Beginning Calligraphy - Spears Art Studio as the sizes are not compatible with the practice pages...

a workbook

for grade 5 through

adult

Diane Shields Spears Doctor of Christian Education, Artist

www.spearsartstudio.com

Beginning Calligraphy

a workbook for grade 5through adult

Diane Shields Spears Doctor of Christian Education, Artist


Beginning Calligraphy

Thy hands have made me and fashioned me: give me understanding, that I may learn thy commandments. Psalm 119:73

Spears Art Studio MISSION STATEMENT1. to recognize Gods Word and His hand in everything and to give Him glory;2. to reconnect the Lord as the Supreme Artist into the process and excitement

of art for both children and educators; 3. to provide resources for the Christian educator that:

a. help students make connections between the Creator, creativity and personal maturity;

b. are organized for natural learning progression;c. provide experiences for higher order thinking skills;d. stretch academic and manipulative skills;e. introduce students to famous artists and artworks in a seasonal and/or art

elements/principles arrangement of art and craft production.

All products of Spears Art Studio, Inc. are dedicated to the glory of our Lord and Savior Jesus Christ of Nazareth.

Spears Art Studio Beginning Calligraphy WorkbookGrade Five through Adult 2006

by Diane Shields Spears. Ed.D. Christian Education

ISBN: 978-9897-442-5-6 (hard copy)ISBN: 978-9897-442-6-3 (CD-Rom in PDF)

Other registered copyright materials by Dr. Diane Shields Spears:

Spears Art Studio High School Art Survey , 2007 Spears Art Studio K-8 Christian Art Curriculum, A Teachers Manual 2001; 2008

Spears Art Studio Childrens Literature Study Guides 2005 Art for Kings, A Christian Art Curriculum for Kindergarten through the Eighth Grade, A

Teachers Manual Third Edition 2001; Second Edition 1998; First Edition 1987; out of print.

Limited Copyright Notice: All pages in any curriculum materials published by Dr. Diane S. Spears may be reproduced for personal or classroom use, provided all copyright and other proprietary notices contained on the materials are retained, THEREBY ALLOWING ONE PRODUCT PURCHASE FOR AN ENTIRE CLASS. The contents may not, however, be distributed to an-other instructional entity who is not the purchaser, be republished, transmitted electronically, or resold. Modification of any materials from any Art for Kings or Spears Art Studio document is a violation of Dr. Diane S. Spears, Art for Kings and Spears Art Studio copyright and other proprietary rights.

www.spearsartstudio.com264 Mountain Dr.; Lakehills, TX 78063 (830) 612-2585

Spears Art Studio Calligraphy Workbook 3

Spears Art Studio Beginning Calligraphy Workbook 4

Page Title 2 Mission & Copyright 3 Table of Contents 4 Frequently Asked Questions 5 Introduction and recommendations and The Method 6 Reproducible grid with lettering guides 7 Reproducible grid, blank 8 Thick and Thin 9 Spacing 10 Upper case instruction and reproducible tracing pages 11-31 Lower case instruction and reproducible tracing pages 32-53 Numerals instruction and reproducible tracing pages 54-57 Passages instruction and reproducible tracing pages 58-61 About the artist/educator 62

Table of Contents


FAQ'S about Spears Art Studio Calligraphy Workbook,

Grade 5 Through Adult

1. Q. Does the student need a hard copy?A. The student needs at least 95% of the workbook

reproduced for the letter and numeral instruc-tions and passages with tracing pages. The workbook may be reproduced following the guidelines of the "Limited Copyright" statement on the copywrite page and on http://www.spearsartstudio.com/curricintro.html.

2. Is there a less expensive method than reproduc-ing the grids in the workbook?A. Yes. Inexpensive 1/4 inch grid tablets can be

purchased for extra practice.

3. Q. The materials list from Dick Blick shows a different calligraphy marker. Why?A. Yes, Dick Blick does not offer the same calligra-

phy marker shown in the workbook. The Elegant Writer broad point recommended in the work-book can be purchased at Hobby Lobby, Mi-chael's, and perhaps other places if you choose not to order through Dick Blick. Both markers will fit the grid suggested for practice.


