Class Descriptions
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KAREN ACKOFF   South Bend, IN

A1
CONTEMPORARY DECORATED LETTERS

LENGTH: 5 days, Sunday-Friday
LEVEL: All

This workshop will explore how to create contemporary decorated letters using animal and plant imagery in an illustrative manner. Participants will plan their decorated letter by utilizing an historical letterform and imagery that might include animals, plants, shells, feathers-–imagery from the natural world. Basic design and compositional considerations will be discussed. The workshop will focus on how to create natural textures in order to represent fur, feathers, flowers, leaves, etc. using watercolor or gouache. A series of short exercises will be completed to master the technique of handling watercolor and creating these textures. Participants will complete one or more decorated capitals using a technique called “moist brush” whereby watercolor or gouache can be layered without the layers underneath moving or bleeding. Color is built up gradually, creating a subtle tonality and depth. Other contemporary decorative techniques such as embossing, stenciling, cutouts, collage, resist, and transfers will be explored. Creative exploration will be encouraged.

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DIANE VON ARX ANDERSON    Minneapolis, MN

A2
RUFFS & TISSUES: Layout Experiments

LENGTH: 5 days, Sunday-Friday
LEVEL: Intermediate/Advanced

The objective of this class is to experience new ways of thinking about your work to keep it fresh and to challenge each participant to do your personal best on all of your projects. The class is best suited for those who have had a few years experience producing their own layouts and who have a comfortable command of several hands (capable of writing without referring to exemplars), though the more advanced calligrapher will find these steps stimulating as well. We will experiment with different approaches and new methods of stretching your tools, imagination and materials “beyond your comfort level.” The majority of class time will be spent on the investigative PROCESS, which will lead each respective artist to one or more possible successful design solutions relative to your chosen text. Diane will discuss with you your individual objectives in creating the piece and suggest shortcuts in the layout stage that will save valuable time and keep you focused and directed to the final piece. Participants should bring several texts of varying lengths, 50-100 words, and may also choose to bring work in progress.

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CAROL BARTON   Glen Echo, MD

B2
POP-UP PAPER STRUCTURES

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

A special kind of creative magic awaits you in this workshop. You will learn basic on-the-fold pop-up structures, then progress through a series of more complicated three-dimensional constructions. Emphasis will be on developing an understanding of the simple mechanics involved in this art of “paper engineering.” A slide show on the history of pop-up and movable books will be included. This is an ideal class for artists, teachers, graphic designers, and anyone who loves to play with paper. No prerequisite.

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TIM BOTTS    Glen Ellyn, IL

A4
EMERGING LETTERS

LENGTH: 5 days, Sunday-Friday
LEVEL: Intermediate

The goal of this class is to interweave letters and background so that they become unified in a single work. We will begin by painting abstract backgrounds to various musical moods and then adding multiple layers of writing in various sizes. Resist and stenciling will be used to play with positive/negative perception of space. Translucent collage and color pencil will be used to mask or blend awkward parts of the composition. Other techniques using spray, spatter, salt and sponge will be used to create atmosphere and texture. The result will be to create visual depth and richness in one's work that can support the passion of what we want to express.

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ANNIE CICALE    Fairview, NC

B5
WATERCOLOR TECHNIQUES FOR CALLIGRAPHERS

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

Many of the tricks that watercolor painters love work well with calligraphy. Color adds a third dimension to the flat calligraphic surface, and watercolor is a direct way to work. Two aspects will be covered: creating a composition that includes lettered texts on a painted ground, and integrating the process of lettering simultaneously with the ground. Exercises will introduce and review color theory using calligraphic concepts. Properties of pigments will be included, and we’ll experiment with some paints that have recently been introduced to the art market. Our goal will be to develop a unified calligraphic painting. This class introduces basic watercolor technique, so it is good for beginning watercolor artists. Some calligraphy and art background is helpful.

C5
MONOLINE MAGIC

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

The fluid line made by the broad edged pen is seductive with its undulating thicks and thins, teasing us with its potential for beautiful letters. The monoline tool, however, allows us to study pure proportion and shape, to make letters that are elegant and dramatic. These letters can be used in a variety of settings, from a delightful design for a children’s birthday card to a more refined version that can be used to express complex ideas in a direct and straightforward way. We will work with the three basic hands in the calligrapher’s repertoire—Roman Capitals, Roman lower case and Italic—and will then study the possibilities for modification into new and unique hands. You will return to your other tools with insights that will make your letters stronger and livelier.

