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| Class Descriptions |
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LORNA BAMBURY
C1
LENGTH: 2 ½ days, Wednesday - Friday This class will cover traditional and modern gilding, making and using gesso and using modern glues. Lorna will demonstrate the use of shell gold, making and using gum ammoniac. Come and learn how to give that special sparkle to your calligraphic works. |
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GEMMA BLACK
A1
LENGTH: 5 days A five-day class in which the versatility of Edward Johnston's Foundational Hand, from its historical roots of the 8th-11th centuries to its contemporary counterparts, will be explored. In this course, there will be a strong emphasis placed on achieving sound letter form and technical skill, an important point often overlooked as we enjoy the ongoing evolutionary process of calligraphy as we move now into the twenty-first century. "Upbeat Foundational" is a hand developed by Gemma as a tribute to Edward Johnston's work and endeavors in the early years of the twentieth century. Mr. Johnston intended his "Foundational Hand" to be used as a basis, or springboard if you like, for developing other styles and to act as solid groundwork for a strong and formal hand. Unfortunately, little has been done with Foundational Hand over the past 100 years, but this contemporary upbeat version plays a small part to address that issue. It is an amalgamation of a Cnut charter hand, sprung with a little Italic whilst retaining characteristics of the 10th century book hands, upon which Mr. Johnston based his Foundational model. Over the five days, the participants will be working toward building a portfolio of both historical and contemporary models upon which to extend and continue their studies. Beat it Up - Upbeat Foundational will be five days of consistent hard work for all concerned and is expected to be thoroughly rewarding, calligraphically and personally, from working in an enjoyable learning environment. |
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DENIS BROWN www.quillskill.com
B1
LENGTH: 2 ½ days, Sunday - Tuesday An exploration of the nature and uses for the calligrapher or copper and brass leaf, (dutch metal), and of bronze powders. Using various binders, we will make gold inks, superior to, and more adaptable than, those available commercially. A beautiful (yet easy!) technique will be explored, where broken leaf-gilt surfaces partially reveal colour washes underneath the metal. This surface will be prepared as a background for fine calligraphy. Patination of the gilded surface, to oxidize the metal into unexpected new colors, will also be demonstrated. Participants will be advised on letterform and layout, as they prepare designs incorporating the various gilding techniques.
LENGTH: 2 ½ days, Wednesday - Friday Ancient Celtic half-uncial script is beautiful, but generally inappropriate for contemporary use. We will look at principles of modernizing ancient forms and practice one of Denis' hybrid celtic/italic scripts. The hand is appropriate for modern use where a Celtic feel is appropriate. |
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JOHN BURNS
B2
LENGTH: 2 ½ days, Sunday - Tuesday In an atmosphere of encouragement and fun, learn to create and recognize authentic, vital strokes while making letters for reproduction. The beauty of work for reproduction is that not all strokes you make need to be perfect the first time. You can experiment and play with your letters more, knowing that you can discard or retouch what you don't like and enhance what you do. In class you will create several pieces of lettering. From this class, you will gain a working understanding of the following:
C3 PROMOTING YOUR CALLIGRAPHY
LENGTH: 2 ½ days, Wednesday-Friday If you are interested in getting commissions, commercial or private, you'll need ways to show your work to clients, and give them ways to remember and contact you. This half-week class will cover the basic concepts, design considerations, and ways to produce your portfolio, sample sheet and business card. In the class, you can choose to focus on any or all three of the pieces. John will also critique your existing promotional materials, if you have any. This class will cover the following:
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CYNTHIA CETLIN
A2
LENGTH: 5 days Learn metalsmithing techniques and produce your own calligraphy in original jewelry, wall pieces or book covers. Calligraphy can be effectively incorporated into your metalwork through etching, piercing, even by including actual calligraphy on paper, for delicate materials can be contained protectively. In a very spacious, modern and fully equipped jewelry/metals studio, you will learn sawing, soldering, cold connections, texturing and finishing techniques. Using basic skills and simple etching techniques, you can make wonderful, well-crafted objects. Your results will be a wealth of information, finished objects, and samples and ideas that you will use in future work. No experience is required! Students with some metals experience are also welcomed.
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ANNIE CICALE www.cicaleletteringdesign.com
B3
LENGTH: 2 ½ days, Sunday - Tuesday Traditional text consists of black letters on white paper, but the most exciting presentations include all the shades between. This design class will increase your understanding of color principles by focusing on one aspect of it - value. We will work not only with black and white, but with color as well, in a variety of media to fine-tune these principles. You'll become aware of how masses of text appear on the page and the impact this has on the meaning of the work. Each student will make a small workbook with experiments in texture, color, letter weight, gradation and other aspects of Value. This class is ideal for students who are seeking to be more expressive in their presentations, but lack the training to know where to begin.
