Khadi handmade paper is made of cotton rags and handmade in South India. I’ve purchased a few packs of the handmade paper I’ve been seeing all over Instagram for years—and it did not disappoint. The sheets have natural deckled edges and beautiful texture.
I wanted to use the Khadi Papers with what I’m most familiar with, and that would be watercolours, gouache and Finetec metallic inks. The paper may look oh-so-prefect, but don’t be deceived. For those who will be writing on Khadi paper for the first time, be prepared to encounter some minor hiccups.
Due to its handmade nature, the paper is wonderfully textured. This means pointed nibs like the Gillotts or Hunts will snag on the upstrokes. Fibres will accummulate during the downstrokes, so there is a need to frequently wash or wipe your nib before the upstroke. I’ve found that the Blanzy-Poure 2552 nib works well with gouache or Finetec.
Write slowly, slower than you normally would. Tread lightly—do not write with a heavy hand, and you will be BFFs with your Khadi paper in no time.
100% cotton papers tend to absorb more water compared to cellulose ones (non-archival, student-grade paper). So painting leaves and florals using Khadi means you need more water on your brush. It works very well for wet-on-wet techniques as well, which will give you beautifully-blended washes.
In conclusion, writing on Khadi handmade paper needs a bit of trial-and-error, but when you get the hang of it, you wouldn’t want to stop. There are so many types of paint that you can try, and I’m sure there are a lot of pointed nibs that work as well.
Here’s what happened during the latest Modern Calligraphy workshop for beginners here in Singapore.
Last September, The Happy Hour: Beginners’ Modern Calligraphy workshop is back! I love teaching this class because almost 99% of the time, the participants have not tried their hand at pointed pen calligraphy. Why do I love this, you may ask? Because they leave the class truly inspired by what they learned, and are able to write the alphabet using the beginners’ tools.
The special ‘Make Your Own Happy Hour‘ booklet is a wonderful workbook to get started, printed in premium, super smooth paper. It has stroke-by-stroke instructions on how to write the letters of the alphabet. This is the pad that we use in class and will be used for further practice when at home.
I always tell the story of how I started out in class. When I started modern calligraphy in 2012, there were no classes here in Singapore at all. The struggle was real, my friends. When I finally got the hang of it (after 2 years!), my friends convinced me to try to teach this craft. Needless to say, I felt very unsure. I finally took a shaky step and taught my first class—and I’m still having a wonderful time teaching modern calligraphy after almost 4 years!
It’s the first modern calligraphy class hosted by the awesome people at Fika Swedish Cafe, who prepared this delectable canapé spread for all of us. We had the cozy second level all to ourselves, and on a sunny day, the natural light is just perfect for writing with pen and ink.
My advice to beginners is still the same. Practice makes pretty! Here are some photos of our most recent modern calligraphy class. Upcoming classes are posted here. Enjoy!
It’s been a while since I’ve posted a nib review here on the Happy Hands blog. During the recent Modern Calligraphy workshop, I got asked several times how different the Leonardt 40 nib was from Nikko G. These 2 nibs are usually the ones included in my workshop kits. However, I always advise to use this blue nib only when they’re already used to the G nib. So how different are these 2 nibs, really?
MORE FLEXIBLE THAN THE NIKKO G NIB
The Leonardt 40 is also called Hiro 40, or Blue Pumpkin. Similar to the Brause Steno Blue Pumpkin in appearance, this is a large nib with an equally large ink reservoir. It’s very flexible, so the pressure needed to get a thick swell in a Nikko G is not necessary with the Leonardt 40. Because it’s softer, just a bit of pressure makes the tines open up—allowing the ink to flow and form thick swells.
The Nikko G is stiff and somewhat tough, but the Leonardt is soft and more flexible.
Because it’s more flexible, putting a lot of pressure results in a very thick downstroke. This thickness cannot be achieved using a Nikko G nib. The only downside is that the upstrokes are not very thin, which is essential to Copperplate calligraphy.
THE BLUE PUMPKIN GIVES THICKER SWELLS
For those who love to write modern calligraphy and aim for super thick swells, then this is the nib for you.
For beginners, it’s always best to start with the stiff Nikko G nib (or Tachikawa G, which comes from the same manufacturer). Once you’ve mastered the concept of the pointed pen (pressure on the downstrokes, release on the upstrokes), then you can proceed with using the Leonardt 40.
I’ve also noticed that my ink lasts longer with the Nikko G. I get to write more letters with one dip of ink with the Nikko than the Leonardt. Again, this is due to the flexibility of the latter. Because it produces thick swells, the Leonardt 40 needs more ink. So I dip this nib more often in ink when I’m writing.
I’d say this nib is worth a try if you haven’t done so yet. Nibs behave very differently with every calligrapher, so a nib that works well for one may not do wonders for another. But the paper and ink used also play a part, so make sure all your tools work well together. All in all, this nib is still one of my favourites. Check out my other favourite nibs in this roundup.
