The Rivers of Ink installation has been created by London-based artists Karen Monid and Ross Ashton, of The Projection Studio, in collaboration with Durham University researchers.

Through video projection mapping, original sound and a unique approach to storytelling, the artwork traces the long history of writing and book-making, culminating in the creation of the Codex Amiatinus in early eighth-century Northumbria.   

Rivers of Ink flows through north east venues

The free, public tour will see Rivers of Ink visit several venues, starting at St Laurence’s Church, in High Pittington, on February 11, and concluding at Durham Cathedral on February 21, 22 and 23. 

The artwork will be projected onto a large-scale model of an ancient writing tablet covered with papyrus sheets, weaving together sound, multilingual voices and textures drawn from original historical sources.  

Some screenings will be followed by talks from researchers in the departments of Theology and Religion, History, Archaeology and Medieval Studies.  

PhD researcher Lauren Randall and Professor Francis Watson, from the Department of Theology and Religion, have extensively researched Codex Amiatinus.

Their expertise has helped shape the Rivers of Ink artwork, as well as resources to engage with school pupils along the tour route.  

Oldest surviving complete and intact bible

At the heart of the project is Codex Amiatinus itself.

Produced at the twin monasteries of Wearmouth and Jarrow in the early 700s, the manuscript is a complete Latin Bible contained within a single, vast volume.  

It survives today as the oldest complete Bible in any language.  

It required hundreds of animal skins to produce, along with the labour of highly skilled scribes, artists and bookbinders.  

Physically, the book is enormous and handling it would have required multiple people.   

The original Codex Amiatinus is now held in the Biblioteca Medicea Laurenziana in Florence, Italy.  

A facsimile can be seen at Jarrow Hall, close to St Peter’s Church in Jarrow, where the exhibition will be shown on February 18 and 19.

You can read my blog about its arrival in 2014 here.

The Rivers of Ink artwork presents the manuscript as the culmination of centuries of writing culture.  

It begins with early forms of writing including papyrus and fragments of early Christian texts from Egypt, through to manuscripts of medieval Europe.   

The title reflects the vast quantities of ink, labour and chains of thought passed from one person to the next, flowing across generations to make such works possible. 

For more information about the tour, including venues, opening times and academic talks, click here.

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I doubt many teenagers use a fountain pens these days – or even know what one is!

But I was an avid fan in my youth, scribbling away in notebooks, textbooks and even answering GCSE and A-level exam questions with one.

Then I started my journalism training and fountain pens fell by the wayside.

Fine-tipped ballpoint pens were much better for getting up to 100wpm shorthand!

I’ve tried a few fountain pens since, but not many can keep up with my resulting fast handwriting.

(I may have been out of a newsroom for 12 years, but it’s still a hard habit to break!)

Ellington Pens: Luxury on a budget

Towards the end of last year, I was approached by Ellington Pens to try one of their products.

The brand was founded by Ethan Ellington, who used his passion for collecting fountain pens, background in maths and the time afforded by the Covid-19 pandemic to develop his first fountain pen over a period of 18 months.

His aim was to create a luxury industry standard fountain pen, using the same high quality materials and craftsmanship, without the hefty price tag.

“I toyed with different dimensions, constructions and materials until I found the perfect weight to comfort ratio,” he explains.

“Blindfolded, I tested our first prototypes against the most expensive fountain pens I could get my hands on and found virtually no difference.

“An Ellington Pen is the world’s first pen that is perfectly balanced with both the cap posted and unposted.”

The Nautilus Fountain Pen

For the uninitiated, ‘posting’ a fountain pen means placing the cap on the back end of the barrel while writing, which makes the pen longer and can change its balance and weight.

Again, going back to my shorthand training, I have a habit of leaving the cap off any pen that I use to make it lighter – and faster – to write with.

I have done the same so far with the Nautilus fountain pen I was gifted by Ellington Pens, which was fitted with an Extra Fine nib at my request.  