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BARBARA CLOSE        La Mirada, CA

B6
PASTE PAPER BOOKS

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

This is about the most fun you can have with paper! If you’ve not had a chance to design a paste paper book, then this is the class for you! Extraordinary assemblages will be developed as the student’s own creativity and feelings are revealed in a personal paste paper book. Several techniques will be demonstrated and discussed. Students will learn ways to make their papers come alive as exciting avenues for calligraphic work are explored and imaginations ignited. Design decisions will be gently guided to give form to choices in color, texture and other visual content. Barbara encourages and inspires the unique artist in all.

C6
DESIGN ESSENCE OF CARDMAKING

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Greeting cards are actually wonderful, miniature works of art! Some designs can be simple and elegant to very ornate and complex. Careful construction, painting, and collage will be parts in building fabulous designs. Cards can stir our emotions and immediately give us happy, melancholy or affectionate feelings. They celebrate personal events such as, birthdays, weddings, anniversaries, births, new homes, jobs, reunions, friendships, holidays and more. Barbara will share many examples and techniques in designing these pieces. You’ll be amazed at what you can create.

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NANCY CULMONE     Serafina, NM

B7
WRITING WITH COLOR

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

The joy and pleasure of working with rich colors is accessible to all calligraphers. Each tool—the broad pen, monoline pen, copperplate, coit, or automatic pen—has different requirements for ease of color writing. You'll work with them all and practice using ink, gouache, watercolor, and pencils on a variety of papers. After touching on color theory, we'll move on to a plethora of studio tips and techniques for colorful pen work. You will be guided through exercises in color transitions, mixing colors as you write, layering, contrast, opaque lettering on dark papers, transparent color, and combining media. Slides, examples and demonstrations provide additional feasts and inspiration.

C7
COLOR IT LUSCIOUS

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Explore colored pencil techniques and add pizzazz to your work. The class includes time-honored artist’s methods and some new tricks. You’ll learn color blendings, shading, hatching, layering, creating textures, the way pencils respond to a variety of papers, fine detail work, and bold applications. Practice exercises include working within, around and on top of letterforms. You will create two small technique sample books and many experiments using pencil by itself and in combination with other media. This workshop is for those who are eager to develop their skill or expand into this medium.

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LAURIE DOCTOR    Boulder, CO

A7
LEAP BEFORE YOU LOOK: An Invitation to Lettering and Landscape

LENGTH: 5 days, Sunday-Friday
LEVEL: All

The act of writing is full of pleasure that increases with skill. We will explore lettering through a collection of writing implements and a series of experiments based on rhythmical writing patterns, music and poetry. Each student will begin with their own handwriting as a place of departure. This workshop is part of a series that investigates the ways that the universal elements of line, pattern and texture-–as they are found in landscape-–can be reflected through writing, drawing and painting.

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HAZEL DOLBY    Alton, England

A8
COLOUR – LETTERS – MARKS: Working on Primed Material

LENGTH: 5 days, Sunday-Friday
LEVEL: Intermediate

A fragment of an artifact tells us so much about the whole, yet it remains a mystery—offering that mysterious quality that pervades fragments of text and letterforms. We will explore this idea of fragments; but first we will start by reviewing basic colour theory, and then proceed to prepare surfaces on paper, multi-density fiberboard or cardboard using acrylic gesso. Brushes, pencils and markers will be used to work on these prepared surfaces, drawing and painting letterforms, making marks, and looking particularly at the abstract qualities. The main aim of this course will be to focus on ideas gathered from the material provided by the teacher as preparation for a finished piece of work; e.g., a construction, an inscription or a book. Acrylic paints and inks will be used throughout.

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KRISTEN DOTY     Chehalis, WA

B8
DRAWING FOR CALLIGRAPHERS (and those who think they can’t draw)

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

You can draw! It's just a matter of developing the right set of skills. If you've wanted to add drawings or illustrations to your calligraphy—but think you can't draw or need to review—this class is for you! Drawing is the backbone of calligraphy and painting. Learning to draw advances both. Through a series of demonstrations and exercises designed with calligraphers in mind, you will gain confidence in your drawing ability and improve your calligraphy at the same time! We will focus on learning to see and getting that down on paper in various ways for a variety of effects from gestural sketching to more realistic illustration. We will explore form, some color theory, and a little design/composition to help you integrate text and drawing.

