Pat BlairAnnie CicaleKristen Doty

Victoria PittmanJulian WatersSheila Waters

✒2009 Workshops Bulletin ✒✒

HousingHosts and drivers are needed for our out-of-town instructors, and are eligible to receive a 25% rebate on class tuition. To volunteer, please contact Vicki Futscher by e-mail at futscherv@yahoo.com or phone number 703.593.7643.

MonitorsThe monitor is responsible for introducing the instructor, checking enrollment, ensuring coffee supplies and critique forms are available, and enlisting participants to set the room in order at the close of the session. To volunteer, contact Jennifer Nichol-son at jen.nich.@yahoo.com or 703.683.0454.

ReviewsWe need volunteers to write reviews of our workshops to be published in the WCG Bulletin or Scripsit. The review submit-ted must need little or no editing. Please e-mail Terri Barber at terribarber@gmail.com .

RegistrationFill out the Registration Form and mail it, along with a #10 stamped, self-addressed envelope and check made out to Wash-ington Calligraphers Guild for the appropriate amount to:Kara Koppanyi744 Camberley Circle, #T-1Baltimore, Maryland 21204Telephone registrations are not accepted, but if you have a question, you may call Kara at 410.769.9040 or e-mail her at karalko@earthlink.net . You may also call Christine P. Tischer at 301.745.4633 or e-mail her at chris@calligraphybychris.com .

CancellationsRefunds are given only if the workshop is cancelled by WCG, your place is actually filled from our waiting list, or if you find someone to take your place. Please give us as much notice as possible. All changes in registration must be handled by Kara Koppanyi. If you cannot make the class, you must call Kara at 410.769.9040 at least 24 hours in advance of the workshop so that she may notify any wait-listed people.

Keep in MindRegistration begins immed-iately and continues until four (4) weeks prior to the beginning of the class. (Classes are full at 16. If there are not enough registrants prior to the workshop deadline, it may be cancelled.)Registration is assigned in the order received, with preference given to WCG members. You will be notified if you are in the class or on the waiting list. If the class is full, your workshop fee will be returned to you.

Registration Information and FormPlease mark the box for each workshop for which you wish to register.

Spencerian Script for Today with Pat Blair—April 18 & 19$125 members / $150 non-membersFlowers and Flourishes with Victoria Pittman—May 2 & 3$125 members / $150 non-membersGothicized Italic with Sheila Waters—May 16 & 17$125 members / $150 non-members

Roman Miniscules with Julian Waters—Sept. 12, Oct. 10, and Nov. 14$180 members / $225 non-membersItalic Variations with Julian Waters—Sept. 13, Oct. 11, and Nov. 15$180 members / $225 non-membersDrawing for Calligraphers with Kristen Doty—Oct. 3 & 4$125 members / $150 non-membersRelief Printmaking with Annie Cicale—Dec. 5 & 6$125 members / $150 non-members

Name Address City, State, Zip CodePhone Numbers (home) (work) E-mail Address Are you a WCG member? Yes No

These are special three day (over three months) workshops. Please note dates.

Spencerian Script for Todaywith Pat Blair April 18�� & 19�� (Saturday & Sunday) at Vienna Arts Society9:30am–4:30pm Beginner LevelSpencerian Script, or Ornamental Penmanship, is the beautiful, flourished style of writing that was developed in the latter half of the nineteenth century. Almost a lost art, it is characterized by gracefully written lower-case letters, and dramatic and expressive capitals.This introductory course will begin with an explanation of the tools used, the basic characteristics of the alphabet, and the finger and muscle movements needed to achieve the delicate hairlines. A study of the fundamentals of shading, and the beautiful forms and flourishes of the capital letters will follow. An introduction to some basic flourishing techniques will round out our class.