The pen is crafted with a stainless steel barrel and comes in a gift box with three ink cartridges and an ink converter, as well as a one-year warranty.

Getting ready to write: First impressions

The Nautilus is the perfect weight for me and I love the striking blue colour, with gold accents.

While setting up the pen, the barrel was easy to unscrew and did so very smoothly and the ink cartridge was easy to insert. Even the lid has a satisfying click.

Like many people, calligraphy aside, I don’t get many opportunities to write these days.

I also tend to think special pens like the Nautilus should be kept for best!

I have, however, used it so far to make notes on my watercolour practice sheets and for some monoline calligraphy practice.

First impressions have been really favourable and it seems I have finally found a fountain pen that can keep up with my naturally quick handwriting pace!

The pen is really comfortable to hold, smooth to write with and the ink flow is nice and consistent. It also fits neatly in the slimline ‘everyday’ pencil case I keep in my handbag.

The Nautilus is one of 15 designs in the Ellington Pens range, which also includes calligraphy sets with six interchangeable nibs up to 3mm wide.

To check it out for yourself, visit the website here. (Affiliate Link)

London-based Ellington Pens offers a 30-day trial period, so I’m going to use the pen as much as I can over the next month and I’ll update this blog with my further thoughts!

The post Rediscovering the art of writing with a fountain pen appeared first on Creative Calligraphy.

South Shields Museum & Art Gallery will play host to The Petit Bras of the Seine at Argenteuil (1872) as part of The National Gallery’s Masterpiece Tour.

The venue is the first of just four in the country selected to display the painting, which has only left The National Gallery in London once in the last 20 years.

Monet masterpiece provides unique educational experience

South Shields Museum & Art Gallery plans to use the loan of the painting as a centrepiece for engagement with young people in South Tyneside affected by Emotion Based School Avoidance (EBSA).

The painting will be displayed alongside works from its own collection and artworks co-created by EBSA young people, teachers, and local organisations.

The exhibition, In the Presence of Nature, will focus on the power of art and nature, exploring themes of calm, retreat, and resilience.

EBSA – a growing issue locally and nationally – affects young people who struggle with attending school due to anxiety and complex emotions. 

Building on the museum’s recent pilot project around EBSA, which successfully used art as a medium for self-expression and understanding, the Masterpiece Tour will expand on this work and hopes to improve health and wellbeing in the community.

My Calligraphy and Lettering Arts Society (CLAS) affiliated groups, based at Ocean Road Community Association in South Shields, will also be taking inspiration from the painting.

As well as visiting the exhibition, we will be creating work inspired by Monet, such as handmade ‘en plein air’ sketchbooks and watercolour painting.

Three-year project brings world-class art to the north east

The exhibition follows two previous successful partnerships between the National Gallery and North East Museums, which manages South Shields Museum & Art Gallery.

They were Constable Visits Jarrow in 2023 and National Treasures: Turner in Newcastle at the Laing Art Gallery in 2024.

I was fortunate to attend the launch event for Monet: In the Presence of Nature at The Word in South Shields – auspiciously on the 185th anniversary of Monet’s birth.

Keith Merrin, director of North East Museums, said: “We’re thrilled to have been selected to show the Monet masterpiece.

“Hosting this artwork will not only act as inspiration for important engagement work with young people, but it will offer a brilliant opportunity for people in our region to experience world-class art right here in South Tyneside.

“We are very proud of our ongoing partnership with the National Gallery and grateful for their support.”

Millions enjoy masterpieces closer to home

Since its inception in 2014, The National Gallery Masterpiece Tour has reached 400,953 people across the UK. The National Touring programme, including the National Gallery Masterpiece Tour and other travelling exhibitions, has now reached 1,467,618 people since 2014.

Dr Gabriele Finaldi, director of The National Gallery, said: “The National Gallery’s collection belongs to all of us. It is part of our duty and our honour to look after these paintings and to bring them to where people are, not just expect them to come to us.

