E R P

P L

A
A
O

T
YIN & YANG
C

E
APPROACH
T

S
P C
I R

PA S C RIBE

COPPERPLATE SCRIPT MANUAL

E S SEN T IAL INFORMATION EXTR ACTS

BY

PAUL ANTONIO
 E SSE
SS
S S EN
SEN
E N TI
T I AL
A L INFOR
I NF
INN FO
F OR
O R M ATION
AT
ATI
A TI
TIO
T IIO
O N EX
ON EX
EXT
XTTR A
ACC TS
TS

Thank you for taking the time to download this pdf. I thought covers all of the parts of the letters for both the Majuscules and
it best explain the reason behind the ‘Copperplate Script the Minuscules.
Calligraphy Manual – Essential Information Extracts’
My personal studies in a new approach of how to write evolved
I am a firm believer in teaching and sharing information. For out of years of damage to my writing hand from bad practise. I
those of you who follow my @pascribe Instagram and other developed a new hold which starts with my ‘Augmented Brush
Social Media channels, you will be familiar with this approach. Hold Technique’. This technique gives the user more dexterity
When I wrote my manual on Copperplate Script, I realised there and scope of movement, and letter anatomy reproduction that
was Information in the manual I wanted to make available to anything I had previously learned. It is excellent for both large
anyone wanting to practise calligraphy. Note I said calligraphy and small copperplate done with a filamented or bristled brush
not just Copperplate. pen.

You have the Manual’s ‘Table of Contents’ so you can see what To end, a list of difficult words to practise.
is there, this will vary over the coming month as I add more to
the PDF version of the manual. You will receive an update so you I have had a few people say ‘this is too much to give away from
know what is new. Those of you who purchase the Copperplate free’, but there is so much more in the Copperplate Script
Script Manual PDF will receive updates of the pdf up until the Manual, and what is in here will really help you with your
second edition is released. calligraphy.

The ‘Tools’ Section I felt was essential to share as it looks at paper, 5IFSF
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nibs and writing fluids. This is specifically for Copperplate Script A&TTFOUJBM
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but copperplate is more temperamental than most other scripts RVFTUJPOT
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the table here will work for other forms of calligraphy using nib
and ink. I also realised, as practitioners, we do not know the 5P
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names of the parts of our tools so the ‘Penstaff & Parts’ looks at A$PQQFSQMBUF
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this. VQEBUFE
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‘Straight vs Oblique Holder’ is really important as I use a straight XPSLJOH
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holder for copperplate and an oblique holder for Spencerian and TIBQFT
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Modern Calligraphy. English Roundhand was only ever done
with a straight holder, and this is where the influence of tool 5IFSF
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choice came from. There are distinct differences in the shapes of EPXOMPBE
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parts of the letters when done with one or the other.

The ‘Posture, Placement and Position’ pages are crucial for good :PVUVCF $MBTTFT
calligraphy. There are 3 videos on my YouTube which covers
these 3 pages. I always start my students off with these videos 8FCTJUF 1SPEVDUT
as it immediately alters the way one approaches the practise of
calligraphy. $PNNVOJUZ /FXTMFUUFS
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Whole Arm Movement and Muscular Movement are key to all

forms of calligraphy but so is the way one holds the penstaff.
Understanding your pen hold and how to produce smooth
ellipses and curves will only seek to improve the look, feel and
OTHER PRODUCTS
rhythm of your script. Two pages cover both right handers and
left handers. $PODFSUFE
1SBDUJTF
8PSLCPPL

1%'

In my research for the manual, I came up with the another Copperplate Script: A Yin & Yang Approach - PDF
form of ‘The Line of Universal Beauty’ which I called ‘The
Connective Stroke’, which is at 50º. I felt a more detailed analysis 1SFSFRVJTJUF
WJEFPT
of these two lines and their interaction would help with a deeper
understanding of how they affect the writing of copperplate 1"4DSJCF
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script. It also backs up the premise that ‘The Line of Universal
Beauty’ is the basic stroke for the Majuscules and ‘The Swelled
Stoke’ is the basic stroke for the Minuscules. A PRODUCTS
The research also made me realise the historical anatomy was $PQQFSQMBUF
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woefully inadequate. I augmented the historical list, based on
nomenclature used by the English Writing Masters. This now 5PPM
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2 Copperplate Script: A Yin & Yang Approach

 TABLE
T
TA
TABL
A B LE
AB L E OF
O F C ON
ONTE
ENN TS
TS
PART I - INTRODUCTION PART III - MAJUSCULES PART V - THE ACT OF WRITING
How To Use This Manual ..............................4 The Line Of Universal Beauty ......................30 Practise Words............................................ 114
The Character Of The Script ..........................6 Anatomy Of The Majuscules........................31 Numbers & Punctuation............................ 115
Energy & Geometry.......................................7 Majuscule Group - Spacing -
What We Are Not Told..................................8 Group A M V W N...............................32 The Internal Rhythms of Writing ......... 116
Group H K ...............................................44
Political Misgivings ........................................9 Group I J ..................................................48 Flourishing -
Group - T F..............................................52 Line of Universal Beauty Loop ............ 118
PART II - TOOLS
Group B R P.............................................56 The Rules of Flourishing ...................... 118
Tools.............................................................10 Group Y U X ............................................62 The Zone Of Flourishing .................... 119
Straight Vs Oblique Holder ..........................12 Group S S L D..........................................68 How a Flourish Evolves .......................120
Group C G E............................................76 Constructing A Monogram..................121
The 3 P's • Posture........................................13 The Copper Ratio & Golden Ratio .....121
Group O Q...............................................82
The 3 P's • Placement ...................................14 Group Z ...................................................86 Ligatures, Ampersands,
The 3 P's • Position.......................................15 Full Alphabet - Groups & A To Z................88 Abbreviations & Contractions .............122
Whole Arm Movement.................................16 Variations .....................................................89 Brush Copperplate -
Exercises & Drills.........................................18 Paul's Brush Hold...................................124
PART IIII - MINUSCULES Majuscules Alphabet ..............................125
The Basis Of The Manual ............................22 Exercises & Drills.........................................92 Minuscules Alphabet..............................126
The 4Fold Symmetry....................................24 Flourishing .............................................127
Direct & Indirect Strokes.............................94
Angular Confinement .............................26 Letter Height & Ratio Script Specimen Sampler ............................128
Elliptical Confinement ............................27 The Kink is in the Ink
Continuous Movement ............................28 Glossary......................................................131
Anatomy Of The Minuscules .......................95
Variable Velocity ......................................29 Guide SheetT
Minuscule Group -
Group - I N M .........................................96
Group - U V W .......................................98
Group - T P L ........................................100
Group - T L P ........................................101
Group - H J Y ........................................102
Group - H J Y ........................................103
Group - O A C E ...................................104
Group - D G Q .....................................106
Group - B K R .......................................108
Group - S Z Z ........................................ 110
Group - X X F F .....................................112

