. . . the journal
of the Washington Calligraphers Guild
Past issues may still be available for purchase. Click here for a complete list and ordering instructions.
This issue is available by joining WCG for $30-$35, or you may purchase it for $28 from:  The June 2007 issue (Volume 29, No. 2), edited by Lee Ann Clark, showcases selected works from
WCG's 30th Anniversary Exhibition, which was on view at Letterforum 2006 (the
26th International Gathering of Lettering Artists) and, joined by works from
Letterforum faculty, was exhibited October 20 to November 4, 2006 at The
Mansion at Strathmore in North Bethesda, Maryland. In addtion to 24 pages of artwork (12 in full color), the issue includesreminiscences from several long-time members on the 30th anniversary of
WCG and "a last word" from Sheila Waters, the guild's first president.
(Cover art by Jean Larcher)
Hand-lettered holiday cards is the theme of the Winter 2006 Scripsit (Vol. 28, No. 1),
The
The January 2005 issue (Vol. 27, No. 1) showcases the work and careers of the Washington Calligraphers Guild's four honorary members, Sheila Waters, Charlie Hughes, Ieuan Rees and Hermann Zapf. Editor Mary Lou O'Brian sent each a questionnaire covering numerous aspects of their art, education and experience. The issue prints their intriguing responses with dozens of examples of their lettering.
The January 2004 Scripsit (Vol. 26, No. 2), produced by Michael Clark, explores the many ways calligraphers can approach the same text--in this case, the words "Ich Bin" (from Exodus 3:14, meaning "I am"). The issue reproduces 28 calligraphic treatments by renowned lettering artists. (Right: Jean Larcher; below: Richard Lipton.)
Typefaces created
from the hands of commercial lettering artists is the subject of
two Scripsits titled "Letters: From Written to Digital Forms"
that were compiled, edited and designed by Michael Clark (Vol. 23,
No. 3 and Vol. 25, No. 2—June 2002). Each page provides an
example of a font and the handwritten form that inspired it, with
comments by the artist about the challenges of conversion.
Shaw notes that the chronology "is concerned with all varieties of lettering—with the key exception of type design" and that it "includes not only calligraphers (principally defined as those who work with the broad-edged pen or brush), but also penmen (those who work predominantly with the pointed pen), engrossers, letterers (both those who work with the pointed brush as well as those who draw letters), signwriters, lettercutters, handwriting reformers and a smattering of artists, illustrators and designers for whom handmade or handwritten letters are an integral aspect of their work." Shaw concluded by expressing the hope "that this chronology, despite
its idiosyncrasies as the product of one person's prejudices, will
provide the basis for future histories of aspects of the lettering
arts." He welcomes additions and corrections at paulshaw@aol.com.
Edited by Hermineh Miller, whose art appears at left, the issue
explored such concepts as flow and energy, and discusses how to
bring the benefits of Yoga, meditation and Aikido to creative expression.
Another Scripsit edited by Michael Clark explored the abstract side of letterforms, with astonishing examples from calligraphers Arthur Baker, Susan Skarsgard, Carl Kurtz, and Silvia Izi working in a variety of media on paper. (Although the example at right by Arthur Baker looks like a three-dimensional sculpture, it is in two dimensions, created with a chisel-edged sponge brush and gouache.) One thinks of abstract calligraphy as expressive mark-making,
but "abstract" can also refer to the ambiguous meaning of the word
being lettered, as in the example above by Silvia Izi translated
as "Closeness." Izi expresses the "e-motion" of a word in the motion
of her brush. The Calligraphic Tradition in Blackletter Type was the subject
of the Summer 1999 Scripsit, written and produced by calligrapher
Paul Shaw. In 48 pages packed with calligraphic and typographic
examples, Shaw demonstrates how the basic varieties of Blackletter
type—Textura, Rotunda, Bastarda and Fraktur—emerged from
manuscript models. The
Textura example at left was hand lettered by Hermann Zapf and printed
in his book "Feder und Stichel" (Pen and Graver), which displayed
his versions of major historical styles. Scripsit also shows examples
of Zapf's "Blackletter" typefaces, such as Gilgengart and Hallmark
Textura. The Spring 1999 issue, "Collaborative Discoveries," explores the creative interaction that occurs when two or more calligraphers work together on a project. Editor Joan Machinchick discusses the book of poetry she produced with Lynne Carnes and Suzanne Heany and an ongoing calendar project she does with five other calligraphers. Marta Legeckis and Jane Coates each shared her perspective on a piece they created together called "Conversations."