“Partnering on touring exhibitions does so much more than bring beloved paintings from the collection to other places in the UK – it supports the whole country’s cultural ecosystem, connects people with paintings that belong to us all, and allows us to learn and expand our own practices and interpretations through the creativity of our partner organisations and their communities.

“That over one million people have visited these exhibitions in the last decade proves the desire to engage with our collection is growing, and we look forward to welcoming the next million visitors across the UK.”

Monet: In the Presence of Nature will run at South Shields Museum & Art Gallery from January 17 to March 25. Entry is free and on a drop-in basis.

Every Saturday, from January 24 until March 21, visitors are invited to enjoy free ‘Wellness Weekends’ at the venue, designed to encourage mindfulness and relaxation through art.

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The project has been increasing the number of people taking part in arts and culture activities in Sunderland and South Tyneside since 2014, funded through Arts Council England’s (ACE) Creative People and Places (CPP) programme.

That work will now continue for a further three years following the announcement of a £42m CPP investment in 45 programmes from 2026 to 2029.

I ran calligraphy courses in South Shields during the first two phases of the project and my most recent involvement was at Grace Place in South Shields earlier this year.

In November last year, I took part in The Cultural Spring’s 10th birthday celebrations at The Fire Station in Sunderland. You can read more about in this blog.

Increasing access to arts and culture

The CPP programmes deliver grassroots-led cultural experiences in areas in England where involvement in arts and culture is below the national average.

Emma Horsman, project director at The Cultural Spring, said: “We’re thrilled to have been given this vote of confidence by ACE and look forward to continuing our work in Sunderland and South Tyneside.

“For more than ten years now, we’ve helped change the way arts and culture are viewed in both places. More people are experiencing arts and culture than when we began, and more people within our neighbourhoods feel empowered to help their communities take decisions about what artistic and cultural activities they’d like to see locally.

“Increasingly, we’re also helping and developing local venues to realise their potential within their communities, while continuing to be a key source for work and inspiration for artists and arts practitioners within Sunderland and South Tyneside – and the wider region.”

Looking to the next three years

The Cultural Spring will continue to deliver successful initiatives such as its Nibbles/Bitesize projects, targeted workshops, Go and See visits, Space to Create and craft packs for people who are unable to attend in-person workshops.

A new project, Bright Sparks, will identify new project ideas which offer the ‘wow’ factor, while its Community Arts Research Programme will continue.

Emma added: “Through our 2026-29 phase we hope to work with thousands of new people, dozens of new artists, many new venues and new partners too.”

The Cultural Spring’s four partners are the University of Sunderland, Sunderland’s Music, Arts and Culture (MAC) Trust, The Cultural Spring Charity and Young Asian Voices (YAV). A new consortium partner, Inspire South Tyneside will be joining the other partners in 2026.

Graeme Thompson MBE, chair of The Cultural Spring steering board, said: “I am delighted the funding announced today will secure another three years of this remarkable project.

“It has made a genuine difference in people’s lives across the communities we serve.

“So many people have started their cultural journeys with us, or have been able to develop a talent or interest because of the work we do in local venues with local artists.

“The impact of such a small, but talented team on our communities has been astonishing.”

To find out more about The Cultural Spring project, visit www.theculturalspring.org.uk or follow the project on Instagram or Facebook.

You can also sign up to the project’s monthly newsletter by contacting info@theculturalspring.org.uk.

The Cultural Spring’s steering group is looking to recruit new members, including a chair. The project is also looking for more community champions. For more information, e-mail emma.horsman@theculturalspring.org.uk.

The post The Cultural Spring awarded £1m to continue its work appeared first on Creative Calligraphy.

Running your own business during school hours means pretty much every minute of the day is spoken for in some way.

My ideas tend to be tied to commissions and teaching, rather than creating something for myself or concentrating on my own practice.

So when I saw a Society for Scribes and Illuminators (SSI) Study Day advertised, I jumped at the chance to take part and get the creative juices flowing.