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LISA ENGELBRECHT    Long Beach, CA

B9
THE NEW HANDLETTERED QUILT: Fabric, Letters and Collage Techniques

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

This class will be a time of creativity, sharing and inspiration through the exploration of collage techniques and lettering on fabric. We will focus on the fabrication of a wall hanging composed of individually designed panels unique to you the artist, using mementos and artifacts from your life. We will begin this personal archeology with the exploration of lettering on various surfaces to be used in our collage. We will develop content and text by using personal writings and meaningful quotes as inspiration. The artist will begin this project at home—gathering various textures and colors of fabrics and then gathering small scale objects of significance, driftwood, pebbles, beads, vintage jewelry, old family photos, ticket stubs, menus. These relics will be incorporated into the quilt. Photo transfer to fabric will be demonstrated. Small panels—each representing a part of the story with lettering and memorabilia—will be created and then joined together. This is obviously a step away from traditional calligraphy, but will serve as a freeing process for the blocked or intimidated letter artist—there is no failure in this technique. The artist will explore layering and design techniques using various materials and paper ephemera that will then be embellished with wire, beads, eyelets, brads and hand or machine stitchery. The culmination of the workshop will be spent as a family of artists openly sharing our stories.

C9
GET WET! WATERCOLOR CANVAS BOOK

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Watercolor canvas is a new way to paint on a canvas surface that gives the watercolor look of paper. This special canvas is raw on one side and gesso primed on the other—yet both sides take all media, watercolors, acrylics, and oils very well. I love the way the canvas makes beautiful washes that are amazing backgrounds for letters, collage and journaling. In this workshop we will create a canvas-paged book with this stuff; the pages from pads are cut already and are a good weight so we can begin creating quickly. The artist will explore various wash techniques as backgrounds—using watercolors, water soluble oil pastels and acrylic inks. This canvas does not buckle! Various wash techniques covered will include lifting pigments, wet on wet, wet on dry, and recovering highlights. Oil pastels and other media will be combined to create interesting effects. Scraffitto or scratching into the washes while wet and dry will also add a dimension to the work. Stencil and stamping will add depth too. After these pages are dry, we can add collage elements and letters. Mark making tools and pens work well on the canvas. Sewing and stitchery will also work! Two canvas boards will form the covers of the book, and a simple binding will pull it all together. The artist will examine the use of the white space, the design of the page and the flow of the book as he or she creates—however, a lot of the creating here will be intuitive.

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KEN HARRIS    Rocky River, OH

B11
TRADITIONAL GILDING TECHNIQUES

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

Classic gilding—such as raised and burnished gold—involves techniques that have come down to us from the Middle Ages. You’ll grind ingredients to create the gesso (or ground) that supports the gold, lay the liquid gesso on your design, apply the gold and then polish it to a mirror brightness. Other techniques will include using gum ammoniac (the 14th century’s answer to crazy glue) and shell gold (24k gold powder in a paint form). Taking both B11 and C11 will produce a traditional piece of artwork in the fashion of an illuminated manuscript with both gold and color.

C11
MEDIEVAL PAINTING TECHNIQUES

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Participants will learn the painting styles and techniques of the medieval scribe and illuminator, cut quills and prepare vellum (real calfskin) for painting. Watercolor and gouache are the traditional painting mediums, and you’ll learn layering techniques along with classic white vine work.

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ELIZA HOLLIDAY     Fernandina Beach, FL

B12
THE LIVELY BRUSH

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: Intermediate

Once you have had one or more introductory courses on the pointed brush, you are ready to improve your confidence with the tool, and make some truly graceful and expressive scripts and drawings. This course develops some variations to the basic script and script caps, and teaches you how to develop some rhythm and consistency. Music is a great way to "tune-up" your brush script using gesture and improvised strokes; with music we can build speed and hopefully start building our first "movement" flourishes. Expressive words inspire pushing and evolving the alphabet into its different variations, and students are encouraged to write a small block of writing maintaining a particular style. Drawing from figures or objects increases your observational skills and helps you find more of the nuances the pointed brush has to offer. The end result of these exercises will be a composition incorporating letters and illustration, and developing your own unique alphabet designs.

