Mrs Aouda Fogg bids you a most elegant welcome…

Before we begin, please ensure you have chosen your complimentary drink from the Fogg’s Favourites section of the menu. A member of staff shall come to take your order shortly. Should you require further refreshment during your session, additional drinks may be purchased, and light nourishment can be found upon the Light Bites menu.

Once you are settled comfortably, follow my guidance at your own pace. Should your hand require a little extra direction, please ask a member of staff for assistance.

Before any calligraphy may be attempted, one must first ensure the nib is properly prepared.

Begin by checking that the nib is pushed firmly into the pen holder. Then, to prepare a new nib, dip it into the ink and gently wipe away the excess on a cloth. Repeat this a few times, until the ink coats the nib smoothly and evenly. Once the nib holds the ink without it gathering in beads, your pen is ready to begin.

A beautiful line begins with a well-held pen.

Keep the small vent hole facing upwards, and hold the pen lightly, with a relaxed hand. Try to keep the nib at a 30 to 40 degree angle to the paper. Turn the paper itself to find the most comfortable position for your hand. I shall show this initially for right-handed writers, with the left-handed version at the end.

Look closely at the very tip of the nib. You will see that it is divided into two tiny points, known as tines. As you press the nib onto the paper, these tines separate. With less pressure applied, the tines separate less and the line is finer. With more pressure applied, the tines separate more, allowing more ink to pass through and creating a thicker line.

Never press forcefully – too much pressure may damage the nib.

When loading your pen with ink, dip only as far as the top of the vent hole, so the hole sits just beneath the surface of the ink. Then drag the nib lightly against the side of the inkpot to remove any excess. A well-loaded nib should be full enough to write smoothly, but not so full that it drips, blobs, or soaks the paper.

For this reason, I recommend placing your practice sheets on the clipboard one at a time. That way, should an enthusiastic blot appear, it will not mark the sheet beneath.

We shall begin, quite sensibly, with the simplest marks.

These basic strokes are the foundation of calligraphy. Each letter is made by combining separate strokes, rather than writing the whole shape in one ordinary movement.

The secret lies in pressure. On a downward stroke, apply a little more pressure to open the nib and create a thicker line. On an upward stroke, lighten your hand to create a finer line. Practise these simple upstrokes and downstrokes first, then carry that same control into the other shapes.

You will notice that calligraphy has a graceful slant. The diagonal guide lines on your practice sheet are there to help you keep this angle consistent. Turn the paper until your hand and wrist feel comfortable, and aim for your nib to travel along those diagonal lines.

The arrows beside each example show the direction of the strokes. Begin by tracing the pale grey examples, then try a few of your own along the same line.

There is no need to watch every demonstration from beginning to end, unless you wish to. Each stroke and letter is shown in full, so you may pause, return, and observe any shape that requires a little closer attention.

Suggested time spent on this section: 5 minutes

We may now turn our separate strokes into letters.

Lowercase letters sit upon the baseline, the lower of the two central horizontal guide lines, and most are formed between this baseline and the waistline above it.

Some letters have ascenders, which rise above the waistline, as in b, d, f, h, k, l and t. Others have descenders, which dip below the baseline, as in g, j, p, q, y and z.

The arrows show both the direction and the order in which each stroke should be drawn. Remember to use a little more pressure on downward strokes, and a lighter touch on upward strokes, so that your letters have that pleasing contrast between thick and fine lines.

Begin by tracing the pale grey examples, then try a few freehand versions of your own.

Suggested time spent on this section: 8 minutes

Continue practising the lowercase letters from j to r.

A small tip from the atelier: the tines of the nib are quite sharp, and may occasionally catch on the paper fibres. Should this happen, simply wipe the nib clean with the cloth provided, reload it with ink, and continue.

Do not be discouraged by the occasional snag or splutter; even the finest correspondence begins with a little negotiation between pen, ink and paper.

Suggested time spent on this section: 8 minutes

Continue practising the lowercase letters from s to z.

A small tip from the atelier: try to keep your letters a similar width as you work along the line. This will give your writing a more even and harmonious appearance.

Remember, the aim is not absolute perfection, but a graceful consistency. Once you have tried each letter a few times, we shall move on to the grander business of capitals.

Suggested time spent on this section: 8 minutes

We may now proceed to uppercase letters – the grander companions to the lowercase forms you have just practised.

These letters also sit upon the baseline, but rise all the way to the upper ascender line of the guide. They are therefore taller and more decorative, so take your time and allow each stroke a little room to breathe.

The letter Y is a slight exception, as its tail descends below the baseline and reaches down towards the lower descender line.

As before, follow the arrows for the order and direction of each stroke. Trace the pale grey examples first, then try your own freehand versions beside them.

Suggested time spent on this section: 8 minutes

Continue practising the uppercase letters from J to R.

A small tip from the atelier: each letter is made from separate strokes. Draw one stroke, lift the nib from the paper, then begin the next.