Supply List✒ Oblique pen holder ✒ Your favorite pointed pen nibs, such as Hunt 22, 56 or Gillott 303 or 404, the G Nib or Leonardt Principal✒ Good quality layout bond paper, such as 9" x 12" Canson Pro Layout Marker✒ Higgins Eternal, Moon Palace sumi or McCaffreys Penmans Ink ✒ Your favorite white medium, such as Bleed Proof White or McCaffrey’s Ivory ✒ Mixing tray ✒ #2 pencils✒ Several sheets medium to dark colored paper

About PatPat has been a professional calligrapher for 23 years, and currently holds the position of Chief Calligrapher at The White House in Washington, DC.Her work has been published in Letter Arts Review, The Calligrapher’s Engagement Calendar, Scripsit, Martha Stewart Weddings, and Tabellae Insatae. Sharing and teaching what she loves is a high priority. She teaches at the Loudoun Academy of the Arts in Virginia, and has been on the faculty of several International Calligraphy Conferences.Pat’s love of pointed pen lettering led to her study of Copperplate and Spencerian letterforms. The International Association of Master Penman, Engrossers, and Teachers of Handwriting recently awarded her the honor, “Master Penman,” for her work in this area.

Flowers and Flourisheswith Victoria Pittman

May 2ⁿ� & 3�� at Vienna Arts Society9:30am–4:30pm

All skill levels welcome

In this workshop with expressive artist, Victoria Pittman, we will work in several methods to create free and spirited natural forms. This class uses a unique combination of oriental painting techniques and pen manipulation to produce the nature/floral forms which will be rendered in ink, watercolor, and acrylics.Botanical walks and plant identification on the grounds (if possible), as well as fresh specimens in class will provide inspiration for our painting.Our final presentations will integrate the florals with our lettering. Silver and gold leafing also will be used as a background for our florals in a collage-like presentation. We will create simple cards as well as larger pieces.

About VictoriaVictoria holds a Bachelor of Arts in Russian from Arizona State University. A focus on historical linguistics in post-graduate work led to her interest of letterforms and calligraphy. She has augmented her education in the arts with a focus on Oriental painting. She also has taken numerous classes in horticulture and completed the Master Gardener training in 1994.Victoria teaches watercolor, lettering, and collage workshops throughout the United States. Her classes are unique because she shows students how to use a broad-edged pen in addition to the traditional brush, to create fluid, dynamic impressions. Her work goes beyond traditional illustration, to capture the essence and ephemeral nature of her subject.She has been on the faculty of 10 international lettering arts conferences. In addition to her busy traveling workshop schedule, Victoria also teaches at the Desert Botanical Garden in Phoenix. Victoria’s work has been published in numerous publications including: Florilege, The Artist’s Magazine, Zig Calligraphy Manual, Parallel Pen Wizardry, Art of Ink, and Letter Arts Review.

Supply List✒ Graph pad (11" x 17")✒ Inexpensive smooth layout pad or drawing pad (not newsprint)✒ Watercolor Paper, hot or cold press✒ Five sheets Stonehenge (white)✒ Other nice papers, both hot and cold press (Arches Text Wove, Lanaquarelle)✒ Oriental paper (practice pad)✒ �/�-inch Automatic pen*✒ �/�-inch Automatic pen, optional✒ Your favorite nibs in assorted sizes✒ Pencil✒ Cheap mixing brushes✒ Wedged Clay sharpener (�/�-inch)*✒ Happy Dot Oriental Brush*✒ Higgins Eternal Black✒ Watercolors (transparent, several colors)✒ Several tubes of acrylic paints (keep in mind floral colors)✒ Chinese ink*✒ Acrylic gloss medium✒ Mixing palette✒ Water container✒ Paper towels✒ Short quotation about nature✒ Flower references (magazines, photos, field guides... or the real thing)* Instructor will provide or have for sale

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Gothicized Italic with Sheila Waters

Supply List✒ Smooth practice paper✒ Non-feathering, non-waterproof black ink or gouache, or stick ink and stone✒ Speedball C1 and C2 nibs with preferably straight, rather than shaped, pen holders✒ Drawing board or portable desk✒ Ruler✒ Sharp pencil✒ A few sheets of tracing paperPlenty of helpful exemplars will be provided.

