drying times.
Very thin papers (below 70gsm) : Unless specifically designed for calligraphy, these typically allow too much bleed-through and can buckle excessively.
Highly textured papers (for beginners) : While some texture can add character, papers with pronounced texture can catch nibs and interrupt smooth strokes.
Acidic papers : These yellow and deteriorate over time, making them unsuitable for work you want to preserve.
Low-quality recycled papers : While eco-friendly, some recycled papers have inconsistent surfaces that cause feathering unless paired with specific inks.

Photo source: Bamboo paper | Tree-free and sustainable. Learn more .

Eco-Friendly Paper for Calligraphy

Environmentally conscious calligraphers have several options:

100% recycled 80gsm copy paper : As I’ve found, this works wonderfully with walnut ink, which gives a warm look and feel while minimising bleeding issues.
Bamboo papers : Fast-growing bamboo creates sustainable papers with excellent writing qualities. Bamboo also makes great broad-edge calligraphy pens .
Cotton papers from responsible sources : Cotton is a renewable resource that makes high-quality, long-lasting paper.
FSC-certified papers : These come from responsibly managed forests and controlled sources.

When using eco-friendly papers, you may need to adjust your ink choice to accommodate different absorption rates. As mentioned, walnut ink works particularly well with recycled papers.

Photo source: Canson XL Marker paper 70gsm, ideal for Copperplate calligraphy practice.

Best Practice Paper for Calligraphy

Now that we’ve totally nerded out on the calligraphy paper topic, I’ll tell you about the paper I use the most for my weekly calligraphy practice:

100% recycled 80gsm copy paper . To avoid bleeding, I use walnut ink, as it works with most papers and gives me a warm look and feel.
Canson XL 70gsm marker paper . This paper is great as it gives me a crisper definition and finish, ideal for my Copperplate calligraphy practice.
If I’m handling high volumes of ink due to a larger writing tool or creating gradients with my Neuland calligraphy practice, I use "Bloc Para Esbozo" Studio Gvarro . This paper is 90gsm and can better absorb large amounts of ink with less buckling.
A great alternative to the Studio Gvarro paper above is Torreón paper , a type of laid paper that gives a warm and unique texture to your writing.

Additional recommended practice papers include:

Rhodia pads : Smooth, fountain pen-friendly, and available in various formats
Clairefontaine : High-quality, consistent surface ideal for practice
Strathmore 400 Series drawing paper: Affordable with good ink resistance

Access a visual list of recommended materials in my calligraphy supplies section.

Photo source: Canson XL Watercolour paper 300gsm, for final calligraphy work while keeping the costs down.

Best Calligraphy Papers for Final Projects

For final calligraphic work while keeping costs moderately low:

Canson XL 300gsm watercolour paper : Excellent weight and texture for final pieces
Canson Basik 370gsm watercolour paper : Heavier weight for prestigious projects
Italian handmade paper : Beautiful texture and exceptional quality for special occasions
Any other fancy papers that work nicely with your ink and nib!

For professional commissions and gallery-quality work, consider:

Arches hot-pressed 300gsm watercolour paper : Industry standard for fine calligraphy
Somerset printmaking papers : Excellent surface and archival quality
Fabriano Artistico : Traditional Italian paper with superior handling characteristics
Handmade papers from specialist mills: Unique character for one-of-a-kind pieces

Video title : Beginners Copperplate FAQs | Paper by Maria Montes
This is the first video of a Youtube series called Copperplate FAQs (Frequently Asked Questions) where I am answering questions many of my students have previously enquired about. This short video is focused on a few different types of paper.

Best Papers for Copperplate Calligraphy

Above is a tutorial discussing different types of calligraphy paper for my Copperplate calligraphy practice and below you’ll find a handy list of FAQs answered. Additionally, you can check my paper supplies section for visual references to some paper mentioned above. Happy Lettering!

Frequently Asked Questions About Calligraphy Paper To Use

Celebrating a Decade of Calligraphy, Design & Letterforms

Fri, 14 Mar 2025 10:37:26 GMT

It’s December 2024, and I’m writing this article to celebrate my own tenth anniversary as an independent creative business of one. This marks a huge milestone for me, and I want to take this opportunity to say thank you and express my gratitude for all of it: The Good, The Bad and everything else in between.

Ultimately, this journey is not just about my creative outcomes, but about what I’ve learned and who I’ve become after a decade of dancing with calligraphy, creativity and letterforms. Here’s how it all started— I hope you’ll enjoy the ride!

Photo credit: Mark Lobo from Foliolio. Self-promotional image announcing my first solo exhibition in Naarm (Melbourne), Australia.

2014 | The Beginning: A sudden Shift

My journey began in Melbourne in January 2014 when I unexpectedly lost my job as a remote textile designer for a company based in Inner Mongolia. The abruptness of this change left me reeling—there were no warnings, no signs, just a short email thanking me for my work and wishing me well. This moment became the catalyst for a new chapter in my life.

Instead of letting this sudden change knock me down, with my partner’s financial support, I spent the next six months exploring, playing, and creating self-generated work for the first time in my life. I started with a lettering piece in homage to Jan Tschichold, which soon led to my first illustrated cocktail artwork, Bloody Maria. These early projects were a mix of my skills—writing letters, drawing type, and illustrating—and they set the tone for my new career.

Lesson learned:

Sudden unemployment can become an opportunity to explore and grow professionally.

Photo credit: Mark Lobo from Foliolio.

Illustrated cocktail artwork created in 2015 for my first solo exhibition called ‘Breaking The Ice’.

At the beginning of 2015, a cocktail venue in Melbourne reached out and offered me their space to host my first solo exhibition. They suggested I expand my series of illustrated cocktail artworks, which I did. I also introduced pattern prints featuring the ingredients of each cocktail.

This exhibition was a dream come true and kept me highly motivated for the first six months of the year. This was my second year as an independent designer, relying mostly on my income from teaching, which was just barely supporting me.

In November 2015, I opened my solo show called Breaking The Ice, which featured a total of eight illustrated cocktail artworks, five pattern prints, and two wood engravings. The opening night was a wonderful celebration of facing fear and overcoming obstacles. However, things began to shift in my mind immediately afterward.

After the exhibition, I felt lost, asking myself too many questions: What’s next? When will I get paid again? Where am I going now? I was truly scared.

Lessons learned:

Show your work publicly; you never know who is watching! New Amsterdam found my first two illustrated cocktail artworks on Instagram and offered me their space soon after.
Scheduling an exhibition opening right before the holiday season turned out to be great timing, as many people bought prints as gifts.
After a solo exhibition, take a break! I discovered the meaning of “exhibition blues” in the worst possible way.
The most challenging part of a freelance career is the financial uncertainty; its counterpart is what I love the most: the freedom of being self-employed. At that point, I chose the latter.

2015 | Showing Your Work Publicly

Design credit: Post number 97 of my Shit Series called ‘Dipship’. One fish asks another fish “how’s the water?” The other fish replies, “what the hell is water?” David Foster Wallace .

2016 | Overcoming Creative and Personal Challenges

I started 2016 at a real low. Nothing positive was coming to mind, and I began publishing on Instagram a series of artworks centered around the theme of “shit” because, honestly, that’s how I felt.

My Shit Series became a two-year project, growing organically to include one hundred lettering pieces from those dark times. It was raw, real, and surprisingly resonated with a lot of people. This series helped me process my own emotions and connected with a broader audience, becoming a powerful tool for playing, healing, and connection.

Lessons learned:

Humor, vulnerability, and public healing can be powerful tools for connection.
By being open to people’s contributions, I learned a lot about Australian slang and culture, turning it into a highly collaborative project.

Design credit : Green Fairy font family displaying its seven chromatic weights.

During the first quarter of 2017, a few major milestones occurred:

I turned forty.
I became an Australian citizen after ten years of living in the country.
I promised myself I would publish my first independent font family.
I was invited to give my first public talk in Australia at the Typism Conference.

I remember 2017 as the year lettering became mainstream, with everyone and their neighbor wanting to learn about it. Suddenly, my four calligraphy courses for the year were sold out immediately, giving me the financial room to plan ahead and decide how to spend my weekdays.

In February 2017, I purchased a Glyphs App license and began working on a display font. The plan was to invest only three months full-time, as this was supposed to be a one-weight, uppercase-only font. In reality, the project evolved quickly, becoming a seven-weight chromatic font family for display purposes.

The intense nine months of full-time work taught me a lot about myself and opened up new international opportunities, including an invitation to host a retrospective solo exhibition at a Contemporary Art Center in Spain, where I am originally from.

Lessons learned:

Releasing a font is a long process, making it easy to lose focus and efficiency.
I love working with color, and during the nine-month font development, I missed it a lot.
I love working on tactile projects, so I stopped the font development for two weeks to paint a couple of skateboard decks and balance the intense digital working hours on my computer.
By giving my first public talk at the Typism Conference, I found my voice. I understood my responsibility to open up and tell my story, hoping it would help others to see themselves reflected in my journey and be proud of who they are.

2017 | Long-term Project Management

Photo credit : Contemporary Art Center La Panera, Lleida. Solo Exhibition called ‘What a Shitshow’, 2018.

At the beginning of 2018, I was invited to give my second keynote presentation at The Design Conference in Brisbane . Two weeks before my conference talk, my Green Fairy font was finally published, giving me the sweet opportunity to announce it in front of an audience of seven hundred people.

In June 2018, after six months of working remotely on my exhibition’s design, content, curation, and production, I opened my second solo show in Spain. This marked one of the happiest moments of my life, surrounded by friends, family, and a dream team of professionals at La Panera in Lleida.

The exhibition, titled What a Shitshow , displayed four years of independent design practice, featuring textiles, font design, packaging, illustration, calligraphy, and lettering across five glorious walls.

Lessons learned:

Publish your work and share it with the world! The invitation to host my solo show in Spain came from a curator who followed me on Instagram and fell in love with my Green Fairy font.
Everything in your career and life is connected. You may not see it in the present, but over time, things often become more evident in hindsight.

2018 | Exhibiting Your Work Internationally

Quote credit: ‘Perfectionism is the voice of the oppressor’ by American writer Anne Lamott.

At the end of 2018, I was diagnosed with melanoma, which was a huge wake-up call. It made me reflect deeply on my life and career, and it brought anxiety crashing to the surface. Therapy became a necessary step, and though I thought I was ready to keep going after just a few sessions, the reality was that managing my mental health would be an ongoing process.

Seeking more financial stability, I accepted a role in January 2019 teaching calligraphy, typography, and lettering at RMIT University. I thought this job was another milestone in my professional life, but I didn’t fully appreciate a few important facts: I was still struggling with my mental health, I had a lot on my plate, and I didn’t give myself a break.

Lessons learned:

Running a creative business can be challenging, and the constant pressure to produce and achieve can wear you down. Therapy, mindfulness , and learning to practice self-compassion have been crucial in helping me stay on track, both creatively and personally. This ongoing journey of self-care has been essential in sustaining my creativity and overall well-being.
Teaching twelve self-motivated students is not the same as teaching 150 young designers.
A bad experience cannot overpower everything else.
Never take good health for granted.

2019 | Navigating Health Scares and Mental Health

Calligraphy credit: ‘The days are long but the years are short’. Blackletter calligraphy by Maria Montes.

During the first twelve weeks of the pandemic, I worked from my bedroom on a series of Neuland and Blackletter pieces, deepening my understanding of these styles and exploring personal expression. An example is the piece above with the caption: “One of the highlights of my lockdown is that I haven’t worn a bra in seven weeks. Every little pleasure counts!”

While self-generated work decreased considerably during the pandemic, it never dried up completely. Each personal project I completed brought me immense joy.

One such project was my growing skate deck collection, which I began in 2014 as a playful celebration of anniversaries with my partner. Despite struggling with poor mental and physical health, in July 2020, I art-directed my best pair of decks to date under the theme RGB Low-Res Lifestyle.