ASSIGNMENTS

Assignment 1 ......................................... 18 Assignment 6 ............................................24 Assignment 11 ..........................................26

Assignment 2 .......................................... 19 Assignment 7 ............................................ 25 Assignment 12 ..........................................27

Assignment 3 ......................................... 20 Assignment 8 ............................................ 25 Assignment 13 ..........................................28

Assignment 4 .......................................... 21 Assignment 9 ............................................26 Assignment 14 ..........................................28

Assignment 5 ...........................................24 Assignment 10 ..........................................26

3 Copperplate Script: A Yin & Yang Approach 3
 INTER
IN
INT
N TE
NTER
T ER
TER
E R ACT
A
AC
ACTIO
ACTIONS
CT
CT
TIION
I ON
O NS
ONS
NS TOOL
T
TOO OL
OOOL S
PA
PA
AP
PEER
R , PENS
R,
PAPER, P EN
PEENS
NS & INKS
INK
IN
NKS
KS

PAP ER
• Not all nibs will work with all inks and not all Paper is available in a myriad of weights, textures, coatings, densities and opacities.
inks will work on all papers. The most important thing to know for the purpose of writing Copperplate Script, is the
• Do not add gum sandarac to paper for paper needs to be uncoated and untextured (not even a Matte finish).
Copperplate, as it will clog the nib.
A paper possessing a little tooth is good, as it assists in the slowing of the nib. The paper
• If you prepare vellum by sanding with pounce,
should be dense with no loose fibres as they will catch the nib and spatter ink, so a wove
wipe the dust off with a damp cloth, as the dust
finish is better. If the paper is too smooth, the nib will slip on the surface as there is no
will clog the nib.
traction. A Laid finish (with ridges), will catch the nib and spatter ink, a wove finish is
• Check paper for top and bottom, one is better
better for writing the script.
than the other for writing.
• Sometimes the direction of the grain can affect Most papers contain cotton and can be identified by three finishes. These finishes are
the solidity of the paper. This can also affect Not-Pressed (Not), where the paper is left to drip dry, Cold-Pressed (CP), where the paper
scoring and bleeding. is fed between two large cold rollers, or Hot-Pressed (HP), where the paper is fed between
• Hold paper out from the base. If the paper two large heated rollers. This process can also affect the density and solidity of the paper.
droops, it is not dense enough for Copperplate.
Do not use soft or droopy paper. Also, if a paper is too thick, there will be no
• Sizing paper is a way to fix the surface of the
responsiveness between the nib and the paper.
paper to limit bleeding. Applying acrylic fixative
or hair spray to the paper creates an added barrier Another important paper property is size. Size refers to the inhabiting agent which stops
which, once completely dry, will allow one to the ink from feathering or bleeding. Pointed pen scripts require denser papers because
write on insufficiently sized paper. once the tines spread, they effectively double the sharpness of the nib and literally
score into the top surface of the paper. The scoring can break the top surface and cause
feathering and bleeding.
For practise, a good layout pad is important. Select paper that is thin enough through
which to see the guidelines. For art work to be scanned, I use Conquer White Wove
100gsm. For final art work, I use Fabriano 4 or Colorplan 350 gsm.
NIBS
• Make sure the nib is facing toward the axis of the We would expect that when we pick up a nib, it would work right out of the box.
script you are writing, as this can cause snagging Unfortunately, this is not the case. Usually, nibs require some sort of preparation
of the tip on turns and upstrokes. to begin the writing process, including correctly inserting the nib into the holder
• Both tines should rest evenly on the page. If one (see pg. 11).
tine is higher, you can get scoring from one tine
For this manual, I used the Hunt 22B because it is a workhorse nib. It stays sharp for a
and dragging from the other.
long time and can do a considerable amount of work before replacing. How long a nib
• Keep your nibs clean. Ink dries and builds up
lasts depends on how much writing you are doing, the type of ink you are using and the
between the tines and will force them apart,
surface of the paper.
making hairlines impossible.
• Clean with a little saliva on a cloth. Don’t use Testing a nib is a simple task. To begin, simply place the tip of the nib on your
water as this can allow water to enter the ferrule thumbnail and depress s l o w l y, this will show the accuracy of the slitting and indicate
and rust the nib inside. the spring (how quickly it opens), the snap (how quickly it wants to come back together)
• Taking time to clean your nibs is important as it and the flex (whether the nib is delicate, medium or rigid). You also need to check if the
gives the nib time to cool down. The nib is metal tops of the tines are in line with each other once they comeback together on your nail.
and the friction causes it to heat up. This draws Also, check if the tines are evenly cut down the middle.
ink farther up, the waist of the nib, allowing ink
As a rule, I do not use vintage nibs as they can be pricey and when you are writing a
to get into the ferrule.
lot you need access to many of the same nib. Once the nib loses it sharpness, it is not
• A hot nib also spreads more readily than a cool
advisable to sharpen it on an Arkansas Stone, as this could cause the nib to become
nib. Keep your nibs cool.
scratchy. If a nib is scratchy to start with, a little bit of rubbing on a crocus-cloth to get
• If the nib snags at the bottom turn of round,
rid of tiny burrs is advisable. Remember only a little rubbing is necessary!
bowl-based letters, it is probably because the
paper is not dense enough. Prepare nibs with saliva as it is slightly acidic. Spit on a napkin, leave it to soak in the
• Wet ink causes the paper fibres to release from saliva fo about 5 minutes. Gently wipe off the saliva to get the nib completely dry. Insert
the ink pool and catch as the tines come back the nib into the holder by holding the top and bottom of the nib (never the sides) to
together. avoid causing the tines to cross and damaging the nib. Never place a pointed flexible nib
in a fire, it will change the temper of the nib making it softer thus degrading it life span.
Don’t throw away your used pointed nibs! They make great broad-edged nibs if you snip
the tip off with a pair of wire cutters.
• Bleeding isn’t always immediate. Remember to INK & W RI TING F LUIDS
write out some copy and leave it, as some papers Ink can be as confusing as paper and possibly more so. The best inks for practise on
will, over time, let the ink sink into the lower layout paper are good dye-based fountain pen inks, like Pelikan 4001. The Sepia color is
horizon of the paper and bleed. great, as the overlap can show secondary strokes and the Black has equally good flow.
PART II - Tools 4 Copperplate Script: A Yin & Yang Approach 10
 TOOL S P ENSTAF F & PAR TS
PAPER, PENS & INKS
OBLIQUE S TR AIGHT HU N T
C R O W Q U I LL