May 16�� & 17�� (Saturday & Sunday) at Columbia Art Center9:30am–4:30pmNot recommended for “raw” beginners

“Gothicized Italic” is the name acquired in the USA for the hand that used to be known in England as “Edward Johnston’s Compressed Hand,” that he would have termed “massed writing” because of its rich, dense texture, akin to Gothic Textura; he developed several variants on its basic structure. “Italic” is really a misnomer, for it has little relationship to Italian Renaissance styles of writing and is more an elongated form of 14th century Batarde, a wide flowing style found in Books of Hours of the period, essentially Gothic in character, but allowing more freedom than Textura, making it a useful alternative when a medieval feel is desired.In this workshop we will explore the structure of this pointed style and how it can be used to its best advantage in written text. Then we will stretch it to develop a modern Batarde and the variants that are possible in between. Certain cornering manipulation is necessary to produce the refinement needed in learning the constructions, and Sheila will provide individual help in mastering the technique. We will finish with suitable matching capitals.Prior practice in Foundational will be helpful in understanding this broad-pen style as it is not recommended for raw beginners!

About SheilaBorn in England in 1929, Sheila studied drawing, painting, graphic arts and calligraphy at the Medway and Royal Colleges of Art from 1945 to 1951, then carried out commissioned work for publishers, libraries, museums, and private collectors while raising three sons—the eldest is lettering designer Julian Waters. The family immigrated to the USA in 1971 for her husband, Peter Waters, to become Chief of Conservation at the Library of Congress.Sheila’s work has been represented in many of the published anthologies of calligraphy since 1955. Her textbook, Foundations of Calligraphy, was published in 2006 and reprinted in 2008. She continues to teach workshops and lecture worldwide.She was the founding President of the Washington Calligraphers Guild.To celebrate her 80th birthday this year, she will have a large retrospective show at the Strathmore Hall Mansion in Bethesda, Maryland from July 17th to August 22nd.

Roman Miniscules with Julian Waters Sept. 12��, Oct. 10��, Nov. 14�� at Columbia Art Center

9:30am–4:30pm All skill levels welcome

This workshop presents a step-by-step approach to Roman Minuscules (and matching capitals), starting with fundamental principles, structure, and spacing for serifed and seri�ess forms. After studying historical sources, including Carolingian and Renaissance humanist writing and typographic examples, we will develop our own clear and legible modern styles with both simple and more refined manipulated serifs. We will also experiment with bold, lightweight, and more playful lettering suitable for different expressive uses. Although we will concentrate on the minuscules (lowercase/small letters), we will also review principles of Roman capitals and fine tune the style to match whatever minuscules we write.

About JulianJulian Waters is the son of calligrapher Sheila Waters and conservator Peter Waters. He studied extensively with legendary type designer Hermann Zapf starting in 1979 and he was Zapf ’s personal choice to succeed him in teaching the summer master classes at RIT a few years later. He has taught letterform design and typography at the Corcoran School of Art graphic design program and has exhibited, lectured, and taught in North America, Europe and Asia. His clients have included the U.S. Postal Service, National Geographic, and The White House. He was typographic consultant to Maya Lin and the Vietnam Memorial, the Women’s Memorial at Arlington, “The Dreaming,” Frederick MD, and the new Visitors Center at Jefferson’s Monticello. His font designs include the award winning Adobe Waters Titling, and publications include the WCG Scripsit issue, Work by Julian Waters–From Sketch to Final Art. Visit his website at www.waterslettering.com .

Supply ListNote: There is a materials fee of $10 to be paid to the instructor for a binder containing 50+ pages of exemplars. ✒ Basic supplies✒ Slant board or portable desk prepared for writing✒ A good range of dip pen nibs including the largest Speedball, equivalent Mitchells, Brause etc, and smaller Mitchells with reservoirs✒ Good smooth layout paper, ~ 14" x 17"✒ Grid paper for writing if it will take ink without bleeding (optional)✒ Layout paper thin enough to see through and make tracings✒ Other good quality papers you like, including handmade/some with some tooth or resistance to the pen✒ Free flowing non-waterproof black ink such as Pelikan 4001 or Higgins Eternal ✒ Sumi, stick ink, and ink stone or black gouache is ok, too, but TEST YOUR INK for bleeding on different papers before workshop!✒ Small smooth sharpening stone (Arkansas stone or equivalent)✒ Small bristle brush✒ Soft & hard pencils✒ Good rubber eraser✒ Colored pigments are optional as this is a letterform class

This is an experiment in scheduling one day for one hand for three months which will give the unique opportu-nity to practice between lessons. With practice and continued instruction, your letters should improve quickly and your hand will retain the muscle memory. Sign up for one hand or both—let’s give this a try!