Introduction & Recommendations

Countless styles of manuscript (hand-written) forms exist. The style of calligraphy taught in this book is a variation with flourishes of a common italic cursive/printed letter formation. When this style is learned, other styles are easier to learn. Even combinations of styles can be beautiful. The materials for this study are easily obtained and copies can be made of all pages following the guidelines of the Limited Copyright statement on the copyright page.

The recommended marker is a black ink calligraphy marker, broad size single tip (see page 9 for an image of one recommended marker). The broad size marker fits the 1/4 grid format in this workbook. Other brands of markers are available with some slight differences in the sizing, but most will fit the grid. Plan on purchasing at least two markers to begin. Calligraphy fountain pens are not recommended for beginners, as the sizes are not compatible with the practice pages and they are much more difficult to use.

The Method

1. The key is practice, practice, practice. 2. A less expensive option for additional practice is a 1/4

graph paper tablet. Number your graph and blank practice papers exactly as shown on page 8. Before attempting let-ter formation in earnest, practice several times on copies of page 7, the thick and thin and letter spacing guide on pages 7, 9 and 10.

3. Holding the marker correctly is important to achieve the desired lettering angle. Remain conscious of the anlge while using the marker.

Spears Art StudioBeginning Calligraphy Workbook

Grade 5 through Adult

PRACTICE WORKSHEET


45

4

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21

32

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1

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lower case:rows3 & 4

flags:rows

1, 2, 3,& 4Capitals:

rows2, 3 & 4

tails:rows

3, 4,& 5

PRACTICE WORKSHEET


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1. Always hold the calligra-phy marker at a 45 angle. The corners of the marker tip will be aiming toward the SW and NE corners of the squares. If you had to substitute another marker, be sure your marker size fits the 1/4" grid. If your hold on the marker changes from 45, you will not get the desired thick and thin lines.

2. Practice the thick and thin lines that will result from holding the marker at the 45 angle. Without lifting the marker from the paper, and without changing the angle , draw from the SW corner to the NE corner of the squares and then draw straight down to the SE corner. Then cover two squares at a time. Fill at least one entire practice page.


Angle for Thin and Thick

The pen is still at

a 45angle.

1 2 345

flourish

flag

1. Most upper case letters occupy rows 2, 3, and 4. "Flags"gotothetopofrow1. "Tails"gotothebottomofrow5or6. It will be easy to spot the exceptions (the"flourishes").


2. Most lower case letters occupy rows 3 and 4. "Flags"gotothetopofrow1. "Tails"gotothebottomofrow5. It will be easy to spot the exceptions: f & t also occupy 1/2 of row 2.

3. Numbers are special and occupy upper case "flag" or "tail" rows depending upon the number and style.

Spacing

flag1 2 345

1 2 345

1 2 345

tail

tails

Beginning Formation Upper case letters occupy rows 2, 3, and 4 with a few dipping above and/or below. The upper case letters that begin with a left side stroke will be practiced first. All these letters are considered at least two-stroke letters. One-stroke letters are created without lifting the pen, even though the line may change directions. Multiple stroke letters require lifting the pen to begin each stroke, each of which also may change directions. Begin the side stroke at the bottom of row 2 A, draw up to the right to the top of row 2 B, then to the right approximately two squares C, then down toward the SW corner of the fourth row D. Remember the 45 pen angle. Trace over the practice lines on this page; then practice an entire page free-hand.

A

B

C

D


Upper Case Letter Formation

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D Begin with the left side stroke. Continue from the point marked A and draw up and to the right to the top of row 2 B. Draw a slight curve down and to the left. Curve under when it touches the bottom of row 4 C. Curve back up to the right and end slightly above the bot-tom of row 3 D.

Left side-stroke directions will not be repeated from this point.

B Begin with the left side stroke. Continue from the point marked A and draw up and to the right to the top of row 2 B. Curve down to the middle of row 3 C. Curve up and around down to the bottom of row 4 D. Curve back up to the right and end almost at C.

