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Gurney Journey

This daily weblog by Dinotopia creator James Gurney is for illustrators, plein-air painters, sketchers, comic artists, animators, art students, and writers. You'll find practical studio tips, insights into the making of the Dinotopia books, and first-hand reports from art schools and museums.

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Micrographic Penmanship of Matthias Buchinger

Matthias Buchinger (1674–1739) was an expert at drawing and lettering precisely at a small scale.

Micrographic Penmanship of Matthias Buchinger

His lettering astonished his contemporaries with its complexity, control, and order. Some of the letters were so tiny as to be almost indistinguishable to the naked eye.

Micrographic Penmanship of Matthias Buchinger

He also "performed on more than a half-dozen musical instruments, some of his own invention. He exhibited trick shots with pistols, swords and bowling. He danced the hornpipe and deceived audiences with his skill in magic." 

Micrographic Penmanship of Matthias Buchinger

Even more remarkable was that he could accomplish all this with his unusual body: "Buchinger was just 29 inches tall, and born without legs or arms. He lived to the ripe old age of 65, survived three wives, wed a fourth and fathered 14 children."

Quotes are from the book Matthias Buchinger: The Greatest German Living, which features many examples of his artwork and tells his incredible life story, the result of exhaustive research by the author Ricky Jay.

How Phil May Built a Drawing

How Phil May Built a Drawing

Victorian caricaturist Phil May (1864-1903) described his method of building a drawing:

How Phil May Built a Drawing

"First of all I get the general idea, of which I sketch a rough outline, and from this general idea I never depart. Then I make several studies from the model in the poses which the drawing requires, and redraw my figures from these studies." 

How Phil May Built a Drawing

"The next step is to draw the picture completely, carefully putting in every line necessary to fulness of detail: and the last to select the particular lines that are essential to the effect I want to produce, and take the others out."

How Phil May Built a Drawing

Sometimes, according to David Cuppleditch, "he transferred his figures from sketchbook to working page with tracing paper. He nearly always worked with a very sharp pencil or crayon edge so as to achieve simple, strong lines."

How Phil May Built a Drawing

George Hacklett said, "The one important lesson learned from his Bulletin work was the value of a longer and heavier line, made imperative by the large scale of his cartoons."

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Previous post on Phil May  

Wikipedia on Phil May (caricaturist)

Quotes are from the book: Phil May: The Artist and His Wit

Fishermen

The guy holding the pole caught a fish. He says he doesn’t eat fish and gives them all away.
Fishermen
Fishermen on Santa Monica pier, 1981
I made this sketch on location at the Santa Monica pier using a brush and ink to capture the late-afternoon edge lighting. Regardless of the local color of each form, I rendered anything in shadow as black and left anything illuminated by the sun as the white of the paper.
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From "The Artist's Guide to Sketching, 1982

J.M. Bergling and the Golden Age of Penmanship, Part 5

(Continuing from Part 4)
J.M. Bergling and the Golden Age of Penmanship, Part 5

These technological changes encouraged the growth of extravagant drawing-based alphabets, such as “Rustic” (above) and “Leaf Cipher-Letters.” Highly embellished initial capitals can be hand drawn with a pen or brush using inks of various colors or tinted shades. Some of the ornamental initial alphabets are presented with a variety of stylistic treatments, such as the “Ornamented French Script” or the “Ornamental Initials.”

J.M. Bergling and the Golden Age of Penmanship, Part 5

“Old English” remains the standard for formal settings, such as diplomas, but it is difficult to execute well, especially if speed is required. It succeeds best with a steady rhythm and even spacing using a square cut nib. Sometimes good results can be achieved by executing all the vertical strokes first, followed by the diamond shaped feet. A pointed pen adds the finishing touches, sharpening the corners and serifs and completing the hairline strokes on the capitals and on the lower case “a” and “r.”

J.M. Bergling and the Golden Age of Penmanship, Part 5

Two other forms of artistic writing, less familiar today, are engrossing and showcard writing. Engrossing was a particularly lavish type of decorative lettering used on resolutions, certificates, testimonials, memorials, and manifestos. The examples are by Patrick W. Costello (1866-1935), whose engrossing work was notable for being executed in limited tones of Payne’s gray or umber. Originals were as large as 22 x 28 inches, often illustrated with flags, portraits, flowers, or other pictorial devices. They reflect a culture that placed a premium on congratulatory or memorializing messages, usually presented publicly to formally recognize an individual achievement.

J.M. Bergling and the Golden Age of Penmanship, Part 5

Bergling invited his colleague William H. Gordon to demonstrate show-card writing, a more casual advertising form. Painted signboards of the nineteenth century tended to use only upper case letters, but they were gradually replaced by signs made with both upper and lower case. The letters in Gordon’s alphabets are formed quickly and without much preliminary drawing, using specialized brushes with opaque water-based media. Practitioners in this field were called writers rather than letterers. Whether employing the brush or the pen, the student should start by thoroughly understanding the construction before attempting too much speed.

