As we celebrate our 40th year, we are facing a serious problem. Many of our long-serving volunteers are unable to continue their decades of work on behalf of the Washington Calligraphers Guild.

We need members to step into the following positions. No experience is needed--just a willingness to serve:

—Vice President (enthusiasm and energy)—Membership Chair (organized and efficient)

PLEASE contact President Derrick Tabor ASAP at dtab221@yahoo.com

Warmest wishes, Derrick

IN THIS ISSUE

– Membership News – Graceful Envelope

Call for Entries– Yukimi Annand workshop review

– Masterclass review– Luca Barcellona retreat

information– Holiday Gallery Space

– Gallery Space– Sackler Gallery exhibit

n o v / d e c 2 0 1 6 b u l l e t i n

— artwork at top by Vicki Corwin; bottom by Phawnda Moore

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The Bulletin of the Washington Calligraphers Guild is published four times per year from September - May with a special workshops issue in January.

The deadline for submissions for the February/March issue isJanuary 15, 2016. We welcome your contributions. Please send high quality digital files for text, photos and artwork (reflecting all levels, from beginner to advanced) to pklinednst@aol.com. Your submissions will be interpreted as permission to use in the Bulletin, unless otherwise specified. We will use your submissions on a space-available basis and may reduce your artwork

to accommodate available space. Mention in the Bulletin does not constitute endorsement by the Washington Calligraphers Guild.

The Washington Calligraphers Guild, Inc., is a Virginia non-profit corporation, with an IRS tax designation of 501(c)(3). The guild’s mailing address is P.O. Box 3688, Merrifield, VA 22116-3688. Visit our website at

www.calligraphersguild.org.

washington calligraphers guild— board of directors —

– officers –president: Derrick C. Tabor

dtab221@yahoo.com / 301-330-7729

vice president: can you help

treasurer: Derrick C. Tabordtab221@yahoo.com / 301-330-7729

secretary: Gilda Penngildapenn@comcast.net / 301-315-0330

member-at-large: Tiiu Kerat.kera@verizon.net / 301-216-4842

registered agent: Bob Florybobandsue@theflorys.net / 703-569-4331

– standing committees –audit: John Stackpole

jstackpo@alum.mit.edu / 301-292-9479

budget & finance: Derrick C. Tabordtab221@yahoo.com / 301-330-7729

bulletin liaison: Pamn Klinedinstpklinednst@aol.com / 301-654-6049

education: Monica Ciminomocimino@verizon.net / 301-926-6385

exhibits: Maureen Squiresmaursquires@gmail.com

fundraising/calligrafest co-chairs: can you help?

librarian / archivist: Lucinda Fitch WrightLFWright214@gmail.com

mailings: Phyllis Ingram / 703-385-9750pgingram1@verizon.net

membership: can you help

nominating: appointed in January

programs: can you help?

publicity: Felecia McFailpublicity_wcg@fohta.com / 703-892-6262

scholarship: Marta Legeckismorkaleg@yahoo.com / 301-493-8907

scripsit liaison: can you help?

website: Lorraine Swerdloffswerdloff@gmail.com / 202-723-4635

workshops: Christine Tischerchris@calligraphybychris.com / 301-745-4633

A very warm welcome to our newest members. We’re so very glad to have you!

Yukimi Annand – Torrence, California Shelby Barrentine – Grand Forks, N. Dakota Amelia Favere – Reston, Virginia Florin Florea – Cluj-Napoca, Romania Barbara Haste –Rockville, Maryland Katherine Johnson – Easton, Maryland Shakta Khalsa – Sterling, Virginia Becky Larimer – McLean, Virginia Cathy Nieman – Houston, Texas Ardath Richards -- Vancouver, BC, Canada Sloan E.E. Schwindt -- Boulder, Colorado

— artwork by Joanne Fink

Our sincere thanks to the following members who have renewed/joined at thePatron and Supporting levels. We trulyappreciate your generosity!

