2007 Workshops

Two-day Workshop

Casual Pointed Pen: Twist and Shout
Lee Ann Clark

Saturday & Sunday, November 10-11, 2007

Casual pointed pen adds your own personality to any writing. It can be elegant, sophisticated, fun and whimsical. There is a modern move for any occasion. This course is designed to explore some variations and twists to add that updated flair to your pointed pen calligraphy. We will explore the mechanics of pointed pen letter formation and work on the details and nuances of what gives this style of writing its elegance and grace while breaking it down into possible variations. We will also work with flourishing, layout, and what is involved with working toward a finished project for yourself or for reproduction. This class will arm you with the skills needed to understand and delve into the many possibilities of this particular discipline. Some knowledge of pointed pen writing is highly suggested.

Supply list:

• 11 x 17 practice grid pad (I will have these available)
• oblique pen holder
• any pointed pen nibs that you already have
• non-waterproof ink
• x-acto knife
• double-stick tape
• gouache - one light, one dark
• mixing brush and dish
• water container
• ruler (C-Thru –clear plastic with red lines-preferable)
• pencil
• quote

Mixing Color from Nature
Patty Hammarstedt

Saturday, September 29, 2007

This workshop is not just another color theory class! This workshop will be a great review for those who already incorporate color into their work, and will show those just learning color a foolproof method of creating successful color combinations. Workshop participants will use actually specimens from mature (e.g., leaves and flowers) or photographs of nature tocreate their “palette.” We will not only mix the colors we see, but learn to use them in the same percentages that Mother Nature uses them. From these color samples, we will create a modern monogram letter composition which can be referred to as a basis for future calligraphic work.

Foundational/Bookhand Variations
Marcy Robinson

Saturday & Sunday, March 31-April 1, 2007

Participants will review the basic principles of the Foundational hand which was developed by Edward Johnson at the turn of the 20th century. We will then explore variations of the alphabet by changing the weight, pen angle, and serifs, and by using pressure and building up the letterforms.

Participants (intermediate level students) should have a basic understanding of the Foundational alphabet.

Materials:

• Speedall C-2 nib (or larger) or the equivalent in other pens,
• non-waterproof black ink such as Higgins Eternal,
• pad of semi-transparent bond paper (Borden & Riley, Boris Marker Layout, or equivalent, available from Paper & Ink Arts),
• T-square,
• ruler,
• pencils, and
• note-taking materials

Brush Lettering
Karen Charatan

Saturday & Sunday, May 19-20, 2007

Over two days we will explore the structure of brush-made Italic letterforms, and practice rhythm and speed with various pointed brushes and media that “go with the flow.” Dancing with the brush to music frees the hand, inviting strokes to have life and energy. After some serious playtime to warm up, we will focus on the shapes, proportion, and spacing of letters based on a standard Italic form. The quest to master the brush is endless, so humility and openness are necessities. Although the potential results are virtually limitless and each student will vary in expertise, the focus will be to improve the details of what makes the lettering aesthetically pleasing. We will find that certain characteristics make letters more legible and attractive; conversely, less attractive and illegible are options, too! 

Shape, weight, rhythm, and personality will be explored with various markers, and natural and synthetic brushes. Serious students are most welcome, as well as brush beginners as long as they have a strong understanding of the structure of a broad pen Italic hand.

Materials:

• 12” or 18” ruler
• Pencil, eraser, and note taking materials
• 11” x 14” bond paper or marker layout pad
• Higgins Eternal ink or any similar black calligraphy ink
• Pointed brush markers – black is preferred, colors optional (only one new fresh one is necessary but a few types might be interesting to try).  Brand names: ZIG, Pentel, Staedtler Mars, Marvy, Niji, Sakura
• Pointed watercolor brushes: synthetic brushes such as Niji or Pentel, or sable watercolor brushes such as Winsor & Newton Series 7 or similar less expensive brands.  Recommended synthetic or natural hair brushes:  Takara, Pentel or Pentel Color Brush, Winsor & Newton, Isabey, Richeson, Raphael, and Arttec are commonly found in art supply stores. Japanese brushes for calligraphy are great if the hairs are not too long or pointy and better if the hairs spring back quickly when released. You do not need to spend a lot of money; one reasonably priced brush will do. 
• Meaningful texts to write out and to use for inspiration.