So have you tried using the Leonardt Blue Pumpkin? Yay or nay?
Are you a beginner who wants to get better in calligraphy? I’ve a question for you. Since you began your sojourn, have you become better and more confident with your pen? Or do you think there are too many mistakes and you’re ready to give it up?
I’m telling you—don’t give up just yet.
In 2011, modern calligraphy was starting to infiltrate my Pinterest feed, and I was curious. I was lucky enough to receive replies from popular calligraphers, telling me what tools they used. I excitedly ordered them from the US (this was a time when there were no calligraphy tools here in Singapore; Straits Art didn’t even have Higgins Eternal!). When I started using those so-called awesome nibs and inks, I realised I couldn’t get them to work.
But I didn’t give up. I learned from my mistakes. And here I’m sharing with you how I’ve learned from the mistakes I’ve made so that you, too, would get better at calligraphy.
1:: Keep your first few calligraphy attempts
You’d think the first time you tried to write a few strokes was terrible, right? I did, too. There were no workshops at the time in Singapore so I had no choice but to self-study. My experience with dip pens were in college, but we used broad edge. That’s a different beast right there, so when I used the pointed pen, I was floored.
But I kept the pad I used at the time. That jotter pad that didn’t know anything else but feather everything I write on it. I even tried to write what nibs I used (which of course, didn’t help). It’s good to keep your first attempts at writing calligraphy, so you can go back and see how far you’ve come. That in itself, is enough to give you the inspiration to keep going.
Eeep! If I stopped here, I wouldn’t know that I wasn’t a hopeless case.
2:: Write the dates on your practice sheets
The good thing about writing the date is that you will look at it a few months later, and realise you have improved. And for those who don’t practice often, it’s a good reminder that you should DO YOUR DRILLS!
3:: Mark your mistakes
I have learned that writing continuously is pointless if you don’t refer to an exemplar. This Engrossers’ Script exemplar from IAMPETH is perfect. Always have your alphabet guide in front of you so you can compare it against your own. Then review your practice strokes or words, and make little notes on your sheet. This will help you remember which parts have to be improved. It can be as simple as a loop that’s too big, or a descender with a line variation that wasn’t done smooth enough. Mark it, and make it better.
4:: Join A Calligraphy Community
This is also called, ‘find your tribe’. Or form your own cheering squad. Join a local guild if there’s one, or socialize with like-minded enthusiasts on social media and take it to the next level and meet in person! Having friends who like the same things you do are priceless human beings who will contribute to your growth as a calligrapher. Heck, they will also help you grow as a person. Friends who support each other in sickness and in health, through group purchases and art jams, are the best kind of friends if you ask me.
They will tell you when your letter form just ain’t right, the logo you made looked funny, or convince you that yes, the Blanzy nib works well on handmade paper.
If a local community is non-existent, connect with other calligraphers online instead. Flourish Forum is an amazing online community where everybody lends a helping hand.
So there you have it. Challenges in the world of calligraphy is never ending, that’s why learning is contiuous, too. If you’re just starting out, keep on practicing and don’t give up. Use the mistakes to your advantage and trust me, after a months of serious practice, you’ll laugh at how your first attempts looked like. I sure did. And it felt good.
So you’ve digitized your gorgeous calligraphy. It’s pretty. You can print as many pieces as you want to give to friends and family. But have you ever wondered what’s the next step to scanning your calligraphy and adjusting the contrast in Photoshop? Well, I got news for y’all, and it’s something I’ve only done recently. How about adding (digitally) some seamless patterns on your calligraphy?
This requires some basic knowledge in either Photoshop or Illustrator, but once you get the hang of it, this will make your calligraphy extra pretty. The digital version of the above calligraphy piece was all done in 10 minutes, tops, excluding the writing part which takes waaaaayyy longer.
This is really easy-peasy, take a look at the steps below. Please note that a working knowledge on Adobe Illustrator is required to be able to follow the tutorial. We will be using a pre-made vector pattern downloaded from the internet. I got mine from here. First thing you need to do is have your seamless pattern open in AI (this will be in either .eps or .ai format).
1 :: Copy and paste your vector pattern on a new file. I used an A4 sized art board. If the graphic’s too big, use the Free Transform tool from the left tool bar to scale to your desired size.
2 :: Make the vector graphic into a pattern. Click on the Object pull-down menu from the top, select Pattern, and click on Make.
3 :: Save your pattern. Click OK, and delete the existing graphics from your art board. This will give you a clean slate.
4 :: Create a full background using your newly-created pattern. Wee!