patron Carlos Zarabozo – Washington, DC

supporting Marilyn Aquilina – Bowie, Maryland Hana Barker – Chelmsford, Massachusetts Elizabeth Blinn-Howay – Baltimore, Maryland Donna Cella – Butler, Pennsylvania Lee Ann Clark – Stevenson, Maryland Carol Durr – Pasadena, Maryland Louise M. Harris – Columbia, Maryland Helen Lebowitz – San Diego, California Janet Marano – Reston, Virginia Leslie D. Mark – Mission Hills, Kansas

membership news

Debbie Ryon – Onancock, Virginia

Joan Schmitz – San Antonio, Texas

Christine P. Tischer – Hagerstown, Maryland

Mohamed Zakariya – Arlington, Virginia

— artwork by Nancy Anderson

2017 Contest Theme: Pushing the Envelope

This is the year to challenge your creativity. Push the envelope by applying some big ideas to a small canvas. And so much the better if your design can push the envelope by promoting the exchange of letters!

Transform an ordinaryenvelope into a work of art!

Receipt of entries will not be acknowledged and entries will not be returned. Artists will be notified of the final status of their entries in early June 2017 and winners will receive certificates. No prizes will be awarded.

Winning envelopes are displayed online. Adult winners are also exhibited at the National Association of Letter Carriers Headquarters building in Washington, DC.

The 23rd annual Graceful Envelope Contest is sponsored by the Washington, DC

Calligraphers Guild and the National Association of Letter Carriers.

For the complete Call for Entries and to view last year’s winning envelopes,

go to www.calligraphersguild.org.

Winners will be chosen based on artistic hand lettering, creative interpretation of the theme

and effective use of color and design, including incorporation of postage stamp(s).

There is no entry fee. Entries must be postmarked no later than Monday, March 27, 2017,and addressed artistically by hand to:

The Graceful Envelope Contest100 Indiana Ave. NWWashington, DC 20001

See www.calligraphersguild.org for complete rules.

Entries must be processed and delivered through the U.S. Postal Service as First Class Mail and may not be wrapped in a separate envelope or protective covering. You may enter only one envelope. Legibly print your name, mailing address and e-mail address on the BACK of the envelope. Students must also indicate their grade, because judges will consider entries in the following categories:

Adult Grades 9-12 Grades 5-8 Grades 1-4

National Association of Letter Carriers, AFL-CIOwww.nalc.org 202-662-2851

Deadline for entries:March 27, 2017

raceful EnvelopeContest

CALL FOR ENTRIES~ please distribute ~

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Call for Entries

— artwork by Joanne Fink

This was my first trip to Columbia Art Center in Maryland to attend a four-day workshop (I moved to this area from Georgia in 2015). The class

was called Text and Texture and the instructor was Yukimi Annand from California. I arrived prepared to learn something totally new…I loved the examples of her work

and had high hopes that her class would help me learn how to be freer and more expressive with my lettering. I was not disappointed!

Each student arrived with a quote in mind that they would use the entire four days of classes. We started out preparing many, many pages of charcoal paper that we

would use for practice. Having a large stack of blank sheets was helpful because it made me less hesitant to move on to one more attempt, idea or variation.

day one commenced with instructions to write an alphabet using the small flat edge or “broad edge” of balsa wood dipped in black Sumi ink. Well, that was

interesting! Then we wrote our quote using this tool. We explored this new tool applying it to the paper in every direction - angles, pushed, pulled, dragged, even

making the tool skip across the paper, and we continued on to create texture as instructed, by condensing then overlapping part of the quote, overlaying the letters in multiple layers.

We wrote in every direction – vertical, backwards, circular and angular strokes with the flat edge of the wood. Keeping these exercises in mind, we created an alphabet using those stroke

principles, then applied that technique to our individual quotes. At the end of the day, I was surprised to have seventeen pages of work!

day two - we explored monoline strokes with pencil and Zig markers, attempting to stretch our imaginations and develop more alphabet variations. We were told to contemplate our quote and try to make letters with characteristics in each stroke that would relate to the

quote. Continuing in pencil, we practiced simple strokes in every direction, attempting to increase speed, applying that speed to our writing. This manor of practice was less legible,

but more gestural. With that gestural technique and increased speed, we began writing with sticks, pine cones, and various “tools” from nature dipped in Sumi ink.

