Cost (USD)
Course Member Non-Member Dates Instructor(s)


Calligraphy by Luca Barcellona

Normally the Washington Calligraphers Guild offers workshops in the spring and fall, taught by internationally renowned calligraphers and held at various locations in the Washington, DC area. But due to COVID-19 restrictions, the WCG has canceled all in-person workshops in 2020. Instead, we are pleased to offer the following online workshops.

Enrollment in online workshops is limited to WCG members only.
🙡 How to join WCG 🙣

Register online below with a credit card via PayPal

If registering via PayPal on behalf of another person, please inform Janice Reyes of the workshop participant's name and his/her contact information.

Telephone and email registrations are not accepted, but if you have questions:

▶ Contact Janice Reyes for registration questions or the status of any workshop.

▶ Contact Kacie-Linn Engle with questions about workshops (content, supplies, etc) or suggestions for future workshops or workshop locations.

Registrants are enrolled according to date received. There may be limited space in each workshop, so late registrants will be notified that they are on a waiting list.

PLEASE NOTE: WORKSHOP FEES ARE NOT REFUNDABLE except when the WCG or the instructor cancels the workshop. If a registrant cannot attend, the fee is not refunded unless the registrant can find a substitute to take his/her place. Contact Janice Reyes to see if there is a waiting list for the workshop.

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2020 Workshops
Joy to All

Pat Blair


Italic for beginners

January 31 (Friday)
Vienna Arts Center, 9:30 a.m. – 4:30 p.m.

Skill Level: Beginner

Class Description
Hand-lettering is unique, personal and expressive and provides a special touch to invitations, correspondence and artwork.

In this class, you will learn the italic hand, which is an alphabet developed during the Italian Renaissance. Its beauty lies in the pleasing contrast between thin and thick strokes, the gentle slant, and oval-based letters, and is an excellent choice for those who seek artistry and legibility in their work.

Starting with the basics, students will learn how to hold the broad-edged pen, how to understand the relationship between proportion and slant, how to choose paper and inks, and how to construct the letterforms. Beginners may also enroll in the weekend workshop to continue their studies.

Supply List: See below for supplies and Materials Fee.

Italic for intermediate/advanced

February 1-2 (Saturday and Sunday)
Vienna Arts Center, 9:30 a.m. – 4:30 p.m.

Skill Level: Intermediate to Advanced

Class Description
We will study the complete lower-case alphabet, after which we turn our attention to the delicate capitals. Variations will be explored as we add some capital variations and learn how to add grace and lightness with some flourishing techniques.

Supply List

  • straight pen holder
  • Nibs - Speedball C-2, Mitchell 2.5 and 3.5
  • Higgins Eternal Ink or Sumi Moon Palace
  • Canson Pro-Marker Pad, 9x12

Materials Fee: $2 per student for handouts and folders.

About Pat Blair
Pat served 12 1/2 years as the Chief Calligrapher at the White House in Washington, D.C., directing the production of invitation and menu design for all official and social presidential events, calligraphy of place cards, invitations and menus, certificate and resolution design as well as production of programs and tour books. She served two years as the President of the Washington Calligraphers Guild in Washington, DC, was for five years the chairperson of the Graceful Envelope Contest, and served as co-director for the 2006 International Lettering Conference, Letterforum.

Her work has been published in the Calligrapher’s Engagement Calendar, Letter Arts Review, Top 100 New York Calligraphers, Grolier Club Calligraphy Revival, and Martha Stewart Weddings, among others. She teaches at the Loudoun Academy of the Arts, and has been on the faculty of at least 10 International Calligraphy Conferences.

Pat’s workshops emphasize the grace and elegance that letterforms can achieve by paying close attention to the beauty of the form. She has been awarded the title Master Penman by the International Assoc of Master Penmen, Engrossers and Teachers of Handwriting for her work.


The Digital Quill shown on a laptop

From ink to pixels

Christen Turney


The Digital Quill: Digitizing Calligraphy

February 22 (Saturday)
Columbia Art Center, 9:30 a.m. – 4:30 p.m.

Skill Level: Beginner to intermediate (intermediate computer skills required)

Class Description
Take your designs from pen and ink to pixels and points. This class will bust common design myths (good news, you don’t have to vectorize everything!) and cover the basics of design so you can confidently set up calligraphy projects for both web and print. We will walk through the fundamental functions of Adobe Photoshop, Illustrator and InDesign. Students will head home with an understanding of how these programs shine on their own and work in harmony with one another. Skills learned in class include removing the background from your calligraphy and cleaning up and tweaking letters in Photoshop, building letters and other design assets in Illustrator and laying out complete designs in InDesign.

This class has been developed for students who would like to digitize their own work or desire a better understanding of the process when working with printers and other vendors. Whether you write in pointed pen or with a broad edge, the same principles of digitization will apply to your work. You will receive a zip folder with project files prior to class so you can follow along with the instructor. The course will be guided using the most recent version of Adobe Creative Cloud software.

Supply List

  • A laptop with Photoshop, Illustrator and InDesign from Adobe Creative Cloud (we will cover all three programs in class)
  • You may download a 7-day free trial of Adobe Creative Cloud for the class. Download here.
  • A writing specimen of a name. You may bring supplies (see optional supplies) to work on this while Christen demonstrates the process, or you can bring a word or name you have already written.
  • Pen and notepad for note taking
  • Tracing paper (just a sheet or two)
  • A colored pen or pencil for marking up work

Optional Supplies
These supplies are recommended when writing specifically for duplication.