C12
NEULAND GARDEN

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

One of the most important alphabets in any calligrapher’s "palette"—Neuland—provides the mass and contrast on which the “flowers and vines" of other alphabets can grow. We explore Neuland with large metal pens and brushes—but also with drawing tools, such as felt tips and pencils—in order to understand its structure and to be able to explore its varieties and variations. Simple Neuland with a flat edge angle is for more beginning students, while more intermediate calligraphers can manipulate the strokes to get the waisting that imitates the famous typeface. Dry embossing and cutting out a Neuland composition will allow the participant to appreciate the positive and negative spaces of this bedrock alphabet.

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CARRIE IMAI    Canoga Park, CA

B13
PLAYFUL LETTERS – The Dance of the Pen

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

So, OK—you’ve been studying calligraphy for a while. You’ve disciplined yourself to maintain pen angle, slant, proportion and spacing. Your letterforms are respectable, but they look stiff. You look at the work of other calligraphers and admire the liveliness and expressiveness of their letterforms, but aren’t sure how to get it into yours. That’s what this workshop is about. It gives you the tools to make expressive letterforms—but, better yet, gives you permission to PLAY! But this is serious play that will open up new doors and potentials to your letterforms. We will study the elements of an alphabet and learn ways to alter them to make your letterforms more expressive. We will then use those techniques plus lots of weird and wonderful new tools to innovate new alphabets. This class will help loosen you up and give you a whole new slant on your letterforms. You will risk, drop your guard, fail, succeed, make a mess, have a great time and surprise yourself with some of the liveliest and best lettering you’ve ever done!

C13
ITALIC — FORMAL TO FUNKY

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

“Italic Formal to Funky” starts with an in-depth review of the formal Italic alphabet. Individual attention will help sharpen your Italic hand. We will study each of the components of the alphabet—what makes it look the way it does—and use this information to determine how your personal Italic can be improved. We will then use those component parts as a basis for a series of simple, fun exercises to explore the boundaries of each component. You will discover ways to give your lettering expression and personality, stretch your perception of what Italic is, and broaden your vision of what it can become to give you the tools to commit emotion to paper through lettering.

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MIKE KECSEG    Chicago, IL

B14
COPPERPLATE: BEYOND THE BASICS

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: Beginner/Intermediate (some experience with the pointed pen required)

Once the basics of this distinctive hand have been learned, the next step is to expand our ideas of what Copperplate should look like. Students will decide between keeping those things that are characteristic of a traditional Copperplate and pushing the limits of how much they can change shape, slant, spacing, size, proportion, weight and texture and still retain a Copperplate “look.” Further experimentation will include variations of the capitals, ascenders and descenders, flourishing and working with non-traditional layouts, materials and techniques. We’ll also get inspiration from historical examples, typefaces and our own handwriting.

C14
CONTEMPORARY POINTED PEN

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: Intermediate/Advanced

The pointed pen is thought to be a tool used to create traditional letterforms. You will explore the many exciting possibilities the pointed pen can offer if you're willing to break with that tradition and create forms that are more contemporary. You will begin by concentrating not on letterforms, but on making marks as a means to gain control over the tool and understand its unique qualities. Gradually you will work towards translating these marks into letterforms through a series of exercises. Develop a confidence with the pointed pen, be capable of controlling the tool, and investigate the pen's creative potential for the future.

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SHERRI KIESEL     Cleveland, TN

B15
MINIATURE PAINTINGS: Watercolor, Gestural Line and Collage

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

Learn how to create intimate, small paintings to highlight your journal pages, illustrate text or to stand alone as a work of art in its own right. This workshop covers the step-by-step creation of miniature paintings that can accompany lettering in a variety of ways, and highlights a monoline Roman alphabet used to create a frame of letterforms that can surround the painting. On the first day, the focus will be on the paintings themselves. Using simple line illustrations, watercolors, bits of collage, gestural line, etc., the paintings will be built up in translucent layers, creating a delicately colored, multi-layered miniature painting. A flowing line of script will be added to create walls to contain color. The first day’s goal is to give participants a “vocabulary” of shapes, textures, rhythms, color and image with which they can then explore and build on to create their own unique works of art. In the next day and a half, the participant will take the elements and begin the process of defining a unique style. We will focus on ways these jewel-like paintings can be incorporated in your work. We will refine technique and explore some of the subtleties of working small. We will explore the possibilities of a simple Roman monoline alphabet that can be used to create a frame of text around the painting, especially effective with haiku poetry. The informal Roman forms are created especially to fit into a frame of text that uses a simple ruled line to create a frame that will hold color complementing its “framed painting.” We will add touches of gold leaf to illuminate our work. Time will be built into the day to allow students time to play and use the previous day’s numerous techniques to make this art form their own.