Yukimi provided several mediums – acrylic inks, Carbon Black and Titanium White Golden Fluid acrylic paints, and resist products: a White China marker and Golden Fluid Matte

Medium to use underneath acrylic inks for lettering and/or creating backgrounds. She demonstrated each technique, then encouraged us to experiment on our practice sheets as well as Arches Textwove so that we could experience the various mediums in conjunction

with the tools and papers. We explored these mediums while using our new Day 2 style and our same quote. The colors Paynes Gray and Burnt Umber were class favorites.

Composition, equilibrium and balance were discussed, and there were excellent examples of these concepts included in the class handouts. We tried with lettering to convey emotions

with words - expressing individual words (happy, sad, calm, anger) using gestural motions with our strokes. Yukimi said, “White space is your theater and you are the director

developing the actors and elements of the play.”

text and texture – expressive calligraphy a four-day workshop with yukimi annand

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Oon day three we practiced strokes with a folded pen. Using the basic alphabet, we tried all edges and widths of stroke with this tool, developing consistency with each angle of stroke and discovering how each angle creates a different style of alphabet. Although I knew this in my mind, it really helped to see it emerge by doing these exercises. Continuing with folded pen we returned to our quotes and allowed the tool to express and generate a new personal alphabet. Using this Day3 style I returned to lettering with wash water and colored inks; reflecting on a comment that the teacher made, “A mistake brings new worlds!” she showed us how to frame smaller segments of

our work and use them in new ways.

We reached day four, and I was feeling a bit anxious about pulling it all together into a tidy class summary – many, MANY pages were produced. Finally, we were asked to explore all of the items from nature that we had brought in. Found objects such as flowers, nuts, stones, seed pods and shells were dipped in ink – given a trial as a potential writing tool, inspected to see what new alphabet could be rendered with it. Each student gave their quote a try in this way. Yukimi also showed an example of taking a textural photograph and translating that image into a sketch of the image while keeping a quote in mind, but using only gestural strokes to imitate the image. Several small sketches or studies were attempted using a different tool from nature each time then combining tools and color. “Close your eyes - enjoy the unexpected mark!” encouraged Yukimi – this instructor was fun and fearless.

We were given clear and easy instructions for a bookbinding method to compile our practice works and just the right amount of time to complete it. While bookbinding is not my personal strength, I am glad to say that I did end up with a very comprehensive book of notes and experiments.

Yukimi Annand was very organized in her method of teaching. She did an excellent job of presenting many ways to explore the use of text as texture and becoming more expressive with lettering. The class was fun, and it definitely felt like a journey… I learned how to

explore an alphabet with new tools. It stretched the way I think about lettering and art. I look at textures in a new way. I find myself more critically observing each object…what potential does it have to produce an expressive stroke?

— Maria Turk

– Page 4 - clockwise from top right: Yukimi, Kacie-Linn Engle and Lubna Zahid working with background techniques; Joan Machinchick; Louise Megginson at work; student work. Page 5 - top: Janice Reyes; middle left: a montage of samples from Yukimi. middle right: student work; Left: class portrait - back row: Maria Turk, Terry Meisner, Louise Megginson, Joan Machinchick, Shakta Khalsa, Janice Reyes, Elizabeth Blinn, Lee Ann Clark, Kacie-Linn Engle, Brenda Broadbent and Marta Legeckis. Kneeling from left: Yukimi, Lubna Zahid, Mariam Rittberg and Elizabeth Lonoff.

– photos courtesy of Marta Legeckis and Yukimi Annand

- 5 -- 5 -

Luca Barcellona was born in 1978. He has his own studio in Milan, where he works as a freelance graphic designer and calligrapher. Letters are the main ingredient of his creations. He teaches calligraphy with the Associazione Calligrafica Italiana and holds workshops all around the world. The goal of his work is to combine the manual skill of an ancient art such as calligraphy with graffiti and the new languages of modern design and let them coexist in the digital era.

In 2003 he founded the collective Rebel Ink, with which he gives life to a live exhibition of calligraphy, writing and illustration.

In 2009 he worked for the National Museum of Zurich, with calligrapher Klaus Peter Schaffel, to realize the faithful reproduction of a large globe dated back to the 1569, using calligraphy with original materials (quill and natural inks). Many of the biggest worldwide brands, from Nike to Absolut, has employed his lettering among the years and he is the creator of many famous logos and book cover designs.