Paper is available in a myriad of weights, textures, coatings, densities and opacities. Pen
Insert
The most important thing to know for the purpose of writing Copperplate Script, is the
paper needs to be uncoated and untextured (not even a Matte finish). Foot Foot

A paper possessing a little tooth is good, as it assists in the slowing of the nib. The paper Nib
should be dense with no loose fibres as they will catch the nib and spatter ink, so a wove Flange
finish is better. If the paper is too smooth, the nib will slip on the surface as there is no Body
traction. A Laid finish (with ridges), will catch the nib and spatter ink, a wove finish is
better for writing the script. Body

Most papers contain cotton and can be identified by three finishes. These finishes are
Not-Pressed (Not), where the paper is left to drip dry, Cold-Pressed (CP), where the paper
is fed between two large cold rollers, or Hot-Pressed (HP), where the paper is fed between
two large heated rollers. This process can also affect the density and solidity of the paper.
Tail
Do not use soft or droopy paper. Also, if a paper is too thick, there will be no
responsiveness between the nib and the paper.
Another important paper property is size. Size refers to the inhabiting agent which stops Finial
the ink from feathering or bleeding. Pointed pen scripts require denser papers because
once the tines spread, they effectively double the sharpness of the nib and literally NIB HOLDER
score into the top surface of the paper. The scoring can break the top surface and cause T YPES
feathering and bleeding.
For practise, a good layout pad is important. Select paper that is thin enough through
Tail Hunt Crow Quill
which to see the guidelines. For art work to be scanned, I use Conquer White Wove
100gsm. For final art work, I use Fabriano 4 or Colorplan 350 gsm.

We would expect that when we pick up a nib, it would work right out of the box.
Unfortunately, this is not the case. Usually, nibs require some sort of preparation
Standard
to begin the writing process, including correctly inserting the nib into the holder Holders
(see pg. 11).
For this manual, I used the Hunt 22B because it is a workhorse nib. It stays sharp for a
long time and can do a considerable amount of work before replacing. How long a nib
lasts depends on how much writing you are doing, the type of ink you are using and the Finial
surface of the paper.
NIB AN ATOM Y
Testing a nib is a simple task. To begin, simply place the tip of the nib on your Shoulder Body
Tine
S U G GE S T ED IN T ER ACTIO NS Base
Tip OR

Tine Heel
PAPER NIBS INK Vent Hole OR Reservoir
Gillott 303,
Iron Gall, Sumi, INSER TING A NIB IN TO
Rhodia, 80, 90gsm Leonardt Principal EF, P R ONGED HOLDER
Higgins Eternal
Hunt 22B, Perry & Co #28 EF
Gillott 303 & 404,
Winsor & Newton Gouache,
Arches Watercolor HP Nikko G, Hunt 22B,
Sumi, McCaffery’s Penman Front View
Leonardt Principal EF
Fit nib to Insert Heel of nib between curved
Goldline Marker Hunt 101 Pelikan 4001 inside curve. side of Pen Insert and the prongs.

PAPER WEIGHT E Q UIVALENCES

Canson Pro Marker Gillott 170 Sumi, Pelikan 4001
Imperial - Pounds - lbs.
Gouache, Sumi, Metric - Grams per Square Meter - gsm
Colorplan 100 gsm Hunt 22B, Hunt 100
Chinese Stick 20 lb = 30 gsm 75 gsm = 51 lb
24 lb = 36 gsm 100 gsm = 68 lb
Gouache, Sumi, 80 lb = 118 gsm 120 gsm = 81 lb
Conquerer Wove Hunt 22B, Gillott 303
Pelikan 4001 100 lb = 134 gsm 135 gsm = 91 lb
110 lb = 163 gsm 175 gsm = 118 lb
In the United States, Text and Cover are used to describe paper weight. 120 lb = 178 gsm 270 gsm = 182 lb
The equivalences noted in the table depict text weight paper. 140 lb = 207 gsm 350 gsm = 236 lb