Lessons learned:

Curiosity can be your superpower for unlocking creative blocks—use it!
Go out and look up. Broaden your perspective by staying in touch with nature and wildlife. Remember how small you are and the privilege of being alive.
Stay connected with culture outside of lettering. Step out of your creative bubble.
Read, read, read—especially about topics not directly related to your work.
Visit a bookstore and get inspired by beautiful contemporary work. This can reignite the fire inside you and showcase current trends in the editorial world.
Keep a diary of your thoughts. What seems trivial now may lead to a surprisingly good idea in the future.
Follow your curiosity and keep pulling the thread, even if it takes you to unexpected places.

2020 | Unlocking Creative Blocks

Design credit: ‘Copperplate Calligraphy Retreat’ Monoline script vector lettering by Maria Montes.

One of the most unexpected and fulfilling parts of this journey has been teaching. From 2012 onwards, every morning, one hour before opening my laptop, I practiced calligraphy as a mindful creative exercise, sharpening my eye and learning to see. Other graphic designers in my co-working space began to show interest in my practice, eventually asking if I could teach them.

With the help of my friend Lauren Vilitati, who emailed every graphic designer we knew in town, I hosted my first six-week calligraphy course in May 2014, teaching in English for the first time.

In the early years, my courses were super affordable, as I ran them at my partner’s studio, Rotson, offering Spanish tapas for lunch. So even if students didn’t care about letterforms, they cared about my delicious cooking!

Teaching, something I hadn’t considered before, turned out to be a perfect counterbalance to the solitary weeks spent immersed in my own thoughts. Over time, teaching calligraphy became a major part of my life and one of the most rewarding aspects of my career.

During the pandemic, inspired by Tara Brach’s free YouTube lectures, I released my first educational video, which now has over 230,000 views.

Post-pandemic, my in-person calligraphy education—massively disrupted by two years of strict restrictions in Melbourne—transitioned to an online education business. This shift opened worldwide opportunities but also resulted in losing many Australian students who only considered the in-person format.

Currently, I offer pre-recorded calligraphy courses , live online group and private tuitions, license my illustration work, sell limited edition art prints, monetize my YouTube channel, and work on commercial commissions. The balance between passive and active income streams shifts constantly, much like modern life itself.

Lessons learned:

Teaching recharged me more than it drained me.
It connected me with others, offered a new way to learn, and brought me immense joy.
Diversifying income streams can be crucial to sustaining a creative practice.

2021 | Teaching and Diversifying Income Streams

Design and calligraphy credits: Maria Montes

Creative director: DJ Stout

Art director: Stu Taylor
Design Firm: Pentagram

Travel has also played a big role in shaping my journey. In 2022, my partner and I transferred Rotson Studio after eight beautiful years. We stored everything we owned, and began a nomadic life outside of Australia.

We have been moving around for the last two and a half years, changing accommodations every one to three months, crossing continents, and figuring it out as we go. In the middle of all this, I was commissioned an editorial piece by Pentagram. I completed the project and recently received a Communication Arts Magazine and Type Directors Club typographic award of excellence… Who's crying? Not me, for sure!

Lessons learned:

Moving constantly is fun, very tiring, and somehow addictive.
A fluctuating routine has forced me to be more agile and adaptable—two things I’m not naturally great at.
Many things I thought were impossible turned out to be doable, offering new perspectives and inspiring my work in unexpected ways.
Creativity is a journey, not a destination. It’s a process of continuous growth, learning, and adaptation.
Celebrate every milestone and learn from every challenge.

2022 | Traveling All Over to Find Yourself

Design credit: ‘ Never stop learning’ . Neuland calligraphy by Maria Montes.

At the end of 2023, I read Big Magic by Elizabeth Gilbert, which I consider the ultimate creative mental health guidebook. Around this time, I also joined a Substack page by the same author called Letters From Love , where you write a weekly letter to yourself—using different prompts—in the most compassionate, supportive, friendly, and kind way possible.

This practice has become transformative, helping me find a new voice that speaks to me from the heart rather than the head. It has been a challenging yet deeply rewarding journey.

I also read The Artist’s Way by Julia Cameron, which got me into the habit of writing three pages every morning before anything else. This private exercise allows me to meditate on the page, something I feel very comfortable with due to my mindful calligraphy practice.

Lessons learned:

Over the years, I have kept a diary, written articles, and maintained a decade-long bi-monthly newsletter. These practices have helped me stay connected to my creative voice, track my progress, and share my experiences with others. In many ways, writing has been as integral to my creative process as drawing or designing, providing clarity and insight into my own journey.
Continuous learning and self-reflection are essential. Creativity isn’t static; it evolves, and I’ve made it a point to keep learning, whether through formal education or personal exploration.

2023 | Reading and Writing: Tools for Learning and Reflection

Design credit: Good Shit Takes Time by Maria Montes. I want to get there faster, I want to see results sooner and I want to make shit happen quicker… But sometimes, it is not possible. Often, good shit takes up a big chunk of time and it all comes down to embracing your day a day and enjoying the process, and I am very much working on it.

As I celebrate this ten-year milestone, I feel incredibly grateful for the experiences, challenges, and opportunities that have shaped my journey. The past decade has taught me that creativity is about more than just the work we produce—it’s about who we become in the process. It’s about resilience, adaptability, and the courage to keep going, even when the path is unclear.

Looking ahead, I’m committed to continuing my creative practice, sharing my knowledge, and exploring new opportunities wherever they may lead. Most importantly, I’m committed to taking care of myself and enjoying the process every step of the way.

Lessons learned:

Manifest by creating work you want to be hired for.
Dream out loud and write it down! I’ve been considering two projects for a while: writing a book and hosting a fourth solo exhibition. I don’t know when or how this will happen, but I’m putting it out there for the Universe to align a few planets for me!

2024 | Articulating Future Goals

Photo credits: Magic Johnston co-working space, Naarm (Melbourne), 2014. Nau Bostik co-working space, Barcelona, 2024.

From Pen to Pixels: My Journey in Calligraphy & Online Education

Fri, 07 Mar 2025 09:46:02 GMT

Recently, Online Course Host published a featured interview about my calligraphy journey from in-person courses in Naarm (Melbourne, Australia) to my current online international education. I though of sharing my insights with you in case is helpful to anyone thinking of crafting their own independent creative career.

Photo credit: ‘Wishing you a beautiful day'. Script Brush Calligraphy by Maria Montes.

Can you tell us a little about yourself and the topics you teach online?

I'm a Catalan-Australian independent lettering designer, calligraphy-and-type educator.

My creative practice is set by the principles of never stop learning, sharing knowledge and create emotion through my work.

I’m in love with creativity and letterforms. For the first ten years of my career, I worked as a full-time graphic designer. My first contact with calligraphy was in 1996 —that it last century! In 2011 I went back to study typeface design where I grabbed a calligraphy pen and ink and I haven’t let it go again!

I have been teaching calligraphy independently since 2014. My favourite way of learning is by teaching others. I offer online calligraphy courses, corporate in-house workshops, as well as private one-to-one tuitions.

I currently educate students worldwide on broad-edge pen Roman Capitals, Modern Carolingian, Italic, Neuland, Copperplate and Script Brush pen calligraphy for beginner and intermediate students. I specialise in Script lettering and connected alphabets.

I have studied a Postgraduate Course in Advanced Typography and a Condensed Program in Typeface Design at Type@Cooper in NYC. In 2018 I released my first independent display chromatic font family called Green Fairy .

Photo credit: Writing Copperplate calligraphy | Quote by Tara Brach.

I had been teaching in-person calligraphy courses in Melbourne since 2014. In March 2020, all my education stopped completely which forced me to look for alternative ways to keep on going.

During the pandemic, and inspired by Tara Brach’s free YouTube lectures, I released my first educational video, which now has over 230,000 views.

Post-pandemic, my in-person calligraphy education—massively disrupted by two years of strict restrictions in Melbourne—transitioned to a live online education business. This shift opened worldwide opportunities, giving me the freedom to teach from anywhere.

In 2022 my partner and I started a nomadic journey outside Australia becoming clear that the online education model was going to be a better fit for my current lifestyle.

My Copperplate calligraphy courses were always the first ones to sell out, so I decided to start with this calligraphy style and test the waters with Online Course Host. From 2014 to 2020 my audience was primarily Australian. Currently, I teach students worldwide, with an increasing audience coming from the US.

What inspired you to launch Copperplate Calligraphy courses, and how did the idea come about?

Design credit: A series of greeting cards written out by Maria Montes using a Pentel Touch Sign Brush Pen.

Could you walk us through your journey from the initial concept to launching your first course?

In 2023 I launched my first pre-recorded online Copperplate calligraphy course. It took a lot of preparation as I had to consider a few additional I usually explain live to my students. This format forced me to analize my process in more detail, structure the course in a very clear way and offer as much supporting information as possible.

At that time I was still teaching live Copperplate calligraphy for total beginners (level 1) and intermediate students (level 2). I felt there was a big gap of skills between my two levels, so I designed my first pre-recorded course filling this specific gap.

I worked on the structure first, thinking about all the topics I wanted to give extra support as well as offering more in-detail information. I also devoted a few chapters to write longer texts, something I didn’t have time to cover in my Level 1 course.

Writing about the course overview, features and everything included took a while as well, but when finished, I was very happy with the result.

For recording I used Zoom and a document camera. I am very comfortable working from home, and can spend days in my pyjamas, so during the many days recording I dressed up every morning, did my hair and looked like a fully functioning human LOL!

The feedback from the first course was super positive and in 2024 I decided to launch all my live calligraphy courses as self-paced, pre-recorded learning experiences. This meant that all my students could complete my courses in their own schedule, with their own agenda + now unlimited access!

I received very positive feedback and some of my students now engage in private one-to-one tuitions where I work with their own timezones and we focus on the specific challenges they are facing.

Photo credit : Mark Lobo at Rotson Studios in Naarm (Melbourne).

What was the biggest challenge you faced when starting out, and how did you overcome it?

Recording myself and explaining things in a clear and concise way was very important for me. I am not a native English speaker, so finding the right words was key for me. Like everything else, the more time I spent teaching online, and the more hours of video I recorded, the more comfortable I felt.

Design credit : 'Let's pretend this never happened' . Modern Carolingian written out by Maria Montes using a 3mm Brause nib and liquid watercolours.

I recently launched a new course called Intro to Neuland Calligraphy and these are the steps I followed:

Design the course syllabus:

What do I want to teach and what are the outcomes for the students?

I keep a consistent structure with my other courses. Many of my initial Copperplate calligraphy students have enrolled for other styles of calligraphy since they enjoyed my first course and discovered my personal teaching style. That means, my students are already familiarised with my course structure and I want to make them feel comfortable with the platform by displaying similar course sections across them.

Intro to my course: A video of myself introducing the course and what they can expect.
Materials needed
Resources for them to download and print
Hands-on lessons and my personal notes provided for each lesson
Exercises with a specific outcome
Personal portfolio of work showing applied examples of the calligraphy style we are learning.
Additional external recourses for each calligraphy style where they can learn further about the subject.

After the syllabus has been designed, I start creating the guidebook and handouts in PDF format. Once I have a clear idea of what I want to teach, I start recording the main part of the course which are the hand-on lessons. I try to record three to four lesson per day. After a few days in a row recording, I feel much more comfortable with the camera and I also produce better work.

Once I finish the hands-on lessons, I record a few additional ones to publish on Youtube, as I believe this can help me to find a few new students.

Finally, I craft the thumbnails for the course, write the content description and record an additional video to launch the course on my email newsletter and Youtube.

What does your course creation process typically look like? (e.g., planning, content creation, and delivery)

Design credit: ‘The Loop’ Blackletter calligraphy by Maria Montes.

