Recruitment for calligraphy download PDF. Old robust, Soviet textbooks, Arithmetic: Download Culture for free

Forming a letter is a complex process. It is associated with painstaking, hard work. In addition, it is important to leave your handwriting individual, but to make it most dismissed. Not everyone can remember how this important skill was developed. Gradually adults notice that their handwriting deteriorated much. If this fact is on the face, you need to download rope to correct the handwriting of an adult, because the consequences of such an output can be very sad:

1. A person cannot even fix a short text.
2. By bad handwriting, it is often concluded about the organizational and executive abilities of the author.
3. With the slightest emotional voltage, the handwriting deteriorates, and has not only to improve it, but also to normalize mental state.

It is also impossible to remember when the handwriting became bad. Many believe that this is happening while learning when you need a lot and quickly record. No less mysteriously inverse circumstance - that is, to understand when a person began to write legible and beautifully impossible.

The importance of understandable handwriting is difficult to smume. It is impossible to perceive seriously text consisting of incomprehensible signs and rags. The manner of writing signs is associated with a number of factors. It is difficult to determine the reasons why it worsens or improving. Scientists are trying to identify the role of hereditary genes, perception in classes, the good faith of the teacher. This is only a number of conditions, all to identify them is very difficult.

It is much more accurate to reveal what the handwriting of every person is talking about. If you want to change your destiny - try changing it. In order for adults to create clear texts, developed special recipes for adults to improve the handwriting, solving this difficult task. They are acquired by those who decided to adjust the writing of letters and numbers, to achieve improved writing, making it easier, clearer.

An excellent methodical material prescribed by a special font is designed for those who have put a goal - to achieve a quick beautiful adult handwriting. Taking these knowledge to children, a traditional school for a long time adheres to two basic fundamental principles. Effective training, on the first of them, is not an end in itself. It is much more important to build an educational process, explain to students why they are obliged to circle signs, instead of achieving inlerts.

Write quickly, but beautifully difficult, and it is rather forces to an adult person. To control your actions, you need to have a certain responsibility. And, of course, it is very important not to retreat and strive to achieve the goal, doing regularly and stubbornly.

Print recipe for adult handwriting

Evgeny

The team of teachers - activists of the Public Organization of the Parent All-Russian Resistance (RVS) - at the request of parents who are displeased by existing teaching techniques in elementary school, adapted to modern realities and reissued in 2016. Arithmetic textbook for grades of the authors A.S. Pchelko and GB Pole.

Why Pchelko tutorial? Read the review that we, the Vladimir Department of the RVS, received from a highly qualified teacher of the initial classes - Raikaya Larisa Nikolaevna, and which I am with her kind allowance to publish today, and you will immediately become clear - why. + Tutorial "Arithmetic" for grade 1 in 2- X Parts / - "New Edition" / RVS, 2016 In front of me lies with arithmetic textbook for grade 1 authors A.S. Pchelko and GB Pole. Sheet page and feel: it makes something relative, kind and very familiar. I catch myself thinking that this smell of childhood, and bright pictures of the wonderful school life of the Soviet first grader pop up in memory. I do not remember for what textbooks we studied in 1 class in 1976, but for some reason pictures from arithmetic create the feeling that I have seen it once a long time ... + as a teacher with 29 years of experience in teaching in elementary school I can say that the Tutorial "Arithmetic" A.S. Pchelko (hereinafter referred to as the textbook) is set aside in the best traditions of the Soviet classical school and aims to ensure that children have a durable arithmetic base, which would further contribute to the establishment of a successful mathematical formation of the child. The secret of the textbook is not in simplicity, but in the availability, gradualization of the material. Someone will say that for modern children this tutorial is primitive. I can argue about this: and who said that our children demand difficulties in which we will write them from the first days of school life, uttering zavel words and introducing a child to the incomprehensible world abstract for him terminology? These are we, adults, for some reason decided for children, that the more new child learns for the lesson, the smarter it will be? And is it? ... + It is no secret that sometimes it is necessary to achieve high results, elementary agents and receptions are required, and not something "over and arch". This tutorial is able to help achieve children to achieve significant success in learning mathematical sciences, because training on it is built with a support for already existing experience in children and in accordance with the mental and physiological development of children. Very competent is that the authors skillfully use visual-figurative thinking of first-graders and make an emphasis not only on the clarity of the textbook, but also on objects and phenomena surrounding the child in everyday life. And tasks by type: "Show so many sticks, how many bags are drawn," put so many circles as the cucumbers are painted, "" Draw as much as ... "," Make out of the sticks such a figure ... "not only diverse a lesson, but make it active and activity, increase the motivational aspect of learning, reduce the threshold of fatigue of younger students. + The textbook is sufficiently saturated with the tasks, which are complicated from the lesson to the lesson from simple to composite, which allows in practice to implement the principle of accessibility "from simple to complex". All the texts of the tasks are based on the life experience of the child and contain a big potential for the implementation of the educational side in the urgent activity, for example: "Brother helped sister to make wands for the account ..." - mutual assistance, help friend, cooperation, friendship, etc., or "4 birzymes grew in the glade, in the fall as much as much ..." - Ecology, hard work, landscaping, careful attitude towards nature, etc. Students gradually learn to solve problems, arguing, prove the correctness of the decision, to draw up inverse problems, abstragging and express Aid of mathematical terms. The textbook is really a good tool and in the hands of an experienced teacher can make a serious breakthrough in the formation of the mathematical education of younger students and become a worthy competitor for other textbooks on mathematics, but ... there is one point that some can concern some: but what will the geometric base of younger students will be formed, After all, all sorts of control, independent and test works include and geometric material? For myself, I would certainly find the answer, because it is possible to form a geometric component of mathematical education, not only in the urgent, but also in extracurricular activities, which is an integral part of the implementation of GEF NOO, therefore, I would be happy to suggest children with the receptional "visual geometry" T.V. Zhiltsova and A.A. Obukhova. + In conclusion, I want to say: + "Dear" arithmetic "! Welcome to modern school! " L.N. Raikova, teacher of the highest qualifying category MBOU "SOSH No. 1 them. Hero of the Soviet Union Kamanina N.P. " Melenecks of the Vladimir region + Listen also that those who worked on the revival of "arithmetic" told about this textbook, having a goal of the revival of classical education in our country, at the presentation seminar, held 10/20/2016 in Dubna. Video can be viewed on this link.

And read the performance of one of the project participants - according to this. + Of course, the enthusiasts of the RVS, dreaming of a classical domestic education to return to the Russian school, not going to stop on the same textbook. Now there is a tense job on preparing for the publication of the whole range of textbooks for elementary school. It will be possible to find out about its results on the RVS website. As V.V. said Mayakovsky, "The work of the ADOV will be made and done already." If you sick for the formation of our children, join. Work comes on a public basis. + Galina Solovyov, RVS

Full text book
(without specials)

A little story 8.
Tools and materials 77
Practice of calligraphy, work BIVER Pen 122
Modern handwritten book 197
Calligraphy in everyday life 224
Notes 242.
European names pointer, American calligraphers 245

This art book writing is beautiful. People competed in it for many centuries. And not only professional scribes. Many famous poets, scientists, state figures have succeeded here, displacing the myth that the great people have a bad handwriting. Michelangelo, Schiller, Goethe, Pushkin, Dostoevsky, Gogol, Pasternak ...
"Calligraphy for all" is an attempt to captivate a wide range of people with the art of a beautiful letter, help master the font culture, master the initial skills and more complex work techniques, introduce the reader with a brief history of calligraphy. The author hopes that the unique works of famous artists of many countries (most of them are published in the USSR for the first time) will attract attention not only newcomers, but also professional font masters.
The history of calligraphy is inextricably linked with the instruments of the letter. Nowadays, the tools of distant antiquity get along with a ballpoint handle, a felt-tip pen, a synthetic brush, but the feathers continue to take one of the leading places.
Bioet feather Even in inorganate hands provides the correct ratio of the width of the strokes in the letters, and beginners are pretty quickly assimilate the shafts of the handwritten font. Letter with a Bioet tool and preference in this edition.
You can learn calligraphy at any age. English teacher Byron McDonald recommended this occupation to everyone who can hold the pen, from six to sixty years. The famous master of the East (15th century) has been famous in childhood. "One of the grances of God is such that I am nine years old, and I am writing a story," he was proud. Natural abilities, "limitless and countless exercises" led him to such early success.
A variety of writing tools, fascinatingly untouched surface sheet surface, with nothing comparable feeling easily and obedient to the running tool - all this brings many minutes of true pleasure.
I thank foreign and Soviet artists who sent their works for publication. For help and constant attention, I express special appreciation to Paul Luhtein and Villa Totus from Tallinn, Vadim Vladimirovich Lazur from Moscow, John Bigsu from Brighton, a semi show from New York, Gongilaugur Bright from Reykjavik and Konstantin Yeremeyevich Turkov from Krasnodar.

