2011 Workshops

Neuland with Parallel Pen
Roann Mathias

Saturday & Sunday, November 5 & 6, 2011, 9 am–4 pm

Discover the bold simplicity of this style designed by Rudolf Koch after WWI. Two characteristics unique to the parallel pen make it an ideal tool for this hand: the ease of pen manipulation and its ability to create thin lines using the corner of the nib. Both a stroked and drawn version of Neuland will be covered in class exercises. In addition, the class includes instruction and practice on using gouache and other media in the pen’s barrel, instead of cartridge ink. We will make a little book at the end of class.

• Parallel Pen size 6.0 mm (blue cap) and 3.8 mm (green cap)
• Grid pad (11 X 17 non-repro blue, 8 squares to the inch)
• a few sheets "good paper" (white or off-white) such as Zerkall book, Arches 90 lb. watercolor, German Ingres or Bugra, cut or torn into quarters.
• Pencil in lead holder — 2H or HB
• Derwent wash pencil or soft drawing pencil — 2B to 6B — just a nice soft pencil that you can use for drawing and shading
• Eraser, ruler
• 2 clean 6-part mixing pans
• water bottle and dropper
• mixing brushes
• one small watercolor brush, doesn't need to be new
• paper towels
• 2 disposable rinse water containers (like yogurt cups, cool whip tubs, etc)
• Bleed proof white or Windsor Newton permanent white
• a few colors of gouache that you like
• selection of quotes that you like to letter
• Slant board, glue stick, bone folder, x-acto knife

• Parallel pens in other sizes
• plastic pipettes, Q-tips
• bottled inks — any that you already own.
• watercolor pencils
• Twinkling H2Os
• half or quarter sheet of black or dark paper (Zerkall, Bugra, Ingres, whatever you have)

Monogram Design
Barry Morentz

Saturday, January 15, 2011, 9 am–4 pm

Students will create letters to be used individually and in combination to form a unique pin-wheel effect. A segment of the design will then be copied in multiples to form a border to enclose the letters, thus creating a completely organic image.

Different techniques for decoration will be applied including gilding, watercolor, colored pencil mosaics, and pen-made florals.

Beginning students with little design experience will learn the essential elements of line, flow, space, rhythm and contrast, while advanced students will be challenged by the unlimited range of possibilities.

A FUN WORKSHOP!

MATERIALS:

• Usual calligraphic tools
• Gouache or watercolor, including white and metallics
• 3-H pencil
• Colored pencils
• Tracing paper and layout bond paper
• A few small pieces of good quality paper, including black.

Developing a Casual Script
Anna Pinto

Saturday, April 2, 2011, 9 am – 4 pm

An alphabet inspired by C.P.Zaner becomes a hand of elegant grace and beauty on a ninety-degree plane. I have used it on envelopes, invitations and place cards. This is a new alphabet that debuted in the Fall 2009 IAMPETH Penman's Journal and at the 2010 IAMPETH Convention in Orlando, FL.

Materials List:

• Penholder: I find the straight penholder easiest to use whether one is a righty or lefty.
• Nibs: Hunt 22, Gillott 404 or 170. Vintage nibs like the Esterbrook 556 are excellent for those who like
• thick shades in their lettering, the Hunt 56 or 101;  Brause 66EF; Gillott 303; Leonardt Principality will work, too.
  It is recommended that attendees bring an assortment of flexible and not-so-flexible nibs.
• Paper:  Paper such as layout bond through which one may see lines is best. Make sure that whatever you use is capable of fine hairlines with the ink of your choice.
• Ink: Iron gall or other black ink that produces fine hairlines.
• Pencil: For practicing the basic strokes and letterforms.

2010 Workshops

The Celtic Hand
Deborah Kaplan

Saturday, May 15 & Saturday, May 22, 2010

This workshop covers the quirky and charming Celtic hand, as written in the gorgeous 8th century Bible, the Book of Kells, Celtic is in the uncial family, which consists of all capitals (majuscule letters). The monks who penned the Book of Kells systematically changed and exaggerated some letters, had the endings of certain letters attach themselves to the letters following, and introduced other singular devices. The result is distinctive and always eye catching! It is so much fun to do that you must be warned not to become a Celtic addict, using it for every possible task!

Besides the lettering, some methods of embellishment will be covered—such as knotwork and other border styles, color, layout and design.

(Note: This workshop is for beginning as well as intermediate students who wish to learn a new hand.)