11 Copperplate Script: A Yin & Yang Approach 5 PART II - Tools

 STR A
AIGHT
AIIG
AIGH
I GH
G HT
H T VS
V S OB
O
OBLIQUE
B
BLL
LIIIQ
LIQ QU
Q U E HO
UE H
HOLDER
O LD
OLD
OLLDER
DE
DEER
R
When reading this section, please have both a nib • STRAIGHT º OBLIQUE º The major issue is the top wave stroke.
in both a straight and an oblique holder, with some • Straight holder turns to horizontal and
can spread.
ink to test the subtle variations of the letters. These
º Oblique holder turn is very awkard.
are only the most obvious shape comparisons. There
º Line of Universal Beauty feels like it is leaning over
are many more once you start looking at the letters a little too much.
carefully.
º Letters feel like they are leaning too much.
The first matter to consider is that the oblique º Shades are heavier.
holder was made for writing Spencerian. English º N feels tighter due to swings under the swelled
Roundhand and pointed nib Copperplate were stroke and weight of swelled stroke.
originally written with a small, left-oblique cut quill. • Straight holder is narrower and the weights and
Later, a straight, pointed nib, was used in a straight ellipses are on the 55°.
holder. º Oblique holder is rounder, deposition of shade is
lower, distribution of weight is lower.
• There is a tendency to slant the script 2.5 to 5° º Narrowness of right bowls is bigger in oblique
+/- 55° with an oblique holder. holders.
• The flatter nature of the oblique flange allows for º Swelling of bottom stroke is difficult with oblique
easier spreading of the tines resulting in wider holder, as is turning to the horizontal.
shades. This also allows for a natural tendency
for weight at the bottom or top half of the shade
or curve not at the middle.
º Oblique holder causes narrower internal “V”.
• The oblique holder tends to allow wider and
º Deposition of shade occurs at base.
bigger strokes due to the tines spreading more º Appears as if it is leaning.
easily.

• Connective strokes are more Spencerian-like º With the oblique holder, there is a tendency to
swing, like a wiggle, on the swelled stroke with
with an oblique holder, in that they tend to be
more weight at bottom of stroke.
flatter, rather than at 50°.
º Ellipse feels flatter.
• The angle on the oblique holder tends towards a º Weight is not on the 55° but at lower
two-thirds of the letter.
faster writing.
º Tendency is a fast swell in the middle of the
• STRAIGHT º OBLIQUE swelled stroke.
º Jot tends to be curved at speed.
º Flattened feet are not on the baseline but at an
angle to the baseline.
º Branching strokes are more angular.

º Easier with the oblique, but tines spread too º Wider, darker letters.
quickly to be controlled. º Weight at lower half of letters.
1 • It takes more practise with a straight holder º Exit ligatures go out and across rather than under
but the tines don’t spring open. and up.
º Allows for great consistencies with other • Straight – internal space is more upright.
numbers.
º Reverse comma tends to be too big at the
º Too much lateral spread. top and close too soon.
º Leaning too much to the right. º Weight is heavier on the bottom and can be more
2 º Small swelled stroke at a difficult angle and of a punctuated swell.
not on the 55°. º Weight at base of “s” is very indicative of
º Exit stroke is a little wild. Spencerian distribution.
º Slant at the top of the straight “t” is steep.

º Not upright enough. º Letters look like they are leaning a little more
than they should. Both due to added slant and
º Swell in the wrong place.
6 slant of the ligature.
º Inner turn difficult to keep parallel.
º Weight on downstrokes tend to be lower and
º Internal ellipse not in the right place. heavier.

º Wider internal space. º Heavier and weightier letters.

º Tendency for weight to be in the º Slightly tilted ellipses.
9 wrong place. º Distribution of weight is lower in the shades
º Weight relationship is inconsistent. rather than more consistent along the shade.
º Parallel lines difficult to control. º “Kink in the ink” (p. 94) looks more like a swoop
due to internal shape of the ellipse in the loop.

PART II - Tools 6 Copperplate Script: A Yin & Yang Approach 12

 A VIDEO T HE 3 P'S • POS T UR E ?
 VIDEO
ALWAYS THREE - YOUR FEET, YOUR BACK, YOUR HEAD

WHOLE BOD Y
FIGURE 1
• Note position of feet, shins, back, neck,
head and hands.
• Position yourself at the middle or front of the
chair, never to the back.
• Do not let your lower back touch the back of the
seat.
• Roll a cushion for extra height.
• Good posture is necessary. Bad posture
compresses the lungs and forces the body to retain
carbon dioxide making you tired and lethargic.
• A big yawn means your body is lacking oxygen.
• Don’t bend your neck and tilt your head to look
up under your hand.
• Use a complement of angles.

F IGURE 2
• Feet. Shins. Thighs.
• Sit on left side of table.
• If there is a straight table leg, it should be
positioned between both of your legs.
• Knees should be set apart as wide as your
shoulders to allow the pelvic girdle to sit within
the space between the thighs.
• Place feet with one foot flat, the other tilted.
This allows you to lean forward (on the tilted
1 side) and keeps you upright on the straight foot.
• Tilt forward from the hip, not the back, not the
shoulders, not the neck.
• Do not slouch.

F IGURE 3
• One thigh is parallel to the ground. This
disengages the hip flexor muscle and engages the
abdominals.
• Other thigh is at an angle sympathetic to the tilt
of the foot.
• Lean forward toward the table, keeping your
back straight.
• Rest the WHOLE ARM on the desk.
• Keep the elbow about 2.5 cm (1 in.) from the end
of the desk. This is essential.
2 3 F IGURE 4
• Be conscious of your neck and head. Avoid
twisting the neck or bending the head.
• Turn your neck gently, by about 5 to 10°. Look
with your eyes.
• Your head does not need to be tilted at an odd
angle when writing.
• Do not look up under the hand.

F IGURE 5
• Left-handers, use all of the directions above,
except sit on right corner of the table.

4 5

13 Copperplate Script: A Yin & Yang Approach 7 PART II - Tools

 A VIDEO T HE 3 P'S • P L AC E MEN T ?
 VIDEO
ALWAYS THREE - YOU, THE TABLE, THE PAPEWR

YOU
• You can move.

• Consider where you are sitting – (see pg.13). You A B C D E F

can turn clockwise or anti-clockwise, in relation
to the straight edge of the table. Writing is uphill Lean over desk Location of page Page angle
Short side of page on or parallel to (see pg. 17)
• Move the chair with you.
desk edge (move vertically up)
• Do not sit off at an angle on the chair. This sets
up another angle of which your subconscious
needs to be aware.