Italic Variationswith Julian WatersSept. 13��, Oct. 11��, Nov. 15�� at Columbia Art Center9:30am–4:30pm All skill levels welcome

Most of us enjoy our Italic but are still looking for the ingredients to take it to the next level. We will review fundamental, and often overlooked, principles and study historical examples. We will analyze our individual lettering for strengths and weaknesses and improve it while keeping personal style. We will work on consistency, crispness, and life in the writing.From there we will add further levels of re�nement by creating more subtlety and detail to our letters. Variables will include speed, rhythm, weight, variations in ascenders, descenders and �ourish shape. From there, we will move to more advanced techniques, such as the use of varying pressure, speed, pen angle, and cornering.

About JulianPlease see the previous page for Julian’s biography.

Supply ListNote: There is a materials fee of $10 to be paid to the instructor for a binder containing 50+ pages of exemplars. ✒ Basic supplies✒ Slant board or portable desk prepared for writing✒ A good range of dip pen nibs including the largest Speedball, equivalent Mitchells, Brause etc, and smaller Mitchells with reservoirs✒ Good smooth layout paper, ~ 14" x 17"✒ Grid paper for writing if it will take ink without bleeding (optional)✒ Layout paper thin enough to see through and make tracings✒ Other good quality papers you like, including handmade/some with some tooth or resistance to the pen✒ Free flowing non waterproof black ink such as Pelikan 4001 or Higgins Eternal ✒ Sumi, stick ink, and ink stone or black gouache is ok, too, but TEST YOUR INK for bleeding on different papers before workshop!✒ Small smooth sharpening stone (Arkansas stone or equivalent)✒ Small bristle brush✒ Soft & hard pencils✒ Good rubber eraser✒ Colored pigments are optional as this is a letterform class

This is an experiment in scheduling one day for one hand for three months which will give the unique opportu-nity to practice between lessons. With practice and continued instruction, your letters should improve quickly and your hand will retain the muscle memory. Sign up for one hand or both—let’s give this a try!

Drawing for Calligrapherswith Kristen Doty

October 3�� & 4�� at Vienna Arts Society9:30am–4:30pm

All skill levels welcome

You can draw! It’s just a matter of developing the right set of skills. If you have 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.

About KristenKristen Doty has had a passion for calligraphy, drawing and painting for a long time and is a perpetual student. Kristen explores new tech-niques through practice, studying books and magazines and by participating in local classes, regional workshops, and international conferences.Her freelance work includes calligraphy, painting, illustration, graphic design, and teaching. Her paintings, illus-trations and lettering have been published in magazines, and as posters, greeting cards, logos and book titles. Please visit her website at www.kristendoty.com .

Supply ListNote: There is a materials fee of approx-imately $20. It covers fresh fruit & flower models, drawing kit, and misc. items.✒ Drawing pad 11 x 14-inch Strathmore Series 400; surface regular (not smooth)✒ Sketchbook, 11 x 14-inch spiral bound (paper with a little tooth)✒ Woodless graphite pencils: HB, 2B, 4B, Pentalic Graphite 8911✒ Other drawing pencils that you already have: 2H, HB, 2B, etc.✒ Pencil sharpener✒ Pentel Click Eraser✒ Staedtler Mars Plastic white eraser✒ 12-inch ruler (30.48cm) (My favorite is an inexpensive C-Thru clear plastic ruler. It has a red mark every �/�" and sometimes a bevel.)