As well as taking part in several independent projects, his works have appeared in many publications like Letter Arts Review, Juxtapoz and Creative Review. His works are also featured in several lettering and graphic design books.

In 2010 he produced his own personal clothing brand Luca Barcellona Gold Series. In 2012, he published his first monographic book Take Your Pleasure Seriously by Lazy Dog Press, the publishing house of which he is a member. His works has been featured in collections and personal exhibitions worldwide.

He performed with piano player Cesare Picco and karate world champion, Dario Marchini in a video and live project called “The Effectivveness of Art.” His study into lettering ranges from graffiti to classic calligraphy, up to big wall painting, typography and letterpress printing. www.lucabarcellona.com

Gothic script is definitely the calligraphic style with the strongest appeal, thanks to its strong and sharp shapes. The workshop offers a journey through this writing style, starting from the textura, mainly used for writing manuscripts, to its Renaissance evolution. The fraktur writing, characterized by a strongly decorative component with complex and generous capital letters, offers the chance to experience endless possibilities of variations that are still widely used today. We will start by studying the historical shapes, writing with the broad edge pen, and then we will re-write the letters in a more expressive way using the twist of the brush. Finally we’ll pass to the development of other possible alphabets, more personal and modern. A course for beginners, experts and those who want to deepen their study of this writing style.

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blackletter A journey through Gothic letterforms

with luca barcellonaapril 28 – may 1, 2017

the claggett center retreat & conference centernear buckeystown, maryland

details & registrationfriday – monday

april 28,29,30 & may 1, 2017the claggett center

3035 buckeystown pikeadamstown, maryland 21710

302-874-5147

Earliest Registration: January 16, 2017Registrations should be sent to:

Kara Koppanyi Nine Cormer Court, #103

Timonium, Maryland 21093

Meals are included: Three meals per day Friday-SundayBreakfast and lunch on Monday (total 11 meals)

Four nights - Thursday - Sunday$675 Single occupancy - Member

$735 Single occupancy - Nonmember

$600 Double occupancy – Member$660 Double occupancy - Nonmember

Note: Participants are encouraged to find their own roommates. Double rooms and commuters (meals only) can be assigned if

enrollment availability exists.

The Claggett Center is in the historic rolling hills of Maryland south of Frederick, Maryland. The views from the Doll House, where we will be staying and working, are wonderful, seen from the decks all around. The rooms are spacious and comfy: and on the ground floor are two large meeting halls where we will have our instruction and socializing. The large dining room is convenient and modern.

registration is limited and begins monday, january 16, 2017. forms will be available at www.calligraphersguild.com.

Below are photos of the Claggett Center. Mark your calendars and don’t miss this wonderful study opportunity with a world class talent.

A sneak preview at our 2017 workshop offeringsRegular Registration will take place when the Workshops Bulletin is published in early February 2017.

april 1&2 abe farxh introduction to persian calligraphy may 23&24 amity parks a sharp pencil and a keen eye sept. 23&24 pat blair pointed pen oct. 6,7,8&9 yves leterme watchful experimenting nov. 4&5 marta legeckis foundational for beautiful letters

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A week with the Q ueen sheila waters’ master class

september 17-25, 2016 – Nereidin FelicianocccccccccccccDuring the week of September 17 to 25, a group of very interested and enthusiastic calligraphers met at

Queen Sheila’s Studio in Fairfield, Pennsylvania, for her coveted Master Class.

We arrived from different points of the hemisphere: Ana González and Leila Farah from Miami; Marie Hornback and Marjorie

Monroe-Fischer from Colorado; Amy Bennett from Oregon; Sam Sin and Cindy Lu from New York; Susan Pinard from Ottawa,

and yes, myself from Puerto Rico, where it’s Summer all year round and we speak

Spanish all year round. And Sheila herself was waiting to greet us.

Everybody had high expectations; all of us had a special project we were looking

forward to working with the Queen of Calligraphy. Some were working on a book, others on specific calligraphic hands, others

on special projects. A few had been there before many times; some were there for the

first time. But all of us had the same goal: study with the best of the best.

The first evening there was something we all shared equally: we were dead tired after our trip, either by car or by plane. So early

to bed after a wonderful and healthy supper in Sheila’s wonderful dinner table.