My calligraphy courses are a direct reflection of my 20 year-journey as a designer. They are unique for the following aspects:

My background being a multilingual and multicultural designer
My personal teaching style combining an attention to detail and in-depth approach while enjoying the learning process.
My motto: progress is the inspiration
My principles: Never stope learning, sharing your knowledge and create emotion with my work.
My skillset of graphic and type designer, letterer, calligrapher and illustrator which informs my educational perspective.
I keep my audience in mind, as I’m fully aware that calligraphy is not for everyone: professional graphic designers, professional type designers, design students looking to expand their typographic skill set, calligraphers looking to refine their skills, anyone with an interest in letters and visual communication and anyone looking for a mindful, creative and meditative practice.

My marketing strategies are a constant work in progress. If you are interested in launching your own courses, I would suggest investing as much time in creating it as in promoting.

I shared my first self-paced calligraphy course with my current audience on Instagram and Substack. There were a few sales but not enough, so I decided to develop my YouTube channel and use it to offer educational videos supporting my courses, letting people to know me and to discover my teaching style.

To support my pre-recorded calligraphy courses further, I have built a brand new website with the intention of helping me to find new students. My new site called Writing Calligraphy is the result of practicing regularly since 2011, and sharing knowledge since 2014. It is highly educational and full of information for anyone interested in getting started, or learning more about the art of writing.

I regularly communicate with my current students, as I know they will be the first ones interested in knowing about new course releases. I also offer them a discount after they have purchased a course to thank them for their ongoing support.

How do you make sure your courses stand out in a competitive market, and which marketing strategies have worked best for you?

Calligraphy credit : ‘ Shit Just Got Real’. Script brush calligraphy by Maria Montes.

I mix the length of my videos and the content in them. Some videos are about hands-on practice. Some videos are about presentations and historical context. Some videos are about my work and my professional struggles.

In my opinion, there are three main challenges in the self-learning pathway:

Finding Reliable Resources – With an overwhelming amount of information available, it’s difficult for beginners to identify trustworthy sources. To help with this, I add a section of additional resources in all my courses with book references and lectures from establish professionals.

Keeping Yourself Motivated – Staying motivated while learning alone can be tough. Joining a community helps by providing shared experiences and progress tracking. Another method is using past work as a benchmark for improvement—comparing old and new pieces can serve as inspiration to keep going.

Keeping Yourself Accountable – Without external deadlines, self-taught learners may struggle to stay on track. My experience as a self-taught textile designer demonstrates that real projects with real deadlines encourage focus and productivity. In calligraphy, balancing regular practice with concrete outcomes (e.g., postcards, logos, Instagram posts) helps sustain progress. Creating a project calendar with deadlines ensures accountability and consistency.

I have written extensively about this in here if you are interested in this topic!

What techniques do you use to keep your students engaged and motivated throughout the challenge?

Photo credit : Mark Lobo at Rotson Studios in Naarm (Melbourne).

Yes! I have received many positive feedback that encourages me to keep on going. When you put something valuable out there, you never know who is watching. A lot of my students have told me how much they have learned, and how relaxing and meditative the experience has been improving their writing skills, their visual literacy and their mental health. Everyone of these emails mean a lot to me, because it validates the reasons why I share my knowledge and why I do what a do for a living.

Have you received any memorable feedback from students that made you realize the impact of your work?

Design credit: 'New Calligraphy Workshop Series'. Copperplate calligraphy by Maria Montes.

Love what you do first and foremost. Be clear with yourself about the reasons why you are doing it. Focus on the process and not only on the final outcome. Be patient and be consistent. Iterate, be flexible and be agile with your own learning process.

What advice would you give to other course creators looking to grow and scale their business?

Design credit: ‘ Roman Capital R’ . Calligraphy by Maria Montes.

Everything I did was necessary to get me where I am today. Everything in my career and life is connected. I may not see it in the present, but in hindsight, things often become evident.

Looking back, is there anything you would have done differently when you first started?

Design credit : ' Stay Strong’ . Blackletter calligraphy by Maria Montes.

Are there any productivity tips or techniques you rely on when managing multiple aspects of your business?

I use Toggl to track my time executing different tasks. I focus on one task at a time, as I feel more focused and productive in this way. I put my phone on ‘do not disturb’, and only check my inbox twice a day.

This will sound totally cliché but consistency can be a super power.

Put yourself in the shoes of the student you are teaching. What are they looking for in your courses?

Do you have an audience already? Build your audience beforehand and spend as much time promoting the course as creating it.

I'm currently offering seven self-paced calligraphy courses , and I would love to have you on board!

If you could share one piece of advice with someone just beginning their course creation journey, what would it be?

Photo credit: Mark Lobo at Rotson Studios in Naarm (Melbourne).

Calligraphy As A Mindful Practice

Mon, 23 Dec 2024 15:35:42 GMT

Mindful practice refers to engaging in an activity with full awareness and presence, paying close attention to the present moment without judgment. It involves being fully immersed in the task at hand, acknowledging thoughts and feelings as they arise, but letting them pass without becoming attached to them.

Mindful practice can be applied to various activities such as meditation, yoga, art, calligraphy, music, sports, and even daily routines like eating or walking. The goal is to cultivate a state of mindfulness, which has been associated with numerous benefits including reduced stress, improved focus, enhanced emotional regulation, and greater overall well-being.

Video credit: Maria Montes. Copperplate calligraphy using a Hunt 101 nib, walnut ink and Canson XL paper. x-h: 6mm.

“Our goal is not to battle with the mind, but to witness it” Swami Muktananda

In 2012, I started to write calligraphy every morning for one hour before opening my laptop. It became a form of meditation, just for me and for my own professional and personal development.

More than a decade later, it’s still a mindful practice alongside yoga and traditional meditation. Sometimes, repeating the same messages turns into a mantra where my mind quiets down, and I get into the zone.

Photo credit: Maria Montes.

Copperplate calligraphy using a Hunt 101 nib, walnut ink and Galgo 70gsm paper. x-height: 17 mm.

Calligraphy requires your full attention. By being fully present on the page, your mind slowly quiets down. Your breathing deepens, helping your body to relax. And before you know it, half an hour has gone by.

It is a creative and mindful activity where you enjoy the process while meditating on the page. Your inner and outer progress becomes your inspiration.

One of my favourite topics is creative mental health, and my number one recommendation for you is “Big Magic” by Elizabeth Gilbert. It’s light, funny, and at the same time has made me deeply reflect on my relationship with creativity. If you enjoy Big Magic, the following book for you is “The Artist Way” by Julia Cameron. Here is a great interview with both artists.

Two more books I haven't read yet, but I've heard a few comments about are “The Creative Act: A way of being” by Rick Rubin and “The element” by Ken Robinson. Let me know if you have read them, I would love to know your opinion!

Creative Mental Health

Big Magic : How to Live a Creative Life, and Let Go of Your Fear

Tidying Up Your Mind

I found Rajiv Surendra one year ago thanks to the Youtube algorithm. In my opinion, his videos are all about the art of living , as you can see there is a quality presence in all he does, and this 15-min video tidying-up a draw is a great example of that.

Video credit below: A healthy mind is vital to a healthy lifestyle, and regular mental exercises are part of Rajiv’s personal routine. Today he shares one of his key techniques on strengthening the mind and developing a positive relationship with oneself.

Calligraphy has trained my eyes through writing letterforms, as well as making me aware of my inner dialogue. Enjoying the process means becoming an observer of your own practice, and use it to fuel you forward.

These are some of the reasons why I write calligraphy:

1) It is a mindful practice

2) Improves your visual literacy: sharpening your eye

3) Improves your spacing and kerning skills

4) Learning by doing: wiring your brain-eye-hand

5) Learn the order of the strokes of each alphabet style

6) Understand about rhythm, contrast and composition

7) Discover the history of the Latin alphabet

8) Informs and improves your drawing skills

Happy lettering!

Learning to see

Women in Type & Design

Fri, 20 Dec 2024 14:04:13 GMT

“Feminism by definition is the believe that men and women should have equal rights and opportunities. It is the theory of the political, economic and social equality of the sexes. There is no one country in the world where women can expect to receive equal rights. No country in the world can yet say that they have achieved gender equality” Emma Watson.

Photo credit: Monotype Corporation and Linotype Limited. Photography source: https://www.women-in-type.com/

Fonts, Type & Women

This is an ongoing resource of fonts designed by women, as well as supporting material to learn more about female and non-binary graphic and type designers.

Second-half of 2023 font releases by women

Via Alphabettes.

Mid-year 2023 font releases by women

Via Alphabettes.

Retail fonts designed by women in 2022

Via Alphabettes.

Women Type Designers Resources

By Elena Veguillas via Alphabettes.

First/early Female Typeface Designers

By Indra Kupferschmid via Alphabettes.

Women Typeface Designers

Thesis project by Laura G. C. Webber, 1977.

Uncovering the History of Early Women Type Designers

Lecture by Lauren Elle DeGaine via Letterform Archive.

Women Type Designers

Download a PDF file with a comprehensive list of women type designers by Hans Reichardt.

Women of Type

This section —part of The Malee Scholarship— gathers a selection of great typefaces designed by women from all over the world.

Mulheres na Tipografia | Parte 2

Written by Flavia Zimbardi via Recorte.

Mulheres na Tipografia | Parte 1

Written by Flavia Zimbardi via Recorte.

How many female type designers do you know?

Book by Yulia Popova, published by Onomatopee .This book aims to shine light on the work of women in type. Besides that, it should serve as an alternative educational material for people interested in type history.

Type Faces | Womxn in Type

Research project investigating visibility of female type designers by Yulia Popova.

Femme Type Book

Publication celebrating women in the type design industry.

Women in Type

Women in Type is a three-year research project undertaken at the Department of Typography & Graphic Communication of the University of Reading between March 2018–November 2021. The project benefited from the support of the Leverhulme Trust as part of its Research Project Grants. The project is led by Prof. Fiona Ross with principal researcher Dr. Alice Savoie and post-doctoral assistant Dr. Helena Lekka.

Women in Type Lecture

By Alice Savoie hosted via The Cooper Union.

The Women of Photo-Lettering

Guest researcher Anne Galperin reveals unsung contributions to a major sourcebook of mid-twentieth-century type design.

Recovering the Forgotten Women of Metal Type Design

By Bethany Qualls via Letterform Archive.

The Women behind Times New Roman

The contribution of type drawing offices to twentieth century type-making article by Alice Savoie published on Oxford Academic.

Women of Type Design

IG account showcasing the great work of Women in type design.

Women Type Club

IG platform to collect and showcase typefaces designed by womxn.

Times New Women

Espacio seguro para el intercambio de conocimiento entre mujeres interesadas en el diseño de letra.

New Types: Three Pioneers of Hebrew Graphic Design Book

“Fransizka Baruch only created the font Stam, but also designed the font Schoken. She also created numerous logos that are still in use, or have been refreshed, such as Haaretz, Weizmann Institute, Tarshish Books, and many others” comment by Liad Shadmi.

Graphic Design & Women

This is an ongoing resource of women in design, as well as supporting material to learn more about female and non-binary graphic designers. Get in touch in you know of any additional resources!

Black Girls In Design

Black Girls in Design aims to create a platform that would not only foster the needs of black women in Britain with backgrounds in Graphic, UX and UI design but also aims to create substantial awareness amongst the Black communities about these career options. Lack of visibility of such career choices has been one of the fundamental issues behind the disparity of diversity within the creative industries. We aim to deal with these barriers that are affecting the overall growth of black female designers in the UK.

Publishing experiments by women artists in Latin America, 1960-1990

Book curated by Mela Dávila Freire via Center For Book Arts. Curator Mela Dávila Freire presents her research process for the exhibition and publication at the New York Public Library in conversation with Silvina López Medin.

Women in Design

Directory curated by the talented designer Gabby Lord.

Baseline Shift: Untold stories of women in graphic design

Book edited by Briar Levitt and published by Princeton Architectural Press.