A bit of history
At the dawn of its existence, people learned to explain to each other gestures. The interlocutors were desperately gesticulated, grimacing, checked, shrugged, but did not always understand each other correctly. Several tens of millennia passed. Man spoke. There was a more reliable opportunity to exchange knowledge and life skills. The speech served to directly talk about people, and transfer their thoughts and feelings with the help of conventional signs, to fix them in time they became not soon.
Writing for a long time and hardly improved by many nations, but it was formed in Egypt and almost simultaneously in the Sumer to 4 millennia to our era. At first, the letter was picturesque. An image of fish, animals, birds, plants - a cotton business! There was a big skill and a lot of time. Gradually, the drawing simplified, became increasingly conventional, schematic.
Sumerian writing is called Clock. The icons were applied, pressing a wedge-shaped wand in raw, pliable clay (Il. I). Certain techniques, including the use of the faces of the wedge, allowed to achieve the diversity of writing. The first appeared in Sumer
Sumerian signs with clocks. 3 thousand before and. e.
In Egypt, a hieroglyphic letter originated. Ancient stones are so dressed with intricate patterns of signs, which in the soul of one, not too meticulous researcher, doubt was born: yes of human hands this matter? "Gray stones are eaten by special snails," the scientist decided. In Egypt, the cynopical forms of the letter were developed: a cheeratic * letter, and then more simplified, demotic ** (Il. 2, 3, 4)
* From HRSH. Hieratikos priest.
** From Greek. Demotikos - folk.
Albert Capr suggests that in Sumer, Egypt and other ancient states who have sowed the path to creating writing already existed something similar to the contests of calligraphs *.
Why do people have long sought not just writing something written something, but do it beautiful? The world surrounding the ancient man was full of secrets, mysteries, and signs with which it became possible to transfer long distances, as well as from generation to generation vital content, perceived as the greatest, given more than a miracle. The limiting clarity of the letter allowed to unambiguously understand its meaning, and the decorative infinity of the ancients turns the text into a truly artistic work.
Seaflores and Ferosyanian Traders knew about the writing of the Egyptians. The honor of its further improvement and the invention of the alphabet belongs to them.
Amazing innovation became the property of the ancient Greeks. They supplemented alphabet signs for vowel sounds, geometrized him and simplified. Phoenician letters, open to the left (h), were turned face to the right (p) Greek capital letter * reached graphic perfection to 4 centions BC (Il. 5) Greeks, as well as Phoenicians, first wrote to the right left, and then came to the method Bolo Fedon **, or "furrows". This method was peeped from farmers.
* A modern term comes from the latin word Capiialis chief. Capital letter Letter with capital letters.
** From Greek. BUSTROPHEDON Rotary bull.
They reasoned something like this: the Pacherry, having passed the first furrow, does not return the bulls to the beginning of the field, but unfolding and plowing in the opposite direction. So wrote: Each subsequent line began at the end of the previous one (please note: not burdened with rules sometimes act like the ancient Greeks and our reached) rational grain here, perhaps. A lot of time spends a modern reader, transferring a "silence with oxen" 40-50 times on each page and looking for the beginning of the next "furrow" line. In the 4th century BC, the Greeks turn to the letter from left to right.
Latin rises to the Greek alphabet. In the 1st century, the formation of the Roman capital letter was completed. The classic sample of it on the famous column of Trajan (2 century) firstly brushed out of a flat brush, they then cut down in stone. Analyzing the text, scientists noticed: the slope of the axes in the letters "O" is distinguished by a small error confirming the initial handcript of the font. Perhaps the Great Calligrapher made inaccuracy consciously, seeking to give strict inscriptions internal dynamics and the strength of the creation of an unknown author received widespread recognition. The exact copies of the signs of this masterpiece were found on the monuments of those times in Verona. The Italian publisher and typograph of Giovanni Mardersteig suggested that in ancient Rome, the era of Trajan existed a national font standard for official inscriptions. Graphic perfection and readability, organic communication with the architecture provided the triumphal march in the centuries in the centuries and spawned a lot of imitations. They turn to the creation of the past and our contemporaries (Il. 6)
Already in the inscriptions on the stone there were two varieties of the Roman capital letter: the square (Il. 7) and the rustic * (Il. 8) Many capital of the first type of proportions are close to the square. This is a slow, solemn and very beautiful letter. Rustic is inherent in thin long strains **, fat horizontal strokes and compression. Both options entered the life of the Code.
For documents and in everyday goals of Romans in 1 3 centuries
We used Muscular *** in italics **** (uppercase signs) gradually because of the desire to save time wrote more quickly, swallowing, more firmly. The main elements, as a rule, were performed from top to bottom, and the pen, gaining speed, sometimes slipped the lower line line. Over time, probably noted: protruding parts of letters serve as a kind of hook for the eye and make it easier to read. The lower remote elements developed. The upper outstands came up later, perhaps for balancing the lower and for focusing the rhythm of the string.
* From Lat. Rusticus rustic.
** Stack - vertical barcode letters.
*** From Lat. Majusculus is somewhat larger.
**** from Lat. Cursivus running.
These elements are characteristic of a minusful * qouring (lowercase signs), formed by 3 centions (Il. 9, 10)
The square and rustic in the Code gradually displaces the established in the 3rd century Unzial ** in this letter there are remote elements, but they are small and inexpressive.
Unzial 3-6 centuries without serifs *** (Il. 11) Corners are rounded. The pen was kept at an angle of 30 ° to the string. Thin serifs and zero angle of the letter **** - the characteristic signs of Unatila 6-8 centuries (Il. 12)
In the semi-day (one more type of letter of Roman antiquity) of the remote elements became greater, they markedly lengthened and found graphical expressiveness (Il. 13) "halfuncial" does not mean that it is equal to half the height of Unzial. The name reflects qualitative changes.
5th century. The Great Roman Empire fell. Based on the Roman cursor, regional data types are developing: Irish and Anglo-Saxon, Meroving, Westgot, Staritalist.
In the Empire of Charles Great in the 9th century, a new font was introduced. Beautiful, readable and fairly quick minus. Later, he was called Caroling (Il. 14) Initially, the same mincutes were initially in the rights of capital letters in Caroling Mounts, but increased in size. In the 11th century, they changed the Lombard font (Lombard versals), which developed from the letters of the Roman capital and uncial letters (Il. 15)
According to another way, Slavic writing has developed. We know two ancient Slavic alphabets: Cyrillic and verbs (Il. 16, 17), the creation of one of them is associated with the names of Kirill (826 / 27-869) and his older brother Methodius (805/815-885), born in the family of the Byzantine military commanders In the port city of Fesaloniki. Mefo Diy chose a military career and one time even ruled one of the Grequoslavl regions, but then left the service and engaged in sciences. Konstantin (in Kirill's monastics) received a good education in the capital of Byzantium Constantinople, mastered by many sciences and showing outstanding abilities to languages.
Moravians asked the Byzantine Emperor to send teachers to interpret the book from them in the Greek and Latin language and conduct sermons in an understandable language. I did not refuse Mikhail called on scientists of Kirill's husbands and Methodius and blessed for a kind thing. Missionaries have begun to develop Slavic ABC in 862.
* From Lat. Minusculus is very small, tiny.
** Perhaps from Lat. Uncus hook.
*** Sneake of the barcode, final stack.
**** An angle of the letter is the angle of inclination of the pen relative to the horizontal line line.
About her creation told at the end of the 9th century in the tale of "On Wrongs" Chernivaris Herbra: "Before Slavs did not have books, but read and walked with the help of the features and cuts, being pagans. When they were baptized, it was difficult to write with Roman and Greek letters in the Slavic language without adapting ... And so it was many years ... Then the philosopher's Holy Constantine, called Kirill, her husband, righteous and faithful, and he Created them thirty letters and eight, and some of the sample of Greek writing, others in accordance with the [needs] of the Slavic language "2
Now most researchers believe that the verbs arose before Cyrillic, and it was her author who was Cyril.
The complexity and originality of graphic forms is the verbal alphabet.
The basis of the alphabet called later by Cyrillic, served as a Greek statutory letter. The transfer of special sounds of Slavic speech was achieved by newly invented letters, the use of ligatures and borrowed from the Jewish alphabet C, S.
Cyril died on February 14, 869 in Rome. Methodius has lived a long, full of fate of life. He received San Bishop, was abducted by the Latin clergy and spent three years in prison, then he again continued his educational activities.
In Russia, we used Cyrillic, two types: from the 11th century by the charter (example: the famous Ostromir Evan's talented masters performed by the hands of talented masters: Eliu, 1056-1057) and from the 14th century semi-supersay.
In the charter, a completely capital letter, letters are perpendicular to the line line; There are no abbreviations in it. Semi-sustained charter; The upper and lower remote elements appear; Various drawing of the same letters is allowed. This letter is quite fast, with a large number of reductions.
In the Latin world of the 12th century, the Gothic * letter is distributed (probably arose in the north of France in about the middle of the 11th century, that is, 100 years before the appropriate style in architecture)
* Gothic from IT. Gotico (Gothic) This term was introduced by Italian humanists in the 15th century, trying to tie the barbarous, in their opinion, the art of the Middle Ages with the German tribe is ready.
The letter, tight and evenly covering the pages of the book, was called the texture *
Gothic items appeared at the end of the 12th century, and in the 13-14th centuries the New Year became the favorite handwriting of the office of many Western European countries. A gothic letter, both book and meaning, throughout its final fears of existence there have had many options.
Rotund ** (Il. 20), which appeared in the 13th century in Italy, is distinguished by a pleasant roundness, lack of fesoms at the bottom of the rows, readability and speed of drawing.
In the 14th century, when interacting with a book letter and the stationery cursive, a bastard was arose *** (Il. 19, 21), which spread in many European countries.
In the time of late Gothic, many types of letters have been formed in Germany. The svab's letter resembled the spaciousness of the Roatund. Chancesley **** Born and cracked in the court office, where beauty
* From Lat. Textura fabric.
** from IT. Rotonda round.
*** FR. Batard side, mixed.
**** from him. Kanzlei Office.
The handwriting was of paramount importance (Il. 23) special fame in the 17th of the 18th centuries fractura * (Il. 22). She did not lose
Attractiveness for artists of our time. "I hope that now the last word about fracture has not yet been pronounced," said Yang Chichold.
Lost position only by the end of World War II, the Gothic font again gains popularity. In our country, many calligrap injies of the Baltic states are willing themselves.
Renaissance. The time of the rapid heyday of science, art. Advanced thinkers called themselves humanists ** Titans of the Renaissance Michelangelo, Rafael, Leonardo da Vinci, Petrarca, Cervantes, Shakespeare challenged the beauty and greatness of man. That nice time is characterized by increased interest in antiquity.
* From him. Fraktur Dome, Fravel. The term "fractura" is used as a general
The name of the gothic writing, and sometimes to designate the type of gothic book font.
** from lat. Humanus human, human.
Calligraphers selflessly copied manuscripts performed by Caroling Mincade, mistakenly taking them for the original culture of the Greco-Roman antiquity. However, during the copying process, they contributed a number of changes. The new font was named antique *
In the business circles of Italy, a quick "commercial" letter, humanistic items, is also based on Caroling Minusle. Most of the letters were performed by one movement of the pen.
Lodoviko Arrigi, Giovanni Antonio Taltente, Jambattist Palatino in Italy, Huang de Isiar, Francisco Lucas in Spain, Gerard de Mercator in the Netherlands and others on a par with architects, sculptors, painters glorified their time with outstanding calligraphic works and treatises about the art of writing.
The first handwritten textbooks of calligraphy in Europe appeared by the middle of the 14th century. They contained instructions and tips on various issues of skill, so necessary to a person who risen to comprehend the mystery of the art of the letter. We were in the go and recipe with numerous options for calligraphic designs without an explanatory text. Here the student had to count on his own intelligence or enjoy the teacher's consultations.
In the east, the statements about art writing beautifully known from the 1st century BC (China, Japan) since the 7th century, our era appears handwritten textbooks (for example, "Calligraphy Guide" Sun Gothine)
The rare master rursues to introduce the graphic features of Chinese, Japanese or Arab written systems, for example, to Latin or the Russian alphabet. Nevertheless, the advice of the scribes of the East is instructive for any artist.
Yakut Mustasimi ** taught: "Perfection of the letter lies in the right pedagogical education, repeated exercise and cleanliness of the soul" 4
The famous calligrapher of the end of the 15th - early 16th century was Sultan-Ali Misthared *** The master left us the famous "reasoning regarding the letter and laws of training" (Mashhad, 1514), rich in interesting observations and recommendations. Sultan Ali considered it possible to rewrite the manuscript when the graphics of signs, the methods of their compound and other features were carefully studied. To comprehend skill, considered the author, leads to constant viewing and copying the handwriting
* From Lat. Antiquus ancient.
** Abyssinia native, Yakut Mustasi lived over a hundred years, died in Baghdad in 1296.
*** Sultan Ali Misthared was born and died in Mashhad.
Later, at the end of the 16th century, the world-Imad Kazvini offered another method of training fantasy. It develops creative initiative
Copy properly the original work is not so simple. Ibn-Bavvab * For many years she tried to master the wrunker of the famous Ibn Mukly **, but felt hemp in this lesson. The letter of the famous master is not easy to adopt the letterpress, however much harder to come to your own handwriting some ancient scribes, learning the "exactly" to imitate great teachers, became famous. They were praised. But constant copying did not refresh ancient art. Genuine masters understood this and worked, "inventing and finding".
A peculiar farewell for the calligrap sounds the reflection of peace-ali choravi *** from the capital of Iran Herat. "There are five virtues; If they are not in the letter, to be a master in a letter according to reason the case is hopeless: accuracy, awareness in the letter, the quality of the hand, patience in the transfer of labor and the perfection of writing equipment. If there is a deficiency from these five in one, it will not be able to use, even try one hundred years. "6 All five" virtues "indirect success companions and modern calligraph.
* Ibn-Bavvab died in 1022 in Baghdad.
** Ibi-Mukla was born and lived in Baghdad (886-939 / 40)
*** Mir-Ali Choravi died in 1558 in Bukhara.
Eastern authors gave great importance to learning. You can learn calligraphy on your own, on textbooks, but benefits cannot completely replace an experienced teacher master. Visual demonstration of various technical techniques speeds up the learning process. It is better to see once than to hear ten times. Fair proverb. "... learning a handwriting ... you can not give a gallery ... The science of Potault's letter," Sultan-Ali Meshameda confestedly reported. "While doesn't tell your teacher, you can not write it easily ..."
Teachers writing incredulously related to textbooks, knew: for greater effects, the authors sometimes use unauthorized techniques and tricks. It confuses newbies.
Nevertheless, the story knows the names of the brilliant self-taught, who studied only on books. Among our contemporaries, this is primarily Edward Johnston, re-opened calligraphy at the beginning of the 20th century. Alone, according to books, albums and the ancient codes, the heights of the font culture Herman Tsazf, Villa Totes, Gunnlaugur Bryim and others.
In Western Europe in the Renaissance, printed publications on calligraphy were widespread.
1522 year. Rome. The scribe of the papal office, the former seller of Arrigi's books issued a treatise "La Operina" (small book) The source of inspiration of many generations of the masters of a beautiful font (Il. 25) Arriga explains the reasons for writing "La Operina": "Corrected, even more than many friends ... I , my kind reader, I would like to give some examples of letters of letters of the correct design (which are now called stationery), their characteristic features and features "
Calligrapher addresses the book to everyone who wants to learn to write beautifully. Arrigi is kindly delicate in the councils. Offering the distance between words, equal to the width of the letter "L", it will turn: "Maybe you will find it impossible to comply with this rule, then try to ask the advice from your eye and satisfy it, so you reach the best composition" 9 or: "Distance From the line to the string in the stationery should be not too big and not too small, but the average. "
Ends the treatise with samples for hand exercise. Here is the text of one of them: "Everything will be fully fulfilled on time, if you correctly distribute time and if you give an exact clock to the letters, without distracted by other affairs," to remember this useful to each calligraph.
"La Operina" is a masterpiece of an appropriate letter. The temptation to make the best book brought to curiosities. Palatino did not find the best way to promote the great compatriot, how to write his book of samples "libro nuovo" (new book. Rome, 1561) backwards. Maybe the artist's progress of the artist tried to call for help "otherworldly"? In those days, it was believed, for example, to read prayer since the end and you have enlisted the support of the unclean ...
The author of several German printed collections of the font samples (Il. 26) Johann Noyadfer Senior was born in Nuremberg. He refused to become like his father, a speed and devoted himself to the art of writing. At the age of twenty-two years, energetic Johann published the book "Fundament" (foundation. Nuremberg, 1519), where eleven font samples are printed. It was later released by his "Anweisung Einer Gemeinen Hands-Chrift" (guide to ordinary letter. Nuremberg, 1538) and the work dedicated to the obstacle of the bird feot.
Wolfgang Fugger, the student of the older factor, became famous by writing "Ein Nutzlich und Wohlgegrundt Formular Mancherlei Schoner Schriften" (useful and well-founded form of a variety of beautiful fonts. Nuremberg, 1553)
The 16th century famous calligraphers were Spaniards Huang de Isiar and Francisco Lucas. Huang de Isiar was heard by fanatical engraver-virto-zom and contributed to the promotion of the creativity of Italian and German masters. The skill of the gravel has led him to such a hobby with decorative elements, which forgot him sometimes about the letters themselves.
The work of the Spaniard of Pedro Diaz Morano is characteristic of the 17th century. He loved to stick into the letters fancy ornamental images of birds, marine monsters, and sometimes other mythological scenes (Il. 28) as the outstanding talent on Moralo spoke at the beginning of the 1590s. The young calligrapher virtuoso owned the pen and wrote at the speed that hit the imagination of contemporaries. "The devil himself drives him with his hand," the enviousness rummed. Do not be among the fans of the artist of the King of Philip II, who gave him to his teaching son, he could do such a glory expensive. At that time, it was not twisted for a short time, sending another sacrifice to the fire. Around 1616, Moranso published in Madrid the first part of the book "Nueva Arte De Escrevir" (new art art) Last, the fourth part appeared in 15 years. Almost all tables (100) engraved the master and his son himself. Unrestrained fantasy, artistry, composite perfection, peculiar to Morano, admire the modern viewer.
"Exemplaires des Plusieurs sortes des lettres" (samples of many types of letters. Paris, 1569) Jacques Deller One of the first printed treatises about calligraphy in France.