Materials List:

• A tube of gouache paint, preferably in a bright color, such as red, green, or blue.
  If you don't know what this is, or can't find it.  I will bring extra.
•  A small pointed brush, size 2 or 3 
•  Water jar
•  Pallette for mixing the paint
• The usual stuff: 
  • Higgins eternal ink;
  • Nibs and holder
  • Layout bond paper pad
  • T-square (I will bring extras if you don't have)

Overcoming Fear of Fine Art Paper:
Choosing Paper for Calligraphy
Brenda Broadbent

Saturday, June 5, 2010

Wandering through paper departments, wondering which ones will work can be an expensive gamble. Spend a morning with guidance, testing 20+ papers with your favorite tools. You will learn which papers work well with pointed pens, for a family tree, a handmade book, a wedding poem. How can you tell if a paper is archival? What is grain direction and why is it important? Which paper won’t buckle if I layer watercolors? How can I satisfy customers who want a piece on “parchment” paper?

Paper can enhance the art of calligraphy almost as much as the choice of pen, brush and color. Learn to choose paper for different effects and purposes in this half day of hands-on testing. We’ll write on practice papers and an international assortment of watercolor, charcoal, printmaking, text weight, faux parchment and black papers with a variety of tools and fluids. We’ll talk about surface, weight, archival quality and sizing.

Bring your questions about paper…

…and your favorite dip pens in a variety of sizes, copperplate nibs & holders if you want to know how they respond to the papers. If you want to test brushes - a Pentel color brush (any color) or a pointed brush size 1 or 2 and/or a flat brush. A tube or two of watercolor or gouache, 2-3 loading brushes, water containers. Higgins Eternal, a black gouache or stick ink. Optional: Bring any of these you might already have: Dr. Martin’s Bleedproof white or pro white, Horizon brass pens, Coits, Automatics, Ruling writer, ruling pen, Parallel Pens, any folded pens.

Important: Bring palettes to hold at least 12 colors and saran wrap to cover your palette so you can take home the unusual gouaches given in class.

Supply Fee is $30.00 for the 25 sheet fine paper sampler, unusual gouaches & inks. A leakproof palette with 13 covered pockets can be purchased in class.

The mysteries of a once-secret craft are revealed in this introductory level marbling workshop. We’ll apply color to carrageenan (seaweed) size using broom corn whiskers and brushes and then perform magic with a series of marbling combs and rakes. Persian fantasy patterns (hearts, flowers and birds) made with a stylus will also be explored. Splashes as well as precision-oriented students will have an opportunity to create historic combed patterns from the 16th century and more free from marbled designs. (We’ll keep you away from each other, if necessary.) The stunning papers you’ll produce can be used on a variety of projects, but chances are you’ll want to reserve a few for framing.

Note: All materials brought to workshop by instructor.

Supply fee: $18, payable to instructor on the first day of the workshop

Making a Nature Journal
Meg Kennedy

Saturday & Sunday, October 2 & 3, 2010

A nature journal can include personal reflections, biological notation, metaphorical impressions, sketches, lettering, photos, printmaking, collage, and more. In this workshop, participants will construct a 3-part book that contains journal, portfolio, and album sections in one unique binding.  Inside the volume, we’ll fill those sections with a variety of ways to record and reflect upon nature and garden themes.  There is a $10 materials fee payable to the instructor for additional supplies.

Materials List:

• 2 full sheets of Arches 90# hot press watercolor paper
• 2 sheets (8½ x 11”) graph paper—any size grid
• 5-10 sheets of 20# bond (computer printer paper), 8½ x 11”
• sharpened pencil
• scissors (small pointed ones would be useful)
• X-acto knife & extra blades
• cutting mat
• metal-edged ruler
• Elmers, PVA, or white glue in a wide-mouthed container
• book binding tools:*
  • bone folder, awl, glue brush, beeswax, white thread (cotton or linen), bookbinding needle or tapestry needle (size 18, 20, or 22)
• colored pencils and/or watercolor pencils
• pan watercolors (can be the cheap kiddie type)
• paint brushes, small & medium size for water media
• water container (e.g. yogurt cup)
• pressed leaves, flowers, butterflies, etc. (i.e. flat natural things that we can print)
• flat collage items (photos, magazine images, etc.)
• rubber stamp pads
• waterproof markers (Pigma Micron or Zig) for writing, drawing
• calligraphy pens (& ink) for labeling or adding quotes
• tweezers
• paper towels

*Let me know if you don’t have these tools and I will bring a supply for purchase or loan

An Illuminating Look at the Illuminated Letter
Rosemary Buczek

Saturday & Sunday, November 13 & 14, 2010

Join distinguished calligrapher and illuminator Rosemary Buczek for this special two-day workshop exploring the use of watercolor washes and dry brush techniques to create and refine beautiful letters. Over the course of two days we will study in detail the elements of the versal letter. Additionally, we will tackle drawing that magical Acanthus leaf! Using watercolor techniques we will explore wet on wet washes and dry brush techniques employed in the painting of these gorgeous letters. We will be gilding with Instacoll as well as learn the technique of gold grisailles. Come prepared to create a finished piece.