On Sunday morning, after the Creative Breakfast Hour, little by little, formerly dead people started gravitating towards

Sheila’s fabulous studio downstairs to start our ‘boot camp’ week. Each one of us chose

chose her place on the very long studio table and personalized it with our own pens, inks, rags, paper, etc. so we could feel at home.

And we did.

Each one of us had talked a little about our project, so we started working without further ado. Sheila went to each person asking questions, giving instructions, making suggestions, demonstrating. And very often, she included the whole group.

Lots of the information we were studying came from her excellent book, Foundations of Calligraphy, published by John Neal Bookseller. We photocopied our favorite pages, tried to copy Sheila’s pieces, studied, analyzed, and suffered.

Sheila insisted (she always insists) in our not drawing a waistline, so we had to force ourselves to write straight without a waistline. (Not awfully difficult for those of us who haven’t had a waistline for years!)

We tried different pens: Mitchell, Brause, and old faithful Speedball, and Higgins Eternal, walnut ink, any ink, lots of ink. Mitchell are very flexible, sometimes too much; Brause are very stiff, but good, sometimes too stiff. Speedball are sometimes good, sometimes not too good. Now try different brands and textures of paper, the good, the bad, and the ugly, and decide what works best for you.

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Sheila ‘fixed’ some Speedball nibs with a pair of tweezers so that the ink would flow better.

And it sure did. She does miracles with old Speedball

nibs.

She reminded us of the basics: good lighting (the lighting should be good enough so

we can see the texture of our paper), slanted writing surface,

comfortable posture, so our work will come out the best we

can (if we can).

Analyze, analyze, analyze! When we are working we

should be constantly analyzing our work. It’s the best way

to see and know what we are doing and if we are doing it

right. As everyone knows, practice is vital for the

perfection of letters, and we practiced, and practiced, and

practiced. So everyone was supposed to be doing better

as the days passed (except us frustrated souls dragging our pens through paper and

nothing happening!). Work on, you can do it!

Wednesday is Verboten Day: you cannot work on your project, so your stressed-out brain can take a break.

Wednesday is for research, for trying out Hermann Zapf’s ink stone (like Ana Gonzalez did); for perusing Sheila’s vast library

of portfolios, books, sketches, practice sheets, finished works, etc., etc., etc. Wednesday is Calligraphy Fair Day. Our eyes and minds were on overdrive by the enormous amount of beautiful

calligraphic work that we had the opportunity to see and appreciate on our ‘free’ day.

We studied, wondered, and analyzed. And studied some more. We had a treasure trove of calligraphic works literally at our fingertips. We asked questions, got answers, and asked some more questions.

On Thursday… back to the drawing board (literally).

On a couple of evenings, Marjorie Monroe-Fischer treated us to a private piano recital of Bach and Mozart, both of whom are

perfect for accompanying a calligraphic voyage. And her piano playing was an extra treat!

At supper we ate (a lot), drank wine (not so much), and talked (again a lot) rehashing our work and getting to know the other

calligraphers.

On Thursday evening, Julian and Cathy Waters visited, and it was great seeing them again, since Julian had been in Puerto Rico and Miami in January teaching a workshop in each venue. Those who

hadn’t met them did so, and those of us who already knew them had another good conversation.

The next day Sheila explained her “Waters Algorithm,” which has to with boxes, slants, variables and angles, and I really hope that some day I’ll understand it. For now, I believe everything she said.

Three basic elements for good calligraphy are anticipation, analysis, and consistency. Anticipation: you have to anticipate the letter you are going to write; analysis: use your left brain and analyze everything carefully; and consistency: treat calligraphy as music, rhythm, beat, spacing. And… voilá!

As a bonus, Sheila gave us a whirlwind mini lecture on color theory, so we could have some basic ideas about mixing colors correctly. But that is a week-long workshop. Maybe next time.

We also learned about paper preparation and how to try sandarac, pumice, sandpaper, etc. and make notes on the behavior of the paper, so we will be more knowledgeable about different papers and textures.

As the week was winding down, we asked Sheila to give us some

pointers on the strokes that form the letters. A few of us were trying to learn, or practice, the Pointed Gothic alphabet, or as Sheila called it (and I like), the Johnston Compressed Hand. She demonstrated different ways to construct the strokes, move pen angles, make different pen movements, so that the strokes come out the best we can make them.