CLASS LENGTH: 2 ½ days, Wednesday - Friday Working with color can add a third dimension to the flat calligraphic surface. Watercolor is a direct way to work. Two aspects will be covered: creating backgrounds for lettered texts and integrating the color in both figure and ground (text and background). Many of the tricks that watercolor painters love will work well with calligraphy. An introduction and/or review of color theory and properties of pigments will be included, and projects will include developing a unified calligraphic painting. This class introduces calligraphers to watercolor techniques that work specifically well with lettering. The student will come away with information about color theory, paint properties, brush handling, paper choices, and a number of design solutions to specific problems. The fine arts aspects of painting, including the implications of our word choice as part of the content of a painting will also be introduced. |
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MICHAEL CLARK www.alphabytes.com/michael_clark
A6
LENGTH: 5 days This class on how the versatility of results from the non-traditional tool is a matter of self-discovery based on one's personality, physiology, eye, hand, heart, soul and desire; that with these tools, calligraphic experience is more often than not a hindrance rather than head start. Non-traditional tools will include ruling pens, similar spade-shaped ruling writers, the drafter's ruling pen, the growing variety (size, shape and metal) of the folded pens, and the almost daily inventions "found" today. All of these "writing" tools have something in common: they (originally) were not produced or manufactured with the purpose of making letters. Most workshops today focusing on these tools promote the instructor's "alphabet" as the omega of the tool; such workshops must always be pre-ambled as "my" version. With the very same tool, Epstein and Clark produce remarkable different letters, but letters remarkably honest in the context within which they appear: this illustrates the tool's remarkable ability to bond with the understanding hand. The non-traditional tool is like a large city where every street and alley must be walked in order to discover where you and tool are compatible. The different movements, rhythm, pressure -approach-- with which Epstein and Clark achieve their results (with the same tool) will surely open a wide door to technique, but above and beyond this visual education, the intent is of an intellectual education. Epstein and Clark want to express that you are the captain of the ship; that the honesty of mark is discovered within you and does not result from copying or moving in the direction the wind takes you. Demos and discussions will alternate, to be followed by ample time for student work and experimentation of the tool at hand. Non-traditional tools begin with freedom and work toward discipline, rather opposite from the traditional tool. Epstein and Clark will demonstrate many tools and mastery is not the goal - possibility, or better, probability or attainment, is the goal. |
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BARBARA CLOSE
B4
LENGTH: 2 ½ days, Sunday - Tuesday As a freelance designer/artist for Marcel Schurman Co. in California, Barbara finds greeting cards to be wonderful miniature works of art. In this class, we will explore many possibilities with several applications such as stenciling, using stamps in exciting ways, collage with unusual papers, texturizing and painting papers, embossing and constructing. Cards for reproduction will also be discussed. In this class we will paint, texturize, construct, collage and letter to create just the right look that invites viewers to take a closer look. Every one unique.
LENGTH: 2 ½ days, Wednesday - Friday In this class, we will discover the wonderful possibilities of watercolors. Students will chart their experiments and use them for larger workable pieces of art. Layouts and appropriate calligraphic hands will be discussed to put together fabulous frameable artworks. Included in experiments will be: washes, large marks, interesting techniques and letter play with different tools, as well as abstract floral applications. We'll be putting these techniques to use in a series of exciting projects.
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HARVEST CRITTENDEN www.Acornarts.org
C6
LENGTH: 2 ½ days, Wednesday - Friday Did you know that burnt sugar will produce a rich, golden sepia glaze on paper? Or that raspberry tea makes the most luscious shade of peach? Learn the art of creating beautifully faded manuscripts and antique-looking documents using common household products (coffees, teas, fruits, vegetables, herbs, etc.) combined with mica powders, skeleton leaves, dried flowers and watercolor techniques. We will be making a simple coffee dough to add molded accent pieces to our projects. We will also spend time learning image transfer techniques that work well with our "old" manuscripts. Layer photographs into your work and have just a whisper of a loved one peering through. You can make a family tree look a hundred years old, or fade an old love letter into the background of your favorite poem. You are limited only by your imagination. This class is about having fun, experimenting with different techniques and letting go of pre-determined outcomes. Come play, make a mess and see what wonders will appear. This is a 2 ½-day class designed for all skill levels. No previous experience is required.
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NANCY CULMONE
A3
LENGTH: 5 days Consider your book cover as an entrance and invitation opening onto the pages themselves - the arena for your journey and quest. Your search for content is part of the goal.
Gestalt means "to give form to inner feelings and impressions."
To help in the search for a visual vocabulary related to your text,
we will move through a series of structured exercises that prompt
you to make choices about color, format, tools and rhythm.
These assignments shift your focus into non-verbal communication
as you "speak" your text in powerful visual ways. You will develop pages of depth and mystery using paste-painting to create the 'ground," the illustration, and the interpretation of your text. You will incorporate relevant icons, elemental motifs, and symbolic images using frontage, layering and stencil techniques. Later in the workshop, our focus shifts to overall unity, flow, sequencing, repetition, calligraphy and other markings. Your book will be enclosed in a hard cover and completed using simple bookbinding techniques.
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GEORGIA DEAVER
B5
LENGTH: 2 ½ days, Sunday - Tuesday This will be a class on learning to work with the pointed brush. Students will learn how to control this very flexible tool to create a wide variety of lettering and exciting pieces of art. Variations in size, weight, and angle will be demonstrated and explored. Informal critiques will include discussions on design and color. Whether you would like to loosen up a little or reign yourself in, there will be a place for you in this workshop. No trajan capitals will be done in this class
C7
LENGTH: 2 ½ days, Wednesday - Friday
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DAYLE DOROSHOW www.dayledoroshow.com
A4
LENGTH: 5 days The myths of the daughters of Zeus and the mystery of ancient cultures will inspire this workshop and lead us on a journey to create magical books, cards, mail art and three-dimensional artifacts. Several of the nine Muses will be the source of creative inspiration as we learn a cornucopia of polymer clay techniques that will culminate in individual projects that can range from a tiny imitative Ivory or Jade miniature book to a large unfolding pyramid box housing calligraphy in the round. Each day, we will explore the most literary sources of creative inspiration - the nine daughters of Zeus. Polymer clay is an exciting medium that lends itself uniquely and easily to the calligraphic and book arts. Both book covers and pages can be made of the clay. This innovative material can be etched, carved, printed on, textured, sculpted, painted, photocopy transferred onto and much more with stunning results. The main tools necessary are a few household items, your hands and your imagination!