Collection of layout "Le Tresor D'Ecriture ..." (Letters Treasure ...)
I published in Lyon in 1580, Jean Boshen. It gives samples of the font of headlines, titles, examples of a fluid curable.
The textbook "La Technographie" (technical) is published in Paris in 1599 by Guide League. Its letters are close to the proportions to the square and have rounded forms.
In 1608, the collections of Luke Martro "Les Oeuvres" appeared in Avignon, contemporaries admired the creations of Avignon: "The death hand can not withdraw so exactly these lines" (Il. 27) Unknown poet: "It is said that perfection is alien to extremes, but These rare beauties prove to me nasty. Are these beautiful, innocent strokes are not filled with extreme degree of extreme, delightful perfection? " 12 Light, rapid, rich musical plastic stroke Matro Matro inspired by the beauty of the amazing creation of the human mind - the letters, alphabet.
The talented French calligrapher of the 16th century is a member of the Louis Barbedore teacher Corporation. It was one of the authors of the reference samples for the office and considered them better not only any previous letter, but also any other that may appear in the future. Addressing proper experienced, which has passed a certain preparation of scribes, the French calligrapher gives examples of performing various types of documents with the corresponding handwriting.
The famous Master in the 16th century in the Netherlands was Gerard Mercator, and in the 17th century Yang Van de Veld, the author of the "SPIEGHEL DER SCHRIJFKONSTE" tract (font mirror. Rotterdam, 1605)
The firstborn of this kind of literature in England belongs to J. Boshen and D. Bayldon this "A Book Containing Divers Sortes of Hands" (a book containing different types of handwriting. London, 1571)
In England, since the last quarter of the 17th century, approximately fifty albums and books dedicated to calligraphy came up to mid-18 centuries. The reason is the growing meaning of English trade enterprises and the increased demand for clerks who were able to lead the office.
In 1733, George Bikham decided to publish the book "Universal Penman" (Universal Master of Letters. London, 1743) The Master has tightened more than 1000 samples of handwriting used in business correspondence. Jewelry work moved slowly. Ten years passed, until this edition fell, finally, in the hands of happy connoisseurs.
In Russia, before the early 18th century, we created handwritten books of samples of the letter. From the 13th century used the so-called alphabet. They were not accompanied by any information about calligraphy.
Great Parchment List "Alphabet of Slavic Language and Speat Writing to Learn to write ..." (1652/53) Calligrapher ILIKI (Il. 29) Nervous thrill of graceful letters, picturesque strokes ...- All in them are: and the latitude of the soul, and power , and the removal of the recklessness of Russian character. The big master was the "Multi-School Ilyuk"! Masterpiece of world calligraphy is more than an eight meter scroll of the "letter of the Slavic language" (17th century) an inexhaustible treasury of inspiration for the calligraph. Jewelry deposit, wealth of letters of letters are combined here with lush ornamentality (Il. 30)
In the 18th century, the owner of the private Moscow typography A.G of the Reshetnikov created a guide "New Russian ABC for Children's Teaching" (Moscow, 1795) At the end of the 18th early 19th century, samples of calligraphic words appeared in Russia. "How to write letters to different individuals" appeared.
Top printing and later printed machine tested calligraphy. The fastest hand did not sleep behind the machine gun speed of the experienced typist. To comprehend all the subtleties of a beautiful letter left years. The printed machine can be mastering for several months. Inspired and affected by the achievements of civilization, people did not immediately realize that they lost. The art of enormous artistic value came into decline and dyed. Fortunately, enthusiasts who managed to look back in the flow of the feverish-rapid run of time in the stream, carefully shook the dust of oblivion, which covered the masterpieces of the great masters of the past, and re-open their uncrractory beauty to people.
The birthplace of modern calligraphy was destined to become England. Her origlies stood William Morris (1834-1896) Nature did not bust the generously to give this man. Publisher, writer, artist, theorist of art and prominent worker movement Everything happily combined in one person. While still a student, he began to study medieval manuscripts and the Incunabula and subsequently completed several richly ornamented handwritten books. In 1893, Morris issued the most important theoretical work "The Ideal Book" (ideal book. London), which had a beneficial effect on calligraphes and typographs of the whole world. Success has always accompanied the artist, and since the beginning of the 90s, his name is known to the entire continent.
Edward Johnston. Enchanted by the beauty and perfection of manuscripts, an impressionable young man left the doctor's profession and dedicated the life of calligraphy.
Former Morris secretary, Sydney Coumell, drew the attention of young Johnston to the best Codes of the British Museum (London). Old Uncial and semi-secant fonts especially liked the "father of modern calligraphy" (so later called Johnston) the artist worked a lot and selflessly worked by the manuscript.
By that time, the theory and practice of handwritten font were almost forgotten. Many thought: in medieval manuscripts, the contours of letters are drawn with a thin steel pen and filled with paint. Careful study of manuscripts helped Johnston again open the basic principles of calligraphy: the shapes and character of letters are largely dependent on the pen, the width of the stroke is due to the angle under which the tool is located to a string, oblique section of the pen allows you to do not only wide, but also the thinnest touches. A tireless researcher, Johnston restored, how to prepare for the writing of birds and cane feathers to prepare for writing, gave recipes for the preparation of light-resistant ink, conducted experiments on skin processing for the Scripture. Many forgotten techniques and facts again became the property of calligraphs.
In 1889, Johnston gives lessons a beautiful letter in the London Central School of Arts and Crafts. Seven or eight students attend classes. The popularity of lessons is growing. In 1901, in the audience of the Royal College of Arts, everyone who wants to fit. "To look into the kingdom of a good letter" arrived from Germany and Anna Simons, later known to the calligrapher and teacher. It was unthinkable to pay attention to every student, and Johnston decided to teach various techniques to work right on the board. "His letters and initials, freely written in chalk, recalled Simons, - always stated the seal of originality and naturalness, and at the International Congress on drawing and drawing in Dresden, in 1912, they made a sensation and opened an infinite admiration"
And much later, Johnston, when he was allowed to health, lectured in the Royal College. These rare days were a holiday for students. The lessons of the demonstration really represented a very bright sight. Famous English chart, calligrapher, author of several books about the art of font John Bigs: "When I was a student of the Central School of Art and Crafts in London, he gave several lectures-demonstrations in the 1930s. A light and smooth letter to white chalk on a black chalkboard caused amazement "Johnston, as a true artist, experimented with many historical styles of the letter, until the amount of technical techniques did not fully. He first taught the students at first to Unzialu and the semiuncial, but soon Karolingi minusle was added, who later became its "main font" in practice and teaching activities.
1906 year. London. Experience Practice and lecturer Johnston summarized in the textbook "Writing and Illuminating and Lettering" (Scripture, Illumination and stamping of letters) The book won numerous followers and admirers.
Creative Credo Johnston can be considered words from the author's preface: "The evolution of letters was a completely natural process, during which individual and characteristic types developed (liteers), and knowledge of how it happened will help us understand their anatomy and distinguish good forms from bad "15 The findings of the artist and scientist are characteristic of the calligraphy of modernity. V. V. Lazur: "Johnston's work indicated the way, going through which the modern font artist can reach much if he has talent and hardworking" 16
1921. In London, a society of scribes and portholes (opi) "Production of books and documents performed by hand" is organized, "the main task of the association. Edward Johnston is elected first honorable member. The activities of the Society have a beneficial effect on the practice of the font of many countries, and above all, of course, the most recognized leader of the art of a beautiful letter.
In 1956, it turned 50 years from the date of the release of the book "Writing and Illuminating and Lettering" "Calligraphy Bible", as it is still named. The society organized a number of exhibitions in Europe and America. In honor of the anniversary, the former Honorary Treasurer of Society K. M. Lamb published "The Calligraphers Handbook" (Calligrapher's Directory. London, 1956) Collection of essays of members of the OPI, dedicated to various questions of calligraphy and handwritten book.
Century from the birth of Johnston was celebrated by the exhibition of his work at the Royal College of Arts and lectures at the Victoria and Albert Museum (London).
Nowadays, opi unites highly professional scribes. Many of them learned skill at Johnston himself or his disciples. But in recent years in England and especially outside of its limits, artists do not seek to follow the manner of the pioneer of modern calligraphy. This is natural. Johnston himself believed that the rules are only a step towards improving crafts.
Soviet masters are occupied by this position. Villa Totus: "We cannot argue that the classic calligraphy of a wide pen has outlived its purpose, but it does not reign more. In the hands of numerous performers, the academic basis has undergone changes, [became] sometimes barely noticeable, acquired a modern color "It is important, however, to remember the warning of Johnston: before you break any rules, you need to be sure that you understand them correctly.
The desire to certainly come up with their own font leads to those who are unfinished to the cuisages: there are no justified disproportions in the ratio of thin and thick strokes, gross distortions of the letter-letter graph and other innovations. Villa Totus accurately noticed: "The extreme does not mean progressiveness, although sometimes it makes it impressing" but it is difficult to imagine the future of our font without a constant search. Only a brave, initiative, capable of creative risk, can make a highlight in the consecrated craft. An indispensable condition for a healthy creative undertaking: it should rely on a serious classic foundation. "Only a tireless scientific study of the perfect monuments of the past," taught Yang Chichold, can lead forward.
Interest in the ancient manuscripts was overwhelmed not only England. Much forces and talent gave the calligraphy Rudolph von Laris (Austria) and Rudolf Koh (Germany)
Rudolph von Larish noticeably influenced its work on the art of the font, especially in the German countries. Johnston cared primarily about the revival of the historical styles of the letter. The peculiarity of the teaching of Rudolph von Larisha is a constant desire to raise the spirit of the experimentation, develop ingenuity and artistic taste, wake up the creative abilities of students. He sought to instill with students an understanding that the character of letters depends on the instruments and materials used. Students worked not only by feathers, but also styles, handles, brushes. The letters were carved and painted on clay, plaster, trees, coined for metal, engraved on the glass and cut out of the paper. The artist himself successfully worked on the invention of new feathers. Rudolph von Laris sought the coherence of the calligraphic work as a whole: the character of letters and lines, the general composite solution must create emotional unity.
Complementing each other, the Methods of Edward Johnston and Rudolf von Larisha opened the prospects for a multifaceted approach to the problems of font graphics.
A talented teacher of calligraphy in Europe was one of the first students of Johnston Anna Simons (Germany) in 1910 she translated the book Johnston "Writing and Illuminating and Lettering". The textbook was widely known in Germany and had invaluable assistance in the design of the printing fonts Rudolf Kohu, Walter Timan, Emily Weis and others.
Anna Simons owned the rich collection of masterpieces of calligraphy. The whole collection, unfortunately died in the second world war from direct bombs.
One of the best calligraffs is recognized by the German Master Rudolf Koh. Koh was born in Nuremberg in 1876. The young man wanted to become an artist, but the financial situation of the family did not even even dream of higher education. After three art school semesters began long and unsuccessful search for work in the specialty. If something appropriate, the customers sought to quickly part with the newcomer. More than the modest successes of the young man shocked employers.
Fritz Credel * recalls Rudolf Koch's attempt to make a poster for a bike company: "The sketch was empty at the chair. After some time, a full-time man was entered with a gold chain for the clock, crossed his vest across. He threw on the composition one quick look and exploded with an irrepressible laughter "20. The considered posterist gave free to tears.
* Pupil and associate R. Koch.
After painful disappointments and failures, Kohu managed to get a binding workshop. Here he first tried to write a wide pen. The results seemed encouraging. A little time passed, and, to the lucky surprise of a novice calligraff, his efforts were noticed by publishers.
Since 1906, Koh lives in Offenbach, setting up a graph-graphic artist in Slolitan (later known as the Skiptoletic workshop of Klinkosporov). Successfully developing several typographic fonts, Koh corrected his material affairs and, opening a small font workshop, became a free artist. Here, among the devotees, many future celebrities worked among the student's general case: Fritz Credel, Bertold Wolpe, Herbert post and others. Teaching activities have particularly impressed Kohu "I am not anyone else like an educator. And, of course, I want to educate not just calligraphes, but people "
In 1908, an art school in Offenbach offered him to conduct classes in the class of font and calligraphy. Expanding the scope of the use of beautiful letters, Koh moved calligraphy to embroidery and weaving. Trelliers were successful.
In 1934, Inzel (Leipzig) published his "Das ABC Btichlein". Illustrations performed Rudolph Koh and Bertold Wolpe. His son Paul later manually printed 100 copies of the book. One of them was used when reproving "Das ABC Buchlein" in 1976 (USA), when 100 years since the birth of a wonderful artist. The album again made a sensation and captivates the freshness of feelings and ideas a new generation of calligraphes.
Herman Tsarf was born in 1918 in Nuremberg. The seventeen-year-old young man who dreamed about the profession of an electrician, an unexpectedly carried away by the art of the letter. Tsazf quickly achieved success. At the age of twenty, he became the artistic director of the printing house and taught calligraphy in the artistic and industrial school of Offenbach, replacing the Rudolph Koch himself. Tsazf is not only a world famous calligrapher, but also an outstanding creator of typographical fonts, a book designer, an outstanding wizard of the word. He is the author of the famous book "Uber Alphabete" (about alphabets. Frank-Furth-Main, 1960)
Tsamp Great self-taught. Copying samples from the books of Edward Johnston, Rudolph Koch, a direct acquaintance with the original of the ancient Roman inscriptions, a thorough study of the ancient manuscripts in the libraries of Florence and Rome, natural talent and infrequently good taste led the German master to outstanding results.
An amazing fact: calligraphy, the dedication of the artist of which is well known, saved him life. At the end of World War II, the TsAPF, who worked as a topograph, fell ill and got into the hospital. Without leaving calligraphic exercises and befriended here with Arab, he immediately began at an unfamiliar writing and memorized by the way one phrase from the Quran. Something like: It's not good when one person kills the other. Soon the hospital was taken by the British and the French. Allies released a pin home. On the way to Nuremberg, he was captured by two French soldiers of Arabic origin. He threatened death. For a few moments, the hedgehog was found and quoted by the remembered lines. It sounded like a thunder among the clear sky. Stunned "servants of Allah" Dali to leave the artist with the world. Many years later, a new headset of Arab font was released from under the hands of the famous Calligraffic.
1950. Herman Tsarf issued an unrivaled beauty book "Feder und Stichel" (feather and cutter. Frankfurt am Main, 1950) All tables are engraved on the lead boards by August Rosenberg.
1955 year. Dresden. The first book of Albert Capra "Deutsche Schriftkunst" (German art font) was published, which became the beginning of a whole series of its fundamental work in this field of art. Among them "ABC - FundAment Zum Rechten Schreiben" (ABC Basics of the right letter. Leipzig, 1958), "Schriftkunst" (art font. Dresden, 1971, 1976), "Schriftkunst und buchkunst" (font and art of the book. Leipzig, 1982)
Albert Capr was born in 1918 in Stuttgart, in the same place in the Academy of Arts studied the art of a beautiful letter from Ernst Schnedle-ra. Since 1951, Capr lives and works in Leipzig, where he leads until 1976 by a special class of font in the highest school of books and graphics. Subsequently, the artist becomes its rector, it is based on the institution of paperwork at the highest school and leads them.
In all works, Capra is felt thin handwritten
Beginning, for, according to his own words, "Only those branches on the tree of fonts, which are impregnated by living juice of handwritten forms, are able to be fruit"
The art of calligraphy is extremely popular and to this day in England. "A good font master always has a lot of work," John Shaimers, a member of the Society and Illuminators of John Schevers, - constantly order texts that require more artist's hands than the printing machine "
Back in 1950, the British decided to complete the school program by the subject of font art, and the society of scribes and portholes were developed courses for summer and Sundays. Foreign students learn to them. In large cities, the institutions of improvement are guided in the launch of beginner calligraphs. Many, carrying out a long-standing dream, turn to art in a retirement age, so that, according to John Schevers, "create something with your own hands, and often their choice falls on the font. Font art is not just popular, it is superpopular "24
Albert Capr: "Calligraphy in England turned into one of the most favorite graphic forms, and the best calligraphy comes to us from England" 25
In 1976, he saw the light of the classic work of the English scientist and artist Heger Child "Calligraphy Today" D. Calligraphy today) Cooperating with many scribes in the world, Child managed to give the capacious and bright overview of the Calligraphy State in Europe, America. The book pleases the abundance of illustrations: Here the pages of manuscripts, letters, congratulatory addresses, exlebris, headlines and inscriptions, invitation cards, menu, ads, posters are played here. There are examples of alphabets, tutorials, samples of experimental and abstract calligraphy. All this, undoubtedly stimulated to the work and mature masters, and beginner scribes, lit the enthusiasm of people, earlier and did not think about the craft of the calligraph.
In 1984, the Society of Screws and Illuminators organized the exhibition "Calligraphy-84". It was attended by members of the OPI from Belgium, Iceland, France, Yugoslavia and, of course, England. After England, the exposition was watched in the United States. In Kalligraphy 84, everything shown in 1981 was included when the 60th anniversary of the OPI was celebrated, plus the best works in the next five years. In addition to the traditional school, modern trends have attracted a variety, calligraphy in ceramics, glass, inscriptions, carved on a stone and tree.
Over the past two or three decades, interest in handwritten art in the United States of America has sharply increased (primarily under the influence of England)
The outstanding event of the calligraphic life was the exhibition of Latin samples of the letter "2000 years of calligraphy" (USA, 1965) The grandiose exposition covered the period from the 1st century to our era until 1965. Suppliers of exhibits were not only museums and libraries of different countries, but also numerous owners of private collections. The exhibition turned out to be rich fabulously. And here, as usual in many fairy tales, it did not cost without Queen. Elizabeth II presented two ancient manuscripts to display.
The discovery released a beautifully illustrated directory with detailed information about each work.