THE TABLE

• The table cannot move, unless you want to pick

it up.
G H I
• Table edge is your fixed point of reference.
The page can also move UP or Mark a comfortable spot on desk and Page has three parts:
• Rotate clockwise or anti-clockwise.
DOWN relative to you and the edge move page through this spot. Close, Comfortable and Far.
of the table.
THE PAPER

• The paper can move most easily.

• Do not tape the page down.

• Do not lean to get to the far side of the page.

Leaning causes compress creating tension in
the shoulders.

• Move beginning third page away from you in

to centre. 1 2 3

• Move page to middle third and then move to end Axis of script (55°) issues Elbow MUST be on the table at all Spread the non-writing hand open
of third. from chest at a perpendicular times. Keep the shoulder relaxed and and flat (relaxed) and place on the
angle (preferable, but not necessary). the whole arm on the desk with the bottom edge of the page. This holds
• Figures A - I illustrate various placement little finger down and touching the the page in place, allowing the nib
positions. surface. to interact with the page and with
gentle up and down movements.
LEFT-HANDER S
LEFTIES
• For practice of letters and shape only - start at
the right margin moving from right to left.
• Once comfortable with movements and shapes
of letters, attempt words.

• For writing words, start on the left side of page.

• Bottom right tip of page may be off desk.

• Half of page may be off desk.
• Careful not to crush page on edge.
• Check hand hold – this is critical.
4 5

Lefties: Backward tilted hand requires nib to be at axis of script. Page is not perpendicular to chest. For practise of
letters, not words, start on right side of page.

A VIDEO C ORR E C T ING T HE DE AT H GRIP

(Fig. 1 and Fig. 5) The pen has done nothing to you. Do not squeeze it to death!
If you have a tight hold, try this method. Take a pencil (with an eraser) on the back side in the non-writing hand and place it eraser-down to hold the page in place an
inch above where you are writing. Obviously, this position is relative to where the nib is. This will not only hold the page in place, but it will also transfer stress from
the writing hand to the non-writing hand. The eraser acts as a shock absorber.
If you break the pencil, seek professional help for stress or anger management! Breathe slowly.

PART II - Tools 8 Copperplate Script: A Yin & Yang Approach 14

 A VIDEO T HE 3 P'S • POSI T ION ?
 VIDEO
ALWAYS THREE - YOUR FEET, YOUR BACK, YOUR HEAD

approx. 50º There is no left hand information on this page, as

this is covered extensively on pg. 17, please note the
angle of the pen to the page. This assists with the
ease of spreading of the tines.

ANGLES

• Hand (fingers and wrist); Nib in the holder;

Axis of the guidelines.

• Do not write with the fingers they are busy

holding the pen.

• The most important thing – do not grip the pen

too tightly, relax your hand.

• Write with the wrist if the letters are up to 10mm.

• Angles – the steepness or shallowness of the pen

and nib angle to the page/desk.

• Some of the angles are 85, 80, 75, 45, 30.

STEEPER
1
• Steeper – towards 90°.
The back of the pen must face the writing shoulder so tines of nib can spread evenly along axis of the script.
• It's harder for the tines to spread – if you spread
them widely at this angle. You will damage the
approx. 30º tines.

• There is more control over the nib at 90º.

• Narrower, taller letters.

SHALLOWER
• Shallower – Towards 0°, i.e. the flat of the table.

• Easier for tines to spread and not get damaged.

• Less control over tines springing open and more

ink dropping out.

2 3 • More difficult to control.

Back of the pen facing away from the writing shoulder. Straightness of the page to table edge; Position of hand. • Sticks in the page more readily.
The tines of nib cannot spread evenly along the axis
of the script used for flourishing.

approx. 80º approx. 70º

4 5 This is my pen hold. 6

Position of handhold, position of the page. Angle of pen to the page is steeper. Angle of pen to the page is lower than Fig. 5.

?
D A í H44+í4+ ?
 VIDEO

15 Copperplate Script: A Yin & Yang Approach 9 PART II - Tools

 W HOLE AR M MO V E MEN T ?
 VIDEO

TERMS TO DIFFERENTIATE Whole Arm Movement – a combination of all The hold I had developed, positions the
of the above working together. hand higher up the body of the penstaff.
Finger Movement – for the application of A small movement higher up the penstaff,
pressure. Upper and lower finger movement.
Whole Arm Movement is a combined generates a bigger movement at the tip of
For forming small parts of the letters.
skill which includes muscular movement. the nib.
Wrist Movement – vertical lines, diagonal and
Rolling on the on the arm when flattened
horizontal curves, for forming larger parts of
- rolling on the brachioradialis, the It is the same with the arm, a small
the letters.
palmaris longus, top part of the flexor movement in the shoulder allows for a
Arm Movement – side to side movement to
muscles. smaller movement at the fingers.
travel along the base-line. Vertical as well.
This also includes my half muscular
Muscular Movement – rolling on all of the
movement roll, which is, on half of the This is the reason many practitioners
half of the mucle. For smooth curves, ellipses
muscles, i.e. only the palmaris longus and struggle with this movement, the small
and circles.
the top part of the flexor muscles. movement in the shoulder is so small
Shoulder Movement – where the driving that you can easily mistake for and elbow
force issued from. It is a tiny movement, much
Muscular Movement only anticipates movement.
smaller than you think. Only place straight
rolling on the muscle, allowing the arm to
lines can come from.
travel across the page is as arm movement.

“Just remember, whatever your hand hold, you can do this script!
If you have a “non-standard hold” do not despair. You CAN do this.”

RIGH T-H ANDER S

These are the three main right-hand holds. The pen hold I developed is an Both holds are based on an upright hold,
Note: there are numerous variations on all augmentation of my brush hold (see Fig. 6, holding both tools higher up the shaft of
of them. pg. 15). the tool (see pg. 15 and 124).