The fact it was being run in the north east by the wonderful Susan Hufton was also a big draw.

I first met Susan at the Shipley Art Gallery in Gateshead in June 2023, when I was running a calligraphy workshop and she was working with the Shipley Weavers.

She very kindly came over to introduce herself and chat to the group. Coincidentally, I had her book – Step-by-Step Calligraphy – out on the table!

What is an SSI Study Day?

SSI Study Days are open to members and non-members and are designed to help participants find inspiration for projects and develop ideas through to a finished piece.

Susan was clear on the morning of the Study Day that a finished piece wouldn’t necessarily be the outcome. In fact, she said it could be years before something we saw came to fruition in a piece of work – it was all about thinking and feeling.

We met at the Great North Museum: Hancock in Newcastle for the first of two study days, with the second due to take place at the aforementioned Shipley Art Gallery in February 2026.

Ahead of the Study Day, Susan got in touch with some notes to get us thinking about the artefacts in the museum and our approach, which we discussed further over coffee and introductions on arrival at the venue.

I barely made it past the first cabinet before settling down with my sketch book and pencil to sketch some of the items that immediately caught my attention.

In ‘The Written Word’ display I was drawn to some gaming boards and counters, particularly the patterns on and colours of the stones.

There was also an interesting enamelled bronze seal, a bronze lid from a document case and some graffiti on a greyware dish, all found on Hadrian’s Wall.

I was also drawn to patterns and the even geometric shapes in the jewellery on display in the Roman section – and the lettering carved in various stones, as you’d expect.

My favourite object, though, was a bronze dodecahedron found at South Shields – possibly a Roman brain-teaser.

Taking inspiration from museum objects

The lunch break came just as I was about to finish up in the Roman/Hadrian’s Wall section of the museum, so I spent the afternoon in the Greek and Egyptian galleries.

Again, I was drawn to patterns on pots and decided this was clearly my theme for the day!

I’m not sure what all this will distil down to, but I’m looking forward to discussing further with Susan and the other women before our next Study Day.

It was nice to be given space – and permission – to think, with Susan’s gentle guidance and it’s something I think I might try with my weekly groups.

The post What to expect from a SSI Study Day appeared first on Creative Calligraphy.

Having chosen an overall theme – Pick ‘n’ Mix – to reflect our aim of combining different scripts to create a piece of lettering art – we needed a subject!

A quick search online for major events in 2025 led to the discovery of celebrations marking the 250th anniversary of Jane Austen’s birth.

So, we went with quotes from Austen’s famous works, or the author herself.

Tea and copperplate script seemed to feature prominently, rather fittingly!

And Rachel McClumpha, from RJM Brand Photography, was on hand to capture some of the finished pieces, which we’ve turned into postcard packs.

The Life and Times of Jane Austen

Austen was born in Steventon, Hampshire, on December 16, 1775, and died in Winchester, Hampshire, on July 18, 1817, aged 41.

She is best known for her six novels, which interpret, critique and comment on the English landed gentry at the end of the 18th century.

The anonymously published Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1816) were modest successes, but they brought her little fame in her lifetime.

She wrote two other novels – Northanger Abbey and Persuasion, both published posthumously in 1817 – and began another, eventually titled Sanditon, but it was left unfinished on her death.

Since her death her novels have rarely been out of print and they have inspired many television and film adaptations.

Her use of social commentary, realism, wit and irony have earned her acclaim amongst critics and scholars.

The post Calligraphers inspired by Jane Austen appeared first on Creative Calligraphy.

Contemporary artist Nicola Anthony has worked with north east creative studio NOVAK to create The Words That Bind Us; a ripple of text that constantly reshapes itself.

The luminous artwork uses the written word, crowdsourced by local community groups, to form a ‘modern charter’ projected on to the cathedral floor.

Nicola said: “The Magna Carta caused ripples of change that have impacted how democracy and rights are understood in a fair society.

“I hope visitors will be drawn first to explore the light as a flowing river, and then to look deeper to read its component words.