  • Semi-translucent bond (Borden and Riley Marker Layout #37) or your favorite white paper.
  • Your favorite ink. (I recommend Sumi Moon Palace when scanning work for digital use, however; any ink will work for the class)
  • Your favorite pen holder and nib. Both broad edge and pointed pen will work for class.
  • Ruler or t-square

About Christen Turney
@thecalligrapherchristen | @thecalligraphypodcast | alloccodesign.com

Christen is a penwoman and calligraphy teacher in Norfolk, Virginia. From the moment the tines of her pointed pen nib split, she was hooked on calligraphy and has not looked back. She is a member of the Washington Calligraphers Guild and IAMPETH (the International Association for Master Penmen, Engrossers and Teachers of Handwriting) and loves sharing about calligraphy and handwriting with her local community, guild and beyond. Along with Ajab Rajvir Jandiala, Christen is the is the co-host of The Calligraphy Podcast, a bi-weekly podcast for calligraphers that features topics about all styles of calligraphy and interviews with special guests from around the world.

Christen works in both broad edge and pointed pen calligraphy, but has a particular love for Copperplate and its variations. As owner of her small business, Allocco Design, Christen specializes in traditional calligraphy scripts and offers branding and design packages that combine both handmade and digital elements. Christen also works in marketing and advertising at Old Dominion University where she designs billboards, web ads, newspaper ads, and everything in between. She has been working with Adobe design software for over 15 years and is honored to show you her process for digitizing calligraphy and utilizing handmade assets in digital design.


Xs and Os

Leaves

Alessandra Echeverri


Letterpress Poster Workshop

February 23 (Sunday morning)
Typecase Industries, 10 a.m. – 12:30 p.m.

Skill Level: All are welcome

Class Description
Typecase Industries' most popular class will teach you the craft of letterpress through typesetting. This fun and beginner-friendly workshop lets you play with chunky wood type and woodcuts to create your very own artist prints. Nothing preset! It's all up to your own creation! In small groups, you will design and print your own posters on our Vandercook letterpress machines.

Included bonus polymer plate, see below.

Letterpress Linocut Workshop

February 23 (Sunday afternoon)
Typecase Industries, 1 p.m. – 4:00 p.m.

Skill Level: All are welcome

Class Description
This super fun and hands on class teaches you the art of linocut printmaking. Using mounted linoleum blocks, we take you step by step through the process of design, carving and printing to create your very own set of small prints or notecards. You will learn the basics of printing on our Vandercook letterpress machines. Take home an edition of cards or prints.


BONUS! Alessandra will make a polymer plate for everyone taking either workshop. This is the plate Typecase Industries creates when a calligrapher brings in art for letterpress printing. So once you sign up for one or the other class, you’ll send your pdf lettering to the workshop chair, Kacie-Linn Engle, who will forward them to Typecase. On the day of the workshop, you’ll get to print your own lettering as well as what you create in class.

Location
Both workshops on location at Typecase Industries, located at 2122 8th St NW, Washington, DC 20001.

Nearby street parking is free on Sundays. There are also pay garages nearby, and two Metro stops, Shaw/Howard and U Street, off the green and yellow lines.

There are also places to eat just around the corner.

About Typecase Industries
Typecase Industries is the leading full service design and letterpress print shop in Washington, D.C. Founded in 2012 by three close friends with a passion for print, we're dedicated to producing high-quality paper goods and fostering creativity. From wedding invitations and business cards, to hand-lettered die-cut masks and hand-bound books, we're up for anything!

Our teacher for the day will be one of the owners of Typecase Industries, Alessandra. With a background in printmaking from the University of Maryland, Ale brings a keen eye for detail and organization to the business. Stemming from her Colombian heritage, her work is colorful and pattern-driven. She loves printing, and is often assisted by her two tiny chihuahuas. Ale also studied at the Corcoran College of Art + Design, where she gained Master’s Degrees in book arts.

A few of our clients: Gordy's Pickle Jar; Miss Pixie's; Toki Underground; Maketto; Salt & Sundry; The Library of Congress; Kit & Ace; Counter Culture Coffee; Ace Hardware; One Eight Distilling; Constant Coffee & Tea; Capitol Romance; Shinola; West Elm.


Niente Senza Gioia

Julie Wildman


Layout and Design for Calligraphers
What's Next? How to Create a Finished Piece

March 28-29 (Saturday-Sunday)
Home of Thu Nguyen, 9:30 a.m. – 4:30 p.m.

(address given when you sign up)
Gaithersburg, MD

Skill Level: Intermediate to Advanced (knowledge of at least one calligraphic hand is required)

Class Description
Ok, so you’ve taken a few lettering classes and have a few hands under your belt. Great! But what’s next? You’ve seen all the beautiful work in the lettering magazines and the art exhibits and wonder, “Will I ever be able to do that?!” The answer is “Yes!” and this class will show you how.

Using favorite tools and a favorite quote, Julie Wildman will lead students through a series of exercises that will focus not only on the lettering but on layout, composition, and the negative space that is created. Principles of graphic design will be introduced as we discuss where the next letter or word should go; where and when to apply color; and the steps it takes to get to a finished piece.

We will use your favorite tools to work with black on white, white on black, walnut and sumi inks, and watercolors, as well as different papers.

In the first part of the class, we will all work together on various exercises. The second part of class will be more individual instruction as each student begins to develop his or her specific piece, finishing with a final layout that could be matted and framed.