1 2 3

Triangle Hold Quadrangle Hold Augmented Quadrangle Hold

• Held at foot of penstaff with thumb, • Held at foot of penstaff with thumb, • Held at foot of penstaff with thumb,
forefinger, middle finger and ring finger, very forefinger, middle finger and ring finger, very forefinger, middle finger and ring finger, very
close to the nib. close to the nib. close to the nib.
• Little finger usually curled under hand. • Anywhere from the tips to the pad of the • From anywhere to the tips to the pad of the
• The fingernail of the middle finger rests on fingers. fingers.
the page. • Little finger can be curled under hand or • Little finger can be curled under hand or
• At tips of nails no pads of fingers. round front of hand. round front of hand.
• Tendency is to grip very hard, which can • Possibly even curving forefinger and middle • Can possibly even curve forefinger and
cause shaking of the tool, possibly even finger at knuckles middle finger at knuckles.
curving forefinger at knuckles. • Tendancy is to pull the fingers back and • Aim for a more relaxed hold. The image
• Aim for a more relaxed hold. This will make forth and roll into and out of the hand. above is my version to this hold. It promotes
the tool less vertical. • Very bad position, causes immense stress on less stress on the hands.
• Flatter angle to the page will allow the tine the hand.
to spread more easily with less snagging. • Aim for a more relaxed hold.
• It is preferable to change this hold.

PART II - Tools 10 Copperplate Script: A Yin & Yang Approach 16

 W HOLE AR M MO V E MEN T
LE F T-H ANDER S
approx. 40º - 50º approx. 50º approx. 45º

1 2 3

Over Hook Mirror Right-Hander Regular Hook

• Held higher up the penstaff. • Held between the thumb and forefinger • Held between the thumb and forefinger and
• Held between the thumb and forefinger and and supported by the middle finger and/or supported by the middle finger.
supported by the middle finger and/or ring ring finger. • Knuckle joint on the little finger where hand
finger. • Can be either triangle or quadrangle hold. and little finger meet, rests on desk.
• Knuckle joint on the little finger where hand • Page is held short edge parallel to table edge. • Can be either triangle or a quadrangle hold.
and little finger meet, rests on desk. • Penstaff is about 40 – 45°, but can be • 55° issues from chest at a perpendicular
• Can be either triangle or quadrangle hold. steeped to 75°. angle. Page is upside-down.
• Page is held parallel to chest and • Downstrokes are pulled to the side and away • Penstaff is held around 45°.
upside-down. from you. • Page can also be held where baseline is at
• Penstaff is about 40° to desk. • Keep arm including elbow on desk. 90º to edge of the desk.
• Downstrokes are pulled diagonally up and • This position puts the left-handed at the axis • Downstrokes are pulled vertically up and
away from you. of the script. away from you.
• Keep arm, including elbow, on desk. • If you are left-handed and this is your hold • Keep arm including elbow on desk.
you are luckier than any right-handed person.
• Don't cock back wrist.

approx. 40º approx. 35º approx. 30º - 45º

4 5 6

Flattened Mirror Right-Hander Flattened Regular Hook Reversed Hook or Cocked Wrist

• Held between forefinger and first knuckle of • Held by all the fingers in the left hand. • Held between forefinger and first knuckle of
middle finger. Held in place by thumb. • Entire little finger all alone hand rests on middle finger, held in place by thumb.
• Can be either triangle or quadrangle hold. desk. • Can be either triangle or quadrangle hold.
• Page is held with 55° script. Axial lines are • 55° issues from chest at a perpendicular • Page is held with 55° axial lines near parallel
parallel to table edge. angle. to table edge or tilted upwards. This depends
• Penstaff is about 40° – 45°, but can be • Page is upside-down. on degree of cocked wrist.
steeped to 60°. • Penstaff is held around 45°. • Penstaff is about 40 – 45°, but can be steeped
• Downstrokes are pulled horizontally and • Page can also be held where baseline is at 90º to 60°.
parallel to desk edge. to edge of the desk. • Downstrokes are pulled vertically up and
• Keep arm, including elbow, on desk. • Downstrokes are pulled vertically up and away from you.
• This position puts the left-handed at the axis away from you. • Keep arm, including elbow, on desk.
of the script. • Keep arm, including elbow, on desk • This position puts the wrist under
• A better variation is to hold the tool between • This is not a good hold, as it stresses the considerable strain and should be changed.
the thumb and forefinger and supported by tendons in the hand.
the middle finger and or ring finger.

17 Copperplate Script: A Yin & Yang Approach 11 PART II - Tools

 T HE LINE OF UNIV ER SAL BE AU T Y
The Line of Universal Beauty and the Connective Stroke must 5º
be traced conjointly as a whole unit and not independently from
55° 50°
one another.

The Line of Universal Beauty is not a compound curve (See Figs. 1

and 2). The term is derived from Hogarth’s Serpentine Curve in
which he referred to it as the Line of Beauty, in 1753, see back cover. Q
See pg. 119, fig. 1

A – Baseline: A natural resting base.

B – Cap Height: Aim to touch this line when
writing the letters.
C – Connective Stroke/Lead-in Stroke: A
line at 50° which starts at the baseline and
connects to the Line of Universal Beauty.
Two-thirds of this line is a straight line on
the 50°.
D – Line of Universal Beauty: A line at 55° -
the axis of the script. Two-thirds of this line
is a straight line on the 55°.
E – 55°angle line: The axis of the script.
F – 50°angle line.
G – The Centreline which runs in the middle of
the letters.
H – Pulley: These can be at either a 1/6 or 1/3
and represent a circular shape around which
a segment of the curve assists in forming
part of the Line of Universal Beauty or the
Connective Stroke. This is also present in the
Minuscules again at 1/3 or 1/6.
I – Axis of the Pulley: Must be kept at 55°.

J – Pulley at 1/6 the Letter Height: 1/6 curve M – 1/6 over the 55°: The overhang on either Q – 5° Triangle: The difference in angle
helps to create the Line of Universal Beauty. side of the Line of Universal Beauty. between the Connective Stroke and
the Line of Universal Beauty
K – Pulley at 1/3 of the Connective Stroke: N – 1/3 over the 50°: The overhang on either
(see pg.119, Figs.1 and 2).
Helps to move into and out of the side of the Connective Stroke.
straight line. O – Widest part of the Line of Universal R – Apex: The clipping point, it is the furthest
L – Straight line: Approximately two-thirds of Beauty: Just under two-thirds of the part of a curve. I have added top, left, right
the stroke. line is straight. and bottom apexes.
P – Inflexion Point: The point at which a curve S – Centre Vertical Pitch or “x-height.”
changes from concave to convex.