✒ Sharpie permanent marker✒ Colored pencils, artist quality (Prismacolor set of 12 or more OR True Blue #903, Process Red #994, or Lemon Yellow #915�

✒ Folded ruling pen and holder and/or other ruling pens you have✒ Flexible pointed nib and holder (not too sharp; Brause Steno Pen #361)

✒ Higgins Eternal Ink/your favorite ink✒ Small water container✒ Paper towels or pen rag✒ Optional supplies: stylus or embossing tool, X-acto knife, Pigma Micron markers, your favorite calligraphy nibs, Speedball “C” or “B” nibs, mechanical pencil (.5mm HB or B)

If you have any questions regarding the materials or the workshop, please contact Kristen at artworks@localaccess.com . Please note: We will not draw

portraits or anything scary like that.

Relief Printmaking with Annie CicaleDecember 5�� & 6�� at Vienna Arts Society9:30am–4:30pm All skill levels welcome (some drawing experience is helpful)

As old as history, printmaking is a way to make multiple copies of an image, giving collectors an affordable way to acquire work by favorite artists.Relief printmaking has come a long way from the battleship linoleum, hard as a rock and hard to carve. We will begin with design exercises, adapting our skills and ideas to this media. We will work with some of the newer carving media and then learn to print the plates, both by hand and on a small press. Students will be able to print in a simple studio set up even if they don’t have access to a printmaking studio. You’ll have many images to share. Your prints can be used as greeting cards, wall pieces or the start of an artist’s book.

About AnnieAnnie Cicale teaches calligraphy, drawing and painting throughout the United States and Canada. Fascinated by writing as a child, her first Osmiroid fountain pen led her to the world of calligraphy. She has experimented with the word as image in her paintings, bringing a visual expression to the words to expand their meaning. Annie incorporates both abstract and illustrative

imagery in her paintings. She is the author of The Art and Craft of Hand Lettering, a 2004 publication of Lark Books. Her work has been published in many of the calligraphic anthologies and the Calligraphers Engagement Calendar, and she has been on the faculty of most of the international calligraphy conferences.

Supply ListA lab fee will include printing blocks, printing inks, and the use of many print-making tools. Instructor will have some printing papers for sale.✒ Photos/sketchbook of treasured images for inspiration✒ Tracing paper✒ Pencils/erasers✒ Pallette and/or putty knives✒ Speedball® linoleum carving tools✒ Woodcarving tools (if you have them)✒ Brayer (if you have one)✒ Variety of printmaking papers: Stonehenge, Velata, Arches Cover or Rives. Instructor will have some as part of lab fee and others for sale. Bring what you have; clean out that box of paper under the bed! Papers come ~ 22" x 30" or larger; don’t cut smaller than 15" x 22" for transport. White and off white for traditional printing; black and other colors work well, too. ✒ Inexpensive paper for drawing and proofing, such as newsprint/old computer printouts✒ Asian papers: Mulberry, Hosho, Kozo, etc. (white/ones with small inclusions)✒ Rubber stamp pad for proofing✒ Printing baren if you have one, or wooden spoon✒ Paint rags✒ Old bath or dish towel✒ Roll paper towels✒ Bone folder✒ Apron or paint shirt✒ Scraps of textured papers, including sand paper, foils, etc. both smooth and rough, to use on collage printing plate (collograph), other textured materials, such as netting, doilies, string, etc., bits of flat plastic or metal✒ Scissors

Past Winners of The Graceful Envelope Contest

Enter Today!Credits from left to right

TopJerry Hobart

Catherine LangsdorfSue McKendrick

MiddleJulie Gray

Yukimi AnnandBottom

Rhonda RobisonShane Perry

Locations and DirectionsColumbia Art Center6100 Foreland Garth (Long Reach Village Center)Columbia, MD410.730.0075www.columbiaartcenter.orgTake 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 Society115 Pleasant StreetVienna, VA 22180703.319.3971 (Hours: 10am-4pm, Tues-Sat)www.viennaartssociety.comFrom Route 66Take the Nutley Street exit towards Vienna. Go straight through three (3) lights. At fourth light take a right onto Rt. 123/Maple Ave. 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. VAS is on the right.From 495Take the Rt. 123 South exit. Go past Tysons Corner—from International Blvd. you will 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, you will turn right onto Pleasant St. Proceed one and a half blocks. VAS is on the right.

Basic Supply ListPlease check the supply list for each workshop as all of the items below may not be necessary.

• Drawing