There is a materials fee payable to the instructor for additional supplies (see below).

• Pens :
  • Ruling pen
  • pointed pen with very fine nib
• Tools:
  • Pencil (#2)
  • kneaded eraser
  • stylus (or #11 crochet hook)
  • brushes (Sable #00, 0, 1, 2 - Winsor Newton's Series 7 recommended)
  • one pointed synthetic brush (size 0) to apply gold leaf size
  • .01, .001 Pigma Micron pen
  • exacto knife.
  • Pipette or glass eye dropper
• Ink/Paint:
  • favorite black ink
  • watercolors and/or gouache (double primary palette Winsor Newton's Professional series recommended)
    • Cerulean Blue
    • Ultramarine Blue
    • Cadmium Red
    • Alizarin Crimson
    • Lemon Yellow
    • Cadmium Yellow
  • Dr. Martin's Bleed Proof White/or zinc white in qouache
• Paper:
  • Watercolor paper (Arches 140 lb. HP preferred)
  • several sheets of tracing paper
• Misc.:
  • Mixing Palette
  • 2 water containers
  • small piece of glassine paper
  • paper for notes
  • piece or two of (Viva) paper towel or cotton rag
• Optional:
  • Dog tooth agate burnisher (recommended to have your own)

Materials Fee:

$10.00  to include 2 sheets of gold leaf and one small 20/0 brush. 

I can supply some Instacoll which we will use for our size for the application of the gold.   There will be a small additional fee for this.  Please bring a small container with a tight fitting cap.  

If you have your own gold leaf that is perfect!

The Uncial Alphabet
for the Beginning Calligrapher

Deborah Kaplan

Saturday, May 15, 2009

The Uncial hand involved form the 4th to the 9th century as a variant to Roman. It is pleasingly round and decorative, suitable for invitations, poems, posters, etc. giving an old fashion feeling to the writing. The name Uncial is Latin for inch high. In manuscripts, an uncial letter was often written large (one inch high) as a versal (the first letter of a verse)

In this session we will learn the basics of this beautiful alphabet. Please bring a layout bond pad, your pens and assorted nibs, especially in larger sizes, Higgins Eternal Ink, t-square; pencil; eraser

(Note: For beginning and continuing scribes)

Spencerian Ornamental Penmanship

Bob Hurford

Two Saturdays, September 26 & October 3, 2009
Registration Deadline: September 12, 2009

• Oblique penholder
• Straight penholder
• Variety of fine and flexible nibs)—six of each at least.
  • Highly recommended: Leonardt Principal, Gillott 303, 404, and Hunt 22
  • Note: If you bring only one or two nibs, make them the Leonardt Principal and the Hunt 22 (the latter for the straight penholder)
• Ink
  • Highly recommended for the finest hairlines: McCaffery’s Penmans Ink or Blott’s Iron Gall Ink
  • Note: Higgins Eternal, India, and Moon Palace inks do not give good hairlines and are not recommended.
• Paper:
  • Marker Layout by Canson or any white paper that provides good hairlines and through which guidelines may be seen.
• Yellow legal pad, lined
  • Note: Many calligraphers, especially those who write copperplate, like to use the Phantom Liner.
    It is not recommended as it will get in the way of arm movement used in ornamental penmanship.

Sources of materials: Staples (for legal pads); Paper & Ink Arts and John Neal Books.

Embossing:
Smiles of Relief

Hermineh Miller

Saturday, November 7, 2009

Breathe a sigh of relief with this simple embossing method. it is so easy to produce crisp lines and beautiful curves. No peeling layers of matte board or jagged curves make embossing a breeze.

This workshop explores two methods of embossing. The first is a simple single-layer emboss that produces clear forms and can make multiple impressions. Using a layering technique, the second method gives a more complex image and it, too, yields several hundred impressions. Types of papers, proper tools, and good working methods are discussed.

Participants leave the workshop with samples of each method, complete instructions for both, and directions on how to register the emboss onto a particular place on a piece of paper.

