It wasn’t just a guild that was started 48 years ago (1976). It was a movement. A major part of an even larger undercurrent within the United States to introduce training of the calligraphic and lettering arts. Unlike Europeans or Asians, Americans did not have direct exposure nor a dynamic hands-on access to artifacts and exemplars, or in-depth historical study of calligraphy. Not really—more of a static observation through books, and very few at that during this time.

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British import Sheila Waters must have sensed this, perhaps with bemusement, when she, along with her beginning group of students, initiated a rapidly growing study group. She introduced an astonishing world, doing what she does best: imparting knowledge, instruction, application, and critical analysis of classical broad-edged hands. 

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This small study group would formally organize and become charter members of the Washington Calligraphers Guild in 1976, with Sheila being its first president. Its quality, vision, and presence have since spread internationally, becoming a creative force at a multitude of calligraphy conferences; and offering promotion of skills, up-and-coming talent, and trends within its published journal, Scripsit.
 

Contemplating these past decades, this guild has influenced the artistic voice and career paths of many of its members (my own radically included). It has expanded in membership and scope, embracing other related arts such as book forms, pointed-pen lettering, flourished decorative handwriting (“modern calligraphy”), abstraction, and illustration—all of which are represented by the artworks of WCG members included in this 45th Anniversary Scripsit. 

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~ Tamara Stoneburner, from the introduction to Scripsit 45th Anniversary issue