Tools and materials
Anchored reed or reed stick (calam *) is one of the most ancient letters tools. The tongue ** it split for greater plasticity shortly before our era. No one knows how it happened. Maybe an unknown master for curiosity experienced a chance of a split reed harvesting and uncoupled what kind of benefits an unexpected discovery ... Later, at the end of the split began to burn a thin hole so that the reed was not quoplet further.
The Great Calligraff of the East of the 13th century Yakut Mustasi lengthened the tip of the reed feather and cut off his space, so that the "voice" could be heard, like the vote of Mashrick's blade. Sultan-Ali Misthad: "And this Masha Rica, they say, was a man who worked the cleanest of the Extreme Quality and Grace; Anyone who experienced his blade was hung on something, he cut down in two, but if he brought the blade in motion, he hesitated, and the voice of emergency subtlety was heard. So, it is better that the end of the kalem would be long and fleshy, and when you put on the leaf, then I would have come into motion and a voice would be heard "
* In the countries of the East Kalele or Kalyam.
** Sometimes this part of Kalam is called "legs".
Reed plastic. In the working position, at easy juggling, Kalam tongues are diverged, and a characteristic embroidery is heard.
In ancient times, calam before the start of work was wetted by saliva. Salus helped hold more ink. A thin mesh was placed in the inkwell, the tool touched the ink through it and wrote. The case was silent slowly.
Then invented, it would seem that it's easier, - stewed. This little plate saves a lot of time; One refueling is enough for several letters. Step holder is filled with a special wand or tassel. Do not forget to wet the inner side of the instrument tag. It will not allow driving ink to clog the feather split, and they go to paper constantly and evenly. If you write, Maka Feather right into ink, then some letters are obtained fat, others when the optimal amount of ink is installed in stewed, thinner. Some modern masters are achieved by these certain graphic effects: find expressive rhythm in alternating fatty and subtle letters. You can constantly maintain feather crowded. Then the beginning and completion of the strokes, the transition from the main stroke to the connecting is distinguished by soft and roundness.
Many Masters (Zhovik Velövich, David Green, Evgeny Dobro-Vinevsky, Corina Maister, Charles Pierce, Paul Show, Jin Evans, etc.) Prefer homemade cane feathers to the best proprietary tools. Fellow material! A sharp knife and a little patience all you need for the manufacture of a good pen. The reed is not distinguished by durability, but it is rich in opportunities and always work at hand, invent, try ...
You can, for example, disconnect the Kalam tongue will turn out to be a double touch (Il. 82)
The pen with asymmetric split gives a peculiar serif, left-sided or right-sided. Two spills enhance the plasticity, the softness of the pen, which, as the jambattist painted Palatino, especially useful novice * and ink flow freely, and not need to press the tool. When Nazhima could have a slow and heavy handwriting.
Since ancient times, the tools were made from bird feathers: goose, eagle, swan, drofs, hawk, crow, wild duck. Feathers are collected during molting birds. Five in each wing, especially the second and third, with large and round trunks, are considered the best. Without prior preparation, due to the bold barrel and the soft core, the bird's feather is unsuitable for the letter: the paint does not flow from the pen, and the tongues even from the light pressure sluggishly detour. Take the feather of the left wing (it is more convenient for your hand), cut the end and remove the beard so that you do not interfere with working. Wetting water, energetically rub the trunk with a piece of skin and, scraping the top layer, put for 10-15 minutes into boiling water with the alum (tea spoon of the alum on a glass of water) Now you need to put it in the sand heated to 60 ° or gently ride the iron of the same temperature . The trunk softened under the influence can be immediately cleared, but the split is made after solidification, otherwise it will turn out to be uneven. Bird feather, even sharply cropped, smoothly slides in any direction, not alarming paper.
Writing brethren always watched the health of its accessories. Sharp as a razor, a knife, the master sharpened a tool with the person inherent in his personality. Favorite feather jealously defeated the scribe. Tearing to rewrite the text, Russian calligraphs were reported on the manuscript fields: "Psalm Esm Paul Pen" or "Dissoli of Peanies of this".
In 1548, Johann Neudörmfer Senior from Nuremberg applied a metallic feather. Quite quickly, it won the sympathy of the calligraphs, but it was expensive. In Russia, by the middle of the 17th century, 27 rubles paid for one hundred pieces. The price for that time is serious. You could buy bull and ram for that kind of money.
An experienced calligrapher sometimes uses the most unexpected tool. Pointed feathers are now almost out of use, but calligraphes still use them, and sometimes absolutely original. When S. B. Telinger was in Leipzig, students of the Higher School of Graphics and Art of the Books asked him how one of the interesting works of the artist was performed. Do not spend the words of the fellow, Solomon Benediktovich took a sharp pen and, tightly pressing the non-working side edge to paper, wrote several letters (Il. 95)
Yakut Mustasimi, hiding from the Baghdad of the Mongolian troops, turned out to be without tools and materials. It did not embarrass the masters. Trying to the forced straight, he was macked into the ink index finger and wrote on the towel so that all the diva was given.
Nizam Bukhara worked with a finger with "such a thoroughness and subtlety that the pen is powerless to describe it"
Donald Jackson, the writer of the office of Queen Elizabeth II and the chambers of the Lords, wanting to penetrate American colleagues, maul over a friendly conversation a spoon in a cup of coffee and brought out the tablecloth with immaculate in italics: "It is impossible to form a calligraphic group in New York." Paul Frimen, one of the future organizers of such a group, carried out then to the tablecloth home, swinging that would force Jackson to take their words back.
I could not understand what was made by one of the best sheets Villa Totus (Il. 96) addressed the clarification to the author Villa Karlovich showed me something completely unsuitable, from the point of view of classical calligraphy, - the old, long-worked and broken bird feather.
Beginning such experiments will only bring harm. In embarrassing hands, the experiment can become empty focus. In the future, when the foundations of calligraphy are firmly learned, an inquisitive scribe is looking for new tools and materials, achieves their most favorable combination and interaction, which expands its technical capabilities in attempts to comprehend the essence of a beautiful letter. The great calligraphes of all time and peoples sought to this all their lives.
Modern masters have a wide selection of broad-circled branded instruments: "Speedball" feathers, Mitchell, "ATO" of Blanc-Kertts (which is in Frankfurt am Main) and others. The English handle "Osmiroid" (for ink) has several replaceable tips with magnificent feathers. The german handle "Graphs" is filled with ink; After working, the channels of the writing rod and the tank should be thoroughly rinsed. Both tools are convenient because the feathers are easy to replace.
A complete set of broadly feathers can be prepared from a set of drawing feathers of type "Radish", having chopped half-writing wheels with a sharp chisel. In order for the feather to be thinner, remove the metal part of the metal along the entire length of the tongue and increase the hole in the housing for greater plasticity. It remains to abded the working surface on the soft donkey, and then the paste of the goow * the writing end should be absolutely accurate.
* Pasta, developed by the State Optical Institute (GOI), is applied to the priority and convective work.
When the pen disk evenly adjacent to the paper is the right position of the tool. If you keep the pen "wrong" (disk at an angle to the sheet plane) and put under the paper a soft lining, for example felt, in the design of the strokes you can achieve interesting nuances.
For large letters are good poster feathers. I know the famous fonts that, having a complete arsenal of calligraphy tools, prefer the poster of Peru prepare it for work does not make much trouble. By planing between the tongues of the canvas hacksaw, you need to capture them with pliers and gently squeeze to the thickness of the insert. Stop the same, replacing the cloth on the razor blade. It remains to sharpen the feather on the donkey, and the tool is ready.
For small letters, a regular fountain person is suitable. The convexity at the end of the pen is cut off or bite the windows and grind. Such a broad feather invented to make John Howard Benson, when I copied Arrigi in English "La Operina" in English.
The tool must be protected, wash it more often in water, and after work dryly wipe. Byron McDonald: "Remember, a good job can only be performed by a clean tool"
From beginners often hear: "Pen does not write" or: "He writes badly." A few words about possible "whims" of the instrument: 1) The tongues are at an angle to each other (try to straighten them, alternately capturing pliers), 2) Tongues are thin, sharp cut or tear paper (carefully increasing the corners of the pen) Sometimes the pen is regular, but writes Bad: 1) Step holder raised too high, and the mascara goes slowly to the paper (lower the stewed holder), 2) the paper is fat (wipe it with an eraser or wet sponge), mascara or paint is too thick (dilute them with boiled water), 3) Paint dries and dries and Slisters split (refueling steamer, do not forget to wet the inner part of the sprinkle, wash the pen in the water more often), 4) the feather is covered with a fatty film (a fraction of a second to hold it over the flame of matches or wipe the gauze moistened in saliva)
I'm not in vain atten in the trifles. A lot of time is wasted, while you will comprehend them yourself. Sometimes such malfunctions are blocked by a hunt from an impatient student.
It is convenient in the work of a wide felt-tip pen with a solid porous rod. Remove the writing node from a conventional pointed felter. Having put forward the rod, clean it with a spatula and install all parts for previous places. Such a tool is nice on paper, gives a clear bar, allows you to perform a complex stroke with one continuous movement.
Sometimes they connect two markers: wide and thin, black and green, brown and red, etc. resort to this reception: they write dual tools, and then paint the background with a brush. Crerate cut vertically half pencils. Not good trick, and the benefits sometimes brings - you can write letters of small sizes.
Peculous handwritten fonts are created by tassels: flat, stupid, pointed, round-chicken. Brushes, especially the last three, are extremely mobile. They are difficult to write graphically the same letters, but it is not always necessary to strive. The painting, especially inherent in a rapid letter, is as pleasant for the eyes, as well as clear, carefully completed letters. It is clear: the depotable, readable font is necessary, for example, in the text of the handwritten book, and the catchy inscription is more appropriate on the advertising cover of the magazine. Everything has its place.
A stupid or round-chine brush is easy to make from pointed. In the first case, its end is cut off with a sharp knife, in the second, gently cut into small scissors or treated with a lit cigarette. Hold a brush as a font pen or Chinese way, that is, strictly vertically. When the Japanese or the Chinese write small hieroglyphs, clarify the details, their right hand lies on the back of the brush of the left hand.
Mocked brushes with warm water with soap, carefully "driven by" her hair to the palm. Hot water is contraindicated in the rosin in the tube, binding the hairs, dissolve, and they will fall out.
Chinese artists for making brushes take the most diverse material. Popular sheep wool, goat, bear and even mice. The famous Chinese calligrapher and the painter of Qi Baisha preferred a brush from the mouth of a rat wrapped with a sheep wool, but for the comprehension of such subtleties, you need to give for many years.
Tool thickness case of taste. Radia, Bogatyr addition Villa Yarmut prefers a subtle bird feather. Rhine Myagar Even the stationery handle seems punctured: "This is not for a male hand," and wipes it with several layers of insulating tape. Nevertheless, most artists and teachers handle with a diameter of 7 10 mm are considered the best. This tool should work beginner. For a thin bird pen, if necessary, it is easy to make a special cane or bamboo holder of the desired thickness.
As for drawing tools, then the calligraphs, and many font handoffs rarely resort to their help. "Do you use a circulation?" Asked by I. F. Rerberg. "I have it, yes I don't know where he lies," the master replied *
Good, flowable, smooth black ink color can be prepared independently based on an ancient recipe from special lights of light green color on oak leaves. They need to be put in a two-layer gauze, squeeze juice into a glass, add a bit of iron vigor for greater saturation and withstand 7 10 days in the light. Such inks are suitable for bird and cane feathers. Metal spoil from the action of the vitality.
In Russia, black ink was distinguished by a brown tint. Prepared them from rusty iron (especially old nails went to move) and gum. In Siberia (Krasnoyarsk Territory, 1930s) wrote soot. They mined it from the chimney of the Russian stove, diluted with boiled water, they added a little sugar and turned out well!
American calligrapher Teresa Fisher to prepare the so-called Indian ink, recommends putting a few lit wicks in oil and "collect" smoke, placing over the "Kostroma" convex dishes Carefully escape the bird feathers and mix with liquid gum 34
Modern ink "Rainbow" is flowing, do not climb the pen, but weakly waterproof. This eliminates the edit of the text by Belly. You need to work for sure. In antiquity, it was different. If the scribe was wrong not trouble: the wet sponge letters were easily flushed with papyrus. Sometimes it was done and more extravagant way. In the ancient Rome of the urgent poets forced to lick their verses with the language.
In addition to the black carcass * and ink, calligraphs write gouache, watercolor, oil and other paints.
Consider cooking paint for writing the desired density. Let it easily run away from the pen, but reliably overlaps the surface of the paper, then the simplicity of the letters has no need to be needed. Before writing a gouache, it is thoroughly mixed, so that the glue is evenly distributed (it is assembled in the upper layer), otherwise the letters are obtained transparent and sticky. Delicate paints must be filtered through a chipboard or folded in two or three layers of gauze, then small grains do not block the pen. In the process of work, paint in the appearance periodically stirred so that she was the same in the den.
In antiquity, approximately from 3 millennia BC, Papyrus was writing material. The swampy shores of the Nile - the Motherland of Amazing
* In the black mascara, you can add watercolor, such as brown or ultramarine, and get the desired warm or cold shade.
plants. From his stems did shovenas, the screened basket and mats, the excellent fabrics produced. Even the bark did not disappear on the sandals, and the rhizomes of the plants were the favorite Egyptian dish and delicacy for hippos.
To prepare a papyrus for a letter, the soft core core was cut by thin stripes, tightly stacked two perpendicular layers, chopped off with a wooden beaker, wetted with Nile water, were repeated, pressed, dried, sneaked, polished the front side of the ivory or sink. The finished sheets glued and turned into a scroll, sometimes up to 100 meters long. They wrote from one side of the sheet, where the cane fees were oriented horizontally and did not interfere with the movement of the pen.
Nowadays, Papius has become a big rarity. Especially surprisingly flashing a message about a small plantation, cultivated in Egypt with just one person. And this is not idle entertainment. From the revived papyrus make paper! She goes to documents for the most solemn cases and gripping by artists.
Parchmen invented, probably in the 1st century to our era in the Pergamsky kingdom. Animal skins were placed in lime, purified from hair and meat, stretched on a special frame, scraper scraper believed hair and meat, dried, polished, whiten ... This durable, elastic material was universal recognized already in the 3rd century. Wrote on parchment on both sides.
In special cases, parchmen are consumed now. This rare material is manufactured in our time, for example, the firm "Konrad" in al-Tenburg (GDR)
The paper appeared in the 2nd century in China. Over time, she penetrates the west. In antiquity, the paper did not differ in quality. It was one torment to write on it: the feather stuck, the ink broke up. In Europe, the new writing material begins to push out the parchment from the 14th century. They made it then from a cotton rag manually. The washed and crushed rags were soaked in a solution of hated lime for whitening, pressed, soaked in water and blundered. The shapeless mass was buried by a special metallic sieve. Part of the water went through the holes of the sieves, the remaining paper mass was shaken, pressed and dried, they were sampled gelatin.
In Russia, until the 14th century used Best and Parchment. Birch birch to increase softness was boiled in water and dried. Letters squeezed out bone or metal wrote. Ink almost did not use.
At the disposal of modern calligrapher a lot of paper varieties: Watman, Verte, Molded, Torshon ...
By coarse, grainy paper (for example, Torshon), it is difficult to write with unusual. For textured surface, the intermittentness is characteristic, the painting of the stroke. Perhaps a fairly clear letter, if, using a hard pen, carefully "climbing" on each tubercle and also slow down.
Smooth, coated paper is good because small errors in the letter on it are easy to eliminate the intercom. In general, the corrections are trying to avoid.
Calligraphers of the East ruled letters in exceptional cases, and only perom. The clearing the knife was considered blasphemy: "Calligraphers are not surgeons!" The badly formed letter will no longer correct it looks fake.
Once, permissible in the text the mistake, the Dutch master Herrit Nordsee, without being causing a custody, just stressed unnecessary, yes it did it so elegant, exquisitely that the correction decorated the manuscript (Il. 118)
Do not strive to immediately get expensive paper with many modern calligraphers, even very famous, did not bent the most simple materials. Qi Bayhi sometimes wrote on wrapping paper, Herman Tsapf on the back of cheap wall wallpaper.
The text on the colored surface looks attractive. True, the pen barns to break the colorful layer, mixing the color of the background to the letters, but this can be avoided, correctly toning the paper of liquid into the gouache in a plate. Try the control smear to glue (dry paint should not be squeezed with dry finger), if necessary, add a small dextrin or a polyvinila acetate emulsion (PVA). Be careful: the thrown gouache is lipnet and glitters. Slide the paper with a flat brush or a cotton-dipped in the paint by changing the direction of movement from the horizontal to the vertical and, on the contrary, beware of completing this operation prematurely imperceptible at first glance, the puddles are dried with spots or stripes. You will not stop the brush, breaks the particles of drying paint from one place and transfers to another.
Enjoy and color typographic paper. It should be pre-wiped with an eraser, sprinkle to Talc or add to the gouache, which you will write, a little bullish bile * eating a fatty film characteristic of typographic paint, bile ensures a uniform coating of each letter. For certain graphic effects, a fatty surface is used. Then the touch loses clarity and paint falls in an intricate pattern.
The imagination and fantasy of the Calligrapher are largely due to the material in which he works Goethe: "Only those artists are worthy of our respect that do not want to do anything more that it allows them, but that's why they make so many"
* Apply a drug from bovine or pork bile made by the medical industry. as well as a special wetter for watercolor, produced by plants of artistic paints.