Extra Bold: A feminist, inclusive, anti-racist, non-binary field guide for graphic designers

Book by Ellen Lupton, Farah Kafei, Jennifer Tobias, Josh A. Halstead, Kaleena Sales, Leslie Xia and Valentina Vergara. Published by Princeton Architectural Press.

Woman Life Liberty

Documenting the artwork of the Iranian Revolution by Dena Taiebat.

“What does a feminist graphic design history in the United States look like?”

Four Articles by Dina Benbrahim published on Alphabettes.

Women At Work

A podcast about female creativity, leadership and feminism by Hey Studio.

Design by Women

Aimed to showcase, celebrate, inspire women + gender expansive + non-binary creatives working in the design + creative industry.

Antique, modern and swash, a brief history of women in printing

Book by Club of printing women of New York.

Women in Print 1 and 2

Women in Print is a collection of essays in two related volumes which considers the diversity of roles occupied by women in the design, authorship, production, distribution and consumption of printed material from the fifteenth century onwards. Printing History and Culture edited by Artemis Alexiou and Rose Roberto.

Women in Graphic Design 1890 – 2012

Book by Gerda Breuer and Julia Meer illuminates the forgotten women who made substantial contributions to design by focusing on their merits and quality of work.

Designing Women

Designing Women is an initiative that aims to combat gender inequality in the design industry and highlights the impact of female-identifying, non-binary, and other persons affected by gendered issues in design via Readymag.

Female Design Council

Founded by Lora Appleton, the Female Design Council (FDC) is the premier professional membership network and advocacy organization for womxn in design, architecture and the applied arts. The FDC’s mission is to advocate for equity and tangible gender parity in the design industries and provide access to professional opportunities for our members.

Freelancing Females

Tia knows what it’s like to not get paid – and it turns out she’s not the only one. What started as a small group designed to discuss non-payment issues quickly grew into the world’s largest community of freelance women. Freelancing Females is now a safe haven for all who identify as women to share their wins, loses, fears and knowledge in our ever-growing gig, project-based, and freelance economy.

Posterwomxn

Platform to amplify the visibility of womxn & non-binary poster designers.

Women of Illustration

IG account and WOI podcast.

We Are Fido

Network to showcase and celebrate women designers.

Ladies, Wine and Design

Platform diversifying the creative industry. Founded by Jessica Walsh.

Womentor

Mentorship program for women in design committed to improving gender equality in the design industry.

Maivens

Independent content platform to champion gender equality through communications. Based in Naarm (Melbourne).

The Assisterhood

Founded in 2018 by Linh Diep, Assisterhood is making an impact as Australia and Aotearoa’s leading industry mentorship program for underrepresented communication professionals. No matter your age, role, gender identity or where you are in Australia/Aotearoa, this program doesn’t discriminate.

Palestinian Feminist Collective

We are a Turtle Island-based body of Palestinian & Arab women & feminists committed to Palestinian liberation & beyond.

Invisible women in Australian Graphic Design

By Dr Jane Connory (Glover)

Affemation

Making heroes of women in Australian graphic design.

Women Designers You Should Know

Let’s redesign history by celebrating women. A podcast and video series created by Amber Asay.

Photo credit. Doing Feminism, women's art and feminist criticism in Australia. Cover design: Evi-o Studio.

Type Conferences Around The World

Tue, 17 Dec 2024 16:06:44 GMT

Living in Australia is awesome but one of the toughest moments during the year is when the “type conference season” starts. If you —like me— suffer of major FOMO and don’t even want to open social media for weeks, maybe now is a good time to schedule a trip overseas and make it coincide with your favourite type conference! Some of them are listed below.

Photo credit above: The Design Conference, Brisbane, Australia 2018.

Type Conferences

01. ISType Mono | Istanbul, Türkiye

Istanbul Type Seminars (ISType) is an international conference that offers a platform for both seasoned and emerging designers to exchange and enhance their expertise on typography. Held every two years in the vibrant city of Istanbul, ISType brings together academics, industry professionals, and students—local, regional, and international—to discuss current issues and innovations in typography and to reflect upon developments and opportunities for its future growth.

02. Typo Day | Mumbai, India

Typography Day is being held for the seventeenth time on 6th to 8th March 2025, at IDC School of Design (IDC), Indian Institute of Technology Bombay (IITB), Mumbai, with support from India Design Association (InDeAs), Design in India and Aksharaya.

03. Type Drives Culture | New York City, US

Global conference that explores ways in which people use typography to form and transform creative communities, and conversations around contemporary type and design.

04. Kerning Conference | Faenza, Italy

Kerning is the first international conference in Italy dedicated solely to typography and web typography.

05. Fontstand Conference | The Hague, Netherlands

Fontstand’s fifth annual typography conference returns to The Hague! Join world-class type designers and typographers from around the world for a packed two-day program of presentations and discussions.

06. Typotage | Leipzig, Germany

Ein kleiner * kann einen großen Unterschied machen. Selten zuvor stand ein typografisches Zeichen häufiger im Mittelpunkt von kulturkritischen Debatten. Derzeit nimmt das öffentliche Bewusstsein zu, dass Typografie gesellschaftliche Denkweisen und Handlungsmuster erzeugen, verstärken oder reproduzieren kann. Insofern kann sie gleichermaßen ausgrenzen und integrieren.

07. The Design Conference | Brisbane, Australia

Let the transformation begin. Finding and owning your creative flow is a life-long pursuit that requires guidance, discipline and an open mind. The Design Conference is a wonderfully confronting experience that introduces you to your dream future, how to grasp it and the connections that can make it a reality. Expand your mind and let the transformation begin.

08. DiaTipo | São Paulo, Brasil

Evento Internacional de Tipografia

09. Berlin Letters | Berlin, Germany

International lectures, professional workshops and fun things to do for designers and all letter enthusiasts. Three days of hearing, seeing and trying out new things in the company of your future best friends and colleagues.

10. Typographics | New York City, US

Typographics is a design festival for people who use type. The annual event series, now in its 10th year, is focused on contemporary typography and where its future may lie. Various events are planned round June every year, in New York City and online.

11. TypeNow | Type Paris, France

Now Conference (in English) brings together graphic design and typography enthusiasts. We seek to explain how typography has a visible impact on the world around us. Come to Paris to listen a mix of inspiring speakers evoking topics as broad as graphic design, web design, motion design, publishing, visual identity, communication and type design. This year the panel discussion is about typography education.

12. Centre for Printing History & Culture | Birmingham, UK

To celebrate ten years of the research in the Centre for Printing History & Culture, we are holding a one-day conference to showcase the work of its doctoral community, past and present, and those postdoctoral researchers who have found their home in the Centre. Further details to follow.

13. Ampersand, The Web Typography Conference | Brighton, UK

A day of inspiration and cutting edge techniques from worldwide experts.

14. Granshan Conference | US

Conferences and workshops, lectures and panel discussions, study trips and exhibition openings – GRANSHAN has been organising events to promote knowledge about scripts and the quality of typefaces beyond Latin ever since it was founded. Discover the upcoming events here – and a slowly growing archive of past ones.

15. TypeCon | Portland, Oregon USA

TypeCon is an open, equitable, and diverse conference. We have welcomed speakers and workshop leaders from every continent except Antarctica. (Any letter lovers down there at McMurdo Station want to break the streak?) 50.5% of our 2018 presenters were female. Whether you’re a seasoned industry professional or thinking about trying out this “speaking gig” for the first time, we encourage you to submit a proposal!

16. Rencontres Internationales de Lure | Lurs, France

Les Rencontres de Lure will be held at Alpes-de-Haute-Provence

17. Typism Summit | Australia

Online event twice a year on lettering education and the business of lettering.

18. Typetersburg | St. Petersburg, Russia

The appearance of annual international festival in Petersburg has been the matter of time and here it comes. The festival will join the professional Russian and international society in Petersburg and will become the breeding ground for expansion of the type culture worldwide.

19. AtypI Conference | All Over

Non-profit organisation organising an in-person and online conference in a different country every year.

20. Tipografia Mexico | Mexico

Evento enteramente gratuitio para todos los públicos

21. BITS | Bangkok, Thailand

BITS was originally known as the Bangkok International Typographic Symposium when it began in 2010 at the auditorium of Alliance Française Bangkok. This event aimed to bring together design professionals and enthusiasts to explore the art of typography and its significance in design.

In 2023, the name was changed to the Brand Identity and Typography Symposium to better reflect the evolving nature of the design industry. This rebranding was intended to foster a stronger connection between branding, typography, and type design, welcoming a broader segment of the design community.

Today, BITS serves as an influential platform that not only highlights the critical role of typography in brand identity but also encourages collaboration and innovation among designers across the region.

22. Encontro de Tipografia | Lisbon, Portugal

The Typography Meeting [Encontro de Tipografia] is an annual international scientific event based in Portugal that gathers researchers, practitioners, pedagogues, students, and industry partners. It includes conferences by keynote speakers, peer-reviewed communications, workshops, and exhibitions. Our goal is to bring together leading individuals and projects in the Typographic panorama to: disseminate research and technical knowledge; foster learning, inspiration, and critical thinking; and contribute to the discussion and the development of ideas in Typography and Typeface Design.

23. Letrastica | Guadalajara, Xalapa, Puebla, Mexico

We are a group of people that love typography and wish to share it. Our non-profit activities are oriented towards professional exchange and creating a network of professionals, students and enthusiasts in areas of design, calligraphy, sign painting and type.

Photo credit: The Design Conference Brisbane, Australia 2018

This list of type conferences has been put together thanks to Indra Kupferschmid and the Alphabettes calendar. Please, get in touch if you know of any other type conference and dates coming up this year. Happy type touring!

Introduction To Calligraphy

Thu, 10 Oct 2024 13:17:26 GMT

I am writing this Introduction to Calligraphy article with the intention of clarifying a few things about calligraphy, and to hopefully shed some light on misunderstandings about this beautiful art form.

In my opinion, calligraphy suffers from an image problem. I find that people associate it with older people writing religious texts and with wedding invitations! But calligraphy is much more than that.

In recent years, calligraphy is undergoing a revival, which makes me really happy.

Photo credit: Lauren Vilitati. Photo taken at Tractor School in Melbourne while facilitating an introduction to Copperplate Calligraphy.

Understanding Calligraphy vs Lettering vs Typography

Calligraphy is the act of writing letters with relatively simple strokes, looking for a rhythm. When writing calligraphy, we can see the direct movement of our hand and the shape of the tool we are using, through observing the letterforms.

In addition, calligraphy can serve as the basis for creating new fonts and through the study of negative and positive spaces, balance, composition, rhythm and expression of the line it becomes an art form.

However, if we are only drawing letters or building the elements of each letter with several strokes, re-touching and re-drawing them, we are not talking about calligraphy but lettering.

Typography on the other hand, reproduces handwritten or drawn letters, creating a categorised system that allows us to build type compositions at any time. You can read a great article about this topic by Joseph Alessio who says:

“Calligraphy is based on penmanship; it’s essentially writing letters. Lettering, on the other hand, is based on draftsmanship, meaning drawing letters. Typography was, and has continued to be, primarily the skill of setting type.”

Calligraphy Origins

The origin of our Latin alphabet is the Roman Empire. Around 1 AD, the most formal and elevated letterforms were the Roman Capitals (Capitalis Monumentalis). These letters are an expression and a representation of the Roman Classical beauty of that time.

In the past, as it is today, knowledge is power. Two thousand years ago not many people could read or write, which means that the vast majority of the population saw the Roman inscriptions as an aesthetic form of art, but could not necessarily read the message. Much like political campaigns today, Roman inscriptions represented the power of Rome and promoted the message of the Emperor in charge.