Materials:

• .01 Acetate
• Tracing paper
• Pen and Pencil
• Pritt Glue Stick
• Masking Tape
• X-acto knife with #11 or #16 blade
• Matt Board, several pieces at least 8.5” x 11”
• Letraset spoon burnisher
• Zipatone duo-tip burnisher #8911 or Chartpak small ball burnisher or similar ball tool ( e.g. very small crochet hook or knitting needle)
• Papers for embossing, text weights are best

Best papers are 100% or partial rag papers

Notes:

Dick Blick has the following clear acetate sheets in .010 thickness. Both sheets are 25” x 40”.

• Grafix order no. 55501-1100, $6.23/sheet or
• Duralar clear acetate order no. 55506-1100, $7.41/sheet

A variety of papers is useful. Cover stock is too heavy.

 

Learing how to cut rubber stamps allows a calligrapher to join a long historical tradition. The Chinese, Sumerian, and Egyptians, not to mention queens, kings and popes have all used stamps as official seals and as a means of identifiction. A few simple tools, some large erasers, and solid technique provide the means to create interesting patterns to enhance your calligraphy.

Students leave the workshop with instructions, samples of their own making, and a bibliography for further exploration.

Materials and Tools:

• X-acto knife with NEW #11 blade
• Linoleum cutter with speedball blade #1
• Linoleum blade holder or calligraphy pen holder
• Mars-Staedtler Master Carve block or Factus eraser
• Stamp pads
• Sharp pencil, HB or 1B
• Tracing paper
• Scratch paper
• Paper towels
• Nail polish remover, acetone based
• Water based felt markers
• Post-it notes
• Embossing powders. Required: 1 dark; 1 light; 1 color; Optional: more colors if you like
• Fun Foam: One 8 1/2" x 11" sheet each of 1/16" and 1/8" thick foam
• One sheet of stiff clear plastic: can be made by having a laminating pouch run through empty on the laminating machine
• Scotch 3M removable (mounting) poster tape (red label). Cheaper at office supply stores.
• Images that you wish to carve: your own calligraphy, type specimens (fonts), etc. It is very important that you bring images you want to carve!
• Heat Gun (we need only a few, so if you have one that you can share, please bring it.)

Optional:

• Easy-cut block (Dick Blick has 4” x 6” and 9” x 12” sizes)
• Unlinked stamp pads
• Stamp pad inks
• Brayers, soft or hard
• Gouache in favorite colors
• Fine grained cosmetic sponges

2010 Workshops

Black Letter for Beginners

Carole Maurer

Two Saturdays, February 6 & February 13, 2010
Registration Deadline: January 23, 2010

Black Letter (a.k.a. Gothic) was used for manuscript books and documents throughout Europe—especially in German-speaking countries—from the end of the 12th century to the 20th century. It is distinguished by thick vertical strokes and angular lines instead of smooth curves and circles. The letters have a compressed, heavy look that makes it unique among the calligraphic styles. Although it seems complex, the style can be written rather speedily, and is quite economical of space due to its compressed letterforms. 

In this two-part workshop you will learn the basics of the lettering style, letter and line spacing, and basic layout for a short quote. You will start with the miniscule letters then move on to the majuscules.

Materials:

• Speedball C-1 nib
• Higgins Eternal Ink #830 (not Higgins Calligraphy Ink)
• Pad of layout bond paper (9" x 12" or 11" x 14")
• Pencil
• 18# C-Thru ruler (or similar)

Gestural Calligraphy

Judith Barbour Osborne

Saturday & Sunday, March 13 & 14, 2010
Registration Deadline: February 27, 2010

Calligraphy is a skill, an exacting skill with an expansive counterpart, gesture. Like identical twins with wildly divergent personalities, the meticulousness of calligraphy is harmonically paired with gesture. According to the Gage Canadian Dictionary (yes there is a dictionary of Canadian English) gesture is “a movement of hands, arms, shoulder or head used to express thought or feeling, to take the place of words or add to their meaning.” Gesture appears in various ways in the forming of letters and in the making of marks not directly letter-related. It appears before the first mark is placed and after the final stroke has left the paper. It is experienced within the calligrapher and in the air surrounding her.

Each day will begin with preparing our bodies, hearts, minds and spirits for a day of attention to our personal rhythms. Through calligraphic exercises we will recognize our strengths and weaknesses, honoring our strengths as we express our personal voices through our gestures which are as individual as our voice, gait and handwriting, and developing techniques for getting us past our particular sticking points.

By Day Two we will be headed in the individual directions that most clearly express and develop our personal gesture.