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WARD DUNHAM
A5
LENGTH: 5 days Through a series of very simple, progressive exercises,participants will learn: the spacing (the most important single thing about blackletter!), pen angle, stoke direction, verticality and rhythm of Blacketter. In this class. you will learn everything you need to know to master this alphabet. You will understand what blackletter is, how it works and why it works. Equally important, you will learn why certain hands that pretend to be Blackletter simply do not work as "BLACK" Letter and are ugly, wimpy, watered down and ineffectual in the bargain. It's a war between black and white; white must not be allowed to win! There are hard and fast parameters about Blackletter Minuscules which cannot be broken, mostly having to do with spacing. By their very nature, Blackletter Minuscules are limiting. We cannot explore Blackletter Majuscules without first having arrived at a clear understanding of how and why Blackletter Minuscules work. There are no rules concerning Blackletter Majuscules. If it works, DO IT! The wilder and more outrageous, the better! Capitals presented an opportunity for the Gothic Scribe to break free, to do wildly expressive things, to punctuate the tedious Textura writing with something grand, colorful, free! Even outlandish! Here we see some of the most incredible, elaborate, and exciting flourishments ever to have been danced out by the broad pen! Counterpoint! A jubilant reaction to the monotony of the minuscsule. We shall consider examples of Blackletter Majuscules from many times and places: Versals, Round Gothic Letters, Lombardics, Bastards, Rubrics, Baroque Entanglements, "Christmas Tree Caps," Beaks & Claws, Marginal Caps, Woodblock Printed Caps, and modern solutions by such masters as Rudolf Koch and Friedrich Neugebauer.
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LISA ENGELBRECHT
B6
LENGTH: 2 ½ days, Sunday - Tuesday Fragments of the past are the jumping-off point for this class as we combine fabric collage, lettering and photo transfer to fabric techniques. A memory piece will be developed using these techniques and vintage family photos. Various photo transfer techniques including inkjet transparency, acetone and copier transfer paper will be presented. This "album" can be all about the artist or someone you love or admire, or your family. The artist should not only gather photos but also mementos and collage materials: bowling medals, perfect attendance pins, birth certificates, charms or bits of fabric (perhaps from a wedding gown or prom dress). These will be included as design elements and combined with lettering to create a unique collage. Basic lettering on fabric techniques will be presented to label and write out the stories of the past. Adhering these archeological finds to fabric with fusible bond, stitchery and glue will create unique fragments that could be joined as a quilt or bound as a fabric scrapbook. The emphasis will be placed on theme development and design.
LENGTH: 2 ½ days, Wednesday - Friday In this class, the artist will create a fabric book that will introduce lettering on fabric. There is no sewing required! Writing on fabric is easier than writing on paper and affords many creative opportunities. Texture and color will present many possibilities for the lettering artist. Backgrounds will be created using various techniques, including washes, tie-dye and stencil. Combining these washes and fabric textures with lettering will be the next step. Various permanent and acrylic media will be tested for lettering using traditional and non-traditional calligraphic tools. Simultaneously, a theme will be developed for the text of the book using color, texture and lettering. Fabric textures could be introduced, including lace, crushed velvet and lame. Constant emphasis will be placed on design of the pages individually and as a whole and writing from the heart. The pages of the book will be "sewn" together using fusible bond, all the while mindful of the flow of color and texture as the book pages are developed. The lettering artist will "bind" the book with beads and buttons (This is the only sewing!) If time permits, the artist will adorn and embellish the book, if warrants, with beads, stitchery and trim. The student will be most successful if he or she has basic knowledge of one or two styles of writing, although all levels would enjoy this class.
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GLEN EPSTEIN www.glenepstein.com
A6
LENGTH: 5 days This class on how the versatility of results from the non-traditional tool is a matter of self-discovery based on one's personality, physiology, eye, hand, heart, soul and desire; that with these tools, calligraphic experience is more often than not a hindrance rather than head start. Non-traditional tools will include ruling pens, similar spade-shaped ruling writers, the drafter's ruling pen, the growing variety (size, shape and metal) of the folded pens, and the almost daily inventions "found" today. All of these "writing" tools have something in common: they (originally) were not produced or manufactured with the purpose of making letters. Most workshops today focusing on these tools promote the instructor's "alphabet" as the omega of the tool; such workshops must always be pre-ambled as "my" version. With the very same tool, Epstein and Clark produce remarkable different letters, but letters remarkably honest in the context within which they appear: this illustrates the tool's remarkable ability to bond with the understanding hand. The non-traditional tool is like a large city where every street and alley must be walked in order to discover where you and tool are compatible. The different movements, rhythm, pressure -approach-- with which Epstein and Clark achieve their results (with the same tool) will surely open a wide door to technique, but above and beyond this visual education, the intent is of an intellectual education. Epstein and Clark want to express that you are the captain of the ship; that the honesty of mark is discovered within you and does not result from copying or moving in the direction the wind takes you. Demos and discussions will alternate, to be followed by ample time for student work and experimentation of the tool at hand. Non-traditional tools begin with freedom and work toward discipline, rather opposite from the traditional tool. Epstein and Clark will demonstrate many tools and mastery is not the goal - possibility, or better, probability or attainment, is the goal.
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MARTHA ERICSON
C9
LENGTH: 2 ½ days, Wednesday - Friday (Working knowledge of Carolingian, Versals and/or Roman Caps helpful but not necessary). The trick to this class is to make something wonderful with the skills and tools at your disposal.
This class will explore a very literal vision of expressive lettering: using letters themselves as illustrative elements. We'll discuss
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JEAN FORMO
B7
CLASS LENGTH: 2 ½ days, Sunday-Tuesday Must have a solid working knowledge of either Italic or Foundational The alphabet is an intriguing calligraphic playground of moveable parts where new, expressive forms come from adding, subtracting or changing existing elements. The first step to a variation is to strengthen the parent alphabet, then to use it to create your own hybrids. Learn a fail-safe method for making any existing variation of your own. Explore some tool-influenced letter variations and a method based on your own handwriting. Jean's "Dancin' Caps" versals are featured along with their offspring, the "Dancin' Mini's" and exciting decorative options for both. Try hands-on walnut ink experiments, and tie the whole experience together by building a mini display portfolio of your variations work. This class is about teaching you "how to fish." And, no license is needed!
CLASS LENGTH: 2 ½ days, Wednesday - Friday Enhance your calligraphic book art projects with walnut ink and its broad range of color, value and textured surface design possibilities. Use it in combination with watercolor, acrylics, ink, colored pencil, pastel and just plain water! Complete a sampler book to have as a handy reference for future walnut escapades. Your array of walnut decorated papers are transformed in class as you create a variety of packet-pocket type books, bound envelope books and an entirely folded book containing "viewing" pockets. These container books are just right for housing favorite images, postcards, photos, postage stamps and other treasures. Walnuts are not just for eating anymore!