Supply List

  • Calligraphy tools of choice (bring several different types--broad-edged nibs and brushes pointed pens and brushes, and experimental tools like cola pens, broom bristle pens, etc.)
  • Small bottle sumi ink
  • Small bottle walnut ink
  • 2 Fineline Applicators (preferred size: 20 gauge/.5mm)—Available thru John Neal, Paper & Ink, Blick. (I will be bringing some medium for one of these. Student will fill the other with medium of choice.)
  • Layout paper or any paper on which you can sketch lettering layouts
  • Pencil and eraser
  • Several sizes of Micron black pens (.005, .01, .02)
  • 12” or 18” metal ruler
  • T-square
  • Some watercolors and gouache (whatever you have)
  • Colored pencils (set of 12 is fine)
  • 6-well paint tray
  • 9 x 12 pad tracing paper (50 sheets minimum: cheap—may be shared between 2 people)
  • 9 x 12 pad Bienfang Graphics 360 Translucent Marker Paper (a 50-sheet pad is about $8 on DickBlick.com and may be shared between 2 people)
    OTHER BRANDS: Canson Pro-Layout Marker Paper, Borden & Riley Boris Layout Paper for Markers, or any type of marker paper that is smooth and doesn’t bleed
  • 3–4 small yogurt or plastic containers for inks
  • Lots of 11 x 17 practice paper (copy paper: a ream could be shared between 3-4 people)
  • X-acto knife and a couple of #11 blades
  • Cutting surface
  • Glue stick
  • Cheap mixing brush
  • Roll of ¾” drafting or blue painter’s tape (may be shared with 2–3 people)
  • Roll of paper towels
  • Water container
  • A couple of favorite quotes and favorite words
  • Fine Papers — 1 of each, 22 x 30:
    • Arches Text Wove
    • Canson Mi-Tientes (Black) or another nice black paper. Arches Black cover is nice, but expensive.
    • Nideggen

Materials Fee: $12 per student, payable at the workshop.

Instructor Will Supply:

  • Metallic gouaches
  • Watercolors
  • Medium for fineline applicators
  • Various calligraphic tools (for students to try)
  • Handouts

About Julie Wildman
Julie Wildman is a highly regarded professional in the fields of graphic design, commercial lettering, calligraphy and workshops. Her studio is in northwest Indiana, only 30 minutes from downtown Chicago.

Her calligraphic interest began in the late ‘80s after a friend gave her Timothy Botts’ book “Doorposts,” and she saw the written word illustrated in such a way as never before. About ten years later, she had the privilege of taking a year-long class with an internationally known calligrapher and was hooked. She joined the Chicago Calligraphy Collective soon after and embarked on a lifelong journey of studying letters.

Since then, her work has been exhibited in juried shows throughout the Midwest and the U.S., including the Newberry Library in Chicago.

In 2007 and 2014, her pieces “Psalm 117” and “An Alphabet Book,” respectively, won the Newberry’s Purchase Prize Award and became a part of the Library’s permanent collection. Her work has also been published in several issues of Letter Arts Review, as well as Bound & Lettered, a publication featuring the works of accomplished calligraphers and book artists.

She loves line, shape, color, texture, paper, ink, and paint and often can’t believe she gets to play with them for a living! She enthusiastically shares her love of “beautiful writing” with young and old by teaching calligraphy for staff development classes, on-site promotional events, community programs and personal growth workshops throughout the Chicagoland area, U.S., and Canada.

For a complete curriculum vitae and to see more of her work, please visit her website at wildmandesigns.com


Journals


Open Journal Page

Randy Hasson


The Layered Journal
Acrylic Techniques on Heavy Papers

April 17 (Friday)
Columbia Art Center, 9:30 a.m. – 4:30 p.m.

Skill Level: All

Class Description
This class begins an experimental journal book that can be the foundation (or inspiration) of work in the future, or in conjunction with the upcoming two-day workshop. We will explore effects from a variety of media (including Sumi, walnut and acrylic inks, acrylic paints, mediums, graphite, colored pencils and permanent markers) to achieve depth, coloration and textural effects. The use of alternative tools for making marks and alternative materials for pattern and design are encouraged.

Using mostly abstractions, we will address page to page transitions and ideas for creating a cohesive and progressive composition. We will discuss the reasons behind design decisions, color choices, and textural effects and how they relate to the text(s) or subject matter.

A fabulous ground for artwork, we will use the Mahara Watercolor Journals for textural and textual effects on heavy papers.

Materials List
I will be bringing a wide selection of acrylic products for the workshop. Mediums, gels and pastes will be provided as well as some samples of paints including Golden’s Fluid Acrylic and High Flow paints. There will also be basic supplies for application and techniques.

The Mahara Journal, $42, is required for the workshop. Order from Paper and Ink Arts, but if you want to email Randy, he will bring one for you and you can bypass shipping costs.

Besides your normal calligraphy supplies, here are some suggested additions – you don’t need to bring ALL!

  • Heavy (130lb to 140lb) cold press watercolor paper – whatever you have in your drawer is fine.
  • Walnut and /or Sumi inks, Acrylic ink (FW, Liquitex and Koh-I-Noor all make good inks)
  • Any of the following Calligraphy Markers: Zig, Sakura’s Calligrapher, Sakura brush pens, Pentel’s “Pocket Brush” (these listed are all permanent)
  • Brushes (see note)
  • Paint palette (a 9 X 12 or so piece of glass works well)
  • Water jar to rinse pens or brushes

Materials Fee: $15 to cover acrylic paints, mediums, gels and other supplies

Definitions and Notes: For acrylic techniques on heavy papers, please bring the Mahara Journal and/or the heavy watercolor papers suggested above – because there is drying time involved, as paint dries on one application or technique we can work on the other.