The overall goal for this workshop is to integrate our skills with expressive gesture, to integrate our letters with our non-letter marks, bringing a new layer of meaning to our work. Let’s see where it takes us.

Materials:

Bring a broad range of materials: brushes large and small, firm bristled and soft, pointed and broad edged, a variety of pens and inks, watercolor/gouache, dishes for mixing, and cheap and good papers. Bring a text that has significant meaning for you. And if you have an instrumental cd that you like to play while you work, feel free to bring this also to share.

Workshop: Valentine Cards & Books
Meg Kennedy

Saturday, January 19, 2008

Using Valentine’s Day themes, this workshop will teach 4 book structures and a number of ways to resurface paper with color, pattern, and texture. Each book offers a stage for your calligraphy, but lettering isn’t essential, so beginners and non-calligraphers should feel welcome. The projects—a flag book, pop-up heart ornament, double accordion, and carousel book—all rely on basic accordion folds and simple origami. Paper surfacing techniques include marbling, stenciling, frottage, faux gilding, stitching, beading, and embossing. So, prepare to play and go home with four lovely gifts. And, even if you’re not into Valentine’s Day, learn the techniques and translate them for other holidays (e.g. four hearts make a good shamrock!). Most tools and materials will be provided for a $15 materials fee. Students are asked to bring the following materials: scissors X-acto knife + extra blades cutting mat metal-edged ruler hard sharpened pencil (e.g. 3H) unprinted scrap paper for gluing (not newspaper or phone book) bone folder (if you already have; I have some to loan) optional: gel pens, metallic markers, calligraphy pens, Valentine-themed “stuff” such as stickers, charms, images for collage, etc.

Paper Play: A Day of Papermaking
Maureen Peters

Saturday, March 29, 2008

Papermaking dates back to 105 AD in China and is considered one of the most important cultural developments throughout history. The look and feel of handmade paper is distinct from the common manufactured material we use everyday. In this one-day workshop, Maureen Peters will introduce the art and craft of forming sheets of paper from a variety of sources, including hemp, cotton, and vegetables. Participants will learn how to make their own mould and deckle frames and will have the opportunity to create a supply of handmade paper from several different vats of pulp. Maureen will show how to treat the paper for use with calligraphy, ways to add inclusions (postage stamps, pressed flowers, etc.), and other techniques to enhance the beauty and utility of handmade paper.

Supply list:

• plastic tablecloth or drop sheet
• cellulose sponge
• small bucket (for water absorption at desk)
• something flat and waterproof to carry your paper home (e.g. plexiglas or cookie sheet)
• roll of paper towels
• inclusions for paper (old postage stamps, pressed flowers, ribbons, string, photocopies, anything flat that doesn't rust or bleed. No glitter!)

There is a $20 materials fee for this class!

Workshop: Monogram Mania
Lee Ann Clark

Saturday, May 17, 2008

Monograms can be chic, whimsical and classic. They can also be an incredible puzzle of how to merge various letter combinations. Spend the day examining the intricacies of these often-asked for motifs and we will explore how to untangle even the most complex of  initials while learning to think about various alternate routes to a satisfying result. From the simple solution to the ornate you will be amazed at how many possibilities will present themselves. Some calligraphic experience —whether broad-edged or pointed pen—is recommended. Supply list: plenty of practice paper tracing paper HB or harder lead pencil and sharpener (mechanical pencil is preferable) white plastic or kneaded eraser fine point marker (Micron .005, GTech 3 or 4 or equivalent) ruler calligraphic pens and nibs ink water container If you have! - fine paintbrush (2 or smaller) If you have! - gold gouache or any type

Workshop: Working for Reproduction
Lee Ann Clark

Sunday, May 18, 2008

Workshop:Get That Swing!
Refining Your Italic
Anna Pinto

Saturday, October 18, 2008
&
Sunday, October 19, 2008

This class is designed for those who have had some experience with italic and wish either to bring their writing to a more polished level, or to identify and eliminate bad habits that may have developed. Some variations will be examined, and techniques for correcting mistakes (the other key to beautiful writing!) will be demonstrated. materials A poem or quotation (approximately 50 words) that is meaningful to you; bond paper (such as Boris Marker Layout, 11 X 14”); penholders and nibs (Mitchell 2.5 & 4 or equivalent); Higgins Eternal Ink; ruler; pencil; a couple of pieces of Fabriano Ingres paper if you have it (cut large sizes down to manageable size, e.g. 11 X 14”) Instructor will have some Fabriano Ingres paper for sale if you cannot get it.

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 AT 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!