Brush Pen vs. Dip Pen
Two tools dominate beginner hand lettering: the brush pen and the dip pen with pointed nib. Brush pens integrate their own ink reservoir and have a flexible tip that responds to pressure. Dip pens require a separate ink bottle and offer greater control over line variation, but require more preparation and maintenance.
For most beginners, a brush pen is the more practical starting point. It eliminates the variables of ink consistency and nib flexibility, allowing focus to go to letterform construction and stroke control. The Tombow Dual Brush Pen is widely used for practice and is available from art supply retailers in Warsaw.
The Two Core Strokes
All brush pen lettering is built from two strokes: the downstroke and the upstroke.
Downstrokes
Downstrokes are made with pressure applied to the brush tip. The tip flexes and creates a wider, darker line. The amount of pressure controls the line width. A consistent downstroke requires a controlled, even movement from top to bottom of the stroke.
Upstrokes
Upstrokes are made with minimal pressure. The tip remains near its default shape, producing a thin line. The contrast between thick downstrokes and thin upstrokes is what gives brush lettering its characteristic appearance. Without this contrast, the letterforms look like regular handwriting drawn with a brush rather than lettered forms.
Building the Lowercase Alphabet
The lowercase alphabet is the most practiced foundation for brush lettering. Most lowercase letters are combinations of a small number of basic shapes: the underturn (like the base of a u), the overturn (like the top of an n), the oval (used in a, d, g, o, q), and compound curves that combine both.
The Underturn
Start at the top with pressure on the down-stroke, then release pressure as the stroke curves upward. The transition from thick to thin should occur at the curve's lowest point. Practice this stroke in isolation before attempting to form full letters.
The Oval
The oval is the basis of several lowercase letters. It is entered from the upper right, applying pressure through the left side of the curve (which forms the downstroke) and releasing pressure through the right side (which forms the upstroke). The letter 'a' adds an underturn exit stroke; 'd' extends vertically upward from the same base oval.
Consistent letterform practice on smooth layout paper before moving to finished notebooks prevents learned inconsistencies that are harder to correct later.
Paper Selection for Lettering
Paper texture directly affects brush pen performance. Highly textured papers wear the brush tip prematurely and produce rough line edges. Smooth or slightly coated papers allow clean, controlled strokes. Layout paper at 50–75 g/m² is commonly used for practice because it is inexpensive and has a smooth surface. For finished pieces, Bristol board or hot-press watercolour paper provide a smooth surface suitable for display-quality work.
Fountain pen–friendly papers, such as Clairefontaine or Rhodia, are also suitable for many brush pens. These papers are available from stationery shops in Polish cities including Kraków and Gdańsk.
Ink Considerations
Brush pens come pre-filled with water-based dye ink. This ink is not waterproof once dry, which matters if the lettering will be used in a journal that contacts water or if additional media like watercolour washes are applied over the lettering. Pigment-based brush pens, including some Sakura Pigma Brush variants, offer greater water resistance.
For dip pen lettering, India ink and sumi ink are standard choices. Walnut ink, which produces a warm brown tone, is sometimes used in journaling contexts. Ink properties — including surface tension, dry time, and pigment load — vary between manufacturers and affect how the ink sits on different paper types.
Common Technique Errors
Several errors appear consistently in beginner brush lettering. Applying too much pressure on upstrokes is the most frequent issue — it flattens the contrast between thick and thin strokes and causes premature brush tip wear. Moving too quickly through strokes reduces control and produces inconsistent line width. Holding the brush at a 90-degree angle to the paper compresses the tip and prevents full flex — a 45-degree angle is the typical working position.
Further Resources
The Lettering Arts Trust (letteringartstrust.org.uk) provides archival information on lettering history and formal calligraphic traditions. For contemporary brush lettering technique, the IAMPETH (International Association of Master Penmen, Engrossers and Teachers of Handwriting) maintains educational resources at iampeth.com.