Acrylic Paint: I will be providing samples of Golden fluid and high Flow paints. You are also welcome to bring any you have - either in tube form or in “concentrated artist’s colors.”

Brushes: Check your own inventory…you probably have something that will work. You’ll use a 1 to 1½” flat brush for laying down color, and perhaps smaller flat brushes for lettering if you want. Get brushes for acrylic as opposed to those designed primarily for oil. A GREAT and inexpensive brush line is Simply Simmons (Paper and Ink has 4 sizes from 1” to #10) https://www.paperinkarts.com/simmons---1.html

Trays: The little round palette trays with seven or so modules that are made of a white sort of ceramic material as opposed to plastic. Also, the rectangular baked enamel metal “art” trays are useful (usually white trays with blue around the rim). The reason for ceramic and the baked enamel is that they clean up well with acrylics and Fantastic or 409.

About Randall Hasson
Randy brings a unique perspective to the Art world. His use of calligraphy combined with illustration creates a feast for the eyes and a depth of composition that can take the viewer to multiple levels of interpretation. The written word in text form is used in his paintings to create impact visually and emotionally, while inviting the viewer to “discover” elements over time that are not readily discernible at first glance. These paintings “inspire conversation” according to Randall’s collectors.

Symbolism is very important to me and to this end, the research of the text in combination with the illustrations and the overall composition play a vital role in my work. I want my paintings to have different levels for the viewer to experience, from visual to conceptual, so that one can continually discover new elements as time passes.

Randall studied art briefly in college before going into the business world as a sales representative for the insurance industry. After 12 years away from art, he was formally trained as a Calligrapher, and eventually returned to school to obtain a Bachelors in Fine Art. He has appeared on the faculty of sixteen International Lettering Arts conferences as a lecturer and teacher. The C.S. Lewis Foundation invited him to Oxford, England to speak about his painting during their Oxbridge conference. He has served as juror for art shows such as the 2009 five-state competition Texas and Neighbors and the Albuquerque State Fair.

Various publications have carried examples of his work, including Somerset Studio Magazine, Ranch and Coast Magazine, Art and Antiques Magazine, Décor and Style, Scripsit, Bound and Lettered and Letter Arts Review. His work has appeared in books, both as cover artwork Praying For Israel’s Destiny” by James W. Goll (Chosen Publishing), The Art Of Singing by Jennifer Hamady (Hal Leonard Publishing), and his painting Forever also appears in Art Journey: New Mexico. He has also appeared in The History of Calligraphy DVD and has a cameo writing appearance on the special features section of Disney’s “Pirates of the Caribbean” DVD. (2nd DVD, “Below Decks” & ”A Prisoner’s Tale”)

His most recent projects have included writing and co-editing the 24th (Centennial) Edition of The Speedball Textbook. That project led to finding the archives of Ross F. George, inventor of the Speedball Pen, and the authorship of his first solo-project Teaching America How to Letter: William Gordon, Ross George, and the Story of the Speedball Textbook, due to be published by the Letterform Archive soon.

[email protected]


Writing with a Bent Nib

Randy Hasson and Michael Clark


Bent Nib Workshop

April 18-19 (Saturday-Sunday)
Columbia Art Center, 9:30 a.m. – 4:30 p.m.

Class Description
The bent nib has amazing possibilities! Participants will explore tools and techniques that created distinctive lettering styles and characteristics of commercial letterers in the 1920s and 30s based on the series of Speedball textbooks and other early lettering texts. Using pen nibs developed with square, round and oval shaped points as well as our familiar broad edged tools, we will translate the traditional techniques of calligraphy and adapt them to lettering of all types, from elegant monoline scripts and italics to blunt-edged and playful roman forms. We’ll look at the construction of characteristic early 20’s drawn alphabets and bold-faced display lettering using multiple strokes.

We will also use these nibs to create contemporary and inventive letterforms. By using pen lifts and pen manipulation, participants can create a number of unique effects including scripts that mock brush lettering, give unique effects, and create both bold and delicate abstract forms.

Participants should come away from this workshop with the ability to add to their repertoire new lettering techniques, vintage styles and new lettering styles that are accomplished with a variety of historical tools.

Supply List

  • Speedball A, B and D nibs, variety of sizes but at least a 0, 1 and 3 of each. Would suggest a complete set if possible (not required as we may not use all sizes).
  • Dip pen holders and assorted broad edged nibs (would suggest Speedball C-4 and 5).
  • Nicely flowing inks like walnut or sumi.
  • Pigma Calligraphers, Speedball or other nylon-tipped pens are okay.
  • Basic Calligraphy Supplies; Water containers, ruler and triangle for layout, graph paper, other papers that you like.
  • The Mahara 11 X 15 Watercolor Journal will also be a fine working surface if you have one. You can purchase through Paper and Ink Arts, or email Randy directly ([email protected]) and he will bring one so you can save on mailing costs.

Materials Fee: $15 materials fee covers full-color bound handout for the class.


Calligraphic example
(Click above for full image)

Letters are Symbols

Julian Waters


Opposites Attract:
When Gothic Meets Uncial

May 15-17 (Friday-Sunday)
Waters Home Studio, 10 a.m. – 5 p.m.

(address given when you sign up)
Fairfield, PA

Skill Level: Intermediate to advanced.

Class Size: Limited to 12 participants.

Residential Option
$50 per night per student to sleep in shared bedrooms, including breakfast. This separate $50 fee is to be paid by each student directly to Julian Waters. We can sleep up to 10 guests here if necessary, mostly in shared rooms plus two singles for people with special needs. Students can bring their own lunches, shop locally and use local restaurants for dinners.

