o, e, c, s Note that these letters are oval in nature. They must have two pen widths in the counter spaces to look compatible with the other letters. Make “e” in three strokes especially if you are using a large pen. Try a twist and pivot on the top stroke of the “c” and “s”. Try not to let anyone see where you have joined making the O. a, d, g, q These letters are the most difficult to make. Some (a,g,q) may be made in one stroke, two strokes or three strokes. Three strokes will make a more formal letter. One stroke would be more useful when you are using a very small pen. Note carefully the shape of the counter space. It is very important as it gives the alphabet the Italic feel.
p, b The counter shapes are basically the same as those in a,d,g,q, Lower pen angle for the horizontal f, ,j, p, Letters with a formal back stroke. Try to “anticipate” the trip to the left in the lower stroke. If the curve comes too late a swastika may result and we do not want this. j, p Let entry stroke break into the ascender space a bit. It is a more beautiful letter k, v, w, x, z All have a diagonal component. Pen angle should be elevated or lowered appropriately to make all parts of the letter look as if they belong to the Italic alphabet. Lower kick of “k”. Elevate pen angle for “v” and “w”. Lower for top and bottom stroke of “z” and even more for diagonal.
A capital must appear SHORTER than an ascender. Do capitals at 71/2 pen widths tall. Ascenders in formal italic are 10 pen widths tall. If capitals are done at the same height as a formal ascender they become wispy and have no presence except for being large and ungainly.
--Pen angle between 30 and 45 (capitals can look more substantial than the rest of the letters) --Pull down and as you approach the line lower pen angle to a lower angle and push to the left. If you have done it correctly you will have a very nice gentle curve as your pen thins. If you wait too long to start the curve, you will get a squarish corner which jars the eye. --Now, retaining the lower angle, pull the stroke to the right just a short way creating a foot. –Locate yourself at the top of your stroke but substantially to the left. With pen at original angle,(higher), pull down slightly to the left but straight so that you have a hairline at the top. –Go back up to the top and let pen go slightly up then across to create a wonderful swash
There are at least six things that can go wrong with this maneuver. Try to become very able with this stroke, and you will have a strategy for most of the caps you will need in your calligraphic life. Letters which employ some of the swash strategies are B, D, E, F, H, I, J, K, N, P, R, T, U. This works out to half of the alphabet which is a very good start. Next time we will deal with the other caps which include letters with diagonals and the round letters.
Betty Locke January 2010
Keep these letters ROUND as that is what they are in the Roman Alphabet. Do not make them match the more oval presentation exhibited in the lower case Italic letters. See “Cleo”. The first is correct. The others exhibit errors.
For many of the letters a simple swash will suffice but others offer different challenges. Remember that we base the size of the Capitals on the basic width groups of Formal Romans. Also be aware that there are NO real rules regarding capitals. Some may have a basis in the Uncial Hand which is a majuscule hand. See the “M” used below in Mary
Letters which start with a diagonal A,M,V,W may employ a swash but there may be modification which could fall into the category of “flourish”. We must be unwilling to overdo it. Simple crisp letters are fine letters. Letters which are round C,O,Q,G must exhibit a liveliness. Be sure the lower left side of the letter has a sense of uplift. Sometimes breaking the space in O is a good strategy. Q can be made in several ways. G has several possibilities.
S is much better if it is situated somewhat below the line of most capitals. It is especially important to know this little tidbit when considering a word that has no descenders. It helps to provide interest for the bottom line of a word such as Samantha. The lower “S” balances the ascenders in the name. An “s” with a bit of a belly might be appropriate as a design element but for the most part, I prefer the rather sleek gently curved “s” L is better done with a very substantial push back to form the foot. The foot has to balance the rest of the letter which has a very forward thrust. Pretend that the little elf is sitting on a very large cushion for this one. Adding a little flourish at the left side of the letter will give the letter a little more balance. Turn paper to do this stroke. Give the L its due. Let it have space. Do not put the next letters too close. Sometimes pulling the diagonal slightly below the line will help with spacing.
For letters such as N,K,H and others which have a down stroke and is suitable to the swash cap, you could try a backward curve as the entry to the letter. See the word “Kathy”
And for these, the sky’s the limit.
The Chancery alphabet (Chancellaresca) is one in which Italic ascenders become graceful curves. Start them with a slide-in with pen at 45 degrees. This slide leaves a hairline to which you may attach the graceful curve to the right. When attached it must continue the curve so that it does not look forced or just “stuck” on. Make the curve “generous” so that it almost forms an umbrella over the body of the letter. You may also want to try a different form of “d” based more on an Uncial form. Keep the ascending portion quite short. It becomes “scraggly” if too long. The curve and downstroke are made into one stroke which ascends and turns left. I like to introduce an alternate “g” form that is related to a foundational “g” form. Keep circular parts oval to match oval forms of Italic. Flourish — From the simple Chancery top we can progress to some other upward flourishes. Enlarge the top. Start it higher to give room for flourish. Flourish HAS to have room or it is unsuccessful. A cloud flourish or a flourish which goes to the right and then to the left can be attempted. Lower your pen angle when flourishing. The flourish will be an embellishment to the letter rather than overpowering it. If for any reason you have to stop the movement of the flourish, try to stop at a point where the pen is creating a hairline. You can easily pick up the movement from there. Progression of an upward flourish