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MARCIA FRIEDMAN
C11
LENGTH: 2 ½ days, Wednesday - Friday Have you ever thought of publishing your society's newsletter or flyers, but didn't feel you had the know-how? In this class, we will take you step-by-step through the process from collecting information to final printing. The focus will be on the elements of design, editing and production. We will use QuarkXpress to combine text, graphics and calligraphy to create a dynamic, professional looking publication. Some experience with a page-layout program is helpful. This course will be taught using a Macintosh computer, but PC users should be able to follow along, as the page-layout programs are virtually identical.
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JENNIFER GROVE
B8
CLASS LENGTH: 2 ½ days, Sunday-Tuesday Glass is a fabulous surface to experience writing on. You have the freedom to wipe off anything you don't like. Eeeeps, look at the spacing! A wipe of the paper towel and it is only a sad memory. The sensation of the pen gliding over the surface is so very satisfying. This class will familiarize you with some of the processes of lettering on glass. We will discuss sandblasting, etching and the process of preparing for it. Everyone will have an opportunity to use a diamond headed drill used for inscription. Jennifer's presentation begins with instruction on safety and handling certain paints and solvents. Protective crams and gloves are recommended. First, we will letter on a flat surface such as a paperweight with a paint called "frit". This is a paint with fine crushed glass and pigment suspended in a medium. We will progress from there to the toasting glasses, plus any glass you might bring with you that can be designed on.
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SHARON HANSE
C12
LENGTH: 2 ½ days, Wednesday - Friday Solar Etching is a revolutionary new process that has great potential for the calligraphic artist. Various methods of printmaking have been around since the medieval period. One problem has always been the transfer of lettering onto a plate, since it has to be reversed to read correctly when printed. In the solar etching method, the artwork is transferred to a transparent film using a copier. This transparent film is then overlayed on a light-sensitive polymer plate and exposed in the sun. The film is placed on the plate so that when printed, the writing reads correctly. Areas exposed to the sun harden, allowing unexposed areas to be gently washed away revealing a plate with lines and grooves etched in the polymer. This plate can be inked and printed either in relief or in intaglio methods. In relief printing, the ink is applied over the surface. When printed, the lines and grooves are white. In Intaglio methods, the ink is applied to the grooves and lines, and the surface is wiped clean. Only the lines and grooves print. Depending on the materials used to create the original artwork, prints can resemble etchings, lithographs, screenprints, linocuts and photographic effects. A great variety of effects can be achieved with one simple technique.
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RANDALL HASSON www.randallmhasson.com
A7
LENGTH: 5 days Discover the versatility of working on primed canvas! This ground gives the artist the ability to layer lettering, achieve staining effects, experiment with color layering and texture as well as masking techniques, and achieve a depth within the artwork that is not possible on paper. The goal of this class is to experiment with a variety of media on artist's canvas to achieve coloration and textural effects. The "framework" of composition will also be addressed. We will discuss the reasons behind the design decisions, color choices, and textural effects and how they relate to the text(s) or subject matter. The goal of this course for some will be to create a calligraphic painting or paintings about a subject, and to this end we will be taking a variety of quotes from a variety of sources and creating a composition that can include abstract or realistic images. For the students, it will be an opportunity to experiment and explore the medium and substrate… a week of play! A number of illustration techniques will be encouraged (but not required), including rendering, painting, stamping and photo transfer.
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THOMAS HOYER www.callitype.com
A8
LENGTH: 5 days Students will learn Thomas Hoyer's freestyle method of using the ruling pen. This kind of writing springs from the sensitive balance of speed and control, and produces uniquely lively, animated letterforms. Because the use of the ruling pen as a freestyle tool pre-supposes a solid mastery of letterforms and a sense of rhythm and texture, this class is intended for students who have had some previous calligraphic experience. Introduction: In this course, participants will be introduced to several types of ruling pens, and will have the opportunity to experiment with the great variety of strokes that are possible with these instruments. The instructor will also show the students how to invigorate their calligraphy with color by demonstrating his technique of blending different shades of ink within a single stroke.
Basics: We'll begin by learning how to use the ruling pen
to write a simple italic script.
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MICHAEL JACOBS www.thecreativezone.com
B9
LENGTH: 2 ½ days, Sunday - Tuesday First, construct two visually stunning hardcover books that open totally flat at any page and showcase sewing patterns along the spine. Then add pockets, mini portfolios, accordion pages, etc., and turn each book into a compact journal or scrapbook. Next, construct the Flip Book with pages that lift up and flip back and forth, and the Slider Book, with a hidden message and tiny book that appear when a paper tab is pulled. These unique books provide beautiful receptacles for your calligraphy!
LENGTH: 2 ½ days, Wednesday - Friday The four books in this class have fantastic possibilities for hiding text and illustrations. A sewn-signature book hidden in the top part of the ACCORDION TAB BOOK slides behind a window with changing text or images. Stair-stepped pages in CHECKERBOARD BOOK provide unusual surfaces for stamping, writing, calligraphy, etc. Pull-tabs at each end of the whimsical HIDDEN PLACES BOOK expose and hide six text blocks and six windows. Pull out the top of the TELESCOPE BOOK and this spyglass structure reveals two tiny books. Add hinges to two or more telescopes and create strange and striking free-standing book sculptures. Each project provides a remarkable structure for your calligraphy - fun to make, and even more fun to operate!