Class Description
Uncials and Gothic (blackletter) may seem very different, but they go together extremely well. When you want a clear, more readable look, Uncials can substitute for more intricate Gothic capitals, and Uncials can punctuate the text nicely by the contrast of textures. They also combine very effectively when you write alternating lines of Gothic and Uncial, in two colors, or use blocks of both styles in page layouts. Historically, Uncials were used as initials for different scripts many centuries and their shapes were the underpinnings behind the development of many of the multi-stroke gothic capitals, an aspect which forever links the two style genres. In this two-in-one workshop we will explore historical Textura and Fraktur gothic text writing, with modern variations, and clear, simple and refined Uncials, working toward strong page layouts and finished writing on good paper on the third day.

Materials
Bring your usual basic supplies including...

  • Paper
    - Smooth THIN layout paper such as Canson or Borden & Riley Marker or Cotton Comp, preferably A3 or 14 x 17.
    - Your favorite more textured "art" papers, including medium tone and darker colors.
  • Writing Tools
    - Penholders, large Speedball dip nibs (C-0,1,2), and smaller dip nibs you are comfortable with such as Brause, Mitchell etc, as is your usual preference. Large Parallel Pens are also ok.
    - Large poster pens around 1/2" such as Horizon, Coit, Automatic or equivalent.
  • Inks etc
    Higgins Eternal black ink or other non waterproof ink. You can also grind your own black stick ink and we have some loaner ink stick fragments you can use. Bring white gouache or bottled white and a couple of tubes of other color gouache such as a blue, red or green you might like to use as a second color, along with your black. Please check all your inks and papers in combination for bleeding!
  • Other
    Your basic materials including soft eraser, tissues or paper towel, old cloth/rag, water jars, guard sheet or cotton glove, notebook for taking notes, and any other items you usually like to have in your kit.

Materials Fee: $20 for Julian's special printed and bound "sourcebook" for this class.

About Julian Waters
Julian Waters is an internationally recognized expert on Blackletter. Son of Sheila Waters, Julian was one of a dozen Charter members who started the WCG in 1976. He was also a protégé and longtime friend of legendary Hermann Zapf, who chose Julian to succeed him teaching the calligraphy Masterclasses at RIT, starting in the 1980s. In 1997 Julian was Artist in Residence at Sidwell School, Washington DC. Julian has taught countless workshops for lettering professionals worldwide. He has taught typography and lettering at The Corcoran School of Art, Washington DC, Cooper Union, NY, Letterform Archive, SF, and digital font design at Wells College, NY. Julian’s clients have included U.S. Postal Service, National Geographic, agencies, publishers and memorials. His typefaces include Adobe Waters Titling Pro and “ThJefferson” for Monticello. Awards include Type Directors Club, Print, Graphis, and his work is widely published.


Hallelujah

Gemma Black


Retro Nouveau & Deco
(4-day retreat at the Claggett Center)

September 3-6 (Thursday-Sunday), 9:30 a.m. – 4:30 p.m.
Arrive Wednesday, September 2 for dinner at 7 p.m.
Course continues through Sunday at 4:30 p.m.
Claggett Center
3035 Buckeystown Pike
Adamstown, MD 21710

Skill Level: All levels of experience are welcome.

Class Description
Taking a look back on the lettering samplers of the Art Nouveau and Art Deco movements of the late 1800’s and early 1900’s we will we will start our journey with the Vienna Secessionist movement in Austria and looking at the art movements around this time. We will visit Scotland (art deco), America (Roycrofters), Germany (Jugendtstil), Sweden & Austria (Weiner Werkstätt) and look at the many artisans who excelled in bringing to the world their “new art”.

We will work with line-drawn lettering in pencil then pen and ink. We will paint with watercolour as well as gouache and enjoy the mediums, how they used to be in the early poster days of the Nouveau & Deco movements.

Supply List

  • 1 sheet cold press Arches (or other) watercolour paper 300gsm (140lb) folded and cut into 4
  • 1 sheet hot press Arches (or other) watercolour paper 300gsm (140lb) folded and cut into 4
  • PLUS: 1 sheet black or very dark paper
  • A pad of practice paper double letter size
  • A couple of small sheets of tracing film/paper
  • Gouache and watercolours (a variety of your favourite colours - tube only)
  • PLUS: any metallic colours you have tube or pan
  • A compass (you may or may not use this)
  • A clear ruler (18 inch)
  • A set of round-end nibs such as the Speedball B Series. Brause and William Mitchell also make these round-tipped nibs
  • Ink stick with grinding stone or a bottle of black non-waterproof ink
  • Graphite pencil HB or F. Highly recommended Pentel .5 mechanical pencil or similar brand.
  • Short round sable or imitation (Taklon) paint brushes sizes 000, 00, 0
  • A couple of cheap Chinese bristle brushes for mixing colours
  • A large multi-sectioned palette plastic or ceramic or lots and lots of small white mixing dishes (like tiny Chinese dipping dishes) or ice cube trays.
  • A couple of small water jars.
  • Tissues or rag and Blu-Tack/white putty.
  • A drawing board only if you wish.
  • 1 black Staedtler pigment liner 0.05 & .3 OR Copic Multiliner 0.05 & .3
  • A 5 to 8 line poem, quote or prose from late 1880’s to 1930’s (Think Christina Rosetti, Oscar Wilde, William Morris, Charles Rennie Mackintosh, Edward Burne-Jones)

About Gemma Black
Gemma is an Australian calligrapher & lettering designer and an artisan of many objects. Her love of letterforms came from her early days when her father encouraged her to draw and paint posters for his surgery. In 1991 she received a Winston Churchill Memorial Fellowship to study in Europe. She is an Honoured Fellow and Fellow of the Calligraphy & Lettering Arts Society, UK.