Practice of calligraphy, work Bioet Feather

Old masters claimed: who would not learn to sit correctly and keep the instrument, can smell on her hand, he will never write well.
The first calligraphy lesson: tendered in an excessive head of the head, bent backs, convulsively squeezed in the hand tool All this negates the effort of beginners.
Control yourself constantly: the back is straight, the left hand forms a plot of support, taking part of the body weight, and at the same time holds paper. The wrong position of the left hand often spoils the whole thing. Lower her, say, down the body will find a support in the right hand and the freedom of the writing of the writing will violate. Right hand must hardly touch the table! An experienced master can afford to work and not according to the rules, putting, for example, paper on his knee and conveniently setting around in the chair. This was done by the handwritten book of the modern Scottish artist Tom Gurdi "Hand writing today." It is clear that the beginning of a similar practice would only bring harm.
The working posture of the calligraphs of various countries and peoples may be different. Egyptians "talked", sitting on the floor, putting
Papyrus on a special stand resting on his knee of the right leg. A modern Japanese calligrapher prefers to stand on her knees, placing the paper in front of the mat.
It is not recommended to work standing, bent over the table, is tedious, and there is nothing to count on success. Wisely received our ancestors when they wrote behind a web or desk.
The font is desirable to have a special mopper, at least a sheet of plywood or dense cardboard, one edge of which should rely on a small stand. The inclination of the Pugitra regulates the speed of the paint flowing from the pen. Do not forget to put a sheet of paper under the arm, it will not argue whether the whole work will go to the Nammark.
The handle is kept like this: the thumb presses her to the nail of the middle, and a slightly bent index holds the middle finger closer to Peru, and behind it is index and large. Keep the writing tool easily, freely. Voltage usually appears from pressed unoccupied fingers to the palm. It is worth opening them, and the index finger will relax. There is no need to firmly compress the handle with three fingers, if it easily keeps in two: between large and medium or large and index (for example, it was written in Italy of the 16th century) Check yourself: Suddenly stopped work, try to pull the tool with your left hand for the top end He must slide freely. Take a look: on the middle finger there is a trace (dent) from the writing tool? So you did not learn to keep the handle right!
For a beginner, it is best to take a pen width of at least 5 mm. Spend on paper, observing the constant angle of the letter at 30 °, the most diverse lines what fantasy will tell. Do it freely and easily. Entertain; Draw a sunshine, a man's figure, a house. Similarly, it is easier to feel the logic of the Blio Tool: Change the thickness and shape of the stroke, depending on the direction of movement of the pen. Repeat the exercise by observing the angle of the letter at 45 ° and then at 0 ° (the work plane of the pen coincides with the horizontal direction of the string) it is important to immediately learn how to vary the angle of the letter. This will help further master the techniques of manipulation by the Bioet Tool.
One of the first difficulties can be able to conduct strictly vertical strokes. Do not try to automatically perform them in parallel to each other * a small error, and the whole text "falls" to the side. That is why each subsequent bar code needs to write, "forgetting" about the previous one, trying to re-navigate correctly in the sheet plane. Do not fix attention to re. See the end point of the movement. Strokes do not work perpendicular to line line? Try to correct this disadvantage, changing the tilt of the paper. The most successful position is generated individually, in the process of practice.
Performing downstream strokes, down the entire hand with the elbow, fixing the brush in the same position. "Take" the pen right on itself, slightly feeding back all the hull. Conduct long lines more often, eliminating the possibility of a fixed position of the elbow. Keep your breath. "Exhale" strokes. Do not strain, let yourself a little negligence. The eligibility of the enemy of the calligraph.
Already after the first exercises, try to increase the speed of work in order to finally get rid of stiffness of movements. Jean Lemoan back in the 16th century he advised those who want to know the art of calligraphy, writing letters decisively. Heather Child: "A certain speed gives the work the rhythm and liveliness. The learned letter will miss these qualities, no matter how either each letter "M
But other opinions. Alfred Ferbank: "Letters and words that the calligrapher writes, giving the style, shape and election of the inscriptions, are made slow the pace to give the opportunity to achieve the accuracy of the design, since the appearance of the letter is more important than the speed of execution. Calligrapher, when he writes the official font *, will, of course, strive to move forward with satisfactory speed, but still will not make faster movements than those that need to carefully perform strokes "L7 Villa Totus:
* In the official letter, every letter is collected from several strokes with strict sequence. In semi-deform, some letters are withdrawn by one continuous movement of the pen. The letter slightly loses the clarity, but adds in speed and is distinguished by greater individuality. In domestic handwriting, sometimes the elephant is stringent, without opening the paper tool. These are unofficial (free) and most individual models.
"Exercises should be done carefully and methodically, despite the fact that the barcode due to the slow movement of the pen is still uneven. Speed, if it is appropriate to speak about it when performing a font, comes later, as if by itself, along with the hand resistant "
In the old textbooks, calligraphy were advised first to avoid both fast and very slow movements. And those and others were considered harmful.
Special attention should be paid on excessively metering disciples: at first they act with some success, but without a strong foundation quickly "exhaled."
If you are slow, try working easily and freely, without worrying about the results. Constant negligence in the font it does not threaten you, but to relax will help
So, the appearance of the stroke is more important than the speed of execution. A beautiful letter nevertheless requires an artist's determination and a certain speed of the movement of the pen, but these qualities are not an end in itself. They are the result of persistent workout and come along with hand resistant.
Training calligraphy is best to start with a simplified version of the Tracian column font (Il. 130). It is ideal for proportions, relatively simple performed and perfectly adapted for the Bioet tool. Latin's preference can be preferred by the following considerations: a student who quickly believing that the graphic features of letters are already learned, writes two to three words, not looking into the sample; Therefore, it is useful to start with the text in a foreign language: the willy-noilies have to consistently copy each letter.
The letter "O" is the most difficult and important in the alphabet.
Not enough understanding of the anatomy "O" and the constructive similarity of it with "B", "3", "C" and other signs The main reason for the distortion of letters whose graphics are fully or partially built on the basis of the circle (Il. 128, 129)
Describe "O" around the rectangle B in E D, clearly realizing all the components of the movement of the hand when performing the left side of the circle (arc from a to b, from b to B, from B to d) and, accordingly, right (from A to D, respectively. d.) This exercise will help to avoid typical and hardly corrected errors: beginners lead the letters "O" go down at once or strongly lead to the side, and it needs to be directed toward and down. Left and right half-facing Write smoothly, sending a pen on paper and taking off the paper gradually, as if planning, as a plane during takeoff and landing.
Insert "O" into the square of the ABBG, trying to bring its external contour to the perfect circle. Having coped with this task, write the letter without a corrective square, mentally tracing all the points on which its left and right touches are built. The axial line will help control the identity of the semicircles. Write, finally, "O" without the axial line. Do not get used to the letter "O" of one value. Change the height of the string and the width of the pen.
Typically, letters learn to write, divided signs with similar elements on groups (N, T, P, G, for example), but it is better to combine them in families on a sign of the width faster fastening the proportions and, as practice shows, starting with great desire and success are written differently Types of strokes.
On IL. 130, 131 tables invented by modern English teacher Ralph Douglas. The alphabet is placed in the columns shorts, each of which contains the letters of the same width. Note: In this font, the width of the pen is fitted 8 times in the height of the capital letters, 5 in the lowercase (excluding remote elements) * the angle of the letter is constant 30 °, but in the capital "M" (first touch), "n" (first and third Strokes) It increases to 60 °
Mastering the character of the font, useful to calculate the sample. John Bigs: "To bring any benefit, the calculation should be careful, careful, critical. You need to follow the contours, and you will find the sophisticated sophistication of the shapes, which would be almost definitely hidden from you with only one of the looting ... "L9 this learning work is performed by a thin feature, ink or solid, sharply sharpened pencil.
Good having learned the configuration of letters, you can start writing up the capital tool, and then the lowercase signs in alphabetical order, adhering to the sample parameters. Periodically monitor the proportions with the benchmark on the trash, combining the contours of the letters and analyzing errors. Mascara in this case it is easy to smear,
* In practice, the ratio between the width of the pen and the row height varies freely.
It is convenient to use a pencil or felt-tip pen, sharpened blades.
Finish the Douglas Table by Russian letters. An attempt to solve the Latin and Russian alphabets in one graphic key develops constructive and logical thinking. Please note: horizontal strokes from "E", "Yu", "E", "B", "N", etc., slightly above the optical middle; "R" - a mirror reflection "I"; The angle of the letter remains constant, and only in "F", "I", seeking the necessary stroke thickness, it is changed if desired (the pen turn when writing left-sided diagonal strokes)
Latin and Russian font reflect sers. Sexing used more ancient Romans when they cut around the stone. I liked the innovation and scribes: it facilitates the flow of ink at the beginning of the stroke and serves as a good decoration.
Try to write uppercase and lowercase letters with an angle of writing 45 ° and 0 °, observing the change in the ratios of thick and thin strokes and the shapes of the letters themselves.
Now you can start copying the text, observing the size of the original. So taught Sultan-Ali Meshamedi 40 of the same opinion and many modern specialists. Jacqueline welded: "It is very useful to have samples of the same size as your own work. The letters are obtained much slower if you do not use the size of the pen, which was used in the model "41 when the original identity and the copies of the pen width serves as a peculiar module. And check the proportions of the letters easily with a tank. After using the text with Latin letters, write any passage in Russian. Font settings Leave the same.
Another type of letter that should be seized - italics. Italic in calligraphy is determined primarily by the continuity of motion, "running pen", and its fundamental characteristic is precisely the fact that letters (inclined or straight, capital or lowercase) are associated together or assume the possibility of a connection. The flourishing of the cursive began in Italy of the 16th century thanks to the treatise of Arrigi "La Operina".
The art of the Great Italian has truly affordable since 1951, when Benson rewrote Arrigi's book in English, achieving complete similarity with the appearance of the original (Il. 132) from the modesty Benson asked to watch "Through the fingers" for the shortcomings of English pages, and study and study Mimic only Arrigi font. But it is English pages that should be copied. The source is printed with wooden boards. This has made certain disorders in the ratio of thick and subtle strokes. Arrigi: "I ask you to forgive me, as the press will not be able to completely replace the living hand."
Benson's work makes it possible to take advantage of the Soviets of the Great Wizard with a wide circle of readers. It is important. Due to the lack of special literature, beginners are often focused on "ultrammode" bodycraft fonts, followed by a misunderstanding of the foundations of a beautiful letter or disregard than them.
Forms of different letters, Arrigi have a lot of common: "L" and "y" begin almost the same, "A", "C", "D", "G" are obtained from "O" and form an oblong, elongated parallelogram. Arrigi: "... Soundopold, or stationery, letters should have something from a long, and not from the round" 43.
Ways of rational connection of letters with a letter always caught wizards. Not bypasses this question and Arrigi: (...) The remaining signs of the alphabet to attach the master does not advise the latter, although the final decision of the issue does not give: "But to associate or not to bind, I leave at your discretion" n. Studying italics "La Operina", it is useful to shifter the shape of the letters by the method of calculating and write them with a Bioet Feather. Email angle 45 °
It is necessary to carefully and repeatedly copy at least one of the pages of the book (English version) to a self-confident student sometimes seems that he writes the letters if no better, then in any case it is no worse than in the studied sample. Copies should be kept. The time will come to get them and correct mistakes. "Do not approve of complacency! Sultan-Ali Meshameda warned. - strive so that in its transfer letter does not become careless, do you do a lot or a little. Transfer must complete diligence "
Qi Bayhi saw the goal of copying is not in the slave imitation of the original, but in the ability to grab the entity of the handwriting and remain yourself. You can be sure this advice is not for a newbie. The student must copy the most diligently and go to his own solutions gradually. Beginner, according to Heger Child, must first fully follow the teacher, especially when the hands of hands are required. While you do not own enough skill, it is impossible to experiment freely.
"The one who does not want to be a student is unlikely to achieve skill" 46, "Jan Chichold warned.
Ideally, you need to know every font so to use them with unconscious ease.
One of the pages "La Operina" in Russian sounds like this: "Then we understand that not only the five above letters" A "," C "," D "Y" # "," Q ", but also almost all others are formed The elongated parallelogram, and not a perfect square, since, in my opinion, the speed-up, or stationery, letters should have something from the long, and not from the round; Radiance will appear from the square, and not from the elongated parallelogram, "rewrite this text by retaining the composition and calligraphic features of the English option. The task is not easy, but exciting and useful.
In our font manuals, it is recommended to make strokes from top to bottom and left to right, which is true at the initial stage of learning, but in the future you need to get acquainted with other techniques of work. Arrigi, for example, conducted a horizontal touch not only from left to right, but also to the right left. Of course, it is somewhat difficult Pen inhibits paper and springs. But if, barely starting to the right, then the barcode on the same line in the opposite direction along the fresh ink trace, the pen gets running and slides freely 4
A well-prepared tool controlled by a sensitive hand of the trained artist is easy, as an experienced skater on ice, slides in any direction. Performing individual letters with continuous motion and a reasonable reduction in pen pass from paper increases the speed of the calligraph, giving a letter to the liveliness and originality.
A leafle with the composition of the letters Villa Totus "Sample Feather" (Il. 141) I intercepted "on the way": the table basket for garbage. Villa Karlovich works fast. I could not see how many times a paper tool was broken. Six-Seven, I think no more.
Small letters are easier to learn to perform in one app. In a large amount to write them a lot more difficult. With a well-known experience it succeeds.
On the capital signs of Arrigi says: "Note, a kind reader when I said that all the letters should be tilted forward, you must understand, it applies to the line, and I wanted your capital to be inscribed straight, and the strokes should be solid and without hesitation, otherwise, it seems to me that they will not have beauty "
Sometimes "oscillation" the stroke decorates calligraphy. When Estonian Master Paul Luhtein worked on the handwritten text of the book "Liberation struggle of Estonians in Yuryev Night of 1343", his hand was "so traveled, the letters were obtained as accurate and clear, which could compete with typographic. It did not suit the calligraph, and before Take on the pen, he walked into the barn to chop firewood. "The hand gets tired," the artist smiles, "then I started writing (Il. 226) a little noticeable trembling did not interfere - the letters became more likely." I saw the pages performed by Professor Luhtein at 75 years old. Eye accuracy and hand hardness cause admiration.
One of the most popular fonts, survived flourishing in the early 20th century, is chopped, or grotesque. In our country, he received the most vivid expression in the works of the constructivists of Alexander Rodchenko and El Lisitsky. Mushroom-rude letters challenged the fonts of the past, brightly reflecting the revolutionary pathos of the 20s. "We did not lick the brutal masses of the bourgeoisie," Rodchenko was proud of. The chopped font "captured" exhibitions, facades of buildings, filled book covers, penetrated newspapers and magazines.
Nowadays, a chicken font (especially one of his varieties is a narrow grotesque) is often the only in the arsenal of an amateur artist-designer. The cause of such one-scenes is primarily in the known ease of execution. The initial hand manipulation skills make it easy to go to chopped forms. In addition, it is believed that grotesque if not organically, then, in any case, it is painlessly interacting with any kind of image, whether it is an application or a linear pattern, it is only possible to adjust the letters for fatty, altitude and so on. Application of fonts More original drawing expands the creative features of the designer, but requires more tact, taste, the ability to freely own the pen and brush. This is perhaps partly and explains the reason for the abuse of the "Font of the Century" *
The font is designed to create an emotional background even before the words are read, and, in any case, do not contradict the topic of the material being decorated. The sophistication of the Italian curse is appropriate for the story of the grace of jewelry, reliable for advertising a boxing match, and Grotesque is unlikely anyone who comes up to decorate verses A. S. Pushkin, E. PO or S. A. Yesenin.
The more fonts in the arsenal of the designer, the richer of its possibility. Considerable opportunities are concluded in the degree of finishing of letters. In one case, the artist, not satisfied with the clarity of the strokes, rules them with her whites, applies a rough brush in another.
Each calligraff has a personal attitude towards a specific font in general and to the graphic image of each letter separately. In the famous font S. M. Pozharsky (Il. 168) "C" -
* So sometimes it is called a chopped font.
Native elder, resting in the chair, "3" beautiful woman, "M" elegant, somewhat self-confident young man ...
Recall the Neruda Pablo: "The numbers are anchored, the fonts of anldine are roases, as a gauge gauge, ... as a sail, floats italic, the clone to the alphabet ..." 51 letter "V" The poet belongs to a sorny one from the words "Victoria", " E "Step to climb into the sky. "Z" - the face looks like a zipper.
N. V. Gogol described the work of the official-writing officer: "There, in this rewriting, he seen some kind of diverse and pleasant world. Delight was expressed on his face; Some letters he had favorites, to which if he got, he himself was not his own: he was frightened, and wink, and helped her lips, so in his face it seemed to read every letter that his feather "52
Bright, like a fire at night, the letters of one of the sheets Villa Totus resurrect me in childhood the spectacle bloated by the wind clubs of the flame, hot, burning straw and reed roofs hut and terribly, and eye do not tear off.
The striking observation in Jacqueline is welded. About the lowercase letter "A" Writes writes: "Imagine a small penguin with a straight back ... and a tail, moving to the right and up" * Latin "U" reminds her "V", sprinkled from beer, drunk in a hot day in the pompes .. . You, of course, may have other, possibly more accurate associations.
A beginner artist sometimes does not wait to show all the studied fonts almost in every work, but they are difficult to lead to stylistic unity, collect in a solid composition.
The main thing in our business is a composite flair, ingenuity, the ability to avoid stamps and "prosperous" solutions. Kosperature of thinking deprives the artist of the creative principle, turns into an artisan, "... leads," said the Telinger, - to the desire to use already ready, previously established solutions or rectilinear analogies (Pervomaisky invitation card - blooming tree branch, red flag, number one; invitation Ticket to a literary evening Image of the book) Of course, the use of such analogies can not be considered acknowledged, but much more desirable in every such case creative fiction, which would well comprehend these elements "54. That is why a good artist, according to the German Calligrof X. Cherger , immediately rushes in search of the original.
The inexperienced designer all parts of the text that he writes (for example, an ad, poster) may seem equally important. Often by all means trying to achieve the enhanced sound of each line, and it turns out boring, inexpressive work. In such announcements, "nothing amazes does not attract attention" 55 perceive such text is as difficult as to listen to a bad speaker a lecture does not save even interesting content. Here it is appropriate to remember the character Mark Twain: the priest who read the sermon to that monotonously and boring that "soon many were already nasal, despite the fact that it was about the eternal fire, and about boiling sulfur ..." 56
Competent composition - as a well-defined choir. Everyone seeks to fulfill their batch in the best way, but obey the leading melody. What if everyone tries to sing louder than others? So in the font work, no acquittal competing centers distract attention from the main thing and are able to distort the meaning of information. Once I was shocked by packing of cookies: next to the sample-like-sighted name "Hi" as actively shone: "From the flour of the highest grade."
It is important to learn how to allocate the main thing, be able to understand the riot of the parties of the secondary material (both among themselves and in relation to the main). Deliver the right accents in the text using the font of some parameters, only by varying the size of the rigorous spaces. If the option failed, cut it into individual lines, the words all rebuild the words by tapping onto a sheet of paper, and rewrite it completely. Return to the ad, font poster, solving the same tasks, but by another, changing the font on the lightness * and density **, and let the larders remain the same. Write the text again, applying both receptions.
* Font Svetlotte is determined by the ratio of the width base of the touch of the letter to its intrabive lumen.
** The ratio of the width of the letter to its height.
Even before our era, Romans placed the so-called albums in strictly defined places. Often it was possible to see predourisy: "It is forbidden to write here. Mount So whose name will be mentioned here. And I will not be good luck. " Nowadays, information posters also do not hang anyone where he wants, so without the word "ad" it is easy to do. Vladimir Mayakovsky was outraged: "Which stationery is notified, brings to the attention, announces! And who will go to these calls? " 57 Abolish some prepositions, refuse to "take place" and "Agenda". If possible, we bring our text to the stupid-business tone of the telegram: "December 20, 16.00. Assembly Hall. Trade Union Assembly ", etc. Passed words, template expressions reduce the effectiveness of information. It is concise, if necessary, the originally compiled text is perceived faster, saves the time around.
Performing text, sometimes you have to do transfers in words. Grammatically correct transfer can be unacceptable for the artist. Poor looks bad words in slogans, it is impossible (especially in the main lines) when transferring, for example, Moscow on Mos and KVA, Lomonosov on Lomo and nosov, etc. But it happens, the artist consciously violates all the rules. Writes qi, and the Republic of Kazakhstan transfers, turn over any letter upside down, let it be in unusual for the reader in the circus everything is possible!
Knowledge of the main techniques of composite construction helps faster, efficiently work and find their creative solutions.
1. Symmetric composition: the centers of horizontal rows are rows for one vertical axis, on both sides of which letters are equivalent in size, configuration, color, have the same "weight".
2. A few axes are possible in the asymmetric composition. Groups of strings are attached to them left, right edge or middle. In complex buildings, the row is sometimes not adjacent to the axes, and the wholeness, the completion is achieved by the ability to find a kind of center of gravity, balanced by complex interaction of various fonts. In the "flag" composition, all lines are adjacent to one common vertical and ends arbitrarily. This freakty admission was loved in antiquity. And now he gives good results. It is difficult to bind all lines to the axis with the right edge (the inverse "flag" composition) is achieved by various methods:
1) the preliminary layout of the text (the width of the letters and the distance between them is posted with a pencil) - this method is most suitable for simple fonts (for example, narrow grotesque); 2) You can draw words on a separate sheet and, by placing them over the top line of the line, focus on the draft; 3) the use of decorative inserts at the beginning, at the end of the line or between words, the use of strokes, helping, if necessary, stretch the line to the desired length; 4) input of remote elements of the letters of one line to another; 5) by right-hand letter (write to the right left, starting every letter from the last main stroke)
In practice, they often use several techniques at once.
It should not be artificially stretched or compress the letters, trying to align the right edge of the text in one line, the naturalness of the layout is lost. If necessary, however, even experienced masters still write better or byady, but very skillfully distortion do not cut eyes.
Interesting effects achieve a kind of lines. In the usual business text, the line is usually located horizontally. Sometimes the text is combined and vertically, and diagonally, in a circle and spiral, perform portraits, figures of people and everything should carry a certain semantic load for example, the letter "Stolkin" to simulate the Chinese inscription sound expressive, but not always correctly: the headline "China today "A knowledgeable artist will give anything otherwise, since the Chinese moved to the letter horizontally - from left to right.
It happens that the original composition sharply reduces readability. However, it is permissible. I do not regret the spent time, we enjoy the lace pattern of rows, invented by Irina Guseva, admire technical skills and emotional small artists (Il. 151) is a kind of illustration to the poem of an independent work of art.
Interbustful lumets, larders and fields of fields are dependent in relation to each other. The compacted letter (rapprochement of letters and lines) involves a decrease in remote elements, the reduction of the gaps between the words. In this case, the fields are perceived broader. With an increase in between-strokes, remote elements often extend, and large fields are required. The change in the value, the shape of the remote element or stroke, it happens, entails the need to process the entire product or its individual parts.
In the art of the composition there are no ready-made recipes that could be fully relying. Artists work in different ways. Some carefully think over the text structure, work it into a pencil and, strictly adhering to the solution found, allow the pen into the course. Others write with the go, with a minimum of composite calculations or at all without them, caustiously rushing to the debris of composite surprises, improvising, inventing and finding. Never resort to the markup Japanese and Chinese masters: it could slow down the natural movement of the brush. The most simple thing they sometimes rewrite ten times fifteen times, and choose one sole option. It is distinguished by the magic ease, the ease of execution, which cannot be achieved by jumping in advance prepared lines. E. A. Gannushkin believes that in the font "Everything happens subconsciously, when the artist drives his hand on paper, consistent with the thoughts that run far ahead" 58 Improvisation has always been a good assistant of many artists, scientists, poets. Pushkin, working on the "Eugene Onegin", wrote to a friend with surprise * "Imagine what joke Tatiana was played with me to marry the prince." Marietta Shaginyan and approximately did not know how the fate of the heroes of the novel "Mesh-Mend" will be. Every morning she was in a hurry to sit down for the manuscript, tormented by greedy curiosity: what will happen next?
Improvisation exacerbates composite flair, develops and liberates imagination. The world of spontaneously condesigned letters gives sometimes unexpected results and stimulates new creative solutions.
Significant effects in calligraphy reach color. A beginner font when he wants to make a bright, festive thing, sometimes uses all the paints, which only is at hand. There is no expected choice and in risen. It is better to limit the two-three colors, but choose their immaculately.
The prerequisite for the multicast composition is the presence of dominant color, associatively emphasizing the topic of work.
Speecually, as mentioned, the font looks like on a tinted surface. The fonts need to know the optimal color table table, where the clarity of perception of letters on a colored background is given in descending order: black on yellow, green on white, blue on white, white on blue, black on white, yellow on black, white on red, white on black , red on yellow, green on red, red on green.
To highlight text and enhance its emotional sound, the calligraphs also use the initial, ornament and stroke.
The initial * (or the letter) appeared in the manuscripts before our era as a decoration to draw attention to the initial parts of the text.
Modern calligraphers initial start heading, paragraph, offer. Its "drown" to the text, output in the top or side field, placed in the center of the composition, sometimes as a kind of illustration, allocate the original configuration, size, color, frame, stroke, etc. Competent application of the initial requires knowledge of the history of font art, emotional alike. The ancient Russian letter is unjustified in the text of modern content, and the font S. Pozharskoye, harmonizing with the lyrics of S. Yesenin, is unplanned by the work of V. Mayakovsky.
Ornament * originated for a long time. Another primitive people, sending various rites, were painted with earth paint and plant juice, denoting belonging to a specific tribe. Tattoo began with childhood. The ornament covering a person from head to the legs was a primitive story about the main events of the lived.
Ornament in font work (poster, honorary address, handwritten book, etc.) Not only the decoration, but also a means of creating an artistic image. It should not contradict the topic of the material being decorated. The ornament decorate the letter, the frame, it is placed inside the text, between words and letters, they are framed by the numbering of pages and so on.
Thrings in calligraphy belongs to a special place. The desire to write beautifully dorms in any person, even in such as Lazar Norman (the character of Roman A. Green "Golden Chain"),
* From Lat. Forka decorate.
With a book with twenty-four paintings "with tails and comprehensive strokes" 59 to this, as well as any other expressive calligraphy tool, many requirements are presented. "Rowharm," said X. Corger, "it is obliged not only to look great and impractily, but it should be filled with movement, vitality, thought and sharpness that are invested in this work" FI0
A good stroke lives on paper. This is not a lekal curve, conducted by an indifferent hand of the draft, and the mood, the soul of the artist, "creative, - as Yu. Herchuk said exactly, - at the tip of his feather a capricious and fragile beauty"
This decoration has a wonderful and pronounced ability to interact with its space surrounding it, because they often completed the chapter in old handwritten books, if she ended at the beginning of the next page.
A good stroke is sometimes overly frightened, but in general the obedient child of the letter. The nature of the lines, the connections must have an organic connection with a font pattern. This is often neglected beginners, forgetting that any decoration without proper relationship with the surrounding elements will only spoil the work.
193.
J. Pilsbury. Initial. Paper, Gouache, Bioet Feather, Polished Gold
Prince Myshkin (Character Roman F. M. Dostoevsky "Idiot") "... The stroke is the most beautiful thing!, Requires an extraordinary taste, but if only he managed if the proportion was found, then the font is not comparable to anything, so even that you can fall in love with it "62
Many modern masters in the search for new graphics effects moved away from classical calligraphy. The new graphics of letters requires its own stroke. A wonderful example of such a correspondence sheets of the "Old Estonian calendar" written by Villa Yarmut (Il. 206)
Do not abuse decorative elements. Place them in exactly the location. The basis of a good font is primarily in the right form. A poorly written letter of foam calligraphic frills "not sugar". However, for example, Celtic scribes and decorators, putting manuscripts with decorations, achieved perfection. "But no scientist can accurately tell you how to turn into great arts" 63, "said American scientist and Calligrapher Donald Anderson on this occasion.
The stroke usually make the same thickness as the letter, or thinner, in order to avoid rivalry between them. An knowledgeable artist usually avoids the intersection of wide elements (otherwise dark spots are formed), controls the roundabilities, transitions of the thin line in thick and vice versa.
The stroke consists of the following parts: trunk (a qualitatively new continuation of the body of the letter or its remote element) and branches (decorations coming from the barrel stroke) Additional struts. Independent decoration. It is not directly affiliated with the letter, but enhances its decorative qualities. Composite parts of the stroke are performed in a certain sequence or without taking the pen. Combine and both techniques.
Very conveniently exercise with a pencil, sharpened on a broadcast manner. It is necessary to study and recycle a lot of good samples while graceful art will not submit a writing. The experience is gradually accumulating, the stock of independently found solutions is growing. Trained holding a good intuition The artist is able to find the right game of lines with the go. Quite often, this option is most successful. But let the reader, the reader does not work as if a professional is always easy and simple.
... far over midnight. A calligrapfer sits behind the table lamp at the light of the table lamp. Rapidly gliding on paper bird feather. All new and new sheets lie on the table, on the floor, so they filled the entire room ... The master carefully revises everything made. Most of the ruthless destroys. Armed with scissors, carefully cuts separate letters, lines and sticks out of them again ... So one of the most brilliant, sparkling ease and freedom calligraphic etude Villa Totus was born. This work is often performed in one breath, without amendments, but the price of the magic lightness years of constant, dedicated work.
Once to Claud Monet, who quickly writing a landscape from nature, approached an unknown connoisseur of painting and asked to sell an etude. The artist called a significant amount "But you worked only half an hour!" cried surprised Mr. "Plus 37 years of daily exercises," the Monte was not confused.
When the foundations of calligraphy are learned, be sure to get acquainted with the special techniques to manipulate the tool (Il. 198). They expand the creative possibilities of the artist of the font.

