o, e, c, s Note that these letters are oval in nature. They must have two pen widths in the counter spaces to look compatible with the other letters. Make “e” in three strokes especially if you are using a large pen. Try a twist and pivot on the top stroke of the “c” and “s”. Try not to let anyone see where you have joined making the O. a, d, g, q These letters are the most difficult to make. Some (a,g,q) may be made in one stroke, two strokes or three strokes. Three strokes will make a more formal letter. One stroke would be more useful when you are using a very small pen. Note carefully the shape of the counter space. It is very important as it gives the alphabet the Italic feel.

p, b The counter shapes are basically the same as those in a,d,g,q, Lower pen angle for the horizontal f, ,j, p, Letters with a formal back stroke. Try to “anticipate” the trip to the left in the lower stroke. If the curve comes too late a swastika may result and we do not want this. j, p Let entry stroke break into the ascender space a bit. It is a more beautiful letter k, v, w, x, z All have a diagonal component. Pen angle should be elevated or lowered appropriately to make all parts of the letter look as if they belong to the Italic alphabet. Lower kick of “k”. Elevate pen angle for “v” and “w”. Lower for top and bottom stroke of “z” and even more for diagonal.

--Pen angle between 30 and 45 (capitals can look more

substantial than the rest of the letters)

--Pull down and as you approach the line lower pen angle

to a lower angle and push to the left. If you have done it

correctly you will have a very nice gentle curve as your

pen thins. If you wait too long to start the curve, you will

get a squarish corner which jars the eye.

--Now, retaining the lower angle, pull the stroke to the

right just a short way creating a foot.

–Locate yourself at the top of your stroke but substantially

to the left. With pen at original angle,(higher), pull down

slightly to the left but straight so that you have a hairline at

the top.

–Go back up to the top and let pen go slightly up then

across to create a wonderful swash

A capital must appear SHORTER than an ascender. Do capitals at

71/2 pen widths tall. Ascenders in formal italic are 10 pen widths

tall. If capitals are done at the same height as a formal ascender

they become wispy and have no presence except for being large

and ungainly.

There are at least six things that can go

wrong with this maneuver. Try to become

very able with this stroke, and you will have

a strategy for most of the caps you will need

in your calligraphic life. Letters which

employ some of the swash strategies are

B, D, E, F, H, I, J, K, N, P, R, T, U. This

works out to half of the alphabet which is

a very good start. Next time we will deal

with the other caps which include letters

with diagonals and the round letters.

Betty Locke

January 2010

For many of the letters a simple swash will suffice but

others offer different challenges. Remember that we

base the size of the Capitals on the basic width groups

of Formal Romans. Also be aware that there are NO

real rules regarding capitals. Some may have a basis in

the Uncial Hand which is a majuscule hand. See the

“M” used below in Mary

Letters which start with a diagonal A,M,V,W may em-

ploy a swash but there may be modification which could

fall into the category of “flourish”. We must be unwill-

ing to overdo it. Simple crisp letters are fine letters.

Letters which are round C,O,Q,G must exhibit a liveli-

ness. Be sure the lower left side of the letter has a sense

of uplift. Sometimes breaking the space in O is a good

strategy. Q can be made in several ways. G has several

possibilities.

Keep these letters ROUND as that is what they are in the

Roman Alphabet. Do not make them match the more

oval presentation exhibited in the lower case Italic let-

ters. See “Cleo”. The first is correct. The others ex-

hibit errors.

S is much better if it is situated somewhat below the line

of most capitals. It is especially important to know this

little tidbit when considering a word that has no de-

scenders. It helps to provide interest for the bottom line

of a word such as Samantha. The lower “S” balances

the ascenders in the name. An “s” with a bit of a belly

might be appropriate as a design element but for the

most part, I prefer the rather sleek gently curved “s”

L is better done with a very substantial push back to

form the foot. The foot has to balance the rest of the

letter which has a very forward thrust. Pretend that the

little elf is sitting on a very large cushion for this one.

Adding a little flourish at the left side of the letter will

give the letter a little more balance. Turn paper to do

this stroke. Give the L its due. Let it have space. Do

not put the next letters too close. Sometimes pulling the

diagonal slightly below the line will help with spacing.

For letters such as N,K,H and others which have a down

stroke and is suitable to the swash cap, you could try a

backward curve as the entry to the letter. See the word

“Kathy”

And for

these, the

sky’s the

limit.

You may also want to try a different form of “d” based more on an Uncial form. Keep the ascending portion quite

short. It becomes “scraggly” if too long. The curve and downstroke are made into one stroke which ascends and

turns left. I like to introduce an alternate “g” form that is related to a foundational “g” form. Keep circular parts

oval to match oval forms of Italic.

Flourish — From the simple Chancery top we can progress to some other upward flourishes. Enlarge the top. Start

it higher to give room for flourish. Flourish HAS to have room or it is unsuccessful. A cloud flourish or a flourish

which goes to the right and then to the left can be attempted. Lower your pen angle when flourishing. The flourish

will be an embellishment to the letter rather than overpowering it. If for any reason you have to stop the movement

of the flourish, try to stop at a point where the pen is creating a hairline. You can easily pick up the movement from

there.

Progression of an upward flourish

The Chancery alphabet (Chancellaresca) is

one in which Italic ascenders become graceful

curves. Start them with a slide-in with pen at

45 degrees. This slide leaves a hairline to

which you may attach the graceful curve to

the right. When attached it must continue the

curve so that it does not look forced or just

“stuck” on. Make the curve “generous” so

that it almost forms an umbrella over the body

of the letter.