A Begin with the left side stroke as in the previous practice. To finish the let-ter, begin at the point marked A and draw down at a slight left angle to the bottom of row 5, then to the right with a slight "whip" at the end B. This last little stroke is called a serif. Draw the short cross bar touching the top of row 3 C. The tail can dip below row 5 (see the let-ter H formation, page 14).


Upper Case Letter Formation, continued

Rememberthe45penangle.Studytheangles,directionsofthearrows,therows,andthespaces occupied by each letter. Trace them on the following page and practice on several blank pages free-hand before going ahead to new information.

B

D

A

B

C

D

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A

C

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B

C

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REMEMBER THE 45 PEN ANGLEPRACTICE WORKSHEET


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E-1 There are two beautiful upper case E's. This one, a four-stroke letter, begins with the familiar left side stroke and finishes with the horizontal curves. The other E resembles a backwards number 3 (to be practiced later on another page). After drawing the left side stroke, follow the arrows, beginning at the top A, then the bottom stroke B, drawing the middle stroke last C.

F The letter F is begun exactly like the letter E above. Simply omit the bottom horizontal stroke.

H Carefully observe the very high flag, the very low tail, and the rows the letter H occupies. The beginning left stroke is the same practiced so far. To begin the second stroke count 3 squares to the right and 1 row up A. Notice that the flag can begin even beyond the third square and above row 1 for a dramatic effect. Draw horizontally left to B, and then down to the left to the bottom of row 6 C, then curve up to the top of row 6 D for a "swish" serif. Draw the straight horizontal bar E so that the top of the bar touches the top of row 3.

A

B

C

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D

E

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C

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K After drawing the left side stroke, begin at the point marked A (3 squares to the right and up 1 row) and draw to the top of row 3 B. Without changing the angle of the pen, continue down, mov-ing one space to the right as you curve touching the bottom of row 6 C, then curve up making a serif D.

M The upper case M is a two-stroke letter only. After drawing the left side stroke, begin at the point marked A and draw down at a slightly right angle to the bottom of row 3 B, then up to the right to the top of row 2 C. After prac-ticing this letter as demonstrated, you may be extravagant and make your line at C go above the top of row 2 if you wish. After C, draw down and to the left, ending at or near the bottom of row 6 D, then add a curved serif to E.

N After drawing the left side stroke, begin at A (the upper right "elbow" of the left side stroke), draw down to B (bottom of row 4, then draw up to C (top of row 1) ending in a curve. As in some other letters, after practicing several pages of this letter, you may be extravagant with the last stroke by extending to the top of row 1 straight and to the right further before bending than this example shows.

A

B

CD

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E

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B

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D

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WorkbookWorkbookWorkbook




P After drawing the left side stroke, begin at the point marked A and curve up and slightly to the right to B (can go slightly above the top of row 2), then curve around and down to the left curving under at the bottom of row 3 C, then finish at D.

R This is the last upper case letter with the beginning left side stroke. After drawing the left side stroke, begin at the bottom of row 2 touching the left side stoke A, curve up and to the right to B (it can go beyond the top of row 2), then curve down and to the left to the bot-tom of row 3 C; then curve outward and down to the bottom or near the bottom of row 6 D, then finish with a serif E.

E

A

B

CD

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At this point take time to practice all the capitals that have so far been presented. Make as many copies of the tracing pages and blank grids as you need to acquire confidence.

A

B

C

D

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Workbook




The remaining upper case letters are not formed with the initial left side stroke. In most cases, they are formed just as regular cursive letters without lifting the pen from the paper. These letters will be displayed in this format as before with arrows and letters, but with fewer written directions. Study each example, paying close attention to the rows and spaces occupied and the directional ar-rows, then practice on the tracing pages that follow each set of 3.

C and E-2 Both the C and the E are "one-stroke" letters even though the pen changes direction. Do not pick up the pen when forming them. Follow the alphabet and arrows.

G-1 This first G is a two-strokeformation, because the pen is lifted from the paper. Begin at A, pick up the pen at B, and begin again at C to make the straight/angled cross-bar to D to include the last downward stroke with the tail to E. Practice this letter many times so that there will be no gap between B and the downward stroke to E. The down-ward stroke can go to the bottom of row 6 if desired. Practice both tail lengths.