“They may choose to bathe in the light of a particular word or phrase, letting it rest in their hands, perhaps trying to capture it in a photo, but ultimately experiencing it as momentary and without physical presence.”

Contemporary takes on the Magna Carta

The Words That Bind Us is one of three contemporary art and digital installations commissioned for Magna Carta and the North, which runs from July 11 until November 2.

The exhibition, in the Durham Cathedral Museum, will see three rare Magna Cartas go on display for the first time in eight years.

It commemorates the 800^th anniversary of the 1225 issue, which will be displayed alongside the only surviving 1216 Magna Carta, the 1300 issue and three Forest Charters – practical documents granting access to land and natural resources.

NOVAK has also been commissioned to create a film based on the characters from history that formed the Magna Carta, which will transport audiences on a journey through medieval Britain using illustrations and storytelling.

And visitors will be able to see the work of artist and photographer Ash Mills in the Galilee Chapel, where huge voiles will be hung between the columns, depicting the Magna Carta story through the artist’s ‘stained-glass’ style illustrations.

Andrew Usher, chief officer for visitor experience and enterprise at Durham Cathedral, said: “We’re so pleased to be working with a number of artists and design specialists to explore more ways to engage people by telling the story of these documents through art, light and sound around the cathedral.”

Magna Carta and the North events programme

There is an admission charge for Magna Carta and the North exhibition in the museum, but entry to the cathedral to see the artworks within is free.

Tickets for the exhibition, which are timed slots, and special experiences, such as lectures and family activities, now available to book.

For more information click here.

Here are some highlights:

Magna Carta Secret Spaces

Various dates in July, August, September, October and November.

An exclusive tour of the Cathedral’s secret spaces that are rarely open to the general public, from the Chapter House to the monastic prison cell. See some of the rarest books from the cathedral collections, alongside a facsimile copy of the Magna Carta in the Refectory Library.

The Storytellers by Luxmuralis

Wednesday, October 8 to Sunday, October 12

Escape into a world of light and sound projections that brings storytelling to life. Gaze up at illuminations on Durham Cathedral’s centuries-old architecture at The Storytellers by Luxmuralis. Explore the world of romance and fantasy, to poetry and legends, and step back in time and see iconic children’s classics step into the spotlight.

Magna Carta and its influence today: A Durham Cathedral Institute debate

Wednesday, October 15 at 2pm

The panel will discuss Magna Carta’s origins, its importance over time and its continuing contemporary relevance today. It provides an accessible introduction to a significant part of the UK’s legal history and its importance for the North East with time set aside for Q&A.

Bad King John and the Rebel Barons

Wednesday, July 30 at 1.30pm

Find out the story behind Magna Carta and the Rebel Barons! Was King John really the worst king in history, and what happened when he finally pushed his Barons too far? Come along for a family-friendly look at why this famous document was made and the people behind it.

Family Magna Carta Storytelling

Tuesday, July 22, Tuesday, August 5 and Tuesday, August 12, from 10am to 3.30pm

Hear from local storyteller and writer Elizabeth Baker, as she shares original and thought-provoking tales, as you learn more about Magna Carta and the North exhibition, as history comes to life. Booking is not required. 

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I’ve loved writing since childhood and pursued a 13-year career in journalism before turning my attention to self-employment.

When I launched Creative Calligraphy, I was advised to write a blog at least once a month to keep my website up to date and help with search engine optimisation.

Recognition for hundreds of calligraphy articles

I’ve now written more than 300 articles for my blog – and it appears my hard work has paid off.

According to Feedspot, my blog is one of the top three UK calligraphy blogs on the website, behind my good friends at Manuscript Pen Company and By Moon and Tide Calligraphy.

Feedspot is a modern RSS reader, enabling people to keep up with their favourite blogs, podcasts, news websites, magazines and influencers in one place.

It also acts as a database for PR professionals and publishers.

According to its website, it has four million registered users in over 150 countries.