Calligraphy is not quite the same as ordinary joined-up handwriting. It is built patiently, stroke by stroke, until the letter takes shape.

Suggested time spent on this section: 8 minutes

Continue practising the uppercase letters from S to Z.

You will also find the ampersand on this sheet, the elegant little character that means ‘and’. It is a most useful flourish for cards, place names, and invitations.

A small tip from the atelier: clean your nib from time to time to prevent ink building up. Rinse it gently in the water pot, wipe it with the cloth provided, then reload with ink before continuing. A clean nib makes for a cleaner line.

Suggested time spent on this section: 8 minutes

We shall now give a little attention to numbers, which are most useful for dates, addresses and invitations.

Like the letters, numbers sit upon the baseline. However, they also rise above the waistline, though not quite as far as the upper ascender line.

A small tip from the atelier: try not to grip the pen too tightly to help prevent your hand from tiring.

Suggested time spent on this section: 8 minutes

We may now begin the delicate business of joining letters into words.

In calligraphy, letters are not simply rushed together as they might be in ordinary handwriting. Each letter still has its own shape and structure, but the exit stroke of one letter should finish in a place where the next letter can join it naturally.

This joining point will change depending on the letters beside one another, so take your time and observe how each example connects.

On this sheet, you will find several common greetings to trace and copy. Begin by following the pale grey examples, then try writing the phrases yourself on a blank sheet, paying attention to the spacing, rhythm, and joins between each letter. A well-joined word should feel graceful, not hurried.

Suggested time spent on this section: 12 minutes

You may now try a little free practice, creating messages of your own.

It can help to write the individual letters first, spacing them out carefully, before attempting to join them into a complete word on the line below. This gives you a chance to study each shape before asking them all to behave together.

Once you feel more confident, you may begin to play with the style, adding flourishes, lengthening an elegant stroke, or giving your script a little personal character.

A small tip from the atelier: if your pen runs out of ink halfway through a letter, do not panic and do not stop mid-stroke. Continue the movement and finish the stroke, then re-dip your pen and return to fill the missing section with a fresh stroke. A slightly interrupted line can usually be persuaded back into elegance.

Suggested time spent on this section: 12 minutes

Once you feel comfortable with your practice so far, you may begin experimenting with the coloured inks.

I recommend choosing words or phrases you may wish to use on your final cards or postcards, so you can practise them a few times before committing them to the finished piece. If you would prefer to continue working only in black ink, that is perfectly acceptable too.

The coloured inks are a little thinner than the black ink, so take particular care not to overload the nib. Dip it gently, then draw the nib against the side of the pot to remove any excess before writing.

If you are changing from one colour to another, rinse your nib in the water pot and wipe it thoroughly with the cloth provided before reloading it with fresh ink. A clean nib will keep each colour clear and bright.

Suggested time spent on this section: 12 minutes

You are now ready to choose your three pieces from the card display.

Each card and postcard design is available in two versions: one with a traceable message, should you prefer a little guidance, and one left blank, should you wish to add a message entirely of your own.

You may use black ink or any of the coloured inks for your chosen greetings. Do note, however, that the lighter colours may not fully cover the printed traceable lines, so choose a darker ink if you would like the guide marks to be less visible.

Select the designs that best suit your occasion, your recipient, or simply your fancy, and then we shall prepare to give them their final flourish.

Before writing on your chosen card or postcard, practise your message a few times on your practice sheets. Once your hand feels steady and the words feel familiar, you may move on to the finished piece.

As you write, angle your card or postcard in the same way you angled your practice sheet. This will help you keep the slant of your lettering consistent.

If you would like a little help keeping your greeting straight, you may position one of your practice sheets as a baseline guide. Draw your letters along this line, then add any descenders afterwards, as shown in the demonstration.

Be sure to allow the ink time to dry before closing your card.

Should you prefer not to write on the front of your cards just yet, you are very welcome to take them home and complete them later, once inspiration, and a steady hand, have struck.

Finally, please remember to take one envelope for each card.

Suggested time spent on this section: 15 minutes

Should you wish to send your card or postcard on its journey at once, please write your message inside and address it to your recipient. Cards should be sealed in an envelope; postcards may be addressed directly on the reverse.

A member of staff will then be happy to assist you with purchasing a stamp. Once the stamp is affixed, you may place your finished correspondence into our post box, ready to be sent on its way.

When your work is complete, you are welcome to take home your pen and nib, your black ink pot, and your practice sheets, along with any of your three cards or postcards that you do not wish to send straight away.

Please let a member of staff know when you are ready to depart, and they will provide a pouch and bag so that your items may travel home safely.

Before packing your pen away, be sure to clean the nib thoroughly. Dried ink can damage the nib and may lead to rust if left for too long. At home, should any dried ink remain, a soft-bristled toothbrush works very well for gently removing it.