A

B

C

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A

C DB

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E

A

CD

B

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I The letter I (also a two-stroke letter) stands on a "foot". It begins with the cen-ter down-stroke from A at the top of row 2 to B about half-way into row 4, then moves to the left to the bottom corner of row 4 C without lifting the pen, then right connecting with B still without lift-ing the pen, and stops at D. The second stroke begins at E, crosses through A and ends at F.

A

B

C

D

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5

G-2 This second G is also a two-stroke letter. Begin at A (notice that it can begin above the top of row 2 for extra flair), go to B, and without picking up the pen, curve around to the left, down to the bottom of row 4 C, curve up to slightly above the bottom of row 3 and stop at D. Pick up the pen and start at E to make the graceful curved cross-bar of this G ending at F.




J The letter J is a one-stroke formation. Begin at A, and without lifting the pen, follow the arrows to slighlty above row 2 B to the bottom of row 6 C and up to D at the top of row 6. This one of the easi-est and most graceful upper case letters. It is literally an elongated and "curvier" beginning form.

F

A

B

C

DE

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A

BC

D

E

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WorkbookWorkbook

Q The letter Q is just like the letter O with the addition of a small curved tail A, which is the second stroke.

O The letter O is drawn in one stroke also. Begin at A, draw counter-clockwise to the bottom of row 4 B, back up to A, curving down to C without picking up the pen. Maintain the 45 angle.

L The letter L is also a very easy one to draw. Begin at A and without picking up the pen, follow the arrows to B at the bottom of row 4, then to C at the bottom of row 6, ending at D about mid-way between the bottom and top of row 6.




A

B

C

D

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B

C

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A

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A

B

C

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T-2 This second letter T is also a two- stroke formation, beginning at A, curving to the left and down around to B. The second stroke begins like the in-tial left side stroke at C, but continues straight across and through A to D about two squares to the right, curving down at the end to E.

T-1 This first letter T (a two-stroke letter) has a foot like the letter I and is formed the same way with only one stroke moving down from A to slightly above the bottom of row 4, then left to B, then right to C. The top of the T begins like the familiar initial left side stroke D but continues across the top to E.

S The letter S is a one-stroke formation from A to B, following the arrows, achieving thick and thin by holding the pen at the 45 angle.




BC

D

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B

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E



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Bcontinue one-stroke

A

C two-stroke

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W The letter W can also be drawn with one or two strokes like the letter V, but changing directions more often. The one-stroke formation completes the let-ter to E without lifting the pen (you may stop at the top of row 1 or go slightly above as in the letter V); the two-stroke draws to D, then lifting the pen, draws from E to D. Again, practice both meth-ods on extra grid paper.

V The letter V can be drawn with one or two strokes. To draw with one stroke, begin at A and follow the arrows down to the bottom of row 4 B, ending with a right-to-left direction flourish to the top of or slightly beyond the top of row 1 C. To draw with two strokes, lift the pen at the bottom of square 4 B, begin at C, and draw downward to B, matching edges. Practice both methods to see which is easier for you.

U The letter U is a one-stroke formation beginning at A, following the arrows to the bottom of row 4 B, back up to the top of row 2 C, down to the bottom of row 4 D again and ending with a serif at E.




A

C

D

E

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5 B

A

B

C

D

E

two-stroke

continue one-stroke

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Z The letter Z is a one-stroke letter, changing directions several times, but still traveling from A to B. The last direction can dip below the bottom of row 4 for an extra "swish."

Y The Y is a one-stroke formation beginning at A, following the arrows to the bottom of row 4 B, back up to the top of row 2 C and down again to a substan-tial "foot" at the bottom of row 5 D. Also practice extending the tail to the bottom of row 6 for extra flourish or to match other letters with tails in a passage.

X The letter X is a two-stroke formation beginning at A, following the arrows to the bottom of row 4 ending with the serif at B; lift the pen, begin again at C and curve to D.