For the last twenty centuries, letterforms have been intrinsically linked to all other forms of art. Roman Classic Beauty is reflected in the Romanesque cathedrals, Roman sculptures and paintings as well as writing. When the Gothic style appeared a few centuries later, this new trend influenced architecture, sculpture, fashion, painting and of course, writing.

Apart from trends, the other game changer in any significant cultural development is technology. From the Roman period through the Renaissance and into the Internet era, technology has shaped art and culture, changing the tools we work with.

David Gates summarises this idea very well on his must-read book Lettering for Reproduction :

“From the beginning, our Latin alphabet has been defined by alternating thick and thin strokes. This is the natural result of the writing tool: the flat brush or broad pen made of reed or quill. This tool produces, with a minimum of strokes, letters that have good legibility and a pleasant distribution of thick-and-thin forms. By altering letter proportions and pen positions, the scribes were capable of producing a great variety of styles, each of which contributed to the evolutional development of the alphabet. It is important to recognise that during fifteen centuries of development (from the Roman period to the Renaissance) every style of writing was a reflection of the concurrent cultural atmosphere and technology, and also, that the least successful of styles often provided unique ideas for later significant developments.”

As my calligraphy teacher Oriol Miró explains below:

“Roman Capitals, and all letters in general, are not isolated forms. When they form words inside a text and when their counter forms (white spaces) are defined, then letters take their full value and function.

We can appreciate why letters have a specific shape (black), and not any other, when white spaces are defined. Like architects define physical spaces and musicians distribute silences, we set white spaces.”

In Calligraphy, thick and thin strokes flow naturally from a broad-edged pen. We define white spaces while writing letters, and we must see these spaces before executing the black strokes.

These few calligraphy basic concepts: thick/thin and black/white, are the foundations of our Latin script and with experience, they become intuitive.

Introduction to calligraphy materials

The broad-edge pen (made of reed, quill or a flat brush) is the traditional tool used for writing, but it is not the only one.

Broad-edge calligraphy pens

I personally use a range of different calligraphy tools, from traditional German nibs to contemporary pens that I carry in my handbag, to customised nibs made of beer tins. These are some of my broad-edge calligraphy materials.

Photo by Rocio Delapenna. From left to right: Copic Wide, Liquitex pen marker, Pentel chisel point M180, broad pencil, bamboo pen, customized beer tin nib, sponge, flat brush, Pilot parallel pens (1.5mm, 2.4mm, 3.8mm and 6mm), Brause & Co 5mm and Speedball steel brush.

These tools reflect my personal taste and are not a definitive list. You can use any of these tools to write styles of calligraphy including but not limited to skeleton Roman Capitals , Rustic, Uncial, Foundational Hand , Blackletter, and Italic calligraphy among others styles. You can learn more about broad-edge calligraphy pens on this extensive article, or visit my calligraphy supplies page.

Pointier and flexible calligraphy pens: Introduction to Copperplate

“In the late 16th century, the Italic hand, written with a broad-edged pen, drifted towards a more decorative and fancy style. The script that was born to achieve speed [Italic] turned into a slower script, because calligraphers gave more importance to the aesthetics and decorative effects than to the structure and legibility. To reach even more decorative effects they used a pointier pen [...] The script that appeared then is what we call today Copperplate” by calligrapher Oriol Miró .

As Oriol mentions above, changing tools affects the look and feel of the writing style, and also its speed. Copperplate calligraphy is characterised by high contrast between thick-and thin strokes, elegant curves, high ascenders and descenders and a strong slant . Learn more about calligraphy styles .

If you woke up today feeling like Copperplate , you can use a range of calligraphy tools from pointed flexible nibs to contemporary brushes. Learn more about pointed calligraphy nibs on this extensive article.

Photo by Rocio Delapenna. From left to right: William Mitchell Elbow nib (for right handers), Tombow pen, Pentel Touch Pentel, Sharpie brush, Pentel Salmon colour Brush, Daiso brush pen, Pentel Blue colour Brush and pointed brush (5 Rekab 337 Sable-Ox) which Carla Hackett totally masters!

Video credit: This video by Maria Montes explores the different types of nibs used in copperplate calligraphy, focusing on their flexibility and how to test them.

Calligraphy ruling pens: Speed and expression

Another calligraphy tool that I love using is the ruling pen. This tool, contrary to the pointed flexible nibs, is much faster and brings a greater expression to your letterforms. In general terms, the faster the writing the higher control you will need.

Tools and photo by Oriol Miró.

Below, calligraphy by Oriol Miró.

Contemporary calligraphy styles: Introduction to Calligraffiti

Calligraphy has a long and rich history and we have experienced a revival of this beautiful art form in the hands of young people pushing boundaries and taking calligraphy back to the streets again two thousand years later. One great example of the calligraphy come back is the so-called calligraffiti , and the work of one of his ambassadors, Pokras Lampas .

“Social Streetart Calligraphy” by Pokras Lampas. Published on Behance in December 8, 2012

Pompeii . Photograph taken c. 1920 shows graffiti from Pompeii around 79 AD. Most of the graffiti was destroyed during World War II. By author unknown – printed by Edizione Domenico Trampetti, Napoli.

I will leave you with this paragraph from my teacher and great calligrapher Oriol Miró :

“Calligraphy is not only writing beautiful letters. It is not about clean strokes and decorated letters. Calligraphy distinguishes itself and becomes an art because is made of rhythmic and irregular strokes, a sequence of lively spaces and unconscious strokes that are the result of hundreds of hours of practice and full attention”

Special thanks to my teachers Keith Adams , Amanda Adams and Oriol Miró for sharing their time and knowledge with me.

The Journey of a Calligrapher: Maria Montes on Crafting Letters

Mon, 01 May 2017 13:17:32 GMT

Melbourne-based designer Maria Montes, combines her digital and analog skills to create incredibly beautiful typographic pieces.

In this interview, Maria tells us how she learned the art of lettering and shares her list of inspiring creatives and resources every type lover should know about.

Read this interview with the lovely Enza Lacherdis from Typerie.

Photo credit: Lauren Vilitati. Photo taken at Tractor School in Melbourne while facilitating an introduction to Copperplate Calligraphy.

01. Tell us a little about yourself

I was born in Blanes, a town on the beach 70km north of Barcelona. When I was 19 years old I moved to the big smoke to study a BA (Honours) in Graphic Design. I lived in Barcelona for 10 years before moving to Australia.

02. When did your love for type begin?

When I was 18 years old, I studied a Fashion Design course during the day and by night, a Graphic Design course. I was unsure which discipline to specialise in so I decided to do both at the same time and make a decision by the end of the academic year.

I remember looking at Paco Rabanne’s work and discovering the packaging of his XS perfume. Something about these letters caught my attention and I couldn’t stop thinking about them for months.

By the end of the academic course I decided to specialise in Graphic Design as I would have the opportunity to learn more about letterforms.

03. Do you consider yourself more of a graphic designer or a typographer?

I consider myself a graphic designer which is a broader term. I write and draw letterforms and use illustration work to communicate my clients (or even my own) voice.

04. What are your favourite kinds of projects to work on?

Firstly, conceptual driven projects. Having a solid concept, visual reference material, a colour palette and a deadline make me focus and look for the best possible outcome.

And secondly, personal projects. For the last 15 months I have been working on a personal project called The Shit Series, where I am experimenting with different writing and drawing styles to communicate common Australian expressions using the word shit.

05. How did you learn calligraphy and hand lettering? What resources helped you most?

I learnt calligraphy for the first time in 1996. At that time, calligraphy was a 9-month compulsory subject part of my BA in Graphic Design. I learnt about letterform structure, composition and positive and negative space through the art of writing.

I graduated in 2000 and after spending ten years working in front of the computer as a full-time designer for different studios, I decided to go back to the foundations.

I consider typography the main tool for a Graphic Designer and I felt that I needed to upgrade my knowledge. So, in 2011 I went back to Barcelona to study a postgraduate course in advanced typography. After ten years of digital practice, I grabbed a calligraphy nib again and I haven’t let it go since!

I use calligraphy for design purposes. My approach to each calligraphic style is the base for my lettering work. I have a strong graphic design background and I am very passionate about all kinds of letterforms: from calligraphy to lettering to typography. I am daily training my eye to become a better designer.

In 2012, I studied a type design condensed program at Cooper Union in New York City. During the course, I learned a hand drawing techniques that I have apply to my textile prints and lettering work.

My first lettering piece was inspired by Gemma O’Brien’s work . “Perfect typography is certainly the most elusive of all arts (by Jan Tschichold)” was my submission for the Homage to Josep Maria Pujol , a group exhibition held at Barcelona’s Eina, Espai Barra de Ferro Gallery.

The piece was designed in 2013 and it took me many weeks to finish. I first wrote the quote using a ruling pen, then hand drew the skeleton letters adding weight and contrast, and then added details on top. Once the hand sketch was felt balanced, I scanned the original and redrew everything in vector format using Illustrator. I wanted to explore the visual possibilities of creating a vector lettering piece with a hand drawn look and feel.

My second lettering piece was my personal brand MarchTwentyTwo . This time the lettering exercise became even more complicated as I realised that the lettering had to work in very small sizes (3x3cm) as well as in large format. I started again with my own calligraphy as a base and then I drew 10 weights by hand. I selected 3 weights, redrew the letterforms in vector format and tested various sizes, legibility and readability. The whole process took me over 3 weeks!

To keep up with my personal and calligraphic development, I go back to Barcelona once a year to visit my family and study calligraphy under the tuition of Keith & Amanda Adams .

06. What were some of the difficulties you encountered while learning?

Learning a skill takes time. You know what good work looks like and you also know that your work may not reach these standards. Bridging the gap between where you are and where you want to be is the hardest part. I am afraid the only answer is hard work and determination.

07. What medium/s do you enjoy working with?Why?

I get bored easily so my favourite part of my work is being able to jump between analog and digital mediums or combine them both if possible.

08. Do you have a favourite nib? Ink? Material?

For my broad pen work I use Brause&Co nibs and bamboo pens with walnut ink or liquid watercolours. For my Copperplate work I use Nikko G and Zebra nibs.

I have recently purchased an Arttec bond layout pad and I love it. The paper is Bleedproof 70gsm which allows you to see the guidelines clearer.

If I want to create a beautiful original I use a few different papers depending on budget. From Canson watercolour paper 300gsm, to Canson Basik 370gsm, to Moulin Du Gue 270gsm to hand-made paper.

09. Any advice to share with beginner calligraphers out there?

Before spending a great amount of money on fancy materials, make sure you use the basic tools to learn the foundations: Letter structure, ductus, rhythm, angle of writing, letter spacing.

There is a comprehensive book called “ The ABC of custom lettering ” by Iván Castro that I recommend to everyone wanting to learn calligraphy and hand lettering.

Keep your own books! Even if you think your calligraphic skills are very good or very bad today, file them. I keep folders and folders of my daily calligraphic practice. Generally I look at my own writing and, I although I mightn’t be satisfied, I file everything.

Overtime I have learned when we are too close to our own work, too attached, we can’t see the goods and bads about it. But, once we take distance we are able to judge more objectively and identify what we thought was good, wasn’t really… and what we thought was horrible maybe was actually pretty good. The more we grow as calligraphers and designers, the more we are able to see and our eyes become the only referee.

10. What does your set up look like? Do you warm up? How?

My desk is divided in 2 areas, the analog and the digital one. I spend at least 2 hours a day writing. When I am teaching calligraphy at Rotson Studios in Melbourne, I focus these daily hours of practice on the specific calligraphy style that I am teaching that weekend.

In the analog area, I have an A2 lightbox that I use on a regular basis. Most of my lettering work starts with calligraphy, so once I have a good calligraphic sketch I start to redraw on top of it using paper, a mechanic pencil and a fine marker.

For my calligraphic work, I have started to use a portable easel and my neck feels better. In the digital area I have a vertical mouse (due to my back problems) and a Wacom tablet.