J.M. Bergling and the Golden Age of Penmanship, Part 5By the time Bergling’s books appeared, typewriters had already been standardized and were coming into common use for business communications. Fountain pens and then ballpoint pens became established by mid century. The Golden Age of Ornamental Penwork was disappearing. Hopefully with the aid of this treasury, a new generation of designers can rediscover artistic lettering and adapt it to contemporary uses.
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Series on J.M. Bergling and the Golden Age of Penmanship
Part 1
Part 2
Part 3
Part 4
Part 5
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You can get a signed copy of Bergling's "Art Alphabets and Lettering" from my website store.
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Here's where you can get the Dover book on Amazon. You can also still find a vintage copy on Amazon.
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J.M. Bergling and the Golden Age of Penmanship, Part 3

J.M. Bergling and the Golden Age of Penmanship, Part 3
Lettering project inspired by the Bergling book
For most of us, hand lettering is reserved for sentimental or ceremonial occasions, such as this announcement that I made for my son's graduation party.

J.M. Bergling and the Golden Age of Penmanship, Part 3

(Continued from Part 2) But in the Golden Age of Ornamental Penmanship, which lasted between about 1875-1915, every business person was expected to convey their integrity and confidence by means of their pen skills, culminating in a confidant, flourished signature. To achieve this kind of writing, penmanship instructors stressed the importance of good posture.
J.M. Bergling and the Golden Age of Penmanship, Part 3
Correct and incorrect writing position
First the pen artist must take the proper position, either standing at a podium lectern or seated in a straight chair with both feet flat on the floor, the back held straight. The pen is held, not in the tight grip of most beginners, but rather in a relaxed hold, the arm resting lightly on the table on the large muscle below the elbow.

J.M. Bergling and the Golden Age of Penmanship, Part 3
“Whole arm” or “off hand” capitals, with their elaborate looping flourishes, are made without penciling the letterforms in advance. Their flowing grace requires a great deal of practice. They are formed with broad movements of the arm, swinging easily from the shoulder. Fingers, wrist, and arm cooperate to create fluid movements. Each part of the flourish uses a smooth continuous stroke. By contrast, small letters should be rhythmically created with controlled finger movements.

Ideally these scripts should be executed on a smooth cotton rag paper over lightly ruled guidelines drawn with a hard pencil. The slant of the letters should be absolutely uniform. The slant can be ruled lightly with an adjustable triangle set to a fixed slope and resting on a T-square or parallel rule.

Most scripts require a slant of between 52 and 54 degrees from horizontal, or the 3/4 angle diagrammed below. An oblique pen holder angles the nib to the right, allowing a better wrist position.


J.M. Bergling and the Golden Age of Penmanship, Part 3

In settings where script writing needs to be larger and more precisely considered, it can be constructed by drawing the letters first in outline, and then filling them in with a brush or pen. In general it is a good idea for the student to begin constructing letters larger and at a slow speed. With improving skill, the execution typically becomes smaller in scale and more rapid. It is advisable to try for accuracy and quality first, and then for speed.

J.M. Bergling and the Golden Age of Penmanship, Part 3

The pen-based script alphabets, with their German and French variants, derive from the models produced by engravers in the eighteenth century, requiring the artist to incise a series of fine lines into a copper plate with a sharpened steel tool called a burin. This copperplate engraver’s alphabet can also be constructed with the flexible steel pen nib. Each weighted or “shaded” stroke broadens on the pulling downstroke. Whichever tool is used, this thick-and-thin copperplate style is slow to execute, making it more suitable for headings and superscriptions than for everyday handwriting.

Bergling includes broad pen alphabets familiar to modern calligraphers, such as “Blackstone,”  “Mixed Roman Text,” and the single-stroke Roman and Italic alphabets. Informal round-tipped alphabets can be achieved with a Speedball “Style B” pen nib.
J.M. Bergling and the Golden Age of Penmanship, Part 3
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Series on J.M. Bergling and the Golden Age of Penmanship
Part 1
Part 2
Part 3
Part 4
Part 5
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You can get a signed copy of Bergling from my website store (with your name nicely lettered if you want. Send me an email after you order it explaining how you'd like the dedication.)
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Here's where you can get the Dover book on Amazon. You can also still find a vintage copy on Amazon.
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(Part 4 of this series tomorrow.)

J.M. Bergling and the Golden Age of Penmanship, Part 2

(Continued from Part 1)
J. M. Bergling was an authority in many different disciplines of lettering. As a boy he emigrated with his father from Sweden, working in California and Chicago, where he built his early reputation as an engraver for watch cases and jewelry. 



He became one of the foremost practitioners of the art of the monogram, a popular graphic form where an individual’s three initials are woven together into a clever artistic design. He produced three other design collections: Art Monograms and Lettering, Ornamental Designs and Illustrations, and Heraldic Designs and Engravings.