A-Z After extra practice of all the upper case letters, practice your initials. You may need to adjust the "flags" and "feet" to create a graceful flow between the letters.

A

B

C

D

A

B

C

D

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A B

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e The letter e is a two-stroke letter. Form a letter c and lift the pen. Then begin at A again and add a straight line down from A to C.


Lower Case Letter Formation


Most lower case letters occupy rows 3 and 4 with the exceptions of flags and tails and a few longer marks that reach further into row 2. Many lower case letters are formed exactly like the up-per case, but are smaller. Lower case letters look more professional when they are more "pointed " than "rounded". This comes with practice. Now that you are more familiar with this type of letter formation, directions will be abbrevi-ated wherever possible.

A

B

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A

B

C

A

B

1234

5aa cc ee Practice doubling each of these letters on blank grids, paying attention to graceful space between the letters.

c The letter c is like an incomplete letter a. Simply draw from A to Bwithout lifting the pen. The final direction is an elongated serif B.

a Several letters have their initial formation like the letter a. All of these are grouped together; therefore you will again practice the alphabet out of order. The letter a is a one-stroke letter, begin-ning at A and ending at B.



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gg When letters with flags"and tails are doubled, it is necessary to adjust them so that they do not interfere with each other. The first g in this double is regular but with more tail extension to the left than the single g shown in the middle grid. The second g in the double has a longer tail half-way into row 6 before curving to the left. It looks more integrated to have the longest tail travel to only half of row 6, be longer to the left than the first g, stopping about half-way under the first g left direction A.

The second tail in all double letters with tails follow this pattern. Tails may flour-ish to the bottom of row 6 if you wish.

g The letter g is a one-stroke letter. Start it just like the letter a: begin at A, draw counter-clockwise, back up to A and then down again adding the tail to B at the bottom of row 5.

o Begin the letter o at A and draw counter-clockwise, ending at A.

oo Practice doubling this letter on blank grid paper, paying attention to graceful spacing between the doubled letters.


Lower Case Letter Formation, continued


A

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B

A

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bb The double b combination is formed like the single letter b except for the flag beginning on the left on the first b A. Begin the second b at the top of row 1 exactly like the single b. Count the rows and squares to position each letter correctly. This is so that the flags, and letters do not run into each other. It may take you some extra practice to position the double b so that there is not too much or too little space between the letters.

b The letter b is also a one-stroke formation beginning at the top of row 1 A, following the arrows to the bottom of row 4 B, up and around clock-wise like a regular cursive b to the top of row 3 C, and ending at B again matching edges.

q The letter q is a one stroke forma-tion, flowing counter-clockwise from A to the bottom of row 4 B, up to A again, down to the bottom of row 5 C, then add the serif to D.




You have undoubtedly noticed that the lower case letters so far are formed like regular cursive writing with a few variations. For this reason, arrows will not always be necessary on the direction grids.

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A

B

C

D

A

B

C

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A1234

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i The letter i is a one-stroke letter, very simple, drawing from A to the bottom of row 4 ending at the serif B.

dd For the first d, draw the main body as in the d above from A to B back to A. Draw the first flag begin-ning at C, angle left and up to slight-ly above the top of row 2, and draw to the bottom of row 4 adding a serif to the middle of row 4. The second d is exactly as the single d above. Like any double letter, more practice is necessary to make the spaces be-tween the letters graceful. Adequate space between the serif and the sec-ond letter can be tricky.

d The letter d is a two-stroke forma-tion. Begin at A at the top of row 3, draw counter-clockwise to B, back to A again, then lift the pen. Begin at C and draw to the bottom of row 4 D, then to the serif E.




A

B

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D

E

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ll The double l follows the same pattern as other double letters with flags and serifs.

l Draw from A to B. The letter l actu-ally looks a little strange by itself. It needs "companions".

j Begin the letter j like the letter i starting at A, but make the tail go to the bottom of row 5 B.