Among the topics covered are: John Stevens on the brush; Julian
Waters on Italic; Ward Dunham on the chisel-edged pen; Peter Horridge
on combining illustration and calligraphy; and Michael Clark himself
on the ruling pen.
Past issues of Scripsit are available
for purchase, such as the Winter 1998 issue titled "The Living
Word." (The title at left, which appears on the cover of that issue,
was drawn by Stephen Raw for a book cover. He also lettered the
"Jazz" title below for the cover of an anthology of jazz.)
~ Meetings, Classes & Workshops ~ How to become a member ~ ~ Exhibits & Special Events ~ Freelance calligraphers in the DC area ~ ~ Links to related websites ~ Zapf fund to further calligraphy education ~ |
Titled Pens & Protocol: The Calligraphy of Official Washington, the Fall 2007/Winter 2008 issue (Vol29 No3/Vol30 No1) features the work of White House calligraphers Patricia Blair, Debra Brown and Rick Muffler, State Department calligrapher Jennifer Nicholson, and WCG members David Hobbs, Marta Legeckis, Sammy Little, Mary Lou O'Brian and Julian Waters, whose lettering for the federal government, Postal Service and Smithsonian Institution is integral to Official Washington. This 48-page double issue by Lorraine Swerdloff contains more than 150 full-color reproductions.
featuring the creations of a dozen members of the Washington Calligraphers Guild. In addition to showing a delightful assortment of creative cards, the editors, Ella Jankowiak and Jordenne Ferrington, sought to showcase the work of a representative range of the membership, from hobbyist to professional. "We hope these ideas will inspire others to begin creating their own calligraphic expressions," they wrote. The issue features a 4-page full-color tribute to Muriel Parker, who, for the 15 years prior to her death, designed Christmas cards to be assembled into ornaments for the recipient's tree. 
The Fall 2005 Scripsit (Vol. 27, No. 3) is devoted to the 
August 2005 issue (Vol. 27, No. 2), edited by Michael Clark, looks at a wide variety of contemporary professional lettering work, including greeting cards, rubber stamps, commercial design, invitations and logos. The issue features work by Stephen Rapp, Rose Folsom, Ann Alaia Woods, Pat Blair, and Name Brand stamps (Dini Stewart and Linda Abrams). Packed with images, it also provides the artists' insights into their creative process.
The issue includes a commentary on the future of Speedball by its CEO. 
In
the June 2004 Scripsit (Vol. 26, No. 3), editor Michael Clark urges
readers to look for "nuances that provide insight into the
letterform" in 24 pages
of lettering by French calligrapher Jean Larcher, the Canadian design
team of Ivan Angelic and Andrea Hoffmann, Irish letter carver Gareth
Colgan, Belgian calligrapher Yves Leterme, and New York lettering
artist Bob Boyajian.
Titled
"Lettering design: Sketches to Final Art," the 24-page
Sept. 2003 issue (Vol. 26, No. 1) by 
For
instance, artist Stephen Rapp explains that his font Tai Chi (right)
was based on sketches he did with a skew-edged marker (left). As
Michael Clark observed in his introduction to the June 2002 issue,
"Creating typefaces born out of our own forms is an interesting
way of studying letters in a new light."
The
February 2002 Scripsit (Vol. 25, No. 1) examines some of the pieces
in the Washington Calligraphers Guild's 
The
Scripsit published in Fall 2001 (Vol. 24, No. 3) also celebrated
the Guild's 25th anniversary with coverage of the 
"A
Chronology of the Lettering Arts from 1850 to 2000" was produced
by Paul Shaw jointly for the Washington Calligraphers Guild and
the Friends of Calligraphy in San Francisco. The double issue (Vol.
24, Nos. 1&2) covers individuals, events, organizations, publications,
typefaces, tools and materials, exhibitions, and other information
helpful in tracing the transformation of the lettering arts since
the late 19th century. 
In
assembling the issue, Clark sought to dispel the notion of abstract
as intentionally obscure. "It is much more demanding to use a single
stroke, a letter, a word or a series of words to create a visual
that defies being read, but gives meaning and purpose to the paper
upon which it rests," he explained. 
In
the Winter 1999 issue of Scripsit, calligrapher Michael Clark asked
several of America's top lettering artists to address a specific
tool or alphabet. "The how's and why's of an individual piece of
lettering provide insight into not only the work itself but the
artist's process," Clark explains. 