Now this background is ready for use! For the Elizabeth Gilbert quote I’ve written, I just placed a black rectangle over the background, pasted and live-traced the jpeg scan of my calligraphy, did a bit of clean up, and saved it as an A4-sized poster. There are so many possibilities with patterns and I cannot wait to try them out!
Hope you’ll have as much fun as I have! Here are some of my favourite premium patterns from Creative Market:
Full disclosure: I've recently become part of Creative Market's Partner Program, and I get commissions for purchases made through the links below.
Last January marked my first modern calligraphy workshop in Manila, Philippines. It was a lovely Saturday with absolutely no traffic jam. It was sunny, and bright light was streaming down the floor-to-ceiling windows of The Picasso‘s function room. I’ve set up without a hitch, with fairy lights nicely hanging on the glass wall.
I brought all tools and workpads from Singapore, so the class in Manila was basically the same Happy Hour Workshop that we have in here. Thanks to my kids who have airline baggage allowance for themselves (even infants get 10kg!), I did not have to pay extra for more than 20 sets of workshop kits! Yay!
We were packed to the brim that day. These amazing ladies got to work, practicing their letter forms, as I went around to see how each of them were doing. It’s so satisfying to see them struggle during the first strokes of the drills, then start improving as they start filling the pages with more letters.
Of course, a workshop is not complete without coffee and pastries, so we stopped mid-way to refuel and mingle. It was great to get to know each and everyone of them, find out what they do for a living and how they stumbled upon this workshop (someone said Google, which was awesome).
Thanks to everyone who came to the Beginners’ Class — hopefully I’ll be back later this year for an intermediate one, or even brush lettering! We’ll never know. Hugs to the ladies who had to travel quite far just to get the workshop. Lastly, high fives to the amazing team at The Picasso Boutique & Serviced Residences for giving in to my requests and setting up so nicely. I can’t wait to be back! Now here are more photos of the class. To those who weren’t able to come, hope to see you guys next time!
The past two years have all been about vintage and rustic weddings, with white, blush and champagne. It’s a very pretty, pleasing theme and I always enjoyed designing invitations in such a warm colour palette.
Last year, I was approached by Wedrock Weddings and Ideal Weddings Magazine for an Industrial-themed wedding styled shoot. It would be mostly grey, with hints of magenta, copper and forest green. So it’s cool, with hints of warm tones to balance everything. Without a thought, I said I was in!
The venue was at a restaurant in the East, with raw grey walls and marble countertops — perfect for an industrial wedding, indeed. For this editorial shoot, I provided lettering and calligraphy for an invitation suite and envelopes, framed signage, and menu.
Hope you lovely couples who are planning a wedding would find inspiration from these stunning photos from the shoot!
I finally have the date for the next intermediate calligraphy class, and it’s the most special one I’ll have in my almost 3 years of teaching. When I started with modern calligraphy, I’ve been using a straight holder. After getting Copperplate lessons from Eleanor Winters, I became more comfortable with an oblique pen and now I use an oblique 99% of the time.
Now what makes the upcoming workshop so special, you might ask?
Well… (drum roll please), introducing — the custom wooden calligraphy set specially customized for the Happy Hour Workshops! It’s a collaboration between yours truly and wood worker Keiichi Sato of @garagewoodworkingjp in Japan. I’ve worked closely with Mr Sato with regards to the grip, flange, size and finishing for this beautiful set, and I’m blown away with how amazing everything turned out. I have been using the oblique holder for a couple of months now, and it’s been my go-to pen ever since.
Participants to the workshop will each receive a wooden oblique made of Hinoki, or Japanese Cypress with a flange to fit most nibs. It’s handy and lightweight, which is one of the first things I look for in a holder. The set also includes a matching base for ink jars and a pen rest made of Douglas Fir. The wooden base for inks is specially designed to stabilize those jars — I’ve been known to spill inks all over my desk (which also happens to be white) so this made my life easier.
Mr Sato opts for natural, old-fashioned finishes like shellac and beeswax. A traditional woodworker, he uses hand tools made in the late 18th century. When asked about his choice of wood, he explained that he likes using Japanese Cypress for the holders because it is a softwood that’s lightweight and gives a good feel. “Weight is very important to make hours of writing comfortable”, he noted. “Japanese Cypress is also waterproof. As a matter of fact, many high end Japanese ryokans use Japanese Cypress to make bathtubs because of its nice smell and water repellency”.
Making calligraphy holders is also different from other wooden pieces because according to Mr Sato, holders are not art pieces but practical tools. Some calligraphers like his daughter for instance, don’t like staining their pens with ink (quite contrary to me, because I stain mine all the time). Liquid can be trapped in the slots for flanges which may result in problems only a woodworker may understand. “It’s a huge challenge for me, and I am learning new things everyday”, he mused, and I can only nod in response.