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TOM KEMP www.twicepublishing.com
A9
LENGTH: 5 days At the beginning of many calligraphy manuals is an image of the Trajan inscription in Rome. Its letter forms are held up by the authors as the finest design of capital letters. These authors then promptly go on to ignore this design altogether and proceed to make some crude approximation of it with a pen. It is almost forty years since the true construction of these marvelous letters was deduced by Father Edward Catich. He presented the world with an astonishing discovery: the Trajan inscription is a piece of calligraphy. Despite this remarkable achievement, the implications of Catich's work have been all but ignored. In particular, he gave us the chance to examine properly the Trajan scribe's writing tool, the edged brush. For all intents and purposes, the edged brush is a new and unexplored implement. True Trajan writing shows how very subtle and complex shapes emerge from simple, natural movements of the brush. This class will start to address the mysterious secrets held by the edged brush. We shall see how to write Trajan letters with just three or four strokes. We shall also see how much more sophisticated the brush is than the pen. We shall look briefly at the possibilities that Trajan writing gives us for producing new, previously unimagined letter forms.
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SHERRI KIESEL
B10
LENGTH: 2 ½ days, Sunday - Tuesday This class will enable you to incorporate illustrations with your calligraphy. First, you will focus on the paintings themselves. Using simple line illustration, watercolors, bits of collage, etc., the paintings will be built up in translucent layers, creating a delicately colored, multi-layered miniature painting. Next you will focus on ways these paintings can be incorporated into your work. You will explore the possibilities of a simple roman monoline alphabet that can be used to create a frame of text around the paintings, especially effective with haiku poetry. The paintings can be imbedded in long lengths of text or can be used at the tops of a column of stacked Roman forms. They can become simple illustrations on book pages. A basic understanding of Roman form and proportions is necessary.
LENGTH: 2 ½ days, Wednesday - Friday Line and color come together to create these contemporary letters based upon the versal form. Beginning with pencil and layout paper, we will familiarize ourselves with the basic shapes found within these expressive forms, giving us the vocabulary with which to construct the alphabet. We will draw the letters with a technical pen, making the alphabet come alive with movement of line. The spaces within the letters, created by our gestural line drawings, now give us the opportunity to lay in color, creating a beautiful, contemporary decorated letter. Playing with color, we will explore a variety of coloring techniques, utilizing watercolors, water-soluble colored pencils and metallic watercolor to highlight and decorate our letters. The technical pen necessarily makes the drawing of these letters small, delicate and intimate. On the second day, we will explore other possibilities for these forms, using drawing tools such as the ruling pen and automatic pen - taking the previous day's shapes, enlarging them, drawing with sumi ink and masking fluid and coloring in the shapes we create with new freedom and expression.
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JEAN LARCHER
A10
LENGTH: 5 days - All Week This class will delve into the classically written calligraphic form known as "Copperplate" or "Anglaise." Each letter will get the full attention it deserves in both the majuscule and minuscule form. This will not be a class about fancy variations, but rather the pure form of the hand. Copperplate is both elegant and graceful and a most useful addition to any calligrapher's repertoire.
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SHERRIE LOVLER www.inkmonkey.com
B11
LENGTH: 2 ½ days, Sunday-Tuesday Black paper can be the background for pen-based lettering of brilliant, solid color, or the host for subtle colors and variations. This class will move from the traditional use of color on black paper to a more fluid approach where surprise and spontaneity are a part of the design. Simple exercises such as painting a color wheel on black paper, gradually adding white paint to a color in a line of lettering, and changing from one color to another, will lead the participant to develop confidence in the use of color. If you've never used paint in your pens, here's the chance to begin. If you are experienced in using paint, now is the time to stretch yourself by exploring the balance between watercolor or gouache, white paint and water.
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JUDY MELVIN
B12
LENGTH: 2 ½ days, Sunday - Tuesday Work spontaneously for a few days...one of Judy Melvin's favorite methods for creating new art. You will work quickly on several pieces at once -- allowing one to inspire the next. The size will be about 12 x 20 inches. Color, words, marks, backgrounds! This is a hands-on brainstorming experience and a great way to start on a series of pieces or a book. Some of our time will be used to test experimental or new-to-you ways of working. These will add some excitement to your pieces. Much of the work will be layered and rescued, or selectively edited or even collaged over. It all works! Basic design principles and thinking later on will pull them together. Some experience with color would help and maybe an alphabet or two. Judy will bring plaka, tech dyes, frisket, painters gesso, pastels and plenty of media to keep you challenged. Please bring any untested materials you'd like to try.
LENGTH: 2 ½ days, Sunday - Tuesday The brush is a magical tool for the beginning or experienced lettering artist. Versatility, speed and movement are some of the advantages of the pointed brush…not as easily achieved with the nib or a ruling pen. Whether working small, medium or large, wild or exotic, we will test the brushes in the class. From pressure to possibility, working with strokes and warm-ups, to an alphabet and then the development of your personal style…you'll be encouraged to create your own magic! Time will also be spent to test a variety of surfaces and media for future reference, and actually writing words and quotes… maybe some for framing!
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HOLLY MONROE www.hollymonroe.com
B13
LENGTH: 2 ½ days, Sunday - Tuesday We will explore and analyze a number of traditional and non-traditional family tree layouts (ascendant/descendant, straight line, circular, tree, shield, book, wreath, etc.) paper options, unique tools and lettering tips. Then, each student will compose a family chart, progressing from the rough drafts and decoration to the finished lettering and art. A packet of handouts will aid the student with ideas and information for further work at home.
LENGTH: 2 ½ days, Wednesday - Friday You're a calligrapher, the entrepreneurial spirit has struck, and now you need to fine-tune the business aspects of your profession! First, you will evaluate your calligraphic, business and entrepreneurial skills. Then topics such as determining your market, finding clients/advertising, setting prices, and creating a business plan will be addressed. Small group discussions and hands-on activities will help you gain insight into setting up your studio, creating various business forms, working at home (or outside the home), managing your work and using a planner (paper or electronic). In addition, we will cover licensing your work, copyrights, taxes, developing a financial plan and anything else you can think to ask about!