PART II - Tools 12 Copperplate Script: A Yin & Yang Approach 30

 AN ATOM Y OF T HE M AJUS C ULE S

HORIZONTAL HORIZONTAL
55ºHAIRSTROKE
TOP ELLIPSE
LINE OF UNIVERSAL WAVED STROKE
BEAUTY HAIRLINE LINE OF
UNIVERSAL BEAUTY CURL

LONG
SWELLED STROKE - REVERSED ANGLED
SWASH - OR SHADE WAVED STROKE ELLIPSE
LINE OF UNIVERSAL BEAUTY
DIRECT INVERTED
HAIRCURVE

FLATTENED
LOOPED
POINTED
STROKE CURVED
LOOPED
STROKE SWELLED
ANGLED PARTIAL
POINTED WAVED STROKE DIRECT
ELLIPSE
SWELLED INVERTED
STROKE HAIRCURL

HAIRCURVE

DOUBLE
REVERSED
ELLIPSE
HORIZONTAL BASE
SWELLED STROKE WAVED STROKE

HORIZONTAL REVERSED
HAIRLOOP COMPOUND
WAVED STROKE ELLIPSE

LONG INVERTED INDIRCT INVERTED

HAIRCURVE HAIRCURVE

HORIZONTAL
HAIRLOOP
ANGLED SHORT WAVED STROKE REVERSED
SWELLED STROKE HAIR ELLIPSE
INDIRCT INVERTED
HAIRCURL

50º REVERSED
LONG INVERTED
HAIRSTROKE ELLIPSE & HAIRSTROKE
WAVED STROKE
50º SHORT OR HAIRLINE
HAIRLINE LONG INVERTED SWELLED
CONNECTIVE WAVED CURL STROKE
STROKE

SHORT
SWELLED
BALL STROKE
HAIRLOOP
SERIF

HORIZONTAL LINE OF
LINE OF UNIVERSAL BEAUTY UNIVERSAL BEAUTY
COUNTERCHANGED
ELONGATED STRIKE HORIZONTAL HAIRSTROKE REVERSE COMMA
ANGLED HAIRLINE

31 Copperplate Script: A Yin & Yang Approach 13 PART III - Majuscules

 DIRE CT & INDIRE CT S T ROKE S
DIRECT & INDIRECT
STROKES
1/6 1/3
1/2
These terms are directly from the “source” INDIRECT
and used by English Writing Masters in DIRECT
1/3

their copybooks from the middle of the 1/3

1/2
1/6
17th century. They indicate whether you
go directly into the letter (a direct stroke),
or if you go all the way up and over and
down (an indirect stroke).
LET T ER HEIGHT & R AT IO
These are not only entrance and exit 1/6 1/3
strokes but ligature approaches and can 1/2

be used on their own or in combination 1/3

in words. Direct joins compress a word 1/2

1/3
and indirect joins spread a word out. 1/6

Remember to keep them both at 55°.

LETTER HEIGHT & R ATIO T HE KINK IS IN T HE INK

The o, or the short swelled ellipse is
essentially the same shape as the central
body of the C, making it ideal for the ratio
of the letters. It is 1 parallelogram wide
and 3 parallelograms high (when using
the Majuscules guidelines), making it
very narrow. When using the Minuscules
guidelines the ratio is 1 x 2 of the
Majuscules Guidelines, making it a little
squatter and rounder and a little easier to
deal with.
The top and bottom turns are 1/3. It
travels up, over and then down to one-
third above the base-line, hairline up and
over, weight, then hairline. The reverse
comma is a 1/3 long and the exit ligature is
half a parallelogram.
The Minuscules are based on the Swelled
Stroke. Make note how dividing up the i
and flipping the top portion makes an “o”,
albeit a narrow one.

THE KINK IS IN THE INK

This is a little phrase I came up with in

2001. You go up from the baseline at
55°, stop at the x-height, not lifting but
essentially going up and across and out, up
at 55°. On the return journey down, the
weight on the downstroke covers the kink,
with ink. If you did not know the kink
was there, forming the overloop of the
ascender, or the forward underloop of the
descender would make the internal space
tighter and more like a Spencerian loop.

PART IIII - Minuscules 14 Copperplate Script: A Yin & Yang Approach 94

 AN ATOM Y OF T HE MINUS C ULE S
SHORT
DIRECT UNDER OVER FLATTOP FLAT BASE SWELLED
LIGATURE CURVE/ CURVE/ PARTIAL PARTIAL STROKE SHORT
DIRECT INDIRECT INDIRECT SWELLED SWELLED SWELLED DIRECT PARTIAL
STROKE STROKE LIGATURE STROKE STROKE ELLIPSE KINK LOOP ELLIPSE

SHORT MEDIUM CROSSBARS

SHORT WAISTED
PARTIAL SWELLED REVERSED FLATTENED CROSSBARS BACK FRONT STROKE
REVERSED STROKE SWELLED DIRECT STROKE
ELLIPSE STROKE

SHORT FLATTENED
DOUBLE SWELLED DIRECT REVERSED
REVERSED STROKE STROKE FORWARD KINK
ELLIPSE R UNDERLOOP

SHORT POINTED LONG

SWELLED STROKE LOOPED DIRECT
REVERSED
STROKE KINK
ELLIPSE
LOOP
LONG
LONG
FLATTENED CONSTANT
WAISTED
TOP DIRECT WIDTH
INVERTED STROKE
INVERTED STROKE STROKE
TAPERED JOT
FLATTENED ROUNDED FLATTENED
DIRECT INVERTED
LOPPED REVERSED REVERSED
STROKE COMMA
STROKE COMMA COMMA

OVERLOOP
COUNTER FLOURISHED
CHANGED Z-TOPBAR CLIMBING
INDIRECT ANGLED HAIRLINE
STRIKE HAIRLINE STROKE

REVERSE
COMMA

STRAIGHT UNDERLOOP
LONG INVERTED HORIZONTAL HAIRLINE
WAVED CURL WAVED STROKE FINIAL

FLOURISHED
CLIMBING
HAIRLINE
STROKE

95 Copperplate Script: A Yin & Yang Approach 15 PART II - Tools

 BRUSH C OP P ERP L AT E - PAUL'S BRUSH HOLD

1 2 3
Whole arm on desk. Rotate onto half muscle and gently Gently continue rolling wrist over so pencil is more Hold pencil lightly. Tilt pencil to vertical.
roll wrist over. vertical.