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r The letter r is a one-stroke formation drawing from A to B, re-tracing back up to C then to D.

rr Practice doubling the r on blank grid paper, paying attention to graceful spacing between the letters.

f The letter f is a two-stroke formation. Beginning at a point half-way in row 2 A, draw to the bottom of row 5 B, then lift the pen and draw the cross-bar from C to D. The top of the cross-bar should touch the top of row 3.




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A

B

C D

ff The double lower case f really breaks the "rules" of occupying rows 3 and 4. It is much like the other double letters in that the first letter flag is not as tall and the tail is not as long. Begin the first f flag in the middle of row 2 A and stop at the bottom of row 4 B. Make the flags straighter to keep from crowding the cross-bar. The tails should also be straighter so that they match the flags. The cross-bars should join. After practicing all these letters, you may draw all your flags and tails straighter if you like the style better.

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s The letter s is a one-stroke letter, just like a regular cursive s. Draw from A to B. Notice that the beginning mark can be slightly above the top of row 3, but the top of the first curve should touch the top of row 3.

ss Practice doubling the letter s on grids until you are able to maintain the right space between the letters.

t The letter t is a two-stroke forma-tion. Begin at A, "swoop" up to the mid-dle of row 2 B, and down to the bottom of row 4, then to the serif at C. Pick up the pen and draw the cross-bar from A to D.

tt The double letter t follows the similar pattern of the first letter being shorter than the second. The beginning stroke for each begins at the top of row 3 A. The second t may extend slightly higher than the first t, but should stop short of the top of row 2. As in the single t, the top of the cross-bar should touch the top of row 3 and connect both letters.


C


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h The letter h is much like the letter n except that it begins approximately 2.5 to 3 squares to the right at the top of row 1. Draw from A to B without lifting the pen.

hh In the rare instance of a double h (in foreign words for instance), begin the flag of the first letter h like like the first flag in the double b. The second h will be like the single h with the tallest flag. Spacing to allow the "right" space for the first serif can be tricky since the second letter begins so far to the right.




m The letter m is a one-stroke formation drawn from A to B like a "regular" cursive/printed m.

m Practice doubling the letter m on grid paper, allowing graceful space for the serifs.

n The letter n is a one-stroke formation drawn from A to B like a "regular" cursive/printed n.

nn Practice doubling the letter n on grid paper, allowing room for the serif between the letters.

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w The letter w is also a one-stroke formation from A to B without lifting the pen.

uu vv ww Each of these letters rarely occurs doubled except in foreign words, but it is valuable to practice them anyway. Remember: practice, practice, practice is the key to beautiful lettering.

v The letter v is a one-stroke formation beginning at A to B without lifting the pen.

SSpears Art Studio Beginning Calligraphy Workbook 48



u The letter u is also a one-stroke formation. Draw from A to B without lifting the pen.

A

B

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y The letter y is also a one-strokeformation from A to B. You have two choices: you may begin the letter with a serif formation like the letter shown here, or you may begin with a "swish" like the m, n, and w on the previous page. When you encounter words with three tails, such as "piggy", adjust the length of the first two tails so that the last tail will go only to the bottom of row 6. Or you may end the last tail with a straight line to the bottom of row 5 with a serif at the end.

k The letter k is a one-stroke forma-tion, but is one of the more complicated ones. Draw from A to B at the bottom of row 4, retracing up to C at the bottom of row 3, curving up and out to the top of row 3 D, around to the bottom of row 3 again C, then curving out and down to the bottom of row 4 E, adding a serif F without lifing the pen. Until you become proficient, you may practice this letter as a two-stroke, lifting the pen at B and beginning again at C.

kk In the rare instance of a double k (i.e. "trekking", "Habakkuk," etc.), simply follow the pattern already practiced in the double letter ll for the flags and serifs.

z The letter z is a one-stroke formation from A to B.




1234

5

1234

5

A

B

C

D

A

B

A

B E

F

1234

5



4321

5

4321

5

4321

5

4321

5

4321

5

4321

5

x The letter x is a two-stroke forma-tion. Draw from A to B, lift the pen, then draw from C to D.