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SUZANNE MOORE
B14
LENGTH: 2 ½ days, Sunday-Tuesday Each book tells a story in a unique way. As a designer/maker, you have the opportunity to alter the experience of the reader with your visual interpretation of words and/or imagery. Combined with format, materials and scale, the senses are engaged as the book unfolds in the viewer's hands and imagination. This information-rich, hands-on session will examine traditional and innovative book design. We will experiment/work/play with: balance and juxtaposition, style and scale, pattern and texture, rhythm and sequence, technique and materials. Pre-conference work with text/images of your choosing will provide the raw material for exploration of page design possibilities. We will look at historic and contemporary book design for inspiration and innovative approaches to "story-telling" will be encouraged. Participants will create at least three variations of a page-spread design.
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LINDA MORAVITS
B15
LENGTH: 2 ½ days, Sunday-Tuesday
Prerequisite: Here's your opportunity to take a Photoshop class designed specifically for the calligrapher. This compact, basic computer class will help take some of the mystery out of working in Adobe Photoshop with your handlettering. We will take your calligraphic gems from black ink to colorful digital files. After the scanning process we will discuss file formats, size, and resolution. Instruction will cover how to work with Photoshop's palettes and tools as well as cleaning up and making adjustments to your digital handlettering. Different ways to color the lettering file and how to use some special effects will be discussed and applied. The final works of art will be printed and copied to Zip disk or CD for personal archiving, if so desired.
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CAROL PALLESEN
B16
LENGTH: 2 ½ days, Sunday - Tuesday Make your letters small, smaller, smallest as we work with tools conducive to tiny writing: microns, crowquills and sharpened edged pens. Spend two and a half fun-filled days learning three alphabets - Monoline Italic, Clothesline Caps and Willow by Hand - and investigating the demands that tiny writing places on these tools. The delightful results will be used in several miniature book creations and cards.
LENGTH: 2 ½ days, Wednesday - Friday Casual, informal, calligraphic majuscules are fun to learn and great to use on greeting cards. In this class, we will review Roman proportions in skeletal form with a pencil on graph paper to warm up. Then students will write with edged dip pens. In preparation for the colorful cards, we will paint pieces of paper with layers of casein; one layer will be large, casual caps. Plain and painted papers will be measured, cut, folded and sewn to make greeting cards with our hands and hearts.
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AMITY PARKS www.briarworks.com
A13
LENGTH: 5 days Fire up your calligraphy! Showcase your work on beautiful decorative tiles. Work off paper in a new medium to inspire and rejuvenate your lettering. This 5-day class, for beginners through advanced calligraphers and lettering artists, offers the excitement of a new venue for letterforms. Working with brush and glazes on prepared ceramic tiles, we will combine decorative elements in Renaissance tile art with lettering and design to create tiles in both traditional and contemporary styles. Class starts with an historic overview of tile art through slides. Sally and Amity will demonstrate ways to analyze classic motifs and incorporate these elements of decoration into a design. They will explore the problem of adding lettering to this design through study of the use of space, position, scale, color, texture, and banners and other historic techniques. Although not a "lettering" class, the basics of brush italic will be presented. Handouts with suitable lettering examples such as brush italic, brush Romans and versals, and design patterns will be available. You will design and paint a ceramic book cover. This will house an accordion booklet, a short illustrated history of the art form prepared by the instructors. The covers will be fired overnight and reviewed by students the next day. Throughout the class, various methods of the on-glaze decorating technique called "Majolica" will be demonstrated and illustrated with finished examples. Students will then begin designing a larger tile, again using traditional design elements. Before beginning a third piece, we will observe various modern uses of historic design patterns and flower painting with the chisel-edged brush will be demonstrated. Through exercises, we will discover how to achieve a modern look with traditional elements as a foundation. These ideas will be incorporated into a third, "contemporary" tile piece. You will enhance and bind your small book on the history of tile art. The larger tiles will be prepared for hanging. Information will be given on how to obtain supplies and create similar decorative tiles on your own. Class will end with a critique of the finished tiles.
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VICTORIA PITTMAN
A11
LENGTH: 5 days Discover the fascination of interweaving the precious with the discarded. Rust on gold, stains on silver, gemstones woven through corroded cans. Incorporate metals, textures and color with traditional and non-traditional elements as you create exquisite metal-leafed papers and acrylic backgrounds. Use transfer techniques and patinas to further develop surfaces. Find new freshness in your work through an intuitive design approach as you work with carefully selected fragments, letterforms, natural and industrial objects, copper and brass sheet and silver, gold and copper leaf. Fun, creativity and exploration will culminate in elegant mixed media assemblages.
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STEPHEN RAPP
C18
LENGTH: 2 ½ days, Wednesday - Friday An introduction to what Stephen calls the "lazy dog" approach to lettering with the ruling pen. Using well- defined skeletal strokes as a starting point, we will pull both the weight and intricacies of our letters from the pool of ink left from these strokes. This style of working is as much akin to sculpture in 2-D as penmanship. Students will gain a more intuitive sense for letterform design from the exercises in this class. We will work with both script and Roman capital styles and analyze the nature of different cursive marks. Students should have some basic calligraphic experience prior to this class.
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CARL ROHRS
A12
LENGTH: 5 days When we say everything, we mean that your instructor wants to show you as many things as he possibly can that he loves about lettering. That means specialized and specific technique instruction in conjuring modern calligraphy out of each of the calligraphic tools: flat pen, flat brush, pointed brush, ruling writer, maybe even a little pointed pen. We'll explore different ways of handling each tool to make its lettering unique -- the wonderful texture and exacting control of a flat brush, the swelling, feather shaped stroke of a pointed one, the enchantingly inconsistent mark of a ruling pen and new ways of dealing with paper contact with our flat pens. We'll be working with all kinds of new & classic alphabets: caps, uncials, mono-linear styles with flat tools and especially scripts. But an ulterior motive is to supply a source of material for transformation, turning our calligraphy into simple but elegant cut-paper creations and multiple layered, collaged, decorated-letter extravaganzas with photos, patterns and textures. The cutting of paper will begin the first day and will continue as the week and calligraphy techniques unfold. And as for the sink, we'll also wind down each day with a short slide show -- a different look at the wide world of lettering every afternoon: weird & great commercial lettering, decorated letters, early & late 20th century poster design, unusual and calligraphic typefaces, exotic sign making and just plain gorgeous letters - to send you off into the evening possibly plotting a new approach to the next day's design. The class will be structured so that each participant can focus on what they're interested in learning and working on, whether it's an intensive study of just a couple of things or an exposure to the full gamut of festivities planned. The class will be appropriate for all levels of experience, and will hopefully be a riot.
