Here is the link to the brochure:
http://www.calligraphersguild.org/workshops/2015WorkshopBulletin.pdfA nice section. Two workshops for beginners and several other workshops of a wide range of topics. My registration is in!
PAT BLAIR: POINTED PEN SKETCHBOOK
March 14-15, Vienna Arts Society, 9:30 a.m.-4:30 p.m.
The pointed, flexible nib is a marvelous tool, capable of producing a multitude of expressive strokes from whisper thin hairlines to dramatic, bold shades. What fun to explore these unique qualities as we play with creative pen illustrations. In this class, we will learn basic strokes of the pointed pen, which we will use to create wonderful borders, single cartouches, floral decoration, and illustrative ornament. We will incorporate some painting with watercolor, gouache or acrylic to add another dimension to our penwork.
Shane Perry
SHANE PERRY: BEGINNING CALLIGRAPHY
Part I: Saturday, April 11; Part II: Saturday, May 16 , Columbia Art Center, 9:30 a.m.-4:30 p.m.
NOTE: This two-part workshop and the one in the Spring are for those who wish to renew their calligraphic efforts or those who wish to learn the basics.
Are you interested in calligraphy, but don’t know where to start? Fear not! In this workshop, participants will learn all about the tools and methods of calligraphy. Topics include how to set up your work space, introduction to pens, ink and paper, ruling the paper, and how to create basic letterforms using Roman-style minuscule (lower case) and majuscule (upper case) letters using the broad-edged pen. Letter proportion and spacing will be emphasized, with simple projects to reinforce ideas learned in class. This provides a jumping-off point for further calligraphic study.
David McGrail
DAVID McGRAIL: CREATING WORKS OF BEAUTY
April 24, 25, 26, Vienna Arts Society, 9:30 a.m.-4:30 p.m.
The beauty of a simple, unadorned piece of calligraphy is evident. But it is in the juxtaposition of elements where a work becomes truly interesting and transcends beyond the level of craft – where a visually stunning work can be perceived on an emotional level. In this workshop you will learn how to inject a refined aesthetic sensibility into your calligraphic works. My aim is to familiarize you with the means to apply to your calligraphy the precision of a design structure and the traditional aesthetic of refinement. In drawing on the fundamentals of Japanese aesthetics, we acknowledge its significant contribution to contemporary design. Beginning with a series of exercises in expressive, gestural arabesques, we will broaden out to develop those marks to achieve character and atmosphere with subtlety. Using masking and exploring incised strokes, we will explore harmony, spatial relationships and contrast. Exquisite pieces will be achieved through the use of delicate tones, fine shifts and balances, rare accents of gold, silver, etc. and watercolors blended with iridescent and metallic materials that reveal themselves with the play of light.
Jacqueline Sullivan
JAQUELINE SULLIVAN: ACRYLICS – LIVELY AND LUSCIOUS LAYERS
May 2 -3, Columbia Art Center, 9:30 a.m.-4:30 p.m.
This class is about building a calligraphic painting layer by layer. Students will work on paper with acrylic media, including the new High Flow Acrylics by Golden. Transparent washes will be layered with various styles of broad edged or brush lettering, mark making and handwriting to form a luscious abstract work. The class will emphasize self-expression through calligraphic works and words. Final works may or may not be legible.
Note: High flow acrylics are more appropriate for broad edged pens or contemporary styles of pointed pens. Level: All. Beginners may use their own handwriting.
Gretchen Elson
GRETCHEN ELSON: BEGINNING CALLIGRAPHY
Part I: Saturday, September 26; Part II: Saturday, October 17, Vienna Arts Society, 9:30 a.m.-4:30 p.m.
This class is an introduction to the basics of calligraphy for those with limited or no experience with pen and ink. In the first session, we will cover the language of calligraphy, the mechanics of pen and ink and paper, and the Foundational minuscule (lower case) alphabet and their combination to form words with emphasis on form and spacing. The second session will review questions about minuscule letters and work on the construction and proportions of Roman capitals. Instructor will provide all supplies at a cost of approximately $30.
Margaret Morgan
MARGARET MORGAN: LETTERING AS DRAWING
October 9, 10, 11, 12 (Columbus Day Weekend), Sheila Waters’ Studio, Fairfield, PA, 9:30 a.m.-4:30 p.m.
Calligraphy needs to be more than visually attractive. It needs to have depth and involvement with the subject matter, so others can engage with and derive pleasure from looking at it on more than just a superficial level. This workshop will stretch the students’ creative ideas as they develop their own solutions to a set of exercises. Not based on learning scripts or techniques from exemplars, these exercises push students out of their proverbial comfort zones. The four-day format will allow time to explore and discuss the student’s own parameters. Margaret likes to warn, however, that expressiveness is not an excuse for sloppiness of letterforms.
Level: Intermediate and advanced students will derive the most benefit. However, calligraphic beginners and improvers will enjoy the relative freedom of this class
Sheila Waters
SHEILA WATERS: VERSALS – FROM ROMAN THROUGH GOTHIC VARIATION
November 7-8, Sheila Waters’ Studio, Fairfield, PA , 9:30 a.m.-4:30 p.m.
In illuminated manuscripts a Versal is the large capital that begins a verse (usually of the Bible or Psalter) or a paragraph of text. Classical Roman capitals were the model in the Carolingian era, usually undecorated, gradually becoming more florid and “Lombardic” in the Gothic period, with decoration of increasing complexity. They reverted to Roman capitals in the Italian Renaissance and were used plain or with white vine decoration for important pages. The Roman Versals were built up of multiple strokes with a narrow-cut quill, often in red, blue or green, and filled in by flooding the color between the wet strokes. Modern Versals can be constructed in the same way with hairline serifs, or with overlapping strokes without serifs. These built-up capitals are invaluable where written capitals are not formal enough. The construction is also an alternative way of making traditional complex Roman capitals, without varying pressures and manipulations. After looking at examples of the many varieties of Versals, classical and modern, as single initial letters and together for headings, and reviewing their basis of Roman Capital proportions and discussing their constructions, we will tackle the classical types with hairline serifs, filled in solid and with open outlines and decorative fill-ins. Then we will try modern versions and freer styles, with overlapping strokes and without serifs (e.g. styles used by Ann Hechle and others).
Level: Some experience with pen work is helpful.