11. You’ve also designed three beautiful typefaces, what are some things you learnt from this process?

In comparison with calligraphy and lettering, drawing a typeface is incredibly time consuming. You need to consider many different aspects and not only the 26 uppercase and lowercase letters of our basic Latin alphabet.

I am talking about hundreds or thousands of glyphs including punctuation marks, diacritics, mathematical and currency symbols, spacing, kerning, hinting and the list goes on and on and on… In the past, I have attempted to finish drawing my first two typefaces without succeeding. I am currently through my third attempt, and I will try my best to release my first font this year.

“Why do typefaces cost money? Go try to make one and find out” by Sydney based typeface designer Dave Foster pretty much summarises the experience.

12. Who are some type masters you’d recommend to follow?

You can follow one of my calligraphy teachers called Oriol Miró on Instagram or Facebook .

I follow John Stevens on Instagram and I hope one day I’ll be able to attend one of his workshops.

For Copperplate and Spencerian calligraphy I recommend following David Grimes , Suzanne Cunningham and Nina Benito Tran .

For hand lettering, I follow Ken Barber , Martina Flor and Jessica Hische . All three have recently published books about the art of lettering.

In the national scene, you can follow the amazing large scale work of Gemma O’Brien , the brush lettering work of Carla Hackett and a great community of type enthusiasts at Typism .

If you are interested in learning more about typography, make sure your read all Typograph.Journals by Brisbane based Nicole Phillips and sign up to Typograph.her and Type Worship ’s email newsletters.

For type by hand workshops, Wayne Thompson offers various workshops around Australia.

Stop Feeding The Beast

Calligraphy by Maria Montes.

The Great Copperplate Myth by Peter Gilderdale

Wed, 01 Feb 2017 13:08:07 GMT

Last September 2016, I was lucky enough to visit my teachers Amanda and Keith Adams at their house in Catalonia for five days of private instruction and conviviality.

During those days, Amanda showed me an article called “The Great Copperplate Myth” by Peter Gilderdale. I was fascinated by the points that Peter discusses and I thought it would be great to share it with more people as Copperplate calligraphy has gained a lot of interest in the recent years, so we can re-visit these points again from a new perspective.

A few years back, Peter taught a workshop on broad-edged Roundhand at Summer School in Winter in Melbourne. Since then, Peter has been mastering the technique and he is getting closer to being able to demonstrate it fluently.

I haven’t tried this technique on my own but I am personally interested in questioning things and reviewing the origin of the word copperplate.

The article below written by Peter Gilderdale was published at Letter Arts Review in 1999 (Vol. 15 Issue 1, p38). I hope you find this all interesting!

When I phoned a colleague during the course of this research, she admitted to turning the page as fast as possible whenever she came upon anything about copperplate. Please, in the interests of historical fairness and justice, do not follow her example now…

Each age rewrites its own immediate past. Currently, for example, postmodernist writers and critics are looking back at the last century and creating a definition of “modernism”—one which at times tells us more about ourselves than about the subtleties of the history of the period. This article, however, goes a step earlier and examines how what one might term “modernist prejudice” has effectively robbed calligraphy of a significant part of its history. It shows how, over the last century, a mythology has built up around so-called copperplate writing, and that the accepted history and practice of copperplate are distortions stemming from no small amount of ignorance, supposition, and ideological antipathy.

The myth in history

A single example sums up the treatment copperplate receives in current calligraphic literature. John R Nash and Gerald Fleuss include a chapter entitled “A Brief History of Calligraphy” in their book Practical Calligraphy (1992). This is a generally measured and sensible account, but having covered the Renaissance and the development of printing, the authors characterize modern calligraphy by saying:

A vigorous and craftsmanlike tradition of pen lettering, based on Black Letter survived in Germany until World War II…. In Britain, however, any pretence at a sound typographic and calligraphic tradition had, by mid-19th century, virtually ceased to exist… [p.23]

And that is as close as we get to a discussion of the copperplate tradition. Yet this tradition had dominated European writing for well over two centuries during the period when writing was available to a far wider segment of the population than it had been during medieval and Renaissance times.

The quote seems to tell us that copperplate is not a sound tradition. On the face of it, the authors are quite justified. Calligraphic historians unanimously agree on the fact. According to Albertine Gaur in her comprehensive and scholarly A History of Calligraphy (1994):

As a style it lacked individuality and character (though it looked pleasant enough), and in the opinion of many, copperplate writing, with its rigidity and lack of originality, bears much responsibility for the final decline of Western calligraphy. [p.176]

This is a big claim. But then according to Joyce Irene Whalley (1980):

Generally it may be considered that in the 18th century calligraphy ceased to exist, although of course handwriting continued to flourish. The paradox can be explained by the fact that while more and more people were encouraged to write well, there was little concern for calligraphy as an art—let alone a fine art. Writing was a practical subject, and such it was to remain for a great many years. [The Art of Calligraphy, p.243]

This belief that copperplate is somehow a degenerate commercial offshoot of a lofty and noble artistic tradition is one of the central principles of the copperplate myth. It is also the most easily disposed of. As Gaur points out: “…calligraphy had always been largely utilitarian in the West, never a major art form which justified its own existence, bestowing status on those who had mastered it.” [p.178]

Fig. 1
These sample hands were written by Joseph Champion, and reproduced by George Bickam in his Universal Penman (1743) Plates 210 and 211. They show the various names that were used for these scripts during the eighteenth century; the term “copperplate” is notably absent.

This should have been self-evident, and the fact that such major calligraphic histories can make such a blatantly incorrect assertions requires explanation. The answer can be found in the notion of the artist / craftsperson which is at the core of Edward Johnston’s twentieth century calligraphic revival.

In the latter part of the nineteenth century, the Arts and Crafts movement, led by John Ruskin and William Morris, had emphasized the moral value of honest craft labor—as opposed to the dehumanizing and mechanical work fostered by the Industrial Revolution, with its division of labor. In the Arts and Crafts world view, there was no distinction between artist and craftsperson. Both were employed in bettering people’s living environment. Both sought harmony and simplicity and both had to remain true to the essential nature of the materials they used; for the movement abhorred all artifice.

To someone imbued with an arts and crafts philosophy (and the potency of the Johnstonian tradition has kept that philosophy alive much longer in calligraphy than elsewhere), the medieval scribe can be seen as an artist, as can Renaissance and modern scribes. But how is such a calligrapher going to react to the picture Whalley gives us of the writing teachers of the sixteenth to nineteenth centuries? They are portrayed as engaged in commerce; writing books praising themselves and putting down their competitors, resorting to flourishing to draw attention to their work, and using a style of writing which derives not from the natural flow of the pen, but from a foreign medium—the copper plate and the burin. In such a context, it is not hard to see how they could be perceived as less than true calligraphers—let alone artists.

Engaging in commerce was not a favorite occupation of the early twentieth century avant-garde, who were resolutely antibourgeois. Similarly, the modernist “form follows function” aesthetic revolts against gratuitous embellishments like flourishing. It is, however, the last of these charges leveled against the writing masters that is the most insidious. David Harris (1991) defines copperplate as “A monoline cursive script drawn with a flexible pointed nib, based, as the name suggests, on the cursive script originally engraved on to copper plate.” [p.117]

This shows how completely taken for granted this relationship between the script and the plate is now perceived to be. The point is labored endlessly by Whalley and every other writer I have found that has actually dealt with the period. Alfred Fairbank, for example, in a section on pens in his highly influential A Book of Scripts (1949) says:

The eighteenth- and nineteenth-century commercial hands require a flexible pointed pen held so that the downstroke…is the result of a pressure that splays the pen. Seemingly the aim was to imitate the strokes the engraving tool produced. Therefore it could be said that the pen was not master in its own house. A threat to good handwriting today is the ‘ball-point’ (an ink-pencil rather than a pen!) [pp.29-30]

It is not hard to see the propagandistic elements of this piece of writing. Fairbank invokes the arts and crafts and modernist prejudices about commerce and truth to materials, and then plays on contemporary fears by introducing a perceived analogy with the (then very new) ballpoint pen. To me, though, there are two other vital points.

First, it is immediately after this quote that Fairbank introduces the term “copperplate-hands.” Significantly, in the earlier “Historical Sketch” chapter he refers to the style as either “Round Hand” or “Running Hand.” I do not know of any published research into the etymology of the calligraphic label ‘copperplate’, but Fairbank’s original terms certainly reflect what the styles of writing were actually called. In George Bickham’s Universal Penman (1743), for example, scripts that today’s writers would link together under the generic name copperplate are labeled round text, round hand, and Italian hand (fig. 1). This suggests that the usage of the word copperplate as a label for the script was not contemporary with the development of the style.

A thorough examination of this word’s derivation is clearly needed. Thus far, I have not found it used in nineteenth-century texts, nor does Johnston use it in Writing, Illuminating, and Lettering (1906). If its origins date from either the late nineteenth or early twentieth century, then one would have to conclude that the word copperplate itself, far from suggesting its origins—as Harris assumes—was probably invented as a description based on that later period’s beliefs about its origins. Whether it was also expressly intended to convey negative connotations to an arts and crafts / modernist public is unclear (though if it were, it would be in good company—the term Gothic was invented as a putdown too).

Fig. 2
Fronticepiece to An Essay in Writing by John Bland, (1740). A fine engraved example of the writing of the period, the text of this plate also makes it clear that original calligraphy was a collectable item at the time. (Courtesy of the Newberry Library)

The second point is Fairbank’s use of the word ‘seemingly’. What this actually means is that he has no solid evidence to back up his contention that the letterform derived from the burin and not the pen. A statement like this really needs to be supported by some type of primary source material. This could take the form of either: 1) statements from individual scribes—either from their copybooks or from other sources, or 2) careful analysis of the original manuscripts’ writing ( not the engraved copybooks) by contemporary calligraphers and engravers.

Fairbank did not have this. His major source was Ambrose Heal’s massive study The English Writing Masters and their Copy-Books . Interestingly, at no stage does Heal claim a causative link between engraving and writing. He does, however, quote the seventeenth century writing master John Ayres who, in his Tutor to Penmanship (1698), describes the nature of the revival of writing after the onslaught of printing: “And then Writing began to Revive again: about which time they found out the way of Engraving Writing on Copper Plates…” [Heal, p. Xiii]

This is hardly solid evidence, and later writers provide little additional material. I have only found two who refer to original sources at all. The first, Donald Jackson, in The Story of Writing , p. 113, notes that Cresci (the calligrapher who first advocated the flexible pen) disliked what the engravers did with his letters. Another Jackson (Dick) mentions some writing manuals in which the writers advocate the turning of the paper to create certain flourishes—a technique clearly borrowed from engravers. [ Copperplate Calligraphy , p. ix] Again, neither quote proves a causative link between engraving and letterforms. The first simply demonstrates that Cresci was aware that the burin could distort the integrity of his written forms, while the second refers only to a few flourishes—but not to letterforms.

None of these quotes supports Fairbank’s statement, but there is primary evidence which, at least partially, contradicts it. Whalley [ English Handwriting 1540 – 1853 , p. xvii] quotes Richard Clarke who, in 1758, wrote:

Mankind in general [looks] upon them [the engraved plates] as the sole production of the engraver, and not of the writing master…. All engraved writings are first designed and wrote by some master, or drawn in backwards by the engraver…. For as it is impractical for the engraver to produce an elegant piece of engraved writing, without the assistance of the master in forming the design for him, so it is likewise impossible for the penman to multiply his performances, and transmit his works for posterity without the aid of the able and judicious engraver.