Altered Books
Carole Maurer

Saturday, February 24, 2007

Cost $25,payable to Philadelphia Calligraphers Society
NOTE: This class will be at Carole's home,
408 Minden Way, Wynnewood, PA 19096

Altering books—recycling an unwanted, used book and turning it into a piece of art—has a growing following in the art and craft worlds.

Book pages can be painted, torn or folded into pockets or pop-ups. Windows, doors and niches can be added, fabric, beads and found objects sewn into pages. Even your junk mail, tags from items you purchased, old postage stamps, etc. can all find a home in an altered book.

To get started, sign up now - class size is limited to 10.

Call Carole at 610/642-9726 or email carolemaurer@verizon.net.

Supplies: an old book from a library sale, yard sale, or thrift shop; a ruler, pencil, cutting mat, x-acto knife with new blades, a magazine with lots of pictures to cut up and any ephemera you want to use. Bring your lunch.

Materials fee: $10 payable to the instructor for paper, paste, paints, etc.

Pastepaper Books
Rosie Kelly

Saturday, February 25, 2006

This workshop is about color, texture and design. In an atmosphere of play, we will decorate paper with paste and pigment. The advantage of the paste paper medium is that the process can not be controlled precisely and papers appear to design themselves.The decorated papers will then be assembled into a book format producing unique one-of-a-kind creations.

Instruction, experimental exercises and a variety of completed handmade book exemplars will be provided to assist with the layout and design of the text.

Materials

• 3 full sheets of Arches Text Wove paper (now called Velin), 25" x 40". These can be cut/torn into haves or quarters for easier transport if desired.
• Large water container
• Acrylic matte medium (not gel medium)
• Chalk pastels
• Sponges - kitchen type are OK, but not the scratchy kind
• Scissors
• Small (plastic) cups in which to mix pigments and paste
• Plastic mixing sppons - 12 or more
• Black ink.Higgins Eternal works well. Bring Sumi, if you have it.
• Any interesting tools for making marks in pastepapers, i.e. comb, color shapers, wallpaper tool, sticks, etc.
• Colored pencils, regular or watercolor
• Straight edge ruler
• Needle and thread
• Glue stick
• Awl, embossing tool, X-acto knife, bone folder
• Text of your choice
• Newspapers for drying papers on the floor
• Optional: White gouache or Dr. Martin's Bleed-Proof White, several sheets of tracing paper, a few sheets of transfer paper

Sumi Washes
Rosie Kelly

Sunday, February 26, 2006

In this workshop we will create a small book with a wrap-around cover and tie closure.

The book structure is very simple and tends itself to completion in a one-day workshop.

We will use a liquid wax resist on Arches Text Wove paper (now called Velin), allow it to dry, apply both black and color sumi inks, allow these to settle a short time, then immerse in water, as in “sink art”. The results of this technique are delightful. When dry the papers will be assembled into the book format with text to be added as time allows The wrap-around cover, made of the same sink art papers, makes for a pleasing presentation.

Materials

• 1 large sheet of Arches Text Wove (Velin)
• Large water container
• Awl, bone folder, embossing tool
• Needle, waxed black or white thread
• Glue stick, glass pen if you have one
• Straight edge ruler
• Mop-like old brush if you have one
• Black sumi ink and black gouache
• Sumi stick inks and grinding plates if you have them
• A few short texts
• Pointed or small size nibs
• Lots of newspaper for drying papers
• Light weight liner paper (e.g. rice/washi paper) for inside of cover

Calligraphic Collage
Jacqueline Sullivan

Saturday & Sunday, March 18-19, 2006

Do you love collage, but can't quite figure out where to start? Or once you start, where to stop? And how do you combine collage elements with the handwritten word? How can you give your collage work that extra “ZING” that makes them exciting works of art.

All these questions and more are answered in this workshop. We will combine calligraphic elements with hand-painted papers and faux metallic papers. We will learn techniques with both watercolor and acrylic mediums and discover how they can be used in collage and calligraphic works.