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MYRNA ROSEN
B17
LENGTH: 2 ½ days, Sunday - Tuesday This class is an in-depth study of the structure of flourishes and how they are made. Flourishes can create the feeling of movement or spontaneity or elegance or romance or pizzazz. In varied combinations or parts of a few basic elements, flourish studies become limitless. We will use the famous Vive la Plume found in Bickham's Universal Penman as our primary subject for study, exploring its intricate twists, curves, swells and ellipses. Students will analyze each element of the whole (Vive la Plume) by drawing, tracing and studying with markers, pencils or crayons. A slide overview will cover uses and possibilities for flourishing as well as give a glimpse of some of the prominent 17th, 18th and 19th century writing masters and their versions of the famous phrase "Vive la plume!" - Long Live the Pen!
LENGTH: 2 ½ days, Wednesday - Friday Learn to draw letters and explore the much-neglected graphite: regular and sketching pencils. We will begin with monoline forms: then add weights, then add serifs, studying the simple parts that will make the whole. Explore serifs, junctions and exits of letters. Learn to see every aspect of the letter and its spacing. This is an excellent preliminary exercise for designing letters using the computer.
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SALLY SANDERS-GARRETT www.ducksfoot.com
A13
LENGTH: 5 days Fire up your calligraphy! Showcase your work on beautiful decorative tiles. Work off paper in a new medium to inspire and rejuvenate your lettering. This 5-day class, for beginners through advanced calligraphers and lettering artists, offers the excitement of a new venue for letterforms. Working with brush and glazes on prepared ceramic tiles, we will combine decorative elements in Renaissance tile art with lettering and design to create tiles in both traditional and contemporary styles. Class starts with an historic overview of tile art through slides. Sally and Amity will demonstrate ways to analyze classic motifs and incorporate these elements of decoration into a design. They will explore the problem of adding lettering to this design through study of the use of space, position, scale, color, texture, and banners and other historic techniques. Although not a "lettering" class, the basics of brush italic will be presented. Handouts with suitable lettering examples such as brush italic, brush Romans and versals, and design patterns will be available. You will design and paint a ceramic book cover. This will house an accordion booklet, a short illustrated history of the art form prepared by the instructors. The covers will be fired overnight and reviewed by students the next day. Throughout the class, various methods of the on-glaze decorating technique called "Majolica" will be demonstrated and illustrated with finished examples. Students will then begin designing a larger tile, again using traditional design elements. Before beginning a third piece, we will observe various modern uses of historic design patterns and flower painting with the chisel-edged brush will be demonstrated. Through exercises, we will discover how to achieve a modern look with traditional elements as a foundation. These ideas will be incorporated into a third, "contemporary" tile piece. You will enhance and bind your small book on the history of tile art. The larger tiles will be prepared for hanging. Information will be given on how to obtain supplies and create similar decorative tiles on your own. Class will end with a critique of the finished tiles.
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JACQUELINE SULLIVAN
B18
LENGTH: 2 ½ days, Sunday - Tuesday Books, by definition, have movement. But the books that you will learn to make in this class move in special and unusual ways. Among the structures that we will explore are the Jacob's Ladder Book, The Magic Wallet Book and variations of the Meander Book. These books have the potential to move in a variety of ways and when text and visual elements are added, unique artists books are created. You will be encouraged to do some exploration with the basic concepts of these books and to invent a new structure that they can call your own. Some class time will also be spent creating decorative papers that can be used to cover the boards from which the books are created. These will include a sampling of "Patina Papers." We will use some simple texts and simple collages for contents for our books.
LENGTH: 2 ½ days - Wednesday - Friday If you are always getting calls to 'make' invitations and/or announcements and you are looking for some new ideas, then this is the class for you. By class end, you will have a portfolio of finished invitations to show to clients. In class, we will work with various card structures, folds, papers and other materials to produce both fun and elegant invitations for those special occasions. The processes and techniques that we will be working with are also applicable to creating unique greeting cards and booklets. Printing processes, etiquette and working with clients will all be an integral part of this class. We'll talk briefly about the various technologies that are used to reproduce and retouch calligraphic printed works. Pricing, promotion and other business issues and ideas will be discussed. The final project for the class will be a concertina envelope book which will serve as a unique portfolio with which to present your ideas to potential clients. We will create special decorative pearl and metallic papers from which to make this portfolio. Handouts for the class will be in book form and include info on suppliers, envelope sizes, business forms and more!
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LESLIE TARDY www.letterforms.com
C21
CLASS LENGTH: 2 ½ days, Wednesday - Friday Explore the exciting technique of creating beautiful calligraphic letters onto a round surface by implementing the pointed brush style. We shall explore this unique method for placing text on a gazing ball, seasonal ornament, or merely an artistically rendered piece for display, by employing various letter sizes, weights, and colors through practical application. By lettering on a variety of straight and spherical surfaces, we shall familiarize ourselves with the brush and the medium. Our objective will be to complete two finished pieces with and without the use of guidelines. In addition, we will take a brief journey into the business of lettering on holiday ornaments for both pleasure and profit. Come,enter through the door that will yield both pleasure and profit beyond measure!
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PETER THORNTON
B19
LENGTH: 2 1/2 days, Sunday - Tuesday In speech and communication in general, it is often the 'whispered word' that carries the most important, the most personal message - "the cry from the heart." This class, in essence, is to explore and express this quiet, subtle and subdued side to our language and craft. We shall begin after a brief review of Built-up Capitals and a modern and more relaxed capital, using white paint onto a prepared sheet of the delicate Japanese "Unryu" paper to produce words that "suggest" rather than "insist", that "ask" rather than "demand." We shall then move on further with the application of subtle background washed of watercolour before adding "layer" of toned lettering in a distinctly 3-dimensional manner. Throughout the class, there will be many demonstrations and much personal attention and students can expect to finish 1 or 2 small pieces/projects. Whilst the class is open to ALL levels of ability, some knowledge and experience of capital letters will prove useful.
