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Brenda Broadbent: Writing Fluids and Fine Art Paper Choices

Saturday, March 16, 9:30 a.m.-4:30 p.m. Brenda’s Studio in Woodsboro, MD
Level: All

Understand the mysteries and interactions of writing fluids and fine art paper – all in only one day! Enjoy a hands-on day working with four basic groups of ink/paint on a variety of envelopes, practice paper and fine art paper. At day’s end you will know the answer to these questions: Which paper should I use for copperplate work, a family tree, a handmade book, a wedding poem? How do I know 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? AND … What to do when your favorite ink feathers on the client’s envelopes? Paper can enhance the art of calligraphy almost as much as our choice of pen, brush, and color. We’ll write on practice pads and an international assortment of watercolor, charcoal, printmaking, text weight, faux parchment and black papers with a variety of tools and fluids. Discover how surface, weight, archival quality and sizing affect your lettering.

Brenda Broadbent: Tiny Successful Watercolors and Black on Black Escapades

Sunday, March 17, 9:30 a.m.-4:30 p.m. Brenda’s Studio in Woodsboro, MD
Level: All

In the morning: Relax and enjoy moving watercolor on paper as small as 2” x 2”. You will learn how paint and water move together and create a tiny gem. Combine these skills with your lettering later! Encouragement for fearful painters! In the afternoon: Get shimmering 3D effects using Glaze Pens, colored pencils and black paper.

Lee Ann Clark: Pointed Pen from the Beginning

April 27-28 (Saturday-Sunday), 9:30 a.m.-4:30 p.m. Vienna Arts Society
Level: All

Starting with the basic mechanics of pointed pen, we will examine the letter formations of traditional styles along with exploring the various paths of developing a personal style with this versatile tool. Beginners are welcome as well as those who want to review and improve their pointed pen calligraphy. The instructor will bring the graph pads that she recommends for purchase, as well as a variety of pen points for students to use or purchase.

Judy Melvin: Brushing the Surface

May 4-5 (Saturday-Sunday), 9:30 a.m.-4:30 p.m. Columbia Art Center
Level: Intermediate

The pointed brush is an amazing 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 ruling pen. Whether working small, medium or large, wild or exotic, formal or casual, we will test the brushes. From pressure – similar to pointed pen or roundhand – to working without lines and writing over most any surface due to the light touch of the brush, it truly is a versatile tool. Basic strokes and warm-ups for a script alphabet and another simple brush ductus will help to develop a personal style and encourage you 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 … perhaps some to be treasured.

Sheila Waters: Carolingian -- A Fresh Look

May 25-26 (Saturday-Sunday), 9:30 a.m.-4:30 p.m. Sheila’s Studio, Fairfield, PA
Level: Any, but not recommended for basic beginners.

Carolingian was the first truly formal minuscule, developed in 9th century France. Modern varieties of Carolingian were not popular with calligraphers until the last quarter of the 20th Century. We will take a fresh look at the possibilities of Carolingian as a text hand, modernizing from a variety of historical versions. As Carolingian scripts were written very small, we will look closely at the historical roots and structure, using magnifiers and at projected enlargements. Then we will analyze and copy a historical personal favorite, both larger and at actual size, then modernize it to make it work well as a hand for writing text – rather like designing a typeface, but in this case in a very short time! The bonus is that by exploring this process we will also learn how to modernize any historical hand. Finally we will work on simple matching Uncial and Uncial/Roman hybrid capitals.

Tim Botts: Layered Letters

September 28-29 (Saturday-Sunday), 9:30 a.m.-4:30 p.m. Columbia Art Center
Level: Knowledge of at least one writing style is recommended.

Looking both back and forward, we will capture on paper the richness of history, the layers of music, and the movement of video--all on a sheet of paper with our simple writing tools and gouache. We will begin by creating backgrounds to music, placing large layered words, adding collage, using resist and stenciling, and adding smaller text accented with stamped symbols. Several backgrounds will be developed in these various ways with your favorite short texts. Various design principles will be practiced to guide you in your arrangement of elements on the page.

Thomas Ingmire: What to Write and How to Write It

October 11-14 (Friday-Monday, including Columbus Day), 9:30 a.m.-4:30 p.m. Columbia Art Center
Level: A working knowledge of letterforms and a desire to investigate new ones.

“Each text demands its own calligraphy” and “Calligraphy must dance” are two of my favorite quotes by Hans Joachim Burgert. The two ideas will serve as underlying themes for the workshop. In addition to examining Burgert’s work, the study will involve two areas of research: one, defining criteria for choosing a text as well as ideas for creating new texts; and two, exploring new paths for developing original visual expressions of our words (letterforms and compositions). This work will examine a gamut of solutions, ranging from the playful to the serious. On the “word finding” side we will look at ideas related to the “found” poetry genre and the work of the Dada poets. On the “calligraphic form” side of the search, we will draw influences from music and painting. We will examine the work and ideas of a number of artists including Kandinsky, John Cage, Sol LeWitt, Cy Twombly and Paul Klee.

Cherryl Moote: Playbooks

November 9-10 (Saturday-Sunday), 9:30 a.m.-4:30 p.m. Columbia Art Center
Level: All

The blank page can strike fear in the heart of even the most seasoned artist. But when you add a slash of ink, a splash of color, or a caressing stroke of graphite, suddenly the paper starts to join you in a conversation. Working in a sketchbook and facing that blank page every time you open it can be daunting. It can dissuade you from the regular routine of practice and play with design and materials that is so necessary to all artists. In this class we will meet the large, blank page with enthusiasm, exploring a variety of ways to create interest and intent with mediums and tools that leave the surface amenable to later layers of lettering and imagery. Then it is time for our full sheets of paper to be used to create three folded books that already contain your own creative touch. I call these books playbooks, each page already started and alive with potential and possibility, ready to talk to you each time you sit down to engage it with your writing and drawing tools.

Right: Denis Brown's "A Better Language" features a self portrait, photographed as he danced through digital projections of his calligraphy. Denis taught a workshop for WCG members in 2012.