C15
PENCIL LETTERFORMS: Delicacy, Dimension & Discovery

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All (some experience with Roman letterforms helpful but not essential)

This workshop’s focus is on monoline Roman letterforms—stacked, overlapping, cascading—creating a lace-like texture on the page with words. We will explore the use of pressure and release to further define the delicacy of these forms, as we work with various pencil media, including HB and B lead pencils, carbon pencils, graphite wash and water-soluble colored pencils. We will spend time exploring the “playfulness” of this alphabet as we intersperse text with lowercase forms, create focal points with stroked Roman forms and spend time working on a condensed version to add alternating texture to the page. Complementary background texture on the page can be achieved with something as simple as a pale gesture mark executed with a wide brush and watercolor, or the quiet grays of suminagashi marbling with sumi ink—to the building up of a soft, layered background using pastels and a torn paper mask—to a simple understated paste paper and collage background. All lend themselves to the delicacy of the pencil-drawn letterform and the simplicity and clarity of the third element of this workshop...the words. Some of the most beautifully subtle and elegant thoughts and words are found in Japanese poetry. We will look at haiku verse for inspiration, as each participant selects poems to illustrate with subtle imagery and delicate pencil lettering. The goal of this workshop is for students to experience the slowed pace and sensuality of writing with pencil on paper, and the heightened awareness of form, shape, texture and space. A basic understanding of Roman proportions and form is suggested.

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JUDY MELVIN    Oakmont, PA

A11
IMPROV STUDIO

LENGTH: 5 days, Sunday-Friday
LEVEL: Intermediate/Advanced

If you are interested in something other than a structured class, have drawers of unfinished work, or just want to be nudged to a new level, sign on! Early mornings will be spent brainstorming, sharing ideas and choosing a daily theme. As you look with new eyes at old solutions, you will create new, finished art each day, work on developing a series, and create a reference folio. We will use tricks and techniques or learn new ones. The focus is on adding to the individual vision of each artist. The IMPROV will be fast-paced, electric and fun! Collaborations are also encouraged. Come and celebrate the joy of creating and opening your mind to new solutions and ideas.

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JOAN MERRELL    Jefferson City, MO

C18
CALLIGRAPHIC PAPERCASTING

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

You can master a simple technique that creates elegant multiples of your work with lettering made from the paper itself. Castings are popular sellers, and the molds can also be used to make white line prints, to stamp leather for bookbinding, or other applications. Participants will start with quick step-by-step examples to learn how the process works in its many variations, what affects legibility and clarity in a casting, how to make a mold that releases cleanly, etc. Test castings will be analyzed to learn how to adjust or refine the molds, and then each participant will make a project of their choice. We will play with colored pulp, stamping and layering, and discuss how to create 3D shapes, textures and backgrounds, as well as ways to use castings—from books to jewelry to large combined wall panels.

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CHERRYL MOOTE    North York, Ontario, Canada

C19
SLEIGHT OF BINDING

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Do your books do tricks? After you take this course, your books and cards will flip, slide, turn, revolve and just generally astound all who see them. You will learn how to create flexagons and other books that contain folding tricks, making them absolutely unforgettable. Some of the projects covered in class will be hexaflexagonals, quatrigons, kleidocycles, Jacob’s ladders, gallery books and woven accordions. These wonders require special consideration for text placement and lettering styles. Some class time will be devoted to working out appropriate lettering that will work in a fluid way.

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CHARLES PEARCE     Eureka Springs, AK

A12
A FUNNY THING HAPPENED ON THE WAY TO LETTERFORUM

LENGTH: 5 days, Sunday-Friday
LEVEL: Intermediate

A slightly madcap approach to Roman capital letters, using brush and acrylics on canvas. Forget the fear and have fun instead. Paint your way out of that dread of monumental capitals!