Gemma teaches for art, calligraphy, bookbinding and craft organisations across Australia and she has also joined the faculty at international lettering-art conferences in Italy, Germany, the USA, Canada and the UK. Her work is housed in private and public collections including the Fitzwilliam Museum, Cambridge, UK, the European Parliament, Letterform Archive San Francisco and Parliament House Canberra. She lives in Tasmania, Australia on the River Derwent.


Mike Gold: Kissing the Earth

Mike Gold


The Pointed Brush Experience

August 15-16 (Saturday-Sunday)
10:00 a.m. – 4:00 p.m.

Skill Level: All levels of experience are welcome.

Handouts: Included in the price are class-specific handouts in the form of a booklet personally signed by Mike, valued at $25. Details about receiving it will be emailed to participants after they register.

Class Description
The pointed brush is a great tool to explore both traditional and non-traditional lettering and has applications for both commercial and fine art. Participants will experiment with synthetic and natural hair brushes in order to see the benefits and uses of each. We will practice with various inks and paints and try out different writing surfaces.

We will begin with a basic pointed brush alphabet and go on to explore various ways to modify and develop pointed brush letters into readable and more abstract forms. There will be a variety of exercises focusing on ways to create both traditional and non-traditional compositions using brush lettering.

Supply List

  • At least six 11x14” sheets of Arches Text Wove or comparable
  • At least two 11x14” sheets cold press watercolor paper (he likes Arches 90 or 140 lb.)
  • Optional: couple 11x14” sheets of cover weight color or black paper (400 Series Strathmore Black Mixed Media, Canson Mi-Tientes or Artagain will also do)
  • 11x14 Tracing Paper Pad
  • Black calligraphy ink, such as Higgins Eternal (or comparable); Sumi ink (he prefers Yasutomo or Moon Palace)
  • Walnut ink
  • White calligraphy ink (he likes a mix of Dr. Martin’s Bleedproof White or Pro White and Permanent White gouache)
  • A few color inks
    Mike recommends Dr. Martin’s Tech Drawing inks (various colors, non-acrylic).
    Note: Dr. Martin’s Bombay waterproof India inks and/or any color inks with eye dropper top will also do, even if using acrylic inks.
  • Color pencils (Prismacolor or Derwent Intense are best) and/or dry pastels (a few colors) – optional, but good to have
  • Some favorite gouaches
  • Watercolor set (if you don’t have, gouache or tubes of watercolor will work)
  • Assortment of your favorite broad edge, pointed and miscellaneous calligraphy pens
  • Pentel Color Brush (non-pigmented ink, black)
  • Any pointed brushes you have (Recommended, but optional: Series 7 Winsor & Newton #3 Pointed Brush)
  • Cheap Chinese pointed brushes (optional, but nice to have)
  • Any felt tip or synthetic pointed brush markers (optional, but nice to have)

The course will cover a demonstration of all the aforementioned pointed brush tools.

About Mike Gold

Mike Gold worked as a commercial lettering designer for over 30 years, mostly in the social-expressions business. But his real passion is exploring the corridors of calligraphy that have been less traveled — the path where words and letters are design elements with which to play with line, shape and form — where creating a visual statement is more important than writing a readable text. In both his professional and personal art, he breaks traditional rules to create contemporary, non-traditional work.

Collaboration has been a feature of some of his personal work. He especially cherishes the work and teaching he did with Judy Melvin and his 25-year involvement with Scribes 8, a collaborative group based in New Mexico. Over the last 15 years or so he has worked mostly on his own, developing a practice that builds on the traditions of the past, influenced by art and artists of all kinds. Being a calligrapher in the 21st century, he has matured at a time when calligraphers are moving calligraphy in new directions and creating new traditions... just as all artists have done over time. He still makes beautiful letters and writes out texts, but also explores the abstract, the illegible, and the conceptual.

Teaching calligraphy to inmates at a women’s prison is his most unusual teaching experience. His most uncommon commission comes from Italian fashion designer Roberto Cavalli, who reproduced one of his designs on a line of clothing. Mike has an M.A. in Visual Communications and has studied with many outstanding lettering and design masters over the years. He has taught around the country and at several international calligraphy conferences. His personal work has been featured in Letter Arts Review many times over the past 25+ years. He is the author of Lines to Live By (available through John Neal, Bookseller), which is his take on being a non-traditional calligrapher in the 21st century.

To see more of his work, please go to his website mikegold-letterarts.com or check him out on Instagram @goldie2452.


Mike Gold


Contemporary Scripts

September 12-13 (Saturday-Sunday)
10:00 a.m. – 4:00 p.m.

Skill Level: All levels of experience are welcome.

Handouts: Included in the price are class-specific handouts in the form of a booklet personally signed by Mike, valued at $25. Details about receiving it will be emailed to participants after they register. This is a different booklet than for the Pointed Brush Experience.

Class Description
The goal is to look beyond the traditional, formal calligraphic model towards ways of lettering that may be more suitable for contemporary personal, commercial, and fine art applications. We examine the rules that guide formal scripts and hands in order to understand how and why to break those rules. Through a series of exercises, students practice breaking the rules to create non-traditional, informal, and even abstract letterforms and compositions. We practice with a variety of tools, writing surfaces, and media. Students will come away with a better understanding of how to critique contemporary lettering, how to create it, and how to design with it.