Art Alphabets and Lettering is his crowning achievement, culling the best specimens from his many years as a leading engraver and pen artist. To make room for more samples, Bergling eliminated the introductory text typically found in comparable books, such as the Ames’ Compendium of Practical and Ornamental Penmanship by Daniel T. Ames (1883) or Studies in Pen Art by William E. Dennis (1914). In such guidebooks, the text would have explained the theory and practice behind the alphabets. The modern reader might want to know at least the basics of the practical knowledge that Bergling took for granted.


For everyday penmanship, the steel dip pen had largely replaced the quill pen, which was made from a prepared primary flight feather of a goose or a turkey. However, the quill pen was—and still is—the preferred tool for certain kinds of elegant writing, and was the primary tool for letterers before the nineteenth century. Steel pen nibs in Bergling’s day were available in a range of degrees of flexibility, and many of them are still available today. The nibs fit into a pen holder, and were dipped into an inkwell of India ink, which was waterproof, or a water-soluble ink such as Higgins Eternal.


The collection begins with script alphabets, notable for their flowing, connected letters, such as “American Roundhand” and “Spencerian.” These models provide excellent guides for handwriting applications where a graceful elegance is required. The Spencerian alphabet was invented by Platt Rogers Spencer (1800-1864). It became standard in the United States between 1850 and 1925, after which it was replaced by the simpler Palmer method that still is taught in schools today. 

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Series on J.M. Bergling and the Golden Age of Penmanship
Part 1
Part 2
Part 3
Part 4
Part 5
----
------
Get a signed copy of Bergling from my website store (with your name nicely lettered if you want. Send me an email after you order it explaining how you'd like the dedication.)
----
Here's where you can get the Dover book on Amazon. You can also still find a vintage copy on Amazon.

A Typewriter Drawn in Scratchboard

In the July, 1938 issue, Art Instruction Magazine published this fine example of scratchboard art.

A Typewriter Drawn in Scratchboard

Scratchboard is a form of pen and ink drawing executed on a clay-coated surface. Black lines and areas are drawn with pen and brush, and then white lines are scratched away with special tools that fit into nib holders.

Scratchboard was used extensively for product illustration because it reproduces better in print than halftone photos do. Scratchboard comes in black and white. This example would have been done on white board.

A Typewriter Drawn in Scratchboard

Art Instruction said: "Scratchboard is particularly well suited to subjects which, like the typewriter, call for rendering in dark tones. Relatively small areas need to be scraped and there is great economy of effort in producing the desired effect. That is of course but one reason for its use. When skillfully handled it has a peculiar charm associated with wood engravings."

A Typewriter Drawn in ScratchboardArt Instruction magazine later changed its name to American Artist. It was founded by Ernest Watson and Arthur Guptill, who wrote some classic drawing books in the mid-20th century.
Pen and ink drawings—and scratchboard drawings in particular—unfortunately just don't look as good on a computer screen as they do on a printed page, and maybe that's why we don't see as much great pen work these days. 

Baroque Violinist

Edwin Huizinga is a violinist for Baroque string ensemble “Acronym.” 

Sitting in the third row,  I want to capture some of his lively postures with a fountain pen and a Niji water brush filled with brown-black ink.


Previously posts about sketching at concerts:
James Bagwell Conducts
Maestro Bagwell
James Bagwell at a Rehearsal
The "Flash-Glance" Method
Gouache portrait of an Irish whistle player
Sketching a vocal concert
Violinist in ink wash
Horn Player
Mirko Listening
Club Passim Gig
Shapewelding Sketching
The Cello and the Pencil
Concertgoer
Mass in C
Handel's Messiah


A.B Frost's Characters

My biggest tip for character designers is don't look only at the work of your contemporaries.

If you want your style to be fresh and original, dig up other sources. You might enjoy the pen drawings of A.B. Frost (1851-1928) in his book "Stuff and Nonsense."

A.B Frost's Characters

Big mouth, little eyes, little nose, and some knobbiness at the joints.

A.B Frost's Characters

Squatty shapes all built around the round belly. Cross-hatch textures add interesting flavor. 

A.B Frost's Characters

Long, flappy shoes on the old guy. Hat drawn with lots of wear. Stick legs on young makes them look fast and light, but the payoff to this joke was that the old guy beat them in a footrace.

A.B Frost's Characters

Long legs and clear silhouette on this old codger. The opaque glasses fit with this artist who doesn't believe Muybridge's photos and still paints the hobbyhorse pose:

Said this artist 'Now don't you suppose
An intelligent man like me knows
How a horse ought to go
Yet you say I don't know
And believe what a photograph shows.
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A.B. Frost's Stuff and Nonsense is available in a reprint edition.
Micrographic Penmanship of Matthias BuchingerStrange Things I Have SeenHow Phil May Built a DrawingFishermenJ.M. Bergling and the Golden Age of Penmanship, Part 5J.M. Bergling and the Golden Age of Penmanship, Part 3J.M. Bergling and the Golden Age of Penmanship, Part 2A Typewriter Drawn in ScratchboardBaroque ViolinistA.B Frost's Characters

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