Fraktur In Its Glory

3-Day Workshop

Monday, July 5 at 9:00 AM CDT

All Skill Levels Welcome
Lettering

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Description

The script which drew me to calligraphy was Fraktur. The first script I learned was Textualis Quadrata, and I am glad that was the order as one cannot learn Fraktur without and understanding of Textualis Quadrata.

In this 3 day workshop you will get an overview of my PAScribe Textualis Quadrata, a script I developed to make the teaching of the historical Textura scripts in the manuscripts, easier to learn and apply. That will be the basis for jumping off the deep end into Fraktur.

We will cover the majuscules, minuscules, numbers and punctuation and will also touch on the structure of pointed pen flourishing used in Fraktur. Even though this course is open to all levels you MUST have a working knowledge and control of both pointed and broad edged nibs.

Supplies

Paper –

Ultimately, this is up to you to choose, it depends on what you are accustomed to working on, how you are accustomed to work and if you prefer a thicker or thinner paper to write on. Needless to say if you are a beginner the Layout Paper is your best bet.

Layout or Marker Pad A4 or US Letter no Tracing Paper.
Something you can see through once the guidelines are under it.
You can use cartridge paper but you will need to rule up constantly.

Nibs –

Ultimately, this is up to you to choose, it depends on what you are accustomed to writing with, how you are accustomed to writing and if you prefer a marker to a nib. This all depends on your tool knowledge and control. Needless to say if you are a beginner the Marker would be better for you.

Sakura Calligrapher 3.0 Marker (x2, Speedball C2, William Mitchell 2, Parallel Pen 3.8 or 2.4 (if you are really experienced), Hunt 22B nibs (x2, x4 if you are heavy handed). NO G nibs under any circumstance. Quills are more than welcome as long as you know how to use them. I will not be teaching you how to use quills.

Ink –

If you are using a marker you will not need ink.
If you are using a nib I would suggest a fountain pen ink like Monteverde Ink, or Pelikan 4001. Walnut Ink will also work. Do not use Iron Gall ink if you are using metal nibs as it will corrode the nibs and you will lose sharpness on the tips.
You can use sumi or stick ink but it needs to be thinned accordingly.

Pencils –

Whatever you feel comfortable with.
Pencil – Graphite – an HB, 4B and a 6B,
A separate pencil if you are writing notes in pencil, not the practise one.
Double Pencils – two pencils strapped together with a
rubber band at the top and the bottom.
Coloured – various colours, at least 4 different colours.
Or normal pencils to work in and a mechanical pencil to make notes in.

Pen –

A fine tip red pen or a colour which contrasts with the ink you are writing in.
Light – Ensure the light is bright and movable so you do not end up with shadows.

Please ensure your ink, nibs and paper all work together and do not bleed.

Note – I chose the Sakura Calligrapher Marker because it is sharp and rigid, it also does loose sharpness. This is great if you are a beginner or you press hard. You can use Zig Calligraphy 2 markers or markers made by other manufacturers, you just need to understand how to use them, for this you will need to look at the shape of the tip.

The markers are a good choice for learning online as they do not require ink, which can be messy and time consuming to use due to drying times, as well, you do not need to understand the application of a reservoir on the nib for controlled ink flow. If you opt to use nibs, I will be happy for that as that should be your aim. If I have time, I will look at the difference between nib and marker work, and if you choose to use a quill then brilliant. You can also opt to use a flat carpenter’s pencil.

Other tools which are helpful but not necessary –
A straight edged ruler, a protractor, a pair of set squares, 4 small paperclips, 4 blank guard sheets (A4 or US Letter), a playing card (a larger size if you are a little clumsy), a cloth to wipe your nib on, a short open mouth jar of water, blue tac, a strip of fine sandpaper, a pencil sharpener, talcum powder, masking tape, erasers which you are happy to cut, a sharp knife like an exact or scalpel blade or a very fine eraser you might be able to shave like a pencil, an awl or bradawl or thumbtacks or ling pins

Remember to watch the videos:
Posture: https://www.youtube.com/watch?v=L3o-XqiDohs
Placement: https://www.youtube.com/watch?v=Uz2806GJteQ
Position: https://www.youtube.com/watch?v=BWtvNpVNOqA&t=1s

Additional –
No hard soled shoes, ideally you want to just be wearing socks. Cushions in the event you need to get more height at the desk. If you are short, a box to rest your feet on. If you are tall sort out your seat to table ratio well before the workshop, preferable working at a straight edged table. Short sleeves (if you are wearing a long-sleeved shirt or jumper/sweater, you will need to roll it up past your elbow). A crumpled ball of paper.
See Death Grip: https://www.youtube.com/watch?v=n7juqXd8z_c,
An unsharpened pencil with an eraser on the back (do not use this to erase). Or if you can get a larger than normal size pencil with an eraser that would be preferable.
Clear your writing surface of anything other than what is listed. You need the space.

If you can roll out a large sheet of paper over the area you are writing that would be great. I have an amazing trick I can teach you. Make sure the paper is thick enough to use again. A large flat sheet will work. It needs to cover the WHOLE area you are working on, tools and ink included.

It is your responsibility to ensure your desk and chair are at the right height. See the videos.
Workspace and Posture:

https://www.youtube.com/watch?v=_usS8_cSbgI&t=1721s

IMPORTANT –

It is your responsibility to acquire the tools and materials you want to use but also to test them WELL BEFORE the workshop to ensure they work together. DO NOT assume your nib-ink-paper interaction will work. I am not going to assist you with figuring this out during the class, it must me done before hand. The workshop is intense and comprehensive. I will cover the Majuscules, Minuscules, numbers and punctuation. We will also cover the attendant flourishing associated with Fraktur. This is done with a pointed flexible nib so ensure you have practised with the tools and you know how to use them before hand. Do not turn up for the workshop not having tested the materials and becoming conversant with the tools. You will need some blocks of text or sentences written out by the end of the second evening in order to add flourishes to it, if you want to try. Barring that, we will work with the flourishes off individual letters.