This completes the lower case. Before advancing to the numerals, practice the letters that challenge you most. You also have options with flags and tails for length and for straightness or curviness (review the letter f for straightness of flags and tails).




p The letter p is a two-stroke forma-tion. The beginning stroke is like a serif as in the beginning of the letter i. Draw from A, extending slightly above the top of row 2 before descending to B. Lift the pen and continue from C to D.

pp The double letter p tails are the same length since there is plenty of space, and they do not interfere with each other. You may experi-ment with making the second letter tail extend to the bottom of row 6 just to see if you like it. Practice all double letter formations to achieve graceful spacing between the letters.

A

B

C

D

1234

5

1234

5

1234

5

A

B

C

D



4321

5

4321

5

4321

5

4321

5

4321

5

4321

5

Now, you should be ready for pas-sages if you have practiced diligently as directed.

The following pages contain passages that you may trace. After you trace each one, be sure to practice these also free-hand on blank grids. You probably noticed that in your practice there were days when you formed more rounded letters, and other days when you formed more pointed let-ters. You may always experience this variation, just like you do in your "regular" cursive writing. Therefore, when you write a passage, try to finish it on the same day.

Calligraphy is most attractive when the letters are close together and the words have just enough space between them to discern the message. What you are writ-ing is just as important as the beauty of the writing. Passages should be written like cursive writing; i.e. with upper case let-ters for the beginnings of sentences and for proper nouns. (In fact, this type of italic is also called italic cursive for that reason and because many letters are formed in one stroke like cursive.) A passage with all upper case letters is difficult to read, and would not be appropriate in regular cur-sive writing either. When you become pro-ficient in this type of letter formation, you may begin to adapt the shape of any letter. Many calligraphers adapt their initials for special effects.

When you complete all the recom-mended practice in this workbook, practice other passages of your choice. You will then be ready to explore other styles of calligra-phy. I hope you have had fun!


Writing Passages

AFTER TRACING, COPY THIS PASSAGE SEVERAL TIMES ON A BLANK GRID.


45

4

1234

3

5

21

32

54321

1

5

54

123

12345

lower case:squares

3 & 4

flags:squares

1, 2, 3,& 4Capitals:squares2, 3 & 4

tails:squares3, 4,& 5



45

4

1234

3

5

21

32

54321

1

5

54

123

12345

lower case:squares

3 & 4

flags:squares



Notice the variation. You may do this to all flag letters when the letter allows for

the spacing.

PRACTICE WORKSHEET


45

4

1234

3

5

21

32

54321

1

5

54

123

12345

lower case:squares

3 & 4

flags:squares




www.spearsartstudio.com264 Mountain Dr.; Lakehills, TX 78063

ABOUT THE ARTIST/AUTHOR

Diane Shields Spears has a Bachelor of Arts from Trinity University, San Antonio, Texas, in art, English, and education, a Master of Arts in Christian Counseling, and a Doctorate in Chris-tian Education/Art, both from San Antonio Theological Seminary, an extension of the Minnesota Graduate School of Theology. She is certified for both elementary and secondary and has been an educator for thirty years. Diane has a background of personal achievement in the art world, including featured artist exhibits, acceptance into juried shows, receiving first place cash awards, free-lance work, illustrating childrens books, and is represented in many private collections. She is acquainted with many styles and media, but prefers drawing with graphite pencil, colored pencil, ink, and painting in oils. She is author of several curriculum products for Christian education. Diane is a member of many professional organizations, and is named in the 20th Edition of Whos Who of American Women, the 52nd Edition of Whos Who in America, the 15th edition of Whos Who in the World, and subsequent editions of each volume. Diane has many years in private and public education. Her last public school assignment was with the Edgewood Independent School District, San Antonio, Texas, in which she was the Fine Arts Curriculum Specialist/Coordinator and during her last year, Director of Visual Arts for the Edgewood Academy of Fine Arts and full-time instructor. She taught 4 more years of private school at Pipe Creek Christian School, 5th-7th grades core curriculum, K-8th grades art, then K-8th art and music. She still teaches art part-time, spends time in her studio, enjoying creating art and at the computer writing various Christian articles.

Toward Lightby D.S. Spearsindia ink washcold press watercolor paperimage size: 20x14


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