Supply List

  • At least six 11x14” sheets of Arches Text Wove or comparable
  • At least two 11x14” sheets Strathmore or Canson Pastel paper, soft colors (not white or ivory)
  • At least two 11x14” sheets cold press watercolor paper (he likes Arches 140 lb.)
  • 80# Strathmore 400 Drawing Pad, 11x14”
  • Black calligraphy ink, such as Higgins Eternal (or comparable); Sumi ink (he prefers Yasutomo or Moon Palace); Quink (optional; he likes Blue and Blue-Black)
  • Walnut ink
  • White calligraphy ink (he uses Dr. Martin’s Bleedproof White and Permanent White gouache) Others that work fine: Moon Palace White Sumi, Winsor & Newton White Calligraphy Ink
  • A few color inks: he recommends Dr. Martins Tech Drawing inks (various colors, non-acrylic). Note: Dr. Martin’s Bombay waterproof India inks and/or any color inks with eye dropper top will also do, even if using acrylic inks.
  • Color pencils (Prismacolor are best) and/or dry pastels (a few colors) – optional, but good to have
  • Some favorite gouaches

About Mike Gold
See above.


Talking About Music

Carol DuBosch


Love & Joy: About Ben Shahn Letters

October 16 (Friday)
10:00 a.m. – 4:00 p.m.

Skill Level: All levels of experience are welcome.

Class Description
Ben Shahn was a Lithuanian-born American artist. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content. His artwork is showcased in the classic book, Love & Joy About Letters.

Shahn used lettering throughout his artwork, in broadsides, posters and books. His lettering is quirky and lively, very much the product of a hand and not a machine. The script is easily learned and can be adapted and customized as needed for various applications. Writing the Ben Shahn Script is an adventure in lettering as well as designing. The informal, fresh look of the script is perfect for cards, envelopes, and flyers.

The 1-day class will cover the 26 capital letters of Ben Shahn Script and color blending. Carol will email a worksheet for participants to download.

Supply List

  • Pilot Parallel Pen – 6mm (Blue Cap)
  • Folded Pen – I like the Horizon Brass Folded Pen from Paper & Ink arts. This pen is available with a beautiful handle or just the nib. Another excellent folded pen is the Libelula by Luthis, available from John Neal. Other folded pens will work, so please bring what you have.
  • Ink – Higgins Eternal or Walnut
  • Layout bond paper that is compatible with your pens and inks. My favorite is Gilbert Bond from John Neal (11”x17” or 8.5”x11”)
  • Watercolor paintbox – I like Prang
  • Pencil, cotton rag, water container

About Carol DuBosch
Any day that I can open a bottle of ink, is a good day. It gets even better if I can create art, make a mark-making tool, or teach what I know to someone. Words are my muse and I love being able to use them as a lettering artist. When I hear the words, I ponder them, and savor them for a spell and then interact with them using art materials. It is absolutely the best job ever.

I have been a calligrapher in Portland, Oregon since I was first introduced to nibs and ink in 1959 as a high school art student. In the 58 years since, I have gained a degree in Graphic Design and have studied with every major calligrapher in the US and Europe. I have been teaching college level and private classes in the Northwest along with workshops throughout the United States and most recently in Italy. I have directed three International Calligraphy Conferences in Portland, bringing 500 scribes together for a week of studying and sharing.

I am interested in every aspect of the field of calligraphy, from the formal invitation to writing on walls. I enjoy seeking out ways to stretch the boundaries of my art. As a life-long learner, I am always looking forward to the next new thing.


Examples of Calligraphy

Carol DuBosch


Folded Pen Adventures

October 17-18 (Saturday-Sunday)
10:00 a.m. – 4:00 p.m.

Skill Level: All levels of experience are welcome.

Class Description
Folded pens promote expressive writing from the first marks on the page. Folded-pen script, though similar to pointed brush writing, is easier to learn and has a unique contemporary feel. We will explore several variations as well as discuss layout possibilities and practical uses. The folded pens are likely to become your favorite writing tool, as you develop a passion for expressive lettering.

Supply List

  • Folded Pen – recommended, are any of the following:
    • Horizon Folded Pen – Available at Paper & Ink as a nib only or as a pen
    • Luthis Libelula – Available at John Neal Books
    • Tim’s Pen – Radius or Mini Radius - available at John Neal Books
    • (Do not choose the Argentine, Cora or Dagger)
    • Folded Ruling Pen (N30) – John Neal Books
  • OPTIONAL: I like the Radius Cut Pilot Parallel Pens that JNB sells. I find they work quite well for smaller writing. I suggest you have one of the pens from the list above also.
  • Gilbert Bond layout paper 11x17, plain without grids – available at John Neal Books. This is simply the BEST paper for calligraphy practice.
  • Ink, non-waterproof (Higgins Eternal or Walnut)
  • Pencil
  • Paper clips
  • Ink rag
  • Bring any folded/ruling/pop can/cola pens you already have.

About Carol DuBosch: See above.


Text that says Sweet 16

Suzanne Cunningham


Beginning Copperplate

November 13 (Friday)
10:00 a.m. – 4:00 p.m.

Skill Level: Beginner

Class Description
This class is an in-depth study of the minuscules and majuscules in the Copperplate script. A true Copperplate boot camp! You will learn the foundational strokes and break down each letter to learn the correct form. You will also learn how to critique your work and learn what to look for in each letter. You should have all your Copperplate questions answered after this thorough study.