LENGTH: 2 1/2 days, Wednesday - Friday This class will be a gentle introduction into the accepted FORM of "normal" italic writing. We shall then explore the more relaxed and 'playful' approach in a logical and gentle manner that will result in many options of a more lively flavor and help students avoid the trap of "complacent consistency." It is, during PLAY that we often seem best able to experiment in a non-judgmental manner, and this class aims to encourage this in many exercises and projects. Throughout the class will be a hidden structure and "method of study" that will guide and help student-inventiveness and enjoyment in the production of a small "sampler book" that will record the growth, the instruction and the potential within the hand and the student. An optional pre-set project will be sent in order to a) save time and b) ensure a common and strong starting point. The class is open to all levels of ability and optimism and will focus on the calligraphic line more than background and textural techniques.
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MARK VAN STONE
B20
LENGTH: 2 ½ Days - Sunday - Tuesday An incomparable opportunity to study Classic letterforms from original sources, led by paleo-calligraphy expert Mark Van Stone. This course is designed to expose you to the rich and under-appreciated legacy waiting to inspire us. The class will include photocopied handouts supplementing the collections' material. Mark will provide full background for your understanding of these brilliant objects. Study original late Medieval manuscripts and facsimiles in the manuscript exhibit at the Richard M. Ross Museum on campus. You will be surprised at the subtlety and variety of Gothic and Renaissance hands, and inspired by the opportunity to handle them. There is a reason the Technology of the Book has not improved in over a thousand years. Come see why!
LENGTH: 2 ½ Days, Wednesday - Friday An incomparable opportunity to study Classic letterforms from original sources, led by paleo-calligraphy expert Mark Van Stone. This course is designed to expose you to the rich and under-appreciated legacy waiting to inspire us. The class will include photocopied handouts supplementing the collections' material. Mark will provide full background for your understanding of these brilliant objects. Study Ancient Roman and Greek inscriptions from paper casts in the extensive Classical Epigraphy Collection at The Ohio State University. The Roman inscriptions were collected by the late Prof. Arthur Gordon from the best available examples dating from 100 B.C. to about 300 A.D.; the Greek inscriptions are surprising, varied, and beautiful, and often contain extraordinarily minute letterforms in abundant quantities.
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DIANE VON ARX
B21
LENGTH: 2 ½ days, Sunday - Tuesday We will begin by strengthening our existing italic hand so each participant should be quite proficient in the hand as a prerequisite. THIS IS NOT FOR BEGINNERS. We will polish the lettering, compress, extend, slant and generally experiment with textures all by using the one basic alphabet. We will discuss the suitability of the various hands in use for a specific project and consider the appropriateness of textures as they relate to individual texts. This class is a real eye-opening experience for all participants.
LENGTH: 2 ½ days, Wednesday - Friday "Gouache over gouache over gouache." Students will spend class time doing some basic exercises with brushes and gouache to familiarize themselves with the tools and media. We will paint with the brush and do lots of pen lettering with gouache over gouache. Students will receive technical direction on mixing and matching gouache, laying background color and working with a fine-point and flat brush and metal pens on that surface.
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JULIAN WATERS www.waterslettering.com
B22
LENGTH: 2 ½ days, Sunday - Tuesday Although Roman capitals can be at times very formal, refined and highly readable, we can also use them as building blocks to develop more abstract patterns and textural design. In this class, we will veer away from self-conscious individual letterforms and envelope ourselves in a magical world, the nooks and crannies of interior space within interlocking textures of positive and negative form. Resulting textures may sometimes be linear, sometimes structural or sculptural, from dense and powerful to airy and brittle. This is not a class about how to make a serif!
LENGTH: 2 ½ days, Wednesday - Friday By nature, many Gothic scripts are textural, where strokes and spaces combine in repeating patterns. In this class, we will go beyond historical forms and explore the stark battle between black and white in graphic word play. Resulting en masse writing may take on a very modern, monumental, even architectural tone. Although Blackletter styles can be decorative and fussy, we will play down these characteristics in favor of a more structural approach to making powerful visual tapestries of abstract form.
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SHEILA WATERS
B23
LENGTH: 2 ½ days, Sunday - Tuesday Calligraphic skill and painting experience helpful but not essential. Just bring enthusiasm! Understand and use color theory in a practical way. With only seven tubes of gouache or watercolor, thousands of shades of color can be unlocked and any color can easily be matched, through making your own gradated color charts. Then you will loosen up and try out many media techniques: mixing; flat, opaque and graded washes; masking; writing in color on top of color with sharpness and experimenting with many tools and materials. Also, laying gold leaf on acrylic grounds will be demonstrated.
LENGTH: 2 ½ days, Wednesday - Friday
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SHARON ZEUGIN
B24
LENGTH: 2 ½ days, Sunday - Tuesday Many of us seek more meaning, depth and authenticity in our calligraphic work. Journals offer a unique and time-honored way of exploring our inner world, allowing creative expression of themes and topics that move us. This class is an exploration where students can discover their own approach to a calligraphic journal. The emphasis will be on play, experimentation and improvisation. The goal is to begin a process that students can continue beyond the class to facilitate creativity and freedom of expression. We will employ all manner of tools, materials and techniques in our journal explorations and students are encouraged to bring bits of cast-off calligraphy, art, photos, and memorabilia that are personally meaningful. Music, movement and writing exercises will be offered during the 2 1/2 days, the aim being to create a relaxed and safe atmosphere for experiencing the freedom of working without a particular purpose or agenda. Participants will bind their work from the class into a journal, however the class will focus on creative content and not formal book structures.
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