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VICTORIA PITTMAN    Gold Canyon, AZ

C21
TORTURED METALS, TANGLED WORDS: Metals Collage

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Incorporate metal, textures and color with traditional and non-traditional elements as you create exquisite metal leafed papers on acrylic backgrounds. Use transfer techniques and patinas to further develop surfaces. Find new freshness in your work through an intuitive design approach by working with carefully selected fragments, letterforms, natural and industrial objects, copper and brass and silver sheet. Genuine silver, gold and palladium leaf will also be used. Fun, creativity and exploration will culminate in finished mixed media collage or assemblages.

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IEUAN REES     Ammanford, Wales UK

A13
MAKE THE SCRIPT YOUR OWN

LENGTH: 5 days, Sunday-Friday
LEVEL: All

In the first half of the workshop, we will experiment by holding the pen and nib at varying angles with both small and large nib sizes and at different speeds, rhythms, tempos and moods. As a result of the experiments, it is hoped that we will discover and achieve many of the feelings and characteristics of some historical scripts such as Carolingian, Uncials, various Italics, especially the pointed Italic, without the need to refer to alphabet sheets. In the second half of the workshop, we will learn how to adapt and personalize scripts to suit the dictates of both commissioned and personal work.

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STEVEN SKAGGS    Louisville, KY

A15
IN OUR OWN WORDS -- Exploring Our Inner Voice

LENGTH: 5 days, Sunday-Friday
LEVEL: All

Have you ever wondered why it is that calligraphers search everywhere for texts, when, as the old adage goes, everyone's life would make a good novel? We try so valiantly to express OTHER people's feelings! ’Twasn't always so, of course. The great Asian calligraphers frequently voiced their own thoughts in their brush scripts. And can you imagine what the original verses of Rumi must have looked like? Handwritten passion! I know, it's scary isn't it? But what if you had a guide who could help you dip into those waters of your inner voice (only as deep as you cared to go)? What if you spent five days exploring both your visual and your verbal language, studied the interplay between them, and pushed your creative envelope on both fronts at the same time—in a non-threatening, supportive, fun atmosphere? That's what this workshop is all about.

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MICHAEL SULL   Mission, KS

B23
LEAF, VINE AND FILIGREE BORDER DESIGN

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

Techniques for drawing traditional acanthus leaves, scrolled vine patterns and filigree designs as were featured in 19th century American certificate engrossing will be explained in detail. Through demonstration and instruction, participants will learn how to successfully use these forms of ornamentation for use in borders, as decorative space-fillers, and as lettering accents. Subjects included are: principles of curvature, leaf and scroll design, techniques for adding texture and dimension, making symmetrical patterns and useful applications in calligraphic art.

C23
SPENCERIAN AND FLOURISHING

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Spencerian Script and Off-Hand Flourishing were the most attractive and graceful forms of vintage penmanship in 19th century America. Join us to learn the proper methods to produce this beautiful handwriting-–in letters and design-–from a century ago! Subjects included in the class will be: proper use of the oblique penholder, pen point and ink selection, principles of Spencerian writing, concepts of curvature, movement and contrast, traditional and alternate letterforms, traditional flourishing techniques and patterns, introduction to signature writing and use of color.

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JACQUELINE SULLIVAN    Lake Orion, MI

B24
MARKS 'n METALS

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

“Art in Motion.” That’s what we’ll be creating in this workshop! Give your works “the Midas touch” using textural faux metallic techniques. Students will learn to make “patina papers”—a type of paste paper that looks like metal! We’ll also work with some real metals, learning to etch, emboss and write on copper and brass. Paper, acrylics, metals, foil and leaf will work together with calligraphy and calligraphic marks to build reflective mini collages. These collages will then be used to create a Jacob’s ladder book—a moving sampler of the various techniques!

C24
CALLIGRAPHIC COMPOSITION

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

This is a class about the design and layout of the calligraphic broadside. Design fundamentals will be taught and practiced using various calligraphic styles and creative watercolor backgrounds. After creating a background with experimental watercolor techniques, students will arrange all elements of their broadsides to achieve a unified whole that will invite the viewer to read and respond to the work. Class discussions will include how the content of the work relates to human emotion and the intellect. Students will work with color, becoming aware of how color evokes an emotional response in the person who is viewing their work. Choosing the appropriate calligraphic style for the text will be discussed. Does the style feel romantic? angry? hard? soft? The handouts for the class will be presented in a wire bound book. This book will include actual tipped in sample techniques of the watercolor backgrounds. This will give students a permanent reference source, so that knowledge gained in class can be continued in their future work.