Gemma Black Legacies III

Click on photo to visit biography page
paulantonioscribe.com

WORKSHOP LINKS

YUKIMI ANNAND
Sequence: Journey of Experimental Calligraphy

PAUL ANTONIO
Fraktur In Its Glory

SUZIE BERINGER
The Unconventional Pointed Pen

GEMMA BLACK
Drawing the Fibonacci Sequence

TROY BOOKS
Itty Bitty Books

IVAN CASTRO
Basic Rudolf Koch:
Blackletter Und Neuland

MARCO CHIOINO
In Search of the Essential

ANNIE CICALE
Value Contrast: Exploring the Grey Areas
Word Meets Image on the Page

BARBARA CLOSE
Letters & Blossoms
Graphite Explorations

SUZANNE CUNNINGHAM
Beginning Copperplate Script

JUDY DETRICK
A Letter and a Rectangle

CAROL DUBOSCH
Ben Shahn Lettering
Bone Script: Bookhand with a Twist
Stamp Carving

DEBORAH DUTTON
Buttonhole Art Journal

JOANNE FINK
Contemporary Ensō Circles
Expressions of Faith

JESSIE FORA
(M) Handwritten: The Art of Tattoo Lettering

MARCIA FRIEDMAN
Morphing Monograms

CONNIE FURGASON
Season Leaves Booklet

RISA GETTLER
(M) Painting Knotty Letters
Visigothic Versals

TAMER GHONEIM
Gothic Lettering Magic with Procreate
Blackletter Circles on Steroids
Hand-Lettered Abstract Paintings

CLAUDIO GIL
Bruta LaGrafia, Calligraphy Beyond Styles 2-Day

MIKE GOLD
Breaking the Rules
Spontaneous Creation
(M) Variations in A

KEN HARRIS
Medieval Illuminating Techniques
Traditional Raised & Burnished Gilding

HEATHER HELD
The Glittering Vine
Victorian Frames & Labels

NANCY HILLS
(M) Learning to Sketch Out Celtic Knots

THOMAS HOYER
Dynamic Textures
Ruling Pens Beyond the Rules
The Alchemist’s Magic

CARRIE IMAI
Playful Letters
Mark My Words
(T) Mastering Italic
(M) Blame It On The Tools

GINA JONAS
Moto: Movement and Touch
(M) A Meditative Calligraphy Technique

ALINE KAORI
Mix and Match:
Calligraphy & Lettering as Design Tools

BILL KEMP
Engrosser's Script

SALMAN KHATTAK
French Roundhand
Introduction to Riqa Calligraphy (Arabic)
(M) Pen to Pixels
(M) Lines & Tines

ROB LEUSCHKE
Tool2Type

MARTA MAPELLI
Expressive Pointed Italic
Pointed Brush

HEATHER MARTINEZ
(M) Learn to Sketchnote!

ELIZABETH MCKEE
Pointed Brush for Beginners

GUI MENGA
Mix and Match:
Calligraphy & Lettering as Design Tools

HOLLY MONROE
Decorated Letters
Italic Lettering - Basics & Beyond
(M) The Business of Calligraphy
(M) Lettering on Vellum

SUZANNE MOORE
In the Glow of Gouache
Page Dazzle: Patent Leaf Gilding

BARRY MORENTZ
Morphing Monograms

LORNA MULLIGAN
Loosening Up With Calligraphy & Paint

MICHELE NIDENOFF
(M) Decorative Borders w/Simple Tools
(M) Watercolor & Lettering with Masking Techniques

AMY NIELSEN
(M) A Handwriting Called Petrarch

CORA PEARL
Monoline Lettering with a 'B' Nib
Monoline Lettering Techniques
(T) Foundation Tune-up Class
Hand Lettering with the Folded Pen

SALLY PENLEY
Sensational Sumi!
(M) Pastel Dusting Technique
(M) Pleated Scroll Book

JAN PICKETT
Creative Colour for All Occasions
Embossing with Extra Pizazz!
Letters Unlimited

ALI RICCARDO
Graffiti Writing - The New York Lesson
Rudolf Says

ROBBIE SASLOW
(M) Playing With Pens & Pencils
Round & Robust: Exploring Uncial
Simple & Semitic

LINDA SCHNEIDER
The Graceful Marker: Pointed Brush Script
Calligraphy on the Go!
Calligraphy on the Go! Writing On Glass

CAROL MEASURES SCOTT
(M) Captivating Color in Calligraphy

MARINA SORIA
The Empty Space, Womb of Shape
Weaving Words

JACQUELINE SULLIVAN
Cold Wax Calligraphic Abstracts
Markmaking, Words & Art
(M) Calligraphy & Mark Making with the Gel Plate
(M) Mini Book Madness

JANET TAKAHASHI
The Art of Miniature Painting & Lettering

NINA TRAN
Flourishes Unraveled

JERRY TRESSER
(M) The Techniques and Secrets to Raised Gilding

ELMO VAN SLINGERLAND
Broad-edged pen: Roman Capitals

MARK VAN STONE
Versals
Versals & White Vine Decoration

JURGEN VERCAEMST
Colorful Lettering Composition

JULIE WILDMAN
Akim Variations and Long Compositions
Alphabet Book
The Inside Curve Alphabet

ELEANOR WINTERS
Copperplate Boot Camp
Gothicized Italic