I. Simultaneousness of the progressive and rotational movement of the instrument.
1 rotation of the pen from the acute angle of the letter to zero (flat) a) the imaginary axis of the stroke passes through its middle (starting the rotation of the pen from point A, we get a bilateral spot), b) one of the sides of the stroke oriented vertically
2. Smooth increase in stroke width.
3. The rotation of the pen from the zero angle of the letter to acute and further.
4. Smooth transition of the pen from the zero angle of the letter to acute in the middle of the stroke and again to zero at the end.
5. Repetition of the manipulations of the previous paragraph, but in the reverse order (from acute angle to zero and again to acute)
Manipulating, the handle holds almost perpendicular to the sheet plane, rotating its index and thumb or index, middle and large.

II. The use of the "ink wedge". Ink wedge I call the triangle of liquid paint, formed between paper and working
The surface of the pen when its angle is raised. Raising or lowering the edge of the pen, that is, reducing or increasing ink wedge, you can change the thickness and the end of the end of the stroke (if the required amount of paint is supported in the stewed
Coon pen
1. Transferring a stroke from an acute angle of the letter to zero starting from point A, lift the left corner of the pen, while continuing down the movement until the right angle reaches the bottom line of the string. Try to put paint so to complete the barcode strictly horizontally.
2. Transferring a stroke from the zero angle of the letter to acute since the point A, "Turn into the work" ink wedge, lifting the right corner of the pen.
3. Transfer of a stroke from the zero angle of writing to stupid. Starting from point A, lift the left corner of the pen until the right line reaches the line line.
In all the examples considered, the speed of progressive and rotational movements, starting from the moment the ink wedge is turned on is approximately the same.
4. Connecting strokes. Interesting nuances in the transition of the main stroke into the connecting receipt, translating the feather, smoothly (a) or sharply (b), on the left or right angle.
5. Strong stroke with gradual refinement or thickening. The movement begins simultaneously with the inclusion of the ink wedge. The speed of the progressive movement of the pen significantly exceeds its rotational speed.
Here are the most characteristic and for greater clarity, extended types of strokes. Virtuosos control the pen sophisticated and thinner. Good having learned the "Rules of the game" and stinging the hand, you will find your combinations of techniques and go to creative solutions.
What are the basic principles of a beautiful letter? The most clearly and excitation formulated their "Father of Contemporary Calligraphy" Edward Johnston: "Clarity, beauty, characterity. Simplicity, originality, proportionality. Unity, deposit, freedom "64" The problem facing us is extremely simple - considered the master, - to make good letters and they are well placed "65" Be sure the definition, the beauty of the letter and the author "66
Describing the work of an outstanding German master of German TsAPF, convincingly determines one of the highest steps of calligraphy
V. V. Lazur: "The TsAPF reaches in its calligraphic sheets of virtuosity, forcing the work of the Renaissance Age of the Renaissance, when this art was in Zenith ... Letters sing under the pen of the pin, many of his calligraphic sheets impress musical works, only favers to hearing, and to the eye. But never ... The beauty of the stroke does not turn into an ass in itself, does not obscure those thoughts and images that he wants to convey to people "67
The gradations in the evaluation of calligraphy from the Chinese are peculiar and instructive. A good font is called "Kostisy" (each letter has a strong skeleton and competently built anatomically; the artist managed to "give strength to his strokes") above all appreciated the "muscular" letter (strong skeleton, no "extra meat") letter "with a weak skeleton" ( Few "bones" and the abundance of "meat") is considered "guy".
Note: Even very high and thin, but constructively weak letters can not be called "bony". They are "piglets": shameless, sluggish, anemic. And on the contrary, the fattest letters "Kostystys", if anatomically built flawlessly.
Any font depending on the perfection of execution is able to act in any of these qualities and in inept hands easily degrades into the "piglet".
The disadvantages include excessive smoothness of the letter, the softness of the line, the tension in the movement of the brush, excessive pressure tool on paper, negligence and chaotic movement.
We are valued by the connoisseurs of work, where there is a delicate match between the ability in the design of each stroke of the letter and as if unspecified inaccuracies and "errors". Agree, another sketch causes more feelings than a scrupulously discharged work. Such a thing, if the workshops are made, rolls out and a subtle understanding of the form, and the taste of the calligraph. Beautiful surprise in art always makes his eyes.
Individuality is hardly the most valuable quality of the artist.
The true artist is not looking for a beaten way. Sergey Yesenin: "Canary with someone else's voice - a pathetic, funny stronger. The world needs a song word to sing in-definition, even like a frog "68
Much can be learned by studying outstanding samples of the letter, but the goal is to master the skill and come to your own handwriting.

Modern handwritten book
The first "books" written clay plates appeared in Mesopotamia and kept in large, well-organized libraries. The repository of writing monuments found in 1852 on the shore of the tiger contained 27 thousand tables from the assembly of the Assyrian Tsar Ashurbanipal (7th century to our era)
Peculously "replicated" the writings of famous authors in ancient Greece and Rome. In the bright room, several dozen scribes were comfortable. One person sitting on the elevation, slowly and clearly dictated the text, the rest wrote.
The work of the correspondence has always been respected. We found the time to be improved in this art and the strengths of this world. The Byzantine Emperor Feodosius II (5th century), resting from state concerns, copied Greek and Latin manuscripts at night.
Medieval scriptoris was a large bright room in deep silence, many hours in a row worked monks-copies. It was not allowed to talk. The manufacture of books is sometimes equal to the battle with the devil, only with the help of the pen and ink. And I made a mistake or the punctuation is not in the freak - it means that I got a singer, be kind of hurt a sin.
Many books cost mostly expensive. And not surprisingly. Pages were decorated with miniatures and ornaments, and binding - embossed, carvings, and sometimes precious stones, enamels, gold or silver. Fasteners made of precious metals were attached to the binding. The luxurious manuscripts were shouted as Zenitsa Oka, and, in order not to tempt the neighbor, they caught the chain to the shelf of the library cabinet.
After the invention of typography, the ancient art ceased to be vital, and people hurried to turn away from him.
Nowadays, a handwritten book (primarily replicated) slowly, very slowly, but returns to life, and the calligraph has many opportunities.
Let me remind you, the design of the poem F. Tugala "Sea" (Calligrapfe Villa Totes, illustrator Evald Okar) won in 1966 at the All-Union Book Art Competition The Higher Award - Diploma Ivan Fedorov. It is not true significant: a diploma diploma - for achievements in handwritten work.
K. MSISSR. Relief handwritten book. Paper, gouache, wide feathers
"O" of different widths in the same text. "What is caused by the spelling standards or the peculiarities of the handwritten original are not yet sufficiently studied," said A. G. Schitsal69 "O" - the most common letter of the Russian language, "the most walking", according to Writer Boris Zhitkov. It is known: most of the and errors have to be exactly on frequently repetitive and graphically inexpressive signs. It seems that Russian calligraphs understood this, "diluting" in a certain rhythmic sequence of a narrow "O" Letters "O" of Wide Inscription *
Accelerate the reading process used in ancient handwritten
* Perhaps also, in such a way, the most reveal corresponders lengthened or shortened the lines, achieving on the page of the smooth field on the right.
Book of ligature. N. I. Piskarev dreamed of using them even in typographic fonts.
Attract mobility, the animation of handwritten forms, allowing to vary the graphics of letters and at the same time to achieve a single ornamental rhythm of each row and text as a whole; Individuality, refreshing eye of a handwritten book (remember that the path from the project of a typographic font to the set office takes us years, sometimes decades) and finally, I am far from thought to advise you to rewrite the great Soviet Encyclopedia. Modern calligraphers turn to small stories, fairy tales, collections of proverbs and sayings.
An excerpt from Ruslan and Lyudmila A. S. Pushkin rewrote a Bioet Pen I. A. Guseva (Il. 210) Compare it with any Phale's set page. Do you need to doubt what choice will the reader do?
Readability in our time is not always the only and main feature of calligraphy. Sometimes it moves to the second role if the first plan shaped interpretation of the text. Then it is already about writing graphics, a font illustration. This, it seems to me, can be seen on the example of sheets to the works of E. on "Sleeping" (Il. 212) and "Raven" (Il. 213) Reusable, as in a dream sounding, the repetition of the same words, so characteristic of the poet lyrics - an attempt of peculiar emotional accompaniment to poems.
In many countries, the direction is gradually gaining momentum and absolutely amazing for our time: the calligrapher creates a fully manual product (up to self-release paper), not even thinking about replication. Such exquisite things are made by order of lovers of rare books, give friends or stored in their library to delight and guests, and to themselves, or for the exhibition.
The handwritten book is impressive even in unprofessional performance. In the 20s after the counter, it was happening, stood writers, poets, offering the books of their poems, rewritten themselves.
Handwritten book Beautiful practice for calligraph. After the choice of literary work is made, you need to think about the format of the book. Here are the poems about high-rise houses, about the new building, and this, let's say about hippopotal. Of the two options: the elongated vertically and elongated horizontally - the latter is clearly preferable to the story about the nervy animal.
The most pleasant and simple proportions of the page are: 1 2; 2 3; 3 4; 5: 8; 5 9.
One of the main elements of the book is a title page. It is placed on the name of the author, the name of the book, the place and year of the publication. The title takes one page (single-band) or two adjacent (two-band) two-band title can be reversal or swollen. In the broken version, all the material is located on two pages so that the right side serves as a continuation of the left.
Avantitule (leaf before the title) Most often duplicates the name of the work, is engaged in decorative elements, the slogan or dedication and is desirable almost always. The book without Avantitule, like an apartment without an entrance hall: you get from the corridor right into the bedroom or kitchen, bypassing the front.
The first page on which the text begins is allocated by the letter, the screensaver or decorate with the descent. To determine the fields, the main side of the page is divided into 16 parts. Two parts are left from above, three on the right, one and a half and four below. On the reversal of the fields of the two neighboring pages, three units are made. If you need to increase the area under the text, the same page is already broken by 20 parts.
Yang Chichold was told about the harmonious ratio between the size of the page and the text in the study "Free from the arbitrariness of the size of the bookpage and a setband"
Properly found fields decorate the book. If they are small, the text "stuffy", closely in the sheet; Great - text sinks in them.
When the last page of the book is filled with text not completely, it is good to complete it with a decorative element or pattern. In the past times, they did it easier: they wrote "to gentle" or built a triangle some joke like it seems: "And I was there, honey beer drank ..." So the meaningful and graphic congestion of the narration was achieved.
The improvised book is convenient to fold the harmonica. It's simple and beautiful. Enter the block is more dense and suitable for color paper. Here and the cover is ready. If your book is composed of a notebook, it is good to dress it in super or make a cover double due to special valves (bent ends) Do not fasten the sheets with wire brackets, a needle and threads will make this matter much better. Special
Effects achieve special preparation of the cut. Tell the format each individually a sheet of block, pressing it to the metal line table. This technique, of course, does not give paper the illusion of manual dressing, but emphasizes the needlework, the uniqueness of work. Smooth clip can be painted with a suitable color from three or two sides or wipe the "golden" powder.
Paper cover effectively beat the imitation of the congregation * relevant here the monogram of the author's initials, for example. Write the letters with a wide-end tool on dense cardboard. Cut them with a sharp knife and, putting under the cover, carefully pull the paper in the form of the relief by any metal, well-polished tool of suitable size. If you first soften the edges of the template with a knife, embossing will turn out to be rounded.
Maketing is customary to start with preparatory sketches. After you have found common masses of text, individual lines, headlines, illustrations, offspring, thoroughly shist everything in a miniature layout. When, in general, the work "will" develop in detail the composition of each page, pretend the font for fatty, contrast, height, etc. It is useful to cut the text to individual lines, words, find the best layout option and shoot a layout to a variety.
Before laying the sheets, prepare from the paper strip a ruler, where the distance to the first line is indicated and the entire subsequent markup of the page. Lines are carried out by wrote (for example, blunt awry) or a pencil of medium hardness. At first, four lines will be required for lowercase letters, showing the height of the housing and the borders of the remote elements (upper and lower) prototypes sometimes neglect the markup or bypass one line.
Cozy live in the handwritten book ornament. Bioet Feather provides a harmonious ratio of thick and thin lines. Artists have long been manifesting in graphic decorations a lot of fiction and ingenuity, reaching a holistic artistic appearance of the book.
In tempting to illustrate the book itself, but you can use the services of the artist schedule.
Hide your workpiece for several days. If after a week, the other will not appear to make adjustments to the layout: to change the value of the random, the layout of the books, decorative elements, to revise the parameters of the font, etc., - start writing well.
* Relief embossing, invented by the English engineer William Kongrev.