Students are encouraged to 'play' and to 'push' materials to find their own unique style and techniques. These techniques are then refined, documented and utilized within the context of sound composition. The challenge is always to create and refine.

This workshop is just the right combination of collage and design techniques and fun.

The handouts for this class will be presented in a wire bound book. This book will include some actual tipped in samples of the techniques as they are presented in class. This will give students a permanent and attractive reference for future calligraphic collage and painting endeavors.

Please note that the cost of this workshop includes a $15 materials fee

Materials

The materials fee includes:

Watercolors, sand, salt, pastels for watercolor washes, Pearl-ex and metallic pigments, miscellaneous textural materials, acrylic mediums and paints, and extensive hand-outs coil bound in a book.

Additional Materials

Day 1:

• 2 sheets Arches Watercolor Paper [Cold or hot Press] 140 lb cut into fourths. Lanaquarelle ok. MUST BE 140 lb;
• 1" Flat watercolor brush, synthetic ok;
• old cookie sheet or tray for catching drips - [a MUST, since colors will be poured];
• 2 large water containers [like large cottage cheese containers];
• Cheap bristle brush about 1" - 1 1/2" wide [like dollar store kitchen supply, often several to a package with white bristles;
• roll of waxed paper;
• old calligraphy practice sheets or goofs to cut up [you won't see the letterforms, so don't worry];
• miscellaneous strings or cord [metallics are nice but optional];
• scissors;
• 1 sheet illustration board [hot or cold press] 15 x 20" or larger [to support the final collage];
• Distilled Water [about half a gallon per person should do, or share a gallon with a friend]

Note: wear old clothes and bring an apron/smock if you like.

Day 2:

• Writing tools - bring your favorite pens and inks;
• slant board;
• ruler;
• several short quotes [3 to 10 words each];
• x-acto knife with a sharp/new blade;
• cutting mat;
• Alene's Tacky Glue;
• Collage doo-dads [beads, strings, sticks, old jewelry, hand-made papers, etc.
• Optional: Collage images that work with your quote.

Note: If you have doo-dads to share, we'll set up a "sharing table".

FYI: We plan to cover the tables with dollar store plastic table cloths [Jacqueline's preference over newspaper].

SpencerianScript Workshop
Michael Sull

Saturday & Sunday, May 20-21, 2006

Main Line Art Center
Haverford, PA
for directions: www.mainlineart.org

(Note change of location)

In early 19th-century America, Spencerian Script became a major force in the instruction of handwriting and in commerce and industry throughout the nation. Named after Platt Rogers Spencer (1800-1864), Spencerian's Golden Age of Ornamental Penmanship lasted from 1850-1925, and resulted in some of the most beautiful and elaborate penmanship ever written.

Unlike the Copperplate and roundhand styles popular in Europe and England, the Spencerian styles had little weight or shade in the lower-case letters, wide letter spacing, short body height, and in its common form, little embellishment of any kind. As the years went by, however, large, involved flourishes were liberally added and capital letters of striking appearance were developed with pronounced shades and large ovals. Artistic renderings of birds, quills and other graceful designs — a technique known as “off-hand flourishing” became very popular. The invention of the typewriter and the growing popularity of shorthand after World War I, led to the demise of this superb art form. At its height of popularity during the 1890's, thousands of Americans strove to perfect their skills in handwriting.

In this workshop, we will rediscover the letter forms and elaborate flourishes and learn how they were produced. A variety of methods will be shown relating to the different muscle groups used in their execution. Actual specimens of original work by the legendary master penmen will be available for study during the workshop. Come and learn from one of our country's leading master penman. Experience in writing Spencerian script is not necessary, but familiarity with the pointed pen is suggested.

Materials

• Oblique penholder with any of the following points: Hunt 22, 56, 101; Gillott 170, 303, 404, Nikko G, Leondart Principal
  
• Ink: McCaffery Penman's Ink, Walnut ink, Higgins Eternal, Sumi Vermilion OR Pelikan 4001
  
• Paper - 20 or 24 lb. Inkjet paper or premium quality ledger tablet (such as Clairefontaine)
  
• 11 x 17" blotter paper or soft cover stock paper to use as a cushion sheet
  
• Straightedge for drawing baselines
  
• Water container, cloth or paper towels, pencil and notebook
  

NOTE: Some supplies (handmade oblique penholders, pen points, ink and books) will be available for purchase.