Feedspot experts rank leading calligraphy blogs

Blog ranking criteria includes Google reputation and search ranking, influence and popularity on Facebook, Twitter and other social media sites, quality and consistency of posts and Feedspot’s editorial team and expert review.

Generally, there’s an arts, culture, craft and obviously, calligraphy, slant to my blog content, which can feature anything from recent commissions to exhibitions that will pique the interest of fellow calligraphy lovers.

I’ve actually just updated a few older posts, so hopefully if you have scroll through the last 11 years, you’ll find plenty of calligraphy hints and tips and things that will inspire you to pick up a pen.

If there’s anything you’d like me to feature in future, drop a suggestion in the comments section below!

And if you’re looking for more calligraphy blogs to follow, check out Feedspot’s list of 25 Best Calligraphy Blogs and Websites in 2025 here.

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Calligraphy remains a viable craft, according to the latest update of the register, but parchment and vellum making is on the critically endangered list.

This means they are at serious risk of no longer being practised in the UK.

The critically endangered list may include crafts with a shrinking base of craftspeople, crafts with limited training opportunities, crafts with low financial viability, or crafts where there is no mechanism to pass on the skills and knowledge.

Daniel Carpenter, executive director of Heritage Crafts said: “The Red List underscores the urgent need for greater investment and support to safeguard these skills for the next generation.

“Reversing this decline would represent not just the continuation of skilled trades, but also a significant boost to the UK’s cultural heritage and countless opportunities for future innovation.”

Illumination and pigment making under-threat

There is also a list of endangered crafts, which means there are currently enough craftspeople to transmit their skills to the next generation, but there are serious concerns about their ongoing viability.

This could be due to a shrinking market share, an ageing demographic or crafts with a declining number of practitioners.

Illumination, hand engraving, letterpress and pigment making are all classified as endangered crafts.

Crafts classified as ‘currently viable’ are those which are in a healthy state and have sufficient craftspeople to transmit the craft skills to the next generation.

They may have a large market share, be widely popular or have a strong local presence. However, it does not mean that the craft is risk-free or without issues affecting its future.

Bookbinding and Islamic Calligraphy join calligraphy on the viable list.

Twenty new additions to the Red List 2025

Twenty new additions have been made to the Red List of Endangered Crafts this year, of which there are a total of 165 entries.

Research carried out by Heritage Crafts, funded by The Pilgrim Trust with additional sponsorship from The Royal Mint, has found that rising operational costs, a lack of structured training, and mounting market pressures are placing unsustainable strain on crafts that depend on expert hand skills.

The Red List of Endangered Crafts shines a light on heritage craft practices under threat from a number of identifiable issues, acting as a call-to-action to those with the power to resolve or alleviate these issues and avoid the cultural loss that is borne each time a craft dies.

Mary Lewis, who led the research on behalf of Heritage Crafts, said: “As we mark 10 years since the launch of the Red List, it is a moment to reflect on how far we’ve come.

“What began as a bold and ambitious idea has grown into a respected, sector-defining resource.”

Safeguarding skills for the next generation

The Red List of Endangered Crafts 2025 also has a new ‘resurgent’ designation, focusing on crafts that are faring better, such as hazel basket making, reverse glass sign painting and side saddle making.

Heritage Crafts said in many cases, this has been as a result of a new-found appreciation of the handmade and the need to support small businesses during the Covid-19 pandemic.

In other cases it has been due to direct support from the charity, which distributes grants to help practitioners overcome the obstacles they facing.

In the latest round of training bursaries, Lesley Romano, a self-employed graphic designer from Swansea, was selected to train in calligraphy and illumination with three fellows of the Society of Scribes and Illuminators.

Lesley said: “Securing this training bursary will give me the opportunity to work with some of the best practitioners and help me elevate my calligraphic and illumination skills.”

The Red List of Endangered Crafts 2025 is available to view here.