Calligraphy in everyday life
Calligraphy, according to Hermann Tsarf, this is the most intimate, personal, spontaneous form of expression. Like a fingerprint or voice, it is unique for every person
Sparkling Roscherk A. S. Pushkin, painful-refined handwriting F. M. Dostoevsky, rapid, full internal energy and manuscript forces V. I. Lenin will tell us about the identity of writing and mental state at the time of the creative process.
Letters who exchanged representatives of science and creativity of the Renaissance are perceived now with genuine works of art. An example of Tom autographs Michelangelo, Petrarks ...
Hand writing, personal font peculiar diagram, graphic formula of each person, "Geometry of the Soul", as Plato said.
Beautiful, clear and folding letter essential sign of culture of communication. Even during the usual conversation, we try to say if it's not beautiful, then at least it is clear, in moderation quickly, not pushing, without swallowing words and sounds. Often quoted Alfred Ferbank's statement, and it is so good that I appeal to him again: "People want to talk not only clearly, but also with exquisite and
Edge grace. Similarly, you need to write: the letter must be beautiful. In other words, the letter should be treated as art "72
K. Regret, many suffer from graphic tonazing. Albert Capr believes: many letters remain unpassed because we are shy of your handwriting. In this sad recognition (may be subconsciously) sounds and major notes. It is already good to shy. So much worse, when the sortiest basting doodles give out with obvious pleasure.
The author of the famous "Alice in Wonderland", a writer and mathematician Lewis Carroll, in a small masterpiece "Eight or nine Soviets on how to write letters" claimed: "Most of all that is written in illegible around the world, it is written just too hurried. Of course, you will reply: "I am in a hurry to save time." The goal, what to say is quite worthy, but do you have the right to achieve her at the expense of your friend? Is his time not as valuable as yours? " 73.
Once in a conversation with V. V. Lazur, I expressed admiration for his handwriting. "I am writing quite slowly, I'm not hurrying," the artist simply explained.
Other letters or business papers read completely unthinkable. They are trying to decipher collectively, passing out of hand to hand, trying to disassemble every letter, guess the word for the word, in meaning. But Sultan-Ali Meshameda taught: "Hand writing, which is known as clear, is an indication of a good handwriting. The letter exists in order to read, not in order to read it were helpless "74
Holders of a good handwriting usually comply with optimal speed of work. Crossing the velocity threshold, any risk turning letters into the doodle. It is believed that the reasonable speed of the letter to which you need to strive for about ninety signs per minute.
The case will tell. He performed at the international symposium a famous foreign calligrapher. The translator began to translate the report on the manuscript, but began to make mistakes, stuff and warned: "Exact translations do not expect, the text is written by anticarigraphic." In the hall revived. The speaker, apparently, deciding that he let go some successful joke, also caught up ... later I was convinced: he had a great handwriting, and the misunderstanding had happened and was the result of the expository letter of the letter.
Many masters and teachers see the root of evil in acute re. John Howard Benson strongly acted for the use of a broad tool, because we "... We write quickly, may be picky, but almost exactly, without pleasureing the perfection of the letter" 75, a pointed feather, considered Benson, is largely responsible for the status of the letter .
Opened in 1952, chaired by Alfred Far-Bank, the Course Letter Society was trying to introduce the use of Bioet Feather at school.
John Schevers, a member of the Society of Society of Fonts and the Portholes of England: "Society is confident, and I share this opinion that learning Italian cursive since childhood allows you to limit the deterioration of the rules of the handwriting, which is observed in our days, and instill respect for font art" 76
But there is time. Inkwell and its in -ureous satellite, feather, came to oblivion, perceived by almost eccentrics. Resolutely displaced by a ballpoint handle, they found a shelter in post offices. Of course, the possibility of a wide and even sharp feather is not a ball handle. No need to strive for this. "Ball" is not a hindrance to a beautiful handwriting. It all depends not from the tool, but on whose hands it is located! Graphics of letters must respond to the features of the instrument used.
Now the calligraphes split into two camps: some worst feather in everyday life, others (their majority) for the "whole ball". And nothing can be done here. As a balloon, a modern airliner will not replace us, so wide or acute Peru cannot compete in everyday life with a ballpoint handle. Representatives of each of these areas have examples and beautiful, and very medious samples of the letter. How to be? There is no unambiguous solution to the issue here. As often happens, in two, it would seem, excluding each other's positions there is a golden middle.
The formation of the handwriting begins at school, and it would be important to start with a cleaning, or rather, to say, with correct signature: to study the letter forms and the patterns of their formation by a ballpoint handle. Certificate in schools canceled the "ball" not dirty, ink spots and wet round in the fly
And the blots were so picturesque! Note: Sometimes the feather hits - only the splashes fly, and the calligraph of the old starter is in no hurry to scold the tool. Moreover, it will be aimed good and the stain-other will also put it specially. From the student of my school years, such a master is distinguished by one thing: he knows, in what place, where and when and under what circumstances the blots will be appropriate. Successfully illustrates this small retreat sketch of a diploma for graduates of the Tallinn School of Font, decorated by Villa Yarmut (IL. 245)
It is advisable to introduce into a school curriculum and the subject of font, to introduce students with the main types of font, give the first letters skills in the technology of the Bioet tool.
The famous artist and teacher Herrit Nordsee taught calligraphy children aged eight - ten years. Nordsee noted, with what pleasure they write newcomers with a white chalk stick (on a wide pen) on a black chalkboard, and it became one of the teaching methods. In the end, everything that is done with the hunt, brings good results.
It happened so that two or three left-handers were in the group, and this is the difficulty for the calligraph. Dutch teacher, a great enthusiast of his business, learned to write with his left hand, and only then, won the trust of the guys, allowed himself to convince Levshu in the success of training.
In the exercises, the attention of children was concentrated on problems, not cleaning. Did not require the guys of immaculately clear strokes, but controlled the angle and tilt of the letter; They admitted blots, but strictly followed the proportions of letters, sought an understanding of the logic of the Broadcast tool. This is the method and John Bigs from England. During the apprenticeship, he believes, "Working method, the process of thinking is more important than complete work" 77
"We do not know," Herrith Nordsee frankly, "Whether our children will write well when they grow up, but we will never forget that the certification contains very attractive features."
The practice of a wide pen will facilitate in the future the transition to calligraphic writing in the workbooks (many schoolchildren can write graphically and composite announcement announcement? And students? And people with higher education?)
In the GDR, England and some other countries, competitions of a beautiful letter are held for schoolchildren. Example, worthy imitation.
Beautiful handwriting in everyday life is not every wizard of the letter: you can perfectly own the official or semi-official calligraphy and stay quite helpless when it is necessary to clearly and quickly fix the necessary information. And this is understandable: if the scribe did not have sufficient practice for any reason, such, for example, as an outline, and did not develop a fine coordination of small movements to the fingers, where to take a good handwriting? And so: Hand writing Ploying, and a man will take a poster pen and will show a stunning beamless
In any case, it is necessary to strive to comply with the following tips:
1. Hold the handle correctly. From this, as in the official calligraphy, much depends on. In a small manual, the middle of our century it is said that the pen must be kept not tight, but confidently and freely, like a living bird, which is afraid to be released, and they do not want pain. It is said effectively, but the word "fear" is alarming. It points to custody. The master holds the "bird" easily and confidently, without timidity, as if she was in her hand and was born.
2. Casual handwriting involves binding letters in words, but this does not mean that all signs must be connected. Tools from paper facilitate the movement of the hand horizontally, reduce fatigue, contribute to the readability of the letter.
3. One of the conditions for a clear and broken handwriting is saving the optimal speed of the letter.
The working handwriting is individual creativity, and any experiments are legitimate here. Most font innovations have long been known, born under the feathers of ordinary clerks. Official calligraphy of conservative complies with the exact form, rules and techniques to perform each letter. This is a fairly slow and time-consuming craft. In the usual handwriting, the speed was always welcome, and random finds (to take at least remote elements) became the property of not only handwritten, but also typographical font.
The passion for the letterness exists now. They write, for example, instead of "I" or "3" something resembling "S" Latin, "V" instead of "g", etc.
After the 1918 reform in the Russian alphabet of three signs corresponding to the sound "and" ("...", "M", "* y"), remained "and" as most frequently used by the old standards of spelling. Russian and Bulgarian, the only alphabets built on the Greek and Latin graphic bases lost the letters "...". Perhaps we did not do in the best way, abandoning the peculiar "indivisible bricks", which is part of the vast number of alphabet letters.
Albrecht Durer: "I will take myself as the first letter" I "for the reason that almost all the letters can be made of it ...".
The use of "..." instead of "H" could have a beneficial effect on the readability of our everyday letter, where from "and", "T", "P" and elements of other letters are formed peculiar "frequisites" complicating recognizing individual signs and impede reading. It forces it to resort to special identification signs (long or editing dashes) they help to distinguish "T" from "Il".
The problem "and a decade" ("...") is not Nova, and returned it to the "state" of the Russian alphabet tempting. The writer Lev Uspensky is still, according to his own admission, he experiences temptation to sign in "...". Such is the power of habit to a good letter. True, the appearance of the only one-skate letter is irrevocable. Uzaknaya "..." would dragged at least one more one-sham, for example, "..." (however, typographical fonts have already appeared, where the Latin "..." (g) reminiscent
Promises an improvement in readability and acceleration of the letter Another replacement ("L" on "...") This technique is often found in the manuscripts of V. Ts. Lenin.
For the purpose of the experiment, I tried to apply in the household handwriting "...", "..." and "...". I do not consider this a bad example, but it turned out to be infectious. Students, especially at lectures, began to do the same. Attempts to read such records of the most different audience, including schoolchildren, were successful. There was no difficulty or they scattered after the first clarification.
Most professional scribes pays enough attention to the everyday handwriting, seeing not only a way to fix speech, but also a great tool for training hands and eyes. Many collect and analyze samples, transferring the most interesting finds to their work. Some font sheets of German Herman Tsarf, Villa Totus, Gunnlavugu Bream, Herrita Nordsee and others are nothing more than a domestic calligraphy, sometimes increased in size.
Household handwriting with due respect can turn into the most massive type of graphic art.

Notes
(...)
European name pointer, American calligraphers
Alexander and (Canada) 147 (Il.), 152 (Il.)
Alexander P (Canada) 99 (Il.), 186 (Il.)
Anderson D (USA) 243
Anchre K. (Sweden) 58 (Il.), 146 (Il.), 228 (Il.)
Arrigi J1 (Italy) 23, 24 (Il.), 26, 89, 129-132, 243
Barbedor L (France) 29
Becker A. (USA) 193 (Il.)
Benson J. X (USA) 89, 129, 130 (Il.), 131, 225, 227, 243, 244 Berry K. (USA) 53 (Il.)
Bigs J. (England) 7, 33, 58 (Il.), 63, 128, 233, 242-244
Bikham J. (England) 29
Blagee B. (Czechoslovakia), 155 (Il.)
Bogdesko and (USSR) 66 (Il.), 67, 105 (Il.), 136 (Il.), 206 (Il.), 209 (Il.)
Bosenko G. (USSR) 196 (Il.)
Boudene D (Belgium) 59 (Il.), 63, 134 (Il.), 135 (Il.), 153 (Il.)
Boudene P (Belgium) 53 (Il.), 117 (Il.), 240 (Il.)
Boshen Zh. (France) 29
Brym G (Iceland) 7, 26, 48, 63, 119 (Il.), 177 (Il.), 185 (Il.), 198 (Il.), 241
Brand K. (Netherlands) 59 (Il.), 63, 72 (Il.), 133 (Il.), 163 (Il.), 178 (Il.)
Breeze K. (England) 47 (Il.), 119 (Il.)
Baildon D. (England) 29
Vagin V. (USSR) 67, 207 (Il.), 208 (Il.)
Weiss E (Germany) 35
Veld Ya. Van de (Netherlands)
Velievich Zh. (Yugoslavia)
Volpe B. (Germany) 36 Wolf A. (USA) 94-95 (Il.)
Wood D (Australia) 63, 167 (Il.), 168 (Il.), 172 (Il.)
Woodkok J. (England) 48, 105 (Il.), 107 (Il.), 136 (Il.), 154 (Il.), 157 (Il.) Gannushkin E. (USSR) * 01, 175, 243
Girvin T (USA) 170-171 (Il.), 181 (Il.), 195 (Il.)
Gray M (Canada) 220 (Il.)
Green D (USA) 78, 80, 176 (Il.), 211 (Il.), 236 (Il.)
Gulak V. (USSR) 67
Gurdi T (Scotland) 122 Gurskaas A. (USSR) 67
Guseva and (USSR) 67, 145 (Il.), 175, 199 (Il.), 217, 222 (Il.)
Dei S. (England) 48, 151 (Il.), 179 (Il.), 235 (Il.)
Deller J. (France) 28
Detacker K. (Peru) 63, 144 (Il.), 150 (Il.)
Jackson D (England) 48, 63, 83, 230 (Il.)
Jackson M (Canada) 57 (Il.), 102 (Il.), 234 (Il.)
Johnston E (England) 26, 31, 32 (Il.), 32-36, 189, 242, 243 Dobrovinsky E 64-65 (Il.), 67, 78, 120 (Il.) (USSR)
Douglas R (USA) 126 (Il.), 127 (Il.), 128, 129
Duke E Van (Netherlands) (Il.), 87 (Il.)
Isiar x de (Spain) 23, 28
Jonsson T (Iceland) 114 (Il.), 115 (Il.)
Kaasik A. (USSR) 67
Capr A. (Germany) 12, 39, 40 (Il.), 40, 44 (Il.), 73 (Il.), 139 (Il.), 225, 242,244
Kennedy P. (USA) 134 (Il.)
Kersna X. (USSR) 67
Kiwijal X (USSR) 67
Kogan E. (USSR) 67
Cherger X (Germany) 154, 182, 243
Koh R (Germany) 34-36, 37 (Il.), 68 (Il.), 242
Brief L (Czechoslovakia) (Il.), 180 (Il.), 185 (Il.)
Credelf. (Germany) 35, 36
Kusik R (USA) 50 (Il.), 51 (Il.), 203 (Il.), 204-205 (Il.), 231 (Il.)
Lazur V. (USSR) 7, 33, 71, 74 (Il.), 75, 189, 225, 242, 243
Larish R (Austria) 34, 35 (Il.), 35
Larsha J. (France) 10 (Il.), 63, 138 (Il.), 140 (Il.), 172, 173 (Il.), 219 (Il.)
Laurenti L. (Sweden) 166 (Il.)
Lausmee E (USSR) 16-17 (Il.), 62 (Il.), 67
Leonerator G. (France) 29
Lemoan J. (France) 124
Liiberg S. (USSR) 67
Lindegren E. (Schwalir) 63, 242, 243
Lucas F. (Spain) 23, 28
Luhtein P (USSR) 7, 61 (Il.), 67, 132, 137, 208 (Il.), 212 (Il.),
214-215 (Il.), 242
Mavrina T. (USSR) 86 (Il.), 97 (Il.), 110-111 (Il.)
McDonald B. (Ang- 7, 89, 243 Lia)
Maltin V. (USSR) 218 \u200b\u200b(Il.)
Manto P (USSR) 67
Mardersteig J. 14, 71, 75 (Il.) (Italy)
Matro J1 (France) 27 (Il.), 29
Maister K. (Austria) 78, 82 (Il.), 191 (Il.), 200 (Il.)
Mengart O. (Czechoslovakia) (Il.), 71, 76
Mercator G DE (Nether- 23, 29 Lands)
Missant F. (Belgium) 100 (Il.)
Morano PM 27 (Il.), 28 (Spain)
Morris U (England) 31, 61
Myagar R. (USSR) 67, 96 (Il.), 101, 108 (Il.)
Noygebauer F. 48, 52 (Il.), 63, 135 (Il.), 158 (Il.), 221 (Il.) (Austria)
Ioyderfer and Senior 25 (Il.), 28, 80 (g of Ermania)
Nordse X (Netherlands), 112 (IL.), FROM, 226 (IL.), 233, 241, 244
Palatino J. 23, 26, 79 (Italy)
Palmyst E (USSR) 67
PAO D. (Hong Kong) 96 (Il.), 190 (Il.)
Pertsov V. (USSR) 67, 213 (Il.)
Pilsbury J. 43 (Il.), 183 (Il.) (England)
Pierce Ch. (England) 48, 59 (Il.), 63, 78, 234 (Il.)
Pozhasky S. (USSR) 137, 162 (Il.), 178
Princess L (USSR) 83 (Il.), 88 (Il.), 117 (Il.), 118 (Il.), 141 (Il.), 201 (Il.), 202 (Il.), 216 .), 243
Purik V. (USSR) 67
Reeweer P (USSR) 67
Rice I (England) 48
Salvan and (USSR) 67, 90 (Il.), 116 (Il.)
Saltz and (USA) 112 (Il.), 179 (Il.)
Cooked J. (USA) 129, 147, 243
Semchenko P. (USSR) 67, 164 (Il.), 182 (Il.), 184 (Il.), 185, 239 (Il.) Simons A. (Germany) 32, 35, 242 Smirnov S. (USSR) 71, 98 (Il.), 242
Stevens J. (USA) 152 (Il.), 156 (Il.), 166 (Il.), 191 (Il.), 193 (Il.) Stantman N (USA) 44 (Il.), 47 (Il. )
Taliente J. A. 23, 71 (Italy)
Telingher S. (USSR) 67, 80, 91 (Il.), 147, 243 Timan V. (Germany) 35, 67
Totes V. (USSR) 7, 20 (Il.), 22 (Il.), 26, 34, 48, 60 (Il.), 63, 83, 92 (Il.), 124, 132, 138 (Il. ), 143 (Il.), 146, 161 (Il.), 174 (Il.), 187, 192 (Il.), 200, 210 (Il.), 241-243
Toast R (Germany) 63, 160 (Il.), 169 (Il.)
Waters W (USA) 41 (Il.), 44 (Il.), 46 (Il.), 61
Waters Yu. (USA) 56 (Il.), 86 (Il.)
Fatekhov V. (USSR) 67, 178 (Il.)
Ferbank A. (England) 92, 93 (Il.), 124, 224, 227
Fisher T (USA) 101, 243
Flaus G (England) 192 (Il.)
Falls R. (USA) 51 (Il.), 238 (Il.)
Forcember K.-E 68, 69 (Il.), 71, 76 (Sweden)
Francesco yes Bologna 71 (Francesco Griffo) (Italy)
Freeman P. (USA) 83 Fugger V. (Germany) 28 HECHL E (England) 45 (Il.)
Holiday P (England) 153 (Il.), 172, 173 (Il.)
Horlbek Köppleler and 54-55 (Il.), 63 (Germany)
Hofer K. (Germany) 48, 71, 73 (Il.), 76, 94-95 (Il.), 106 (Il.), 229 (Il.) Tsarf G. (Germany) 26, 36, 38 (Il .), 39, 48, 72 (ill.), 76, 113, 148-149 (Il.),
189, 224, 241-244 Child X. (England) 40, 42 (Il.), 124, 131, 243 Chobitko P. (USSR) 67 Shavers J. (England) 39, 40, 227, 242, 244 Schindler in . (Czechoslovakia)
Schneider V. (Germany) 48, 102, 103 (Il.), 104 (Il.), 142 (Il.)
SchNidler E (Germany) 39, 70 (Il.), 71, 76
Show P (USA) 7, 50 (Il.), 53 (Il.), 63, 78, 139 (Il.), 181 (Il.), 216 (Il.), 232 (Il.)
Schumann G (Germany) 63, 84 (Il.), 109 (Il.)
Evans J. (USA) 48-49 (Il.), 78, 81 (Il.), 86 (Il.)
Yajer N J. (USA) 242 Yakovlev Al-Dr (USSR) 144 (Il.)
Yakovlev Anate. (USSR) 66 (Il.), 67
Yarmut V. (USSR) 67, 99 (Il.), 101, 183, 194 (Il.), 227, 238 (Il.)