Fig. 3
From George Shelley, The Second Part of Natural Writing, (1714). This illustration shows the different types of pens that were used for the various scripts used in the Eighteenth century (refer fig.1). For example, pen 2 was used for Square Text and German Text; pen 4 for Round Hand, Round Text and Italian Text; Pen 5 for the Mixt Secretary. The Engrossing and Set Secretary used pen 6, and the Set Chancery used Pen 7. (Courtesy of the Newberry Library)

Even more revealing is the fact that there are examples of engravers expressing the same sentiments. The following longwinded but crucial piece is from John Ayre’s engraver, John Sturt, and quoted in (of all places) Heal:

Many who are ignorant conceive mighty things of Engraven copybooks and that no Written Copy can ever be so correct as that which is engraven which Opinion altho it has proved Beneficial to me as other Engravers yet the love I bear to Truth, as well as a particulour Honour and Respect to the Ingenuous Masters in Writing and their Art, obliges me to declare (tho thereby I pass a self denying Act against myself) that this Opinion is by no means true. [Ayres, Tutor to Penmanship (1698) quoted in Heal, p. xiii-xiv]

It is easy enough, nowadays, to imagine engravers developing a burin-based script and then somehow imposing their will upon the hapless writing practitioners, but if this were so, why did they continue to engrave such large numbers of pieces including Roman and Gothic lettering? The fact is that (at all but the smallest sizes) the engraver would have had to make multiple incisions to simulate a calligraphic letterform—so there would have been relatively little difference in the difficulty of engraving one type of alphabet or another. Indeed, is there any reason to believe that these engravers were not skillful enough to copy whatever was asked of them? In the following text, written for a calligraphic collection, the engraver goes out of his way to advertise his accurate translation of the writing:

An Essay in Writing…Written by the late eminent Mr. John Bland and carefully copied from his admir’d remains, found in the collections of the curious (by) J. Howard, London. [Peter Jessen, Masterpieces of Calligraphy , pl. 64] (see fig. 2)

This raises another important point. Calligraphy was collected at this time. The writing masters did not spend all their time on work that was to be engraved. Their original work was evidently valued. The fact that their copybooks are now the most accessible sources for their writing should not blind us to the fact that much copperplate calligraphy never went near an engraver—or was only engraved at a much later point, as in the example above. Why then should the scribe use scripts that were not natural to the pen, or try to teach such styles to people whose work was very unlikely ever to be engraved?

In a chapter in Heal on the development of handwriting, Stanley Morison, an enormously influential typographer and researcher wrote:

Again, the tool of the copper-engraver produced an excessively brilliant line which tempted pupils to employ a correspondingly fine pen. The writing of the last half of the sixteenth century thus came to be dominated as much by the technique of the engraver as by that of the writing master’s style. [Heal, p. xxvii]

This appears simply to be Morison’s opinion, since it is not referenced to any other source; yet Morison was hardly qualified to talk about the nature of the flexible pen. He had a major prejudice against flourishing, and against copperplate which he describes as “colourless, thoroughly unromantic, and dull….which commended it to those who wrote our invoices…” [Heal, p. xxxiii] Despite this, it seems to be Morison’s partisan views, reiterated in later books such as American Copybooks [1951] that affected later writers, rather than Heal’s much more circumspect approach.

Clearly, there is a need for further research into the origins of the copperplate style. At present, however, the available evidence strongly suggests that several myths held by modern scribes have no sound historical basis. These include: 1) Copperplate is not properly calligraphy, just a form of handwriting . [Would people have collected the work if it was only seen in these terms?] 2) The name “copperplate” proves the historical derivation of the letterforms . [The name is not contemporary with the script.] 3) This flexible pen style mimics the natural cutting movement of the burin . [Most engraving used multiple strokes of the burin to replicate calligraphy].

In reality, the current theory about the relationship between pen and burin appears plausible largely because almost every image of eighteenth- or nineteenth-century writing reproduced in histories of calligraphy comes from the engraved copybooks. Very few handwritten documents are shown—and these are almost invariably by children or amateurs. This concentration on the copybooks reflects the focus of research since Heal’s work. Such study is totally valid in its own right, but its effect has been to initiate a twentieth-century fixation on the engraved rather than the hand-written letterform. There is currently a desperate need for a publication that reproduces the original calligraphy of this period, so that we can judge for ourselves the extent to which the writing masters’ original work differs in reproduction.

Implications for the practice of Copperplate

The situation outlined above suggests that a core mythology about the history of copperplate writing was established in the early part of this century and has been followed unquestioningly ever since. On the surface it might appear to be simply a matter for pedantic historians, but it isn’t. This copperplate myth has had a distinct effect on our understanding of the practice of the alphabet.

When we assume that the cutting action of the burin provided the rationale for copperplate letter shapes, it causes us to focus solely on the action of pressure on a flexible pen. The flexible pen provides a quality of line that is temptingly analogous to the way a burin might cut metal, and as such there is no reason to seek other approaches. Instructional books therefore give a largely unified picture of copperplate practice. Susanne Haines’s The Calligrapher’s Project Book (1987) is a typical example. In it we are told that copperplate is done with a flexible metal pen, and that to write correctly we must either turn the paper at an oblique angle, or use an elbow pen. This information is not wrong per se, but if one questions the historical validity of the link between burin and pen, then it becomes necessary to re-examine some of the things that we have previously taken for granted. These include the type of pen used for copperplate, the way the paper is placed, and even the pen hold.

But first, the pen itself. Contemporary copperplate calligraphers use a flexible metal pen. We know that metal pens only became commercially viable in the 1820’s [Ray Nash p.23], and commonplace by around 1840, [Whalley, Writing Implements p.43] but it has been assumed that these metal pens replaced equally pointed flexible quills. This assumption is implicit in Donald Jackson’s assertion that the metal pen was an improvement on the quill. Readers who have seen the video of Jackson’s The Story of Writing will undoubtedly recall a memorable scene where his quill breaks under the strain of copperplate. This is, in fact, completely incorrect. My own studies of the changeover from quill to metal pen in the records of Victorian New Zealand [Gilderdale p.5] have uncovered no examples of quills breaking but several where metal pens splattered (fig. 6). There is, however, a much more fundamental reason why Jackson is wrong. The quills of the seventeenth, eighteenth and early nineteenth centuries were neither pointed nor particularly flexible. They were, it turns out, broad-edged.

Now, I cannot take credit for this observation. In the first version I submitted of this article, I made the same false assumption. I was corrected via e-mail correspondence with Robert Williams, whose forthcoming article on his discoveries in the Newberry collection will be the feast for which this article is an hors d’euvre, and which should present the examples of original writing that I called for above. His finding about the broad edged quill is, however, now reasonably common knowledge on the calligraphy internet newsgroup [Ross Green, Calligraphy Digest V97.05#86] and I therefore include it here, because of its implications for copperplate practice. It means that everyone who has laboured in front of a copy of Bickham’s The Universal Penman with a pointed pen has been engaged in the equivalent of writing Trajan capitals with a metal pen — i.e. an interesting exercise but historically inaccurate.

The calligraphers reproduced in Bickham apparently used a variety of broad-edged quills (left-oblique, right-oblique and straight edged) (fig. 3) to write the different styles of writing common at that time, and this fact lends considerable weight to the argument against the burin. If the scribes of the seventeenth and eighteenth centuries had wanted to do work best fitted to the (supposed) cutting action of the burin, then they would have tended to keep to a single type of (pointed) pen. The use of different edges for different hands provides an eloquent argument across history showing us that these alphabets’ forms actually stem from the inherent properties of the pen.

Fig. 4
A normal twentieth-century calligraphy grip which tends to hold the pen at a relatively high angle to the paper. Note the bent thumb and the way the fingers are treated as a single unit. (Courtesy of the Newberry Library)

As a consequence of this, it seems appropriate to question the generic usage of the term “copperplate”. The tendency to use the word as a catch-all description for the writing of the seventeenth to nineteenth centuries remains almost universal in countries following the British tradition, but it is less prevalent in the US, where the names of schools of calligraphy like the Spencerian and Zanerian are increasingly used. At all events, what we think of as the “copperplate” tradition is definitely a nineteenth century invention (albeit not by Spencer et al), whilst “Roundhand” is probably a better generic term for earlier work – if indeed a generic term is needed at all for the work of this period.

In terms of practice, it now becomes interesting to see how the two traditions link together, and it is in this relation that I want to discuss pen hold. Pen hold has, for some reason, never been a subject to grip the imaginations of twentieth-century scribes. Most have tended to follow Edward Johnston’s pragmatic advice:

The ancient scribe probably held his pen in the manner most convenient to himself; and we, in order to write with freedom, should hold the pen in the way to which, by long use, we have become accustomed. [p.31]

Now this advice needs to be understood in context. In Johnston’s day all children were taught how to hold their pens, and it is very questionable whether he would have said the same thing had he lived today. Nevertheless, as a result of our laissez faire attitude to pen hold, we have not realised how crucial it is to an understanding of how the Roundhand and Copperplate styles were written.

Right up until the beginning of this century books on writing (including Johnston’s Writing & Illuminating & Lettering ) all recommended a way of holding the pen that few people would even think of today. The pen was held with the thumb and first two fingers only. There were many variations on this, but typically the Roundhand tradition used a grip similar to that described by Edward Cocker in one of his copybooks:

Take the Pen in your hand, and place your Thumb on that side thereof which is next to your Breast, not extending it so low as the end of your fore-finger; next to that, place your fore-finger on the top of the Pen, lower than your thumb about a quarter of an inch: Lastly, place your middle finger so much lower than that, on the further side of the Pen. Let there be very little space or distance betwixt the Pen and your forefinger, but let both that and your middle finger be extended almost to their full length: Observe also that your Thumb rise and fall at the joint, as the length or compass of the Letters require which you write, and that your little finger only rest on the paper; nor let there be the least pressure of your hand, but bear it up with an easy pulse. [reproduced in Whalley, English Handwriting , Fig. 82a].

The quill, in this type of grip was held in such a way that it crossed the index finger at the second joint. This left the pen held at a lower angle to the paper than is the case with most modern grips (see fig. 4), but it was still fairly high (fig. 6); allowing for the movement of the quill to catch the corner on up strokes — which is how hairlines were created.

During the early nineteenth century, however, new methods of teaching writing were introduced by people like Joseph Carstairs — who tied children’s thumb and two fingers to the pen to encourage arm rather than finger movement [Morison p.27] (fig. 5). Carstairs’ writing method made the writing of hairlines with the corner of the pen (as was done in roundhand) well nigh impossible. Rather, it resulted in a very fast and nearly monoline handwriting – to judge from the example in Morison [ American Copybooks p.26] and the early colonial New Zealand archives that I have studied.

This arm movement based style was to have an effect on pen hold. Whilst Carstairs himself advocated a grip that is almost identical with the traditional eighteenth century ones, it is evident from most of the nineteenth century writing manuals reproduced by Nash in his American Penmanship (1969), that the pen was increasingly being held lower in relation to the paper (fig. 5). It now ran almost parallel to the extended index finger, crossing near to the knuckle rather than at the second joint.

Fig. 5
By holding the pen at a lower angle to the paper, this grip allows the nib to be splayed using much less pressure. It is fairly typical of the way the flexible metal pen was held during the nineteenth century. (Courtesy of the Newberry Library)

One of the problems that modern practitioners face when writing copperplate with a pointed metal pen is the tendency for the point to catch in the paper. Eleanor Winters notes that in copperplate the pen needs to be held low in order to avoid the nib catching in the paper [ Mastering Copperplate Calligraphy , p.35], and this may at least partly explain why the pen hold changes around the same time that metal pens were introduced. Nevertheless, neither Winters nor any other writer I have found goes on to connect this fact to one of the fundamental principles on which the flexible pen operates: There is a direct ratio between the angle a pointed flexible pen is held to the paper and the amount of pressure needed to splay it. In other words, a pen held low needs singularly little pressure to achieve surprisingly broad strokes, and nineteenth century metal pens with their long slits appear to have been more flexible than quills – judging by fig. 6 which shows just how much thicker the strokes of the metal pen are compared to those of a quill when written by the same hand.