“I used to travel 100,00 miles a year when I was a sports photographer in the US”, he told me. “Now I stay in my garage with a Siberian Husky.” When asked how he got started making wooden pieces for calligraphy, he said, “I love woodworking because I love to use my hands. My daughter is a wonderful calligrapher, and I started making calligraphy supplies with wood to support her.”
When it comes to aesthetic, Mr Sato is a mad snake when it comes to details (my words, not his). “I don’t mind spending hours perfecting details while keeping the design as simple as possible”, he replied. He values good relationships with calligraphers, many of them asking for custom pieces like boxes, pen trays, coffee scoops and chopping boards, to name a few.
“If I were living in Singapore, I’d love to make my shop open to calligraphers to stop by. Fix their holders, change their grips, or anything I can do to help them”, he offered. I’m sure I won’t be the only one hanging out in his shop everyday if that happens!
Now that I’ve shown you all this beautiful set, I’d love to have you at my Intermediate Workshop! Interested in advancing your skills in modern calligraphy, and the same time snagging your own custom oblique set? More details can be found here. Hope you’re as excited as I am!
When I started with calligraphy, I was writing with a straight wooden holder. I became familiar with the oblique when I learned Copperplate with Eleanor Winters, and I never used a straight one since then. Because Copperplate needs to strictly follow the 55-degree angle, the oblique pen holder has helped me maintain a consistent angle.
After using a Speedball for some time, I felt that I was ready to have a custom pen made. It was kind of like a coming-of-age moment (in calligraphy years). I had an ergonomic one made by Heber Miranda and it’s still by far one of my favourites because it’s lightweight and has a Bullock-style flange that’s perfect for someone who uses various kinds of nibs.
I received one comment on Instagram asking me why I have quite a number of holders when they all work the same way. Well… it’s kind of like shoes. You may have several strappy high heels, but they come in different colours and each pair fits your feet differently. They’re all strappy high heels but one pair is used for a particular dress style, and some of them won’t look nice with jeans. I could go on and on but well, you get the picture. So I guess it’s the same with my holders! I have ones with Bullock-style flanges, and I have a couple of ergonomic ones, so depending on the nib — and my mood — I would reach for one that would be best suited for the job. Oh, and I have a leather pen roll that fits 18 or so pens so I want to fill it to the brim.
If you’re curious, here are the oblique holders from my collection so far:
I have one more pen that I have yet to reveal, and it deserves its very own blog post because it’s extremely special. I’ll update you all next month, but in the meantime, I hope you liked reading about my modest collection. If you have a pen maker in mind, let me know in the comments so I and the lovely readers can check their work out!
I remember the time when I was on my diligent quest for the perfect white ink. I wanted something opaque, yet thin enough to flow through a variety of nibs. At some point I thought I’ve found it — I was happy with the PH Martins Pen White. It could be the stuffy weather here in Singapore, or it could be the way I was storing my inks (like all over the place… oops), but every time I pick up the bottle and open it, I had to add a few drops of water to thin the ink out. If I have to add water every single time, then it’s not so perfect after all, isn’t it?
Then I had to mix some custom ink colours for a project. Before I used gouache, I was using pre-mixed inks in various colours (note: I wouldn’t recommend that at all). Aside from the fact that I had to buy a bottle of ink for every colour I need, the pre-mixed inks just can’t do the job. They’re too watery (yes, I’m talking about you, Daler Rowney Calli!).
During that time, I’ve heard about calligraphers mixing their own gouache. It was intimidating, and I thought I had to leave that to the pros. But I’m glad I experimented! As with all experiments, the first try wasn’t as good. But… BUT! I got better with it, and I realised it’s not that difficult at all.
So now I mix my own white ink using gouache. What you’ll need is pretty simple actually:
:: tube of white gouache (I use Daler Rowney Designer Gouache)
:: plastic pipette
:: gum arabic powder (optional, I use Jacquard)
:: tap water
:: ink jar
Ok, so what do we do now? Before we mix everything up, let me give you some background about gum arabic. There is liquid gum arabic, and there’s powder. I use powder and dissolve it in warm tap water — I usually mix 1 part powder to 3 parts water, stir it and keep it in a small plastic jar for multiple uses. Warm water dissolves the powder easily and does not result in a clumpy mess. Gum arabic is basically a binder that controls viscosity and does a great job in preventing feathering. It’s optional because mixing gouache and water alone produces great results as well, depending on the paper used.
Mixing your own gouache is trial-and-error, and you’ll get better the more often you do this (pretty much like calligraphy!). So fill your jar with some white gouache, add a few drops of your gum arabic mixture, and a few drops of water. Mix it well and add a few drops of water until you reach the right consistency. Test it with your nib to see if your ink flows. If not, then it’s still too thick. Just keep on adding drops of water and testing till you get the consistency that works well for you.
And there you have it — solid white ink that’s better than store-bought ones! What’s your favourite white ink? Let me know in the comments!