The bird´s feather Quill

**Alex Timmerman** · May-02-2004, 2:42pm

Hello All,

As promised to you, hereby the explanation of how to make your own quill of a birds feather. In this case I have chosen to work with a white (see photo no. 1) and brown goose primary wing feather.

First I’d like to point out that only the hollow part of the feather pen is used. This is the piece beneath the barbs towards the tip of the shaft. The feather at this particular part is not round but oval.

Something that will prove to be a nice incidental circumstance and, as we shall see, quite an important aspect of feather quill making.

The illustrations show how (in my opinion) a bird’s quill - similar to the ones seen in Leone’s Tutor (1767) - was made at the time. Also when going from there, one can easily make quills à la those propagated by Gervasio (1767) or Corrette (1772).

**Alex Timmerman** · May-02-2004, 2:44pm

But first I’d like to point out that nowadays the feather quill is simply one that is diagonally cut through from the barbs towards the shaft’s point (photo no. 2a).

The difference between the more traditional birds quill is that it is easier to handle because of it’s quite flat surface, while the ´modern´ one makes an oval hollow pen-quill.

As I have often noticed the diameter of the hollow pen quill shows that it’s height is longer than it’s width. This does not give the most possible comfort while playing with it. It is unintentionally caused when the feather pen is cut.

It happens as follows; during the process the flattest side of the pen is held between the left hand’s thumb and the index finger (photo no. 2b).
Than the cut is made over the length of the pen creating a narrow tip at the end. After the filing and polishing the pen-quill is ready to play and it is taken in the right hand. Here it naturally ´slips´ or ´glides´ in the position where the flatter sides of the oval pen are toughed and held between the thumb and index finger.

Now the following problem occurs: the tip of the pen-quill stands crosswise and therefore touches the strings while playing square (photo no. 2c). Although players will (not wishing to make a new one) shift the thumb and index finger towards- or even over the cutting edge, these pen-quills will never satisfy completely.

Therefore, if a hollow pen-quill is preferred, one must before the cutting process starts remember to turn the left hand (in which the feather pen is held), inwards a bit.

**Alex Timmerman** · May-02-2004, 2:45pm

For making a more Traditional (Leoné) quill of a bird’s feather, here are the steps to follow:

Photo 3a shows both the white and brown feathers lying with their natural seam towards the viewer. This seam is also that what the knife has to follow in order to split the pen in two exact halves.

Photo 3b is taken to show the natural relaxed grip of holding a feather at it’s width (showing it’s narrow side), while the 3c picture depicts a rather uneasy grip of holding the pen showing it’s broadness.

**Alex Timmerman** · May-02-2004, 2:46pm

Picture 4a to 4d show that when the incision is made the knife slides very easy through the pen.

The splitting goes almost by itself. Something that is best seen in photo 4d.

**Alex Timmerman** · May-02-2004, 2:50pm

As can be see at photo 5a only the tip of the feather pen has to be split more forcefully.

Picture 5b and 5c show both halves: the hollow- and the convex side(s) and their rough points while the last photo (no.5d) shows the height of the quill.

Note also that it is possible with this splitting manner to make two feather quills!

**Alex Timmerman** · May-02-2004, 2:51pm

Photo no, 6a points out the feather length, while the next image (no. 6b) indicates where to cut it to have a better grip for filing the quill in the desired shape.

**Alex Timmerman** · May-02-2004, 2:55pm

As can be seen on photo no. 7a the tools to use are very simple: a sharp surgeon’s knife to straighten the edges in the length, a medium- and a near to polishing piece of sand paper and a nail file.

In the next photo there are two quills seen: one in a more filed stadium showing it’s hollow side, and a second one of about 6cm lying next to a measuring rod.

**Alex Timmerman** · May-02-2004, 2:56pm

To finish it all, a last go at the sandpaper (photo no.8a) is made and a quill made from a bird’s feather à la Leone is ready.

Picture no 8.b shows the quill lying above one of the same birds material I made in the shape of a Gervasio model. The one seen above the measuring rod is a tortoise shell Ranieri plectrum.

**Alex Timmerman** · May-02-2004, 2:58pm

Photo no. 9a shows the way how the feather quill is held between the thumb and index finger, while the picture to close this explanation with is made just for fun: both feather quills on a period Neapolitan mandolin.

**Alex Timmerman** · May-02-2004, 3:01pm

Succes and best to all of you,

Alex

**Eugene** · May-03-2004, 10:56am

Excellent and thank you! This is actually similar to what I have been executing in goose. Is that an original 18th-c. Fabricatore I see? Mmmm...

**Alex Timmerman** · May-03-2004, 5:06pm

Hi Eugene,

Yes, it is a 1794 Giovanni Battista Fabricatore Neapolitan mandolin.

Greetings,

Alex

**Tim Logan** · Jan-01-2020, 10:04pm

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**Zane1** · Jan-02-2020, 6:09am

Interesting post

**Tim Logan** · Jan-02-2020, 8:56am

And to top it off, go to YouTube and listen to Mr. Timmerman play numerous unique stringed instruments! He is a consummate musician! His bio is jaw dropping. Just do a quick read at

http://alextimmerman.nl/

I guess the point I am making is that many of the people who post and respond to the classical forum are pretty incredible individuals. And speaking as a musically non-incredible individual I truly appreciate the opportunity to hear the thoughts, resources, and information provided by them.