4 5 6
With non-writing hand, adjust pencil to vertical. Remove pencil with non-writing hand, keeping hand Replace with bristle-tipped brushpen, in vertical position.
position.

8 9
Hand may move back. Keep in position to keep tool Keep on tip of brush, not on side. Up and down wrist action creates pressure forming swell
vertical. Hold higher up the shaft of the brush. on stroke.

PART V - The Act of Writing 16 Copperplate Script: A Yin & Yang Approach 124
 P R AC T ISE WORDS
LO WER CASE pharynx Gianluca Sint-Holo Miahuaxihuitl MINERALS
adjunct pillbox Gianmaria Tahmurath Miyahuatzin & GEMS
advantages pizzazz Hess Tenjin-Sama Miyahuaxochtzin Amethyst
affixed press Immunities Thoth Moctezuma Anhydrite
alchemy privileges Jenny Wen Chang Motelchiu Aphthitalite
amazing puzzled Kennedy Nanacacipactzin Baryte
apple quacked Kishimoto EGYPTIAN Opochtl Beryl
asphyxy quantum Ksiazek PHAR AOHS Popocatzin Cinnabar
quiches Leung Akhenaten Tehuetzquititzin Chrisstanleyite
assemblies
quicken Lim Amenemhat II Tezcatlan Dolomite
azimuth
quizzed Linn Amenhotep III Tezozomoctli Dzhalindite
baptize
sozzled Lynn Artaxerxes I Tlacotzin Elbaite
bazooka
squid Massachusetts Cleopatra III Xochicueyetl Epidote
biforcation Massanette Darius II Xochiquentzin Emerald
successors
blanks vexedly Michelle Djedefra Xocoyotzin Feldspar
brown vitality Millicent Djedkare Shemai Fluorite
buzzcut viceral Minimal Djoser ASS YRIAN Galena
buzzing waxwing Minimum Euergetes II KINGS Geikielite
chamois waxwork Pe-eminences Horemheb Adad-nirari Hazenite
communications work Phillips Khababash Aššurnasirpal I Howlite
community xeroxed Press Khafra Aššurnasirpal II Ikaite
crown xylophone Privileges Khufu Enlil-kudurri-usur Illite
difficult yield Quinn Nectanebo I Ninurta-tukulti Jadeite
drought young Renee Neferkare Khendu Šalmaneser Jasper
duffel zephyrs Sosna Neferkare Nebi Šalmaneser III Khatyrkite
evicerate zigzags Successors Neferneferuaten Šamši-Adad Kamiokite
example zipping Tina Nekhtnebef Tiglath-pileser Kyanite
exemplar zoology Wallace Ptolemy VIII Tiglath-pileser II Lazulite
ezuinox Wang Sanakhte Tukulti-Ninurta II Lepidolite
fjordic CAPITALIZED Work Senusret I Lithiophilite
flummox Advantages Yannaguchi Sesostris I ANIMALS Magnetite
Allwood Young Smenkhkare Aardvark Malachite
foxhound
Amy Sneferu Archaeopteryx Neptunite
gimmick
Apple GODS OF Sobekneferu Aye-aye Nichromite
gunned
Arkadinsz WRITING Sogdianus Axolotl Nickel
hummock
Assemblies Athena Thutmose IV Bumblebee Bat Oligoclase
immunities Banner Ann Brahma Tutankhamun Caecilians Onyx
invariable Biddy Brigit Tutankhaten Chiroteuthis calyx Petalite
jabbing Blanks Cadmus Xerxes II Coelacanth Petzite
jamming Briggs Ts’ang Chieh Dendrogramma Quartz
jazzmen Brillenbourg Fu-Xi TENOCHITIT- Echidna Quenstedtite
juju Brown Ganesha LAN RULERS Feathered Stars Rubicline
jurymen Cappellazzo Hermes Acamapichtli Gerenuk Ruizite
kickbox Chin Hermodur Ahuitzotl Goblin Shark Saleeite
kinsmen Communications Inanna Axayacatl Hercules Beetle Saliotite
minimal Community Ishtar Ayauhcihuatl Kiwi Tangeite
minimax Crown Itzamna Cacamacihuatl Komodo Dragon Tokyoite
minimum Delevigne Manjushri Cecetzin Musk Deer Ulexite
mudpack Della Melpomene Chimalpopoca Narwhal Ullmannite
mummify Demarchelier Mercury Cihuacoatl Okapi Vesuvianite
muzzles Dennis Nabu Cristóbal Opah Villiaumite
necrosis Dexter Nisaba Cuauhtémoc Platypus Violarite
nuzzled Difficult Odin Huanitzin Pygmy Marmoset Wadsleyite
Donna Oghma Huacaltzintli Radiolarian Wagnerite
objects
Doumainan Philyra Huitzilihuitl Salamander Wairakite
oblique
Duffel Ratatoskr Huitzilxotzin Scorpionfly Xonotlite
opaqued
Emma Saga Ilancueitl Sea Pigs Xanthoxenite
oxyphil
Englebert Saraswati Ilhuicamina Tarsier Zanazziite
payback Zussmanite
Faggionato Sequoyah Itzcoatl Trilobyte Beetle
preminences Gianlianni Seshat Matlalatzin Yeti Crab

115 Copperplate Script: A Yin & Yang Approach 17 PART V - The Act of Writing
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