As Sunday arrived, after our last Creative Breakfast Hour, everybody was suffering different degrees of the I-don’t-want-to-go-back-home syndrome, so we were just wandering (listlessly) around the studio and the house, checking our luggage (again), making sure we had everything from the ‘powder room’ (we had), checking that the piano top was closed (it was), that the dishwasher was empty (it was), and finally taking a ‘class picture.’ Marie Hornback had left on Saturday, because she had very important homework: she was going to surprise her grandson for his birthday. But we saved a place for her in the picture and a little place in our hearts.

Finally, goodbye, farewell, auf wiedesehen, and, of course, adiós. We take with us all the knowledge we gained this week, all the new experiences, the grueling practice, the frustrations, the successes, the new friends, and a promise to go back next September.

Our heartfelt thanks to Leslie for feeding us so well, to Phil, for not leaving us stranded at the airport, and our eternal gratitude to Sheila Water for being such an excellent teacher and a wonderful hostess.

Page 6: top - Class portrait, from left: Cindy Lu; Ana González; Amy Bennett; Her Majesty; Susan Pinard; Leila Farah hugging Sam Sin; Nereidín Feliciano; Marjorie Monroe-Fischer. Missing in the picture Marie Hornback, who was surprising her grandson; Sheila's practice sheets demonstrating strokes. Page 7: Sheila explaining the secrets of

calligraphy. – photos courtesy of Nereidin Feliciano

- 9 -

– clockwise from top left: a piece by Carol DuBosch; ketubah by Deanna Nim; “Do Not Go Gently Into That Good Night” by Deanna Nim; chalkboard menu by Michele

DeSouza; artwork by Deanna Nim

gallery

space

- 10 -

Jodie Lide ● Calligraphy & Design

holiday

gallery

space

– Holiday cards clockwise from top left: Jodie Lide; Gretchen Elson; Elizabeth Foster,

Martin Parker at www.parquillian.com/cards; Bernie Freiland

- 11 -

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p.o. box 3688, merrifield, va 22116 • www.calligraphersguild.org

address service requested 11 / 2016

nonprofit org.u.s. postage

paidmerrifield vapermit no. 742

2017hermann

zapfeducation

fundscholarship

reminder

!

A reminder that the Washington Calligraphers Guild is accepting applications from Guild members (at least a year’s membership is required) for the Hermann Zapf Education Fund Scholarship. The scholarship is designed to assist promising students of calligraphy, and its related arts, with their ongoing study of the broad edge pen. It helps with expenses for workshops, classes, books, conference fees, private studies, etc. The scholarships are offered annually through the encouragement and generosity of Professor Hermann Zapf.

The awarded amount of money does not exceed $1000 per session, and more than one recipient may be selected each time. A panel of three judges reviews applications (blind

entries) and selects the successful candidates for a main award and possibly smaller awards. An applicant, whose proposal has not been funded may re-apply after one year; an applicant who has been awarded funds may re-apply after two years. The deadline for applications for the 2017 Scholarship is February 26, 2017. The application guidelines and forms can be found on the WCG website www.calligraphersguild.com/zapf.html or may be obtained by contacting Marta Legeckis at the e-mail address or phone number below. Any additional information about eligibility and areas of study should be directed to Marta Legeckis at telephone number 301-493-8806 or 301-693-1061, e-mail: morkaleg@yahoo.com.

The Sackler Gallery is hosting a new exhibit, The Art of the Qur’an: Treasures from the Museum of Turkish and Islamic Arts. This first major presentation of Qur’ans in the United States is full of superb calligraphy and illumination and runs through February 20, 2017. Curator Simon Rettig will present a program on Tuesday, November 15 at noon. In related events, WCG member, Lubna Zahid will lead attendees in illuminating bookmarks inspired by patterns found in the exhibit on November 6 and December 17, 2016 and January 7 and 8, 2017. A video at the end of the exhibit features Master Islamic calligrapher and WCG member Mohamed Zakariya demonstrating two Islamic hands. A photo gallery of exhibit selections is available at http://www.asia.si.edu/exhibitions/current/art-of-the-quran/gallery.asp.

— artwork by Phawnda Moore