Supply List

  • Moon Palace sumi or walnut ink
  • Favorite pointed nib
  • Favorite holder
  • Borden & Riley cotton comp paper
  • Water cup
  • Paper towels
  • Ruler
  • Protractor
  • Pencil
  • Fons & Porter white pencil
  • Red pen for critiquing

Optional Supplies

  • Bleed proof white ink
  • Gold ink
  • Light pad -- but DO NOT buy a light pad specifically for this class. It is more expensive and not necessary. We will do everything that is needed without it. I will NOT be using one. Be aware that if you do bring a light pad, you may need an extension cord.

About Suzanne Cunningham
Suzanne Cunningham is a professional calligrapher with 26 years of experience. She has taught many workshops and private lessons including Letterworks 2017, IAMPETH 2018 and 2019 (also scheduled to teach in 2020 and 2021), and numerous guilds throughout the country. She has participated in workshops taught by Master Penman Jake Weidmann, Michael Sull, Barbara Calzolari, Harvest Crittenden, Mike Kesceg, Pat Blair, and Crown Office Scribe Paul Antonio. She has also taken classes from Heather Held, Barbara Close, Bill Kemp, Angela Welch, Anne Elser, Maria Helena Hotsch, Yves Leterme, David Grimes, Phyllis Macaluso, and Karen Brooks. She specializes in Copperplate Script and enjoys adding flourishes to her calligraphy. Suzanne lives in Florence, Alabama with her husband, two daughters, and Golden Retrievers, Mabel and Dixie. You can find her on Instagram at suzcunningham.


Picture of an envelope

Suzanne Cunningham


Flourishing: The Art of the Oval &
Envelopes and Etiquette

November 14-15 (Saturday-Sunday)
10:00 a.m. – 4:00 p.m.

Skill Level: Intermediate

Class Description
You’ve learned the basics and know your letterforms. Now learn how to make them even more beautiful with flourishes! But here comes the kicker: How do I do that? Do I flourish every letter? Do I make small, tight flourishes or big, loose ones? When do I stop? Help! No worries, we will cover all of that! In this class, you will learn how to flourish off of the individual letter by extending ascenders and descenders, entrance and exit strokes, and how to balance all of that on envelopes and larger pieces. You will learn the steps to make a graceful oval, how to critique our work, and exactly what to look for when you break it down. This class will help you take your envelopes and larger pieces to the next level.

Our second day will be all about the envelopes. Everything you need to know to properly address envelopes will be covered. From the setup, to the list, to all the dos and don’ts, you’ll be covered. The morning is spent going over the material and the afternoon is all about addressing envelopes and applying what you’ve learned. This is a fun and informative class that will leave you ready to tackle even the trickiest address.

Suzanne will email worksheets for participants to download.

Supply List

  • Moon Palace sumi or walnut ink
  • Favorite pointed nib
  • Favorite holder
  • Borden & Riley cotton comp paper
  • Water cup
  • Paper towels
  • Ruler
  • Protractor
  • Pencil
  • Fons & Porter white pencil
  • Red pen for critiquing

Optional Supplies

  • Bleed proof white ink
  • Gold ink
  • Light pad -- but DO NOT buy a light pad specifically for this class. It is more expensive and not necessary. We will do everything that is needed without it. I will NOT be using one. Be aware that if you do bring a light pad, you may need an extension cord.

About Suzanne Cunningham: See above.



Letter Cap 'L'

Illuminated cap by Lubna Zahid

Purchase GIFT CERTIFICATES to WCG workshops — the ideal gift for lettering enthusiasts!

View photos and artwork from 2010-12 workshops and 1999-2009 workshops.

LOCATIONS & DIRECTIONS


COLUMBIA ART CENTER

Long Reach Village Center
6100 Foreland Garth
Columbia, MD 21045
410-730-0075
www.columbiaartcenter.org

Directions:
Take I-95 to Rt. 175 toward Columbia.
Turn right onto Snowden River Parkway.
Turn left onto Tamar Drive.
Turn left into the Long Reach Village Center (Foreland Garth) and park.
The Art Center is on the other side of the supermarket.


VIENNA ARTS CENTER

Windover Building
243 Church St. NW, Suite 100 LL
Vienna, VA 22180
703-319-3971
www.viennaartssociety.org

From Route I-66:
Take the Nutley Street exit toward Vienna.
Go straight through three traffic lights.
At fourth light take a right onto Rt. 123/Maple Avenue.
Go approximately one mile and make a left onto Pleasant Street. (A Shell gas station is on the right where you will turn left.)
Proceed one and a half blocks and turn right onto Church Street.
243 Church Street is the brown medical building (Windover Building) on the left.
Park in lot and take the exterior elevator to the classroom in the basement.
Turn right off of the elevator and the classroom is on the right.

From I-495: Take the Rt. 123 South exit.
Go past Tysons Corner.
From International Blvd., go straight through 13 lights (landmarks you will pass: Tysons Corner, Giant Food, Outback Steakhouse, Starbucks, Money & King Funeral Home, and Marco Polo).
As soon as you pass Marco Polo, turn right onto Pleasant Street.
Proceed one and a half blocks and turn right onto Church Street.
243 Church Street is the brown medical building (Windover Building) on the left.
Park in lot and take the exterior elevator to the classroom in the basement.
Turn right off of the elevator and the classroom is on the right.


Washington Calligraphers Guild home page   ~ About the Guild   ~
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WCG Journal Scripsit   ~ History of lettering and type   ~ Zapf fund to further calligraphy education  ~
Links to related websites   ~ Freelance calligraphers in the DC area  ~