You want to learn calligraphy, but do not know where to start? Then this post is for you. I will tell you what to buy tools, how to keep the pen correctly, as well as give a video about the correct assembly and working with it.

Over the past few years, I conducted seminars on which the newcomers of modern calligraphy trained. And I also answered countless questions related to these issues. Therefore, I realized that it was necessary to create a post, which will help learn calligraphy from zero! Today I will tell you how to master it with a few simple steps.

1. We master the fake calligraphy

In my opinion, fake calligraphy - created by the usual handle (gel, ball, etc.), not a pen, is the best first step towards working with the pen. I think so for two reasons:

1. The usual handle looks familiar. You all use it all the time, and you can make it use with its muscle memory with it (later it will come in handy).
2. Fake calligraphy will be useful not only beginners. Whatever your level, it will be an excellent auxiliary means when working on some projects. For example, a name plate made by the Amy Style font, in the photo below.

Any set of calligraphic patterns, which can be downloaded from ThePostMansknock.com, starts with fields for fake calligraphy. If you do not have any such, I recommend the Amy Style set. This font distinguishes straight vertical lines. Therefore, it is ideal as an initial stage of work, both handle and pen, for the right-handers and left-handers. Creating a couple of weeks in fake calligraphy and stinging a good arm, you can take a feather.

2. Collect the starting set for modern calligraphy

A detailed description of this set can be seen in the post "Optimal starting feathers for modern calligraphy". Here is the list of the most necessary tools and links to them:

1. 2 Pointed Feather Nikko G. - Why do I think this kind of feathers are the best for beginners, you can find out this link. (Do not know how to distinguish feathers? Look at the marking on the shank of the pen. It specified the manufacturer, for example "Nikko G", "Brause EF66".)
2. 1 straight pen holder. - I use the MANUScript holders with a universal flange. Although any direct model is suitable. I like the holders with the cork capture GENERAL, because they are comfortable to keep and they are also universal.
3. Paper for laser printing density 120 g / cm2 (32 #) - It is an inexpensive and high-quality paper for which the mascara will not be spread and smeared.
4. Mascara Sumi Ink and Inkwell with a threaded lid for storage of carcass. (You can also use Indian mascara). Both varieties are sufficiently rich and with optimal viscosity.
5. Artistic glass. - Essentially, just take a glass with water. You need you to rinse feathers.
6. Non-fuel material (for example, dining napkin). - Paper towels are also suitable. But their fibers will constantly stick in the slot of the pen.

I suggest you to collect a calligraphic set, and not buy ready. As a rule, they consist of low-quality tools that are unsuitable for beginners. In addition, their price is often overestimated.

3. We rinse feathers

All feathers are covered with a layer of factory oil lubricant, which preserves their commodity to the moment of sale. Before use you need to remove it. I often often stick a pen into potatoes! About how and why do it, you will learn in the post on the link.

After removing the lubricant, the mascara will flock according to Peru smoothly and evenly. If this is not done, the pen may not write at all, or leave the blots.

4. Cooking Pen

You can use the Plastic Speedball Holder. But I advise you to purchase a model with a universal flange. It is equipped with four metal "petals" and a ring, as in the photo below. Such a holder can be used with a plurality of features of different sizes, and not just with some one type. To learn more about different types of straight holders, read the post by reference.

This is what the holder of feathers with a universal flange looks like.

If your holder looks like in the photo below, you need to slightly bend the petals inward. Often they are sold precisely in this form.

To learn how to do it, watch the video below.

Having coped with this, you can move to the fastening of the pen. Insert the pen shank exactly below the hole in the ring, as in the photo below.

If you do not go out, watch the video below.

With the right position of the pen, it should be firmly, not taking, sit in the holder.

Your feather is ready to work!

5. How to keep feather

Keep the pen with the standard way as the usual handle. Hold the holder between big and index fingers, leaving the middle finger on the back of the handle. Let the little finger and the Unnamed finger rest on paper while you write. Read more about how to hold the pen correctly, by reference.

6. Perch feather in mascara

What a feather you do not use, always lower it into the mascara not deeper the level of the hole in the center of the pen. Otherwise, you get too much carcasses, and she will fill the whole sheet as soon as you touch the paper.

Having dialing the mascara, slightly knock on the glass with water, shaking the surplus.

7. Start mastering modern calligraphy!

This section of the "Intensive Studies of Words" from the Janet Style Pattern Set.

The main difference between the ballpoint handles and feathers is as follows: when the letter is removed, the pen must be kept the same angle between the pen and paper. Do not keep it in a vertical position, try to stick to the angle of 45 degrees. If the angle is too big, the pen will be cling to the paper fibers, because of which the mascara will fall unevenly. It is hard to learn the right technique of work, without seeing it. So that you were clearer, I took this video.

Before proceeding with any calligraphic project, I advise you to practice on the patterns - templates (again, a great choice will be a set of Amy Style, because to work with it there is a video course). Print recipe on paper for laser printing and enjoy the process!

Common problems

Experience in learning modern calligraphy gave me a unique opportunity to understand the difficulties and grief faced by beginners. Here is a list of six main problems and their solution:

1. Feather clings to paper. - Reduce the angle between the pen and paper. The higher you hold the pen, the more difficult you will work.
2. Mascara served unevenly. - The situation is the same as in the previous case: try to observe the smaller angle of the pen.
3. It fails to spend the line of the same thickness. - Make sure the pen tip is tightly and evenly pressed to paper, and you keep it correctly. Video course can help you.
4. Mascara spreads. - This happens because of the low quality paper. Make sure you write on high quality paper (for example, paper for laser printing density 120g / m2).
5. Your hand shakes. - Read the post "Solution of calligraphic problems: Press pen and a trembling hand."
6. Other problems. - Read the post "Five of the most frequently asked questions about modern calligraphy."

What to do next

In modern calligraphy, as in other classes, the most important thing is to constantly improve your skills. Everyone has read something. I started like this:

But one of my recent works:

To begin with, the best practice will be transition-templates. Again, I recommend I recommend Amy Style, although any set from ThePostMansknock.com site is suitable. While you are just familiar with the forms of letters, select interesting projects for yourself. Categories other types of art related to calligraphy (like this method of creating signs) and / or write signs with names on the table for the nearest event. Use the search engine on ThePostMansknock.com. Now there are more than 300 articles on learning calligraphy and different projects. While study brings you joy, your skills will improve.

I hope you enjoyed this guide for beginners to master modern calligraphy. You can ask any questions in the comments. Thank you for reading my post. I wish you a great day!

Every parent seeks a child's beautiful and understandable handwriting. Recommeery come to the rescue. In notebooks for written work, calligraphic samples of letters, syllables, numbers are presented. They help children learn to make a right letter, denoting the principles and foundations of calligraphy. Adults are resorted to helping. With regular training, they correct inaccurate handwriting.

Recuse

Adults are rarely writing from hand, often with extreme need. The letter replaced the computer text. It is convenient, but at the same time the handwriting of adult people is spoiled due to the lack of training. Children in schools and kindergartens learn to write correctly and beautifully, regularly fix the skill, train the hand and learn to write on special benefits at home.

The simplest recipes are made independently, they are suitable for children for 2 years, 3 years. It is necessary to take a notebook into the cell and draw the dotted line of simple figures: lines, squares, triangles. And the kids with the help of parents or independently will circuit figures. Examples for beginners are presented below. The network present templates in PDF, Word and other formats.

For preschool children

Children 3 - 4 years

45 years

5 - 6 years

For the preparatory group

By points

Patterns: Chopsticks - Crochets

For grade 1

For grade 2

Mathematics

Classic

For adults

The printed alphabet is easier than the written alphabet, since the letters are not connected to each other. Such educational notebooks are suitable for kindergarten when babies only introduce the alphabet. Putting-coloring in a game form will introduce a child with an alphabet when he paints a picture starting to a certain letter. For example: Watermelon, if it comes to the letter "A" or hippopotamus, when getting acquainted with the letter "b".

During teaching a printed alphabet to a child should clarify which vowels and consonant letters are, which are distinguished by hissing sounds from ringing, solid from soft.

Calligraphic letters

The capital alphabet is learned before the school. These are complex symbols where the spelling of capital letters differs from the lowercase. At the same time, the characters are important to combine correctly. Parents and teachers use modern types of educational notebooks or recipes still Soviet times.

Adults and children of senior school age can use recipes in a wide range, for kids apply a notebook to a narrow. You can print up, where all the letters on one sheet - it will help to remember the sequence of letters in the alphabet.

How to write numbers

Mathematical symbols write easier, because they are significantly less: only 10 digits vs. 33 letters of the alphabet, and the numbers do not connect with each other. For the prescriptions use notebooks in a cell where each digit is clearly limited and does not go beyond.

School appliances with numbers are equipped with hatching, arrows and other signs, helping to understand, from which point the symbol, the writing algorithm begins. Prints with examples of numbers are used for training and preschool, and school-age children.

Workers notebooks on cleaning

Teachers and educators recommend purchasing special notebooks designed to prepare a hand to a letter. The best propusions developed and created domestic teachers, which include a simulator of Nyquin, Warridic, Zhukovikov, Kolesnikov's work. The benefits are designed for children of different ages.

Bratnikova

Zhukova

Kolesnikova

Soon

How to prepare a hand to a letter

For the preparation of the hands of future first-graders, teachers made a list of special tasks.

Regular exercises are trained in small motility in children of any age:

1. Finger games will help to prepare the hand, but you should not give priority only with one hand, regardless of whether it is right or left-handed a child. The limbs must be equally involved.
2. Coloring - Merry pastime develops creative imagination and prepares his fingers to the letter.
3. Special notebooks for future schoolchildren. The authors offer to bring pictures or big letters by points, draw lines, without taking a pencil from paper (labyrinth).
4. Refasses - the first teaching benefits are developing for children 4-5 years, 6-7 years, for 1-2 grade, for 3, 4th grade. Property Meet kids with printed and capital letters, syllables. Mathematical manuals with numbers and numbers, notebooks in Russian, English, German, French and other languages.

The child of senior preschool age learn in the prescript. They can be bought in stationery, bookstores or download free online.

How to fix the handwriting

Many people believe that beautiful handwriting is formed at school age, and adults will no longer be able to fix it. In fact, it is possible to improve it, regardless of age: both first grader, and an adult can put his hand. However, this is the result of long and regular training.

It is important to comply with the rules and take into account the nuances:

• A comfortable place for writing is a good lighting, the table is chosen with a solid surface, a chair with a back. These conditions are especially important for kids, children 3-6 years old, younger schoolchildren, but also recommended for adults.
• When working it is impossible to hurry, maximum concentration is necessary on the process.
• Suitable stationery. Previously, experts argued that for success in calligraphy, it is necessary to use a feature handle to use a good handwriting. Today, the ball is allowed, but with a thin rod.
• Educational material - children use recipes for relevant age. They learn to write at points, hatchings or puncturas. Adults can start a notebook in a narrow line and train in it. If you wish, you download ready-made online recipes, you learn to correctly write connections of letters, their elements, syllables and suggestions.
• Initially, you should write smooth and parallel lines, circles and other simple forms. Then move to letters and syllables.
• If necessary, turn to the craftsmen of calligraphy, they will prompt how letters and connections are written in which there are errors. Advise exercises that improve the shallow motility of the hands and handwriting.

Do not wait for quick results. Calligraphy will improve after stubborn and regular workouts.

How to learn how to write well and beautiful

Teach schoolboy at once a beautiful handwriting is easier than to retire and correct errors.

Parents of feeding and first-graders will help the advice of experienced teachers:

• Calligraphic handwriting is impossible without a developed motility of fingers. To do this, it is necessary to draw more paints with pencils, sculpt from plasticine, to engage in origami, beadwork. For the smallests will be interesting and helpful games with cereal. To do this, an adult need to mix a bit of buckwheat and rice, and the child will be waggered.
• Beautiful handwriting is directly connected with a straight posture. The baby can not be hung up while he writes in the register. The back should be smooth, it is seated for this to a stool with a solid back. At the same time, computer, rotten chairs are not suitable.
• High-quality spelling handle. It is necessary to select a stationery product with a thin rod. When choosing between the gel and ballpoint handle, the latter preference is preferred because it does not scratch the paper. Place for capturing my fingers should be made of rubber. Such a handle will not slide in children's hands, in contrast to a plastic or metal analog.
• Capture pen. The correct position in the hand: the handle lies on the middle finger, the large and index finger hold it, and the non-name and a little finger - pressed to the palm. With incorrect capture it is impossible to achieve a beautiful hand writing.

The execution of the rules of calligraphy will help the child learn to look beautifully writing letters from A to Z, words, numbers and numbers.