Souped Up Alphabets
Jean Wilson

Saturday & Sunday, October 7-8, 2006

Full-time lettering artist and graphic designer, Jean Wilson, will begin with the Neuland hand and move through numerous variations and into innovative alphabets. [See Scripta, August 2006, for full description.]

Supply list

• 2 or 3 ZIG calligraphy markers, one dark and one light (if you have a set of 8, you'll have more fun)
• a black fine tip marker like a Pigma Micron (01 or 02)
• an assortment of pens, markers and gel pens, also colored pencils
• scissors, glue stick, and a papaer punch of any size and shape
• lined notebook paper, college-ruled is better
• Graph paper, if you already have it
• 20 - 30 sheets of plain photocopy paper
• optional:  better paper or colored paper

Painting and Writing on Canvas
Debra Dick

Saturday & Sunday, November 4-5, 2006

Full-time lettering artist and educator (and PCS member), Debra Dick will show us how to work on canvas with colored paste, acrylic paints, decorative paper, pastels, and colored pencils to create banners that showcase our lettering. [See Scripta, August 2006, for full description.]

Additional Materials Fee: $10.00  (Fee includes canvas for banners; paste for painting; paste for gluing; odds & ends for working on canvas.)

Updated Supply list

Note: Don’t be daunted by the list below — you already have most of these things on hand, so please don’t go out and buy a ton of new toys for this workshop. If you don’t already have paste-paper tools, you can share mine or your neighbor’s. The only item I would encourage you to purchase if you don’t already have it is the acrylic paint. Good brands include Golden or Liquitex for intensity of color.

• Fluid and regular acrylic paints (your choice of colors including white); water-soluble and/or regular pastels and color pencils. (I will have pastels to share.)
• Your favorite pens—broad and pointed nibs
• Paste-paper tools—sponges, scrapers, color shaper tools, toothbrush etc.
• Synthetic brushes (pointed and flat) in a variety of sizes—including 1/2” flat—will be used for both laying on color and writing
• X-acto knife, scissors and small cutting mat
• Water and paste-containers
• Paper towels
• Tracing paper
• ½” – 1” masking tape
• Masking fluid
• A few quotes or poems, and a list of related words that fit with a theme of your choice (this is very important!)
• Pencil
• Ruler
• Paint palette
• Brush for gluing
• 25” x 40”, Arches Text Wove, cut or torn into 8 equal pieces

• Brush cleaner (recommended)
• Stencils and stamps related to your image/theme—these are best if hand-made, but any you have will work
• Fibers; yarns; buttons; charms; scraps of “exotic” papers; ribbons, etc. that you’d like to add to your banner (time allowing)
• Waterproof markers—fine tip and brush for lettering
• One or two black and white photocopies of images you have taken (these must be no greater than 6 x 9”, and should be done on ink-jet copiers—laser images will not work; Note: if your image contains lettering, you should make a reverse copy so that the lettering will read correctly when image is transferred.) Alternately, images may be hand-rendered in the final piece.

2005 Workshops

Blackletter
Bold or tender; Stark or adorned; Basic and enduring
Harry Forrest

Saturday & Sunday, February 26 & 27, 2005

Blackletter, also called Gothic or Old English, dates back to the 12th century and is characterized by angular compressed letters as seen in medieval manuscripts. Useful today for decorative and dramatic contrast as well as dense texture, blackletter is an essential hand to add to your calligraphic palette. Harry Forrest will present traditional and modern variations of this versatile style both for beginners and experienced scribes. This is a workshop not to be missed!

Coptic Bookbinding
Michele Powers Ensminger

Saturday, April 30, 2005

The Coptic or chain stitch is a binding that originated in Egypt as early as the 4th century. This beautiful binding features an open or unsupported spine. The gatherings of pages are attached by exposed linked stitches that create a flexible binding for a journal or sketchbook. Learn from talented bookbinder Michelle Powers Ensminger how to make this wonderful book.

