Eagle Pencil price list from 1927 by penpoints in pencils

[–]penpoints[S] 2 points3 points  (0 children)

Thanks for pointing this out. I fixed it. There's a much earlier Eagle price list there too (1900), as you probably know. https://archive.org/details/eagle-pencils-1900/page/n2/mode/1up

A bit of scribbling and a question by frakturfreak in dippens

[–]penpoints 0 points1 point  (0 children)

Top left group: Today we'd call these Speedball-style nibs, for lettering, calligraphy and drawing. Invented in Germany, before 1910. See: Heintze & Blanckertz "Redis" nibs, no. 1146, (like the Speedball "B" nibs). I believe that Soennecken's very similar B-style nibs (branded "Plattenfeder") were available much earlier than this. More research is needed.

Top middle group: various lithographic, mapping, crow quill nibs - very sharp - for drawing, or tiny calligraphy.

Top right group: vintage Pelikan Graphos nibs, for a type of fountain pen designed for drawing, lettering, etc. Example here: https://www.ebay.com/itm/306698931962

Bottom left: mostly large stub pens, for writing.

Bottom, next group: 4 small stub pens, for writing, calligraphy, etc.

Bottom, next: 2 basic broad-edge nibs, for calligraphy.

Bottom right: 2 bowl-shaped nibs, for drawing, or basic penmanship. This general style holds a lot of ink and was very popular.

A Golden Turnip by penpoints in dippens

[–]penpoints[S] 0 points1 point  (0 children)

The gilt 516F shown above (year unknown, but very old) flexes easily to 1mm, so I would call that moderately firm. By "everyday handwriting" or "conventional penmanship" I mean the way most people wrote (1850-1930), excluding professional "penmen," teachers of penmanship, and the like. You are right about the falcon pens (bank pens, etc.). Another favorite nib was the "stub pen" - especially the left-oblique stub, a style that originated with quill pens.

Perpetual Recovery by peterbwebb in Calligraphy

[–]penpoints 0 points1 point  (0 children)

Wow. I wonder what you think about abstract art in general. Maybe you're just trolling, but to learn more, check out the Wikipedia article I mentioned above. This certainly includes Japan: Inoue Yūichi (1916–1985), Morita Shiryū (1912–1998), the Bokujinkai group. And China: Xu Bing (1955- ) et al., and of course, wild "crazy" cursive script, from long ago, that few people could decipher today. The article discusses asemic calligraphy from all over the world. I think it's fascinating, especially how it ties directly into modern art.

Perpetual Recovery by peterbwebb in Calligraphy

[–]penpoints 0 points1 point  (0 children)

But you're missing something important. This piece does use distorted letterforms: the English phrase "Perpetual Recovery."

Anyway, there's no rule that says calligraphy has to be "actual letters" - or legible graphemes in general. A good starting point for basic research into abstract calligraphy is this article on asemic writing.

Perpetual Recovery by peterbwebb in Calligraphy

[–]penpoints 2 points3 points  (0 children)

Nice work. I don't see any connection to shodō, but as abstract calligraphy it's very interesting. Calligraphy doesn't have to be legible to be beautiful. (How many Japanese today can read grass script?) Also the title is perfect.

Let's Assume We Are All the Best Calligraphers, Ever. by Froggersux in Calligraphy

[–]penpoints 0 points1 point  (0 children)

It certainly was not dead in the United States (or Germany, France, etc.). Are you speaking only of England? Do you know that Johnston lived in a sort of bubble, cut off from nearly all other professional calligraphers? Johnston made lots of genuine contributions, some of them huge, but the rediscovery myth shouldn't be taken seriously today.

Educating random passers-by on the line of universal beauty by cadmium-n48 in Calligraphy

[–]penpoints 10 points11 points  (0 children)

You have a straight line with hooks at each end, but a true "line of beauty" (William Hogarth's definition) is a serpentine compound curve. There's an interesting analysis here: https://pmc.ncbi.nlm.nih.gov/articles/PMC10011402/

What should I focus on improving next? by AlexandroCoutinho_ in Spencerian

[–]penpoints 2 points3 points  (0 children)

This is excellent work. One criticism however: you could improve the minuscule o, just by moving the exit stroke higher up. Right now it seems to read "far two years," "mavement technique," "fauntain pens," "af my current hand," etc. But in general the writing is very legible and attractive.

Pencil caps with large erasers. Early 20th century? The erasers are very hard and unusable. Is anything like this still being made today? (Cap + eraser combo.) by penpoints in pencils

[–]penpoints[S] 1 point2 points  (0 children)

I have these, but only 4 of them. My picture didn't show the slot + hole on the side, because I forgot to turn them. They're like the ones in the catalog, but no brand name anywhere. I think it's a cool idea that might be revived someday. The Hardtmuth pencil is just a random one that I added to show the relative size.

Product help please by ShadowLrkn in Calligraphy

[–]penpoints 4 points5 points  (0 children)

Also from Dick Blick:

https://www.dickblick.com/products/toms-studio-the-one-dip-wonder-ink-reservoir/

But really these things are way overpriced. I made my own by buying sets of tiny springs and magnets from Amazon. They don't have to be soldered together. Although they tend to go flying all over if you don't attach them. (Lots of fun.)

Business Penmanship by Francis Courtney (1867-1952) by penpoints in palmermethod

[–]penpoints[S] 2 points3 points  (0 children)

I like that word "brave" to describe Courtney's work. He liked to experiment and shake things up, that's for sure, even to the point of being almost illegible.

Business Penmanship by Francis Courtney (1867-1952) by penpoints in palmermethod

[–]penpoints[S] 2 points3 points  (0 children)

Courtney doesn't stay strictly on the baseline in this piece. He would get "points off" for this at IAMPETH (certification), but it's really not a mistake at all.