What the introduction of the flexible metal pen appears to have offered to the early Victorians was a way to regain the thicks and thins of the roundhand calligraphic tradition whilst retaining the handwriting methods that they had learnt from people like Carstairs. Whilst further research may refine my conclusions about this, illustrations from the period certainly allow us to build up a picture of writing at the very beginning of the Copperplate era proper which shows clear differences with current practice. We can establish that people did indeed hold the pen with a different grip to ours. We know also that they held it at a lower angle to the paper than we do, and that they absolutely didn’t hold their paper at an extreme angle to their bodies or even use elbow pens.

The fact that these calligraphers sat straight on to their paper was no accident. Again it is a natural result of the grip that they used. When the pen is held so that the tip of the middle finger rests on the right hand side of the shaft of the pen, the natural pivot between thumb and middle finger results in a sloped writing of around 55%. This is the origin of the slope in both copperplate and roundhand; with such a grip the slope is quite natural even when the paper is straight on to the writer. To be fair, the elbow pen was developed fairly soon after the introduction of the metal pen, but this was not because the slope was unnatural. Rather it was a logical result of trying to imitate the natural curve of a quill so that the slit of the pen faced the thick strokes. This was not a problem in roundhand, which doesn’t use pressure to achieve thicks and thins, but early copperplate writers may have struggled when using pointed metal pens, owing to the slit being side on to the stroke direction.

Interestingly, Edward Johnston’s grip, as shown in Writing & Illuminating & Lettering (1906) , although it also uses only the thumb and two fingers, differs significantly from that of the copperplate scribes. He places the middle finger under the pen, and this immediately changes the natural pivoting movement to almost vertical—the appropriate slope for the alphabets he wrote. It also makes the index finger more dominant than it is in copperplate, where it is the middle finger that plays the major role in guiding the pen.

Fig. 6
Gaetano Giarré, Fronticepiece of Scuola Toscana di Caratteri Moderni, Firenze, (1821). Although from the early nineteenth century, Giarre’s pen hold (top) is typical of that used for Roundhand. The quaint but inexact engraved illustration tells us at all events that the paper was placed squarely in front of the writer, and not on a slant. (Courtesy of the Auckland Central City Library)

Whilst there are more variables involved in these grips than I can possibly deal with in the current article, I believe that the fluency of both the roundhand and copperplate hands is very intimately linked to the way the pen was held. Certainly, it is clear that the methods used by these early scribes can be studied with profit. This does not, of course, invalidate newer techniques for doing copperplate. Some are improvements on the earlier models, but just as studying the techniques of medieval scribes can bring insights into modern practice, so can the study of historical copperplate and roundhand practice broaden our range of approaches. At all events, our unconscious assumptions must be challenged. Modern copperplate practice is exactly that — modern — and it badly needs to be understood in its broader historical context. This means that if the historical sources all stress something, such as the importance of holding the pen or cutting the quill in a particular way, then we should not blithely ignore it, or assume that we necessarily know better than the original practitioners. A better understanding of these sources will enable us to disentangle historical practice from our contemporary description of it; a description that, as I have shown, is heavily reliant on a twentieth-century narrative – the great copperplate myth.

In conclusion

Myths are often comfortable things. They help us to cope with situations we don’t fully understand. I do not want to give the impression that the great copperplate myth was some terrible conspiracy consciously perpetrated by early twentieth-century calligraphers. It wasn’t. These scribes had to work against a general lack of understanding and appreciation of calligraphy. The extent of this can be gauged by the fact that in the 1926 Encyclopaedia Britannica not only was there no entry for calligraphy, but no reference was made anywhere to the history of writing apart from under the palaeography heading—covering a period which ended with the fourteenth century. Edward Johnston is completely ignored. To add insult to injury, there is a five-page section on the history of shorthand!

The early exponents of modern calligraphy needed to see themselves as pioneers—and they were. They needed their heroes, and who can begrudge them their picture of Johnston single-handedly rediscovering the lost art of the broad pen (even if it wasn’t as lost as he believed [Green, Calligraphy Digest V97.05#86] Heroes, though, need villains. Gradually, as they built up a picture about calligraphic history, the features that the historians came to believe characterized copperplate (presumably based on the observation that the development of the flexible pen and copperplate were concurrent) almost automatically cast this alphabet in the traitor’s role. Copperplate was seen as the form that betrayed the integrity of the pen. This was a comfortable belief in the 1930s or 1940s. That this is still accepted in the 1990s, however, does us much less credit.

It is no longer necessary to cast copperplate as the villain. Postmodernism (for better or worse) has allowed us to enjoy the decorative. The last eight years have seen graphic designers pillage the stocks of copperplate typefaces, after realizing their popularity. The aim of this article has been to free copperplate of some unwarranted negative connotations. If it also helps foster a greater appreciation of the achievement of those much maligned writing masters, so much the better. I hope, too, that it may go some way to encouraging more calligraphers to research and experiment for themselves in this area, and thereby rediscover the intimate relationship between hand, pen and letter form that is at the core of both “copperplate” and “roundhand” as with every truly calligraphic alphabet.

Peter Gilderdale has degrees in Art History and Ancient History. He has worked professionally as a calligrapher in New Zealand and in Denmark, where he wrote the first do-it-yourself calligraphy book to be published in Danish. He currently lectures in Design History and Calligraphy at the Auckland Institute of Technology, New Zealand, where he is program leader of the Bachelor of Graphic Design degree course.

Acknowledgements:

This article was submitted for publication in 1996 a few weeks prior to an extensive discussion about copperplate on the internet. As a result of that discussion, of another burst of internet activity in early 1997 and of subsequent correspondence, I have been able to tidy up several loose ends. I would like to acknowledge the input of Ross Green regarding the Spencerian tradition and in particular to thank Robert Williams for his useful comments as well as his help with locating material at the Newberry Library. His research will considerably expand what is presented here. I have, however, tried not to steal too much of his thunder. Furthermore, I would like to acknowledge the help received over and above the call of duty from the Newberry’s Paul Gehl and Christine Colburn.

Reading List:

The Encyclopædia Britannica . (13th ed.) London, 1926.
Fairbank, Alfred. A Book of Scripts . London: Faber & Faber, 1949 (1977).
Gaur, Albertine. A History of Calligraphy . London: The British Library, 1994.
Gilderdale, Peter. T racing the Treaty Writer: The Continuing search for the Pen that wrote the Treaty of Waitangi . New Zealand Calligraphers Newsletter, No. 23, Autumn 1997 pp 3-6
Green, Ross. Calligraphy Digest V97.05#86
Haines, Susanne. The Calligrapher’s Project Book . London: Collins, 1987.
Harris, David. Calligraphy: Inspiration, Innovation, Communication . London: Anaya, 1991.
Heal, Ambrose. The English Writing Masters and Their Copy-Books 1570-1800 . Cambridge: Cambridge University Press, 1931.
Hofer, Philip. The Universal Penman: Engraved by George Bickham . New York: Dover, 1954.
Jackson, Dick. Copperplate Calligraphy . New York: Collier, 1979.
Jackson, Donald. The Story of Writing . New York: Taplinger, 1981.
Jessen, Peter, ed. Masterpieces of Calligraphy: 261 Examples, 1500-1800 . New York: Dover, 1981.
Johnston, Edward. Writing & Illuminating & Lettering . London: Pitman, 1906 (1948).
Morison, Stanley. American Copybooks: An Outline of their History from Colonial to Modern Times . Philadelphia: Wm. F. Fell Co., 1951.
Nash, John R. and Gerald Fleuss. Practical Calligraphy . London: Hamlyn, 1992.
Nash, Ray . American Penmanship 1800-1850: a History of Writing and a Bibliography of Copy Books from Jenkins to Spencer . Worcester: American Antiquities Society, 1969.
Whalley, Joyce Irene. The Art of Calligraphy: Western Europe and America . London: Bloomsbury, 1980.
English Handwriting: 1540 – 1853 . London: Victoria and Albert Museum, 1969.
Writing Implements and Accessories: from the Roman Stylus to the Typewriter . Newton Abbott: David & Charles, 1975.
Winters, Eleanor. Mastering Copperplate Calligraphy: A Step-by-Step Manual . New York: Gramercy, 1989.

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Do you have any recommendation for students wanting to start their calligraphy journey?

Which calligraphy scripts or styles do you feel most connected to, and why?

Is your calligraphy practice 100% analogue? Do you use Procreate or vector-based software at all?

Do you see calligraphy more as a hobby, a future job, a possible career or a vocation—or a combination?

Have you done any client work? If so, how did you find the experience? Would you like to do it again? If not, would you like to do it at all?

2. Consolidating Fundamentals

Which foundational calligraphy skill do you feel most confident in now, and which still needs reinforcement?

What technical habit has been hardest to unlearn as you progressed?

How has your understanding of basic letter structure changed since you began?

What recently “clicked” for you in your practice?

3. PRACTICE & CONSISTENCY

How do you currently structure your practice sessions?

What helps you stay consistent when progress feels slow or uneven?

How do you decide what to focus on when you sit down to practice calligraphy?

What kinds of exercises have been most helpful at this stage?

4. LEARNING & OBSERVATION

How has your ability to see and analyse letterforms improved over time?

What common mistakes do you now recognise in your own work that you didn’t notice before?

How do calligraphy exemplars or model alphabets support your learning right now?

What role does repetition play in your calligraphy improvement at this stage?

5. Developing Confidence & Voice

When do you feel most confident in your writing, and when does doubt appear?

Are there early signs of personal preference or style emerging in your calligraphy work?

How do you balance following rules with experimenting a little?

What kind of calligraphy work feels just outside your comfort zone right now?

6. FEEDBACK & COMMUNITY

How has receiving feedback influenced the way you practice calligraphy?

What type of feedback do you find most useful at this stage of learning?

Do you share your calligraphy work on social media?

7. LOOKING ahead

What are your next goals in your calligraphy journey?

Where can people find your work online?” (website / socials)

New 4-Month Calligraphy Course in Melbourne!

In-person & online Calligraphy Course: May - August 2026

This Calligraphy Course in a Nutshell

Calligraphy Course Overview

Melbourne Calligraphy Course Calendar

What will you learn?

Included In This 4-Month Calligraphy Course

Professional Calligrapher Spotlight: Wanissa Somsuphangsri

And how long have you been working as a professional calligrapher?

Where are you based? And where are your clients based?

How did you first discover calligraphy, and what drew you to it initially? ﻿

Was there a moment when calligraphy shifted from a hobby to a serious practice for you?

Which calligraphy scripts or styles do you feel most connected to, and why?

Who or what has had the greatest influence on your development as a calligrapher?

Can you describe what your current calligraphy practice looks like (frequency, structure, rituals)?

How do you usually approach learning a new calligraphy script or refining an existing one?

What tools, materials, or resources do you rely on most in your calligraphy work?

What do you believe is the most challenging aspect of learning calligraphy for beginners?

Are there common misconceptions about calligraphy you often encounter?

What has been the most unexpected part of building a life or career around calligraphy?

What services do you offer and for whom?

What’s the calligraphy service you offer the most to your clients?

Is your practice 100% analogue? Do you use Procreate or vector based software?

How do you navigate creative blocks, plateaus, or periods of doubt?

What advice would you give to someone hoping to pursue calligraphy professionally?

Where can people find your work online? (website / socials)

From Analogue to Digital Design: Bridging the Gap Between Blackletter Calligraphy and Vector Art

Watch My Process

Phase 1: The Analogue Foundation (Thinking with Your Hand)

The “Old School” Layout Trick

Phase 2: Vectorising the Shapes

Note on editing:

Phase 3: The Pixel Finish (Procreate)

The Final Result

Tools Used

New Course: Improve Your Cursive Handwriting!

Improve Your Cursive Handwriting: Complete Breakdown & Course Overview

Handwriting Course Summary

How did you first discover calligraphy, and what drew you to it initially?