Modern Manuscript Books
Christopher Calderhead

Saturday & Sunday, June 11 & 12, 2005

Christopher Calderhead is the author of Illuminating the Word: The Making of The Saint John's Bible, available in February 2005. In this workshop, students will experiment with an important aspect of our calligraphic tradition: the manuscript book, with reference to medieval models. We each have our own personal visual language, a vocabulary of writing styles & techniques to use in our work. We will start with our own particular writing styles to develop a page layout. The work of the medieval scribe was fresh & spontaneous. Often, manuscripts have come down to us with several layers of writing. A modern manuscript can do the same thing - rather than being carefully planned, the page becomes a space to explore. It's a direct, open-ended way of working that opens up new possibilities for our calligraphic expression. Christopher invites us to explore the traditional and innovative possibilities of modern manuscript books.

Roman Capital
Master Class
Peter Thornton

Friday, October 6, 2005

This limited-enrollment class will essentially focus on the alphabet as a cohesive and unified group using both pencil and pen and to explore each student's specific interests and areas of uncertainty. Due to the small class size, there will be much personal, individual and sensitive instruction at each student's own level.

Areas to be covered will be:

• FORM and REFORM
• WEIGHT and TEXTURE
• PRESSURE and RELEASE
• CONTRAST and REPETITION
• ADVENTURE and PROPRIETY
• PLAIN and SERIFED CAPS
• SENSITIVITY OF TOUCH
• NIB, INK AND PAPER PREPARATION

Some of the above will be in a designed series of exercises and projects to explore and exploit the vast potential of these letters to better express the mood and flavor of the words.

Note: A small OPTIONAL project will be sent in advance of the workshop to ensure a common and unified foundation

MATERIALS:

• Layout paper along with any paper of better quality
• Pencils HB, 2B and 4B
• Black ink (Higgins Eternal or stick ink)
• Broad edged nibs (small sizes - 2 mm, 1.5 mm, 1 mm)

Class size is limited to 8 and students should have some knowledge of the form and proportions of Roman letters.

Uncial and Carolingian:
Dignity and Harmony
Peter Thornton

Saturday & Sunday, October 8 & 9, 2005

In this workshop we shall look at two of the most elegant styles of writing ever devised. We will begin with the 4th - 8th century Uncial, a simple, quiet and stately hand--using pencil, pen, color and some modest changes to weight and form. This clear hand can be used independently or as a complimentary capital for the equally gentle and later style (9th century) named after the Emperor Charlemagne: Carolingian. The workshop is open to all levels of calligraphic ability

Copperplate Master Class,
Intermediate Level
Pat Blair

Saturday, November 5, 2005

This workshop begins where most others leave off!

In this workshop, we take an intense look at the copperplate form to discover what it is that makes these letters sing! We will refine the forms to achieve a beautiful grace and elegance, learning that subtle changes can give very dramatic results. Decorative and stylized capitals will round out a course filled with new perspectives.

Materials

• Oblique pen holder
• your favorite pointed pen nibs, such as Hunt 22, 56, Gillott 303 or 404 , Nikko G nib, or Leonardt Principal
• a good quality layout bond paper, such as 9" x 12" Canson Pro Layout Marker
• Higgins Eternal, sumi or McCaffreys Penmans Ink

A Flurry of Flourishes:
Pointed Pen Letter
Flourishes and Cartouches
Pat Blair

Sunday, November 6, 2005

As lace on fabric, flourishes can add life and the 'finishing touch" to hand-lettering. Their beauty lies in their free, effortless grace.

In this course, you will learn that underneath the casual look of these strokes lies strong form. We will examine, step by step, the formation of these shapes, as well as their appropriate placement in a letter. We will also take a look at flourish design as used in cartouches and borders. You will learn to feel comfortable with the pen and make it dance!

Materials

• 9" x 12" Canson Pro Layout Marker pad,
• inkjet or any inexpensive paper for practice,
• oblique pen holder,
• your favorite pointed pen nibs, such as Hunt 22, 56, or Gillott 303, 404, Nikko G or Leonardt Principal
• oblique pen holder
• Higgins Eternal, sumi, or McCaffreys Penmans Ink, assorted tubes of gouache, Dr. Martin's Bleed Proof White or McCaffreys's Ivory
• good quality white, ecru and/or dark colored papers
• a relaxed spirit!