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Some people are more heavy handed than others, some people hold their pen higher than others, some people can’t quite get the angle right. 

All this can have an impact on the way to nib reacts to the paper – and the flexibility of the nib can make a huge difference.

How a pointed nib works

Pointed nibs respond to pressure to create scripts like traditional copperplate and modern calligraphy styles.

When you press down, the tines of the nib split and the ink has a wider channel to flow through, thus creating a thick line.

When that pressure is lifted, the ink has a thinner channel to flow though, creating a thin line.

As you write, pressure is applied on the downstroke and lifted on the upstroke, creating the thick and thin lines that are synonymous with calligraphy.

Finding the right nib

Choosing the right nib can be a daunting task when there are so many available.

I started learning copperplate with a German-made Brause EF66, which is a tiny nib but strong and very flexible, so you get nice thick lines.

Joyce Lee from Artsynibs Studio then introduced me to the Nikko G – pretty much the industry standard for modern calligraphers!

The Chrome-plated Japanese nib isn’t as flexible as the EF66, but you still get good definition between thick and thin and it’s a smooth writer.

I use it in my workshops now, as it’s great for people to get started with, but I still like to have some alternatives to hand.

The Modern Calligraphy Set from Manuscript Pen Company Ltd, curated by Joyce, includes three nibs made in the UK – a Leonardt 30, a Leonardt 40 and a Leonardt EF Principal.

I’ve also tried a stack of vintage nibs that were gifted to me by English Pen Crafts. You can read the blog post here.

What do the professionals recommend?

I’m fortunate to be part of a calligraphy community that is very keen to share expertise!

When I asked some fellow calligraphers and tutors for their opinions on nibs, the responses definitely threw up a few favourites.

Kayleigh Tarrant, like me, is a creature of habit and sticks to her favourites – Nikko G and Zebra G for inks and a Brause 361, also known as the Blue Pumpkin, for metallics.

Julia Broughton, of Letters By Julia, agreed, describing a Nikko G and a Blue Pumpkin as her “dream team”. 

Lauren Smith, of A Little Pigment, has tried the Nikko G, Brause EF66, Brause Rose, Leonardt EF Principal and the Blue Pumpkin.

But the one she keeps going back to is a William Mitchell Post Office nib.

“I haven’t heard yet of anyone else using this one and I don’t know why because it really agrees with me for all kinds of inks and papers,” she said.

“It’s not too flexible and produces really nice hairline upstrokes.”

The Blue Pumpkin is the go-to nib for Leanda Xavian, of The Fine Letter Co, and she too finds it great for metallic.

But she rotates it with the Brause EF66, Zebra G (more flexible than the Nikko G), Leonardt Hiro 41 and the Hunt 101.

Kate Watson, of Olive & Reid Studio, likes the Leonardt EF Principal, Hunt 22B, Blue Pumpin, Gillott 303 and the vintage Viktor Exhibition.

Lauren Cooper, of Oh Wonder Calligraphy, favours the Nikko G and Esterbrook 358, which was a totally new one on me!

Blue Pumpkin and Nikko G are also the top choices of Jacquie Laws, of Sugar and Spice Designs and Pinar Djemil, of Curious Me Design. 

Phylecia Sutherland, of Pure Heart Paperie, loves the contrast of thick and thin provided by the Brause EF66.

And Lyndsey Gribble, of Anon Design Studio, has just added the Hunt 22 to her collection, a nib also admired by Joyce Lee of Artsynibs Studio.

Choosing the right nib for you

Calligraphers will have spent hours practising with various nibs to discover which one works best for them.

The choice of nib can also depend on the project you’re working on, the ink you’re using and the surface you’re writing on – some glide easier than others!

There’s no shortcut, and it’s really a matter of experimenting with as many nibs as you can.

Fortunately, most nibs can be picked up relatively easily and cheaply, with most nibs priced around £1.50 – £3 individually.

The suggestions in this post are a great place to start!

And when it comes to looking after your nibs, read this blog post for some tips. 

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