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PETER THORNTON     Lichfield, England

B25
CREATIVE AND EXPRESSIVE LETTERFORMS

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

The ability to write/draw letters well and legibly has been a key requirement for over 2,000 years. However, as individuals, our needs and uses for these 26 symbols have changed from the purely functional/utilitarian to the more personal, emotive and creative. It is with this “expressive potential” in mind that this class will be directed and encouraged. Beginning with the humble pencil and with colours through to the many edged pens, etc., we shall learn to produce a variety of moods and “flavours” from the quiet and sensitive through to the bold, dynamic and exciting. Allied to working on this most versatile letterform will be projects and exercises exploring the seven basic elements of contrast and layout and design which will be brought together in the production of a small “sampler” book.

C25
TEXTS AND TEXTURES: A Balance Between Beauty, Legibility and Visual Interest

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: All

Using both the conventional broad-edged pen and the relatively new folded ruling pens, we shall begin with a gentle and logical series of exercises exploring some simple and basic textures—before moving on to the more visually arresting and exciting aspects involved when letters, words and texts are thoughtfully juxtaposed. Allied to work on basic letterforms (both capital and lower case of your choice) containing both legibility and beauty will be forays into the third criteria, visual interest, an area of calligraphy to stimulate and provoke a wider range of dialogue between the words and the viewer. A feature of the class will be work and projects exploring the third dimension—i.e., layering and overlapping words/texts, thus inviting the eye and mind “into” the text and not to simply skate over it.

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JULIAN WATERS     Gaithersburg, MD

B26
BASIC BLACK: Introduction to Blackletter 1

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

The workshop will introduce the basic principles of Textura writing, based on historical and 20 th century northern European work. We will concentrate on the balance between black and white as we build strong rich textures of writing. Historical sources will be used for reference but not for slavish copying. This will be a structural, modular approach to compressed lettering, offering interesting graphic potential for contemporary uses and for just plain fun! Time permitting, we will do a paper cutting exercise, which reinforces the graphic qualities of blackletter.

C26
BEYOND BASIC BLACK: Introduction to Blackletter 2

LENGTH: 2 ½ days, Wednesday-Friday
LEVEL: Intermediate

This workshop will begin with a review of the principles of straightforward Textura writing. Then we will branch out into variations of style, moving toward the later Fraktur styles, exploring ways to make our writing more fluid and expressive, more subtle and sophisticated. To that end, we will address techniques of cornering, weight modulation and stroke rotation, with restraint. Regardless of style or technique, we will focus on creating vibrant cohesive textures and having fun with this exciting form of calligraphy. This workshop is all about developing an understanding of how structural elements and spatial relationships can come together to make our work more effective.

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SHEILA WATERS     Fairfield, PA

A16
WRITING AND ILLUMINATING ON VELLUM: Techniques of Preparation and Completion of Decorated Initials with Gilding

LENGTH: 5 days, Sunday-Friday
LEVEL: All

The finest vellum is carefully prepared calfskin and is a most rewarding and delightful surface for calligraphy and miniature painting. Most calligraphers never allow themselves to try it because it is so expensive. This course will remove fears as we move stage by stage from preparation of the surface to tracing down a design and completing with gold leaf and pigments. We will use stick ink, gouache and watercolor, experiment with detail painting with small brushes and writing very small with crispness, gilding with acrylic mediums, making our own patent gold and erasing successfully. A finished project can be a decorative initial letter, with or without a quotation. Ideas can be developed ahead of time so that you design your own pieces; or you can work from tracings of choices of historical illuminated letters that will be available.

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GWEN WEAVER    Virginia Beach, VA

B27
ROMANTICALLY ROMAN

LENGTH: 2 ½ days, Sunday-Tuesday
LEVEL: All

Those mighty Romans! How sweet with the pointed pen! The purpose of this class is to explore the strength and flexibility of the pointed pen, not only in its traditional forms but also in traditionally non-pointed pen styles. Letterforms that are normally executed with a broad edged pen take on a whole new flavor and presence with the pointed pen. Those dignified and glorious Romans, with or without serifs, so formal and aloof, fairly dance off the page when dripping out of a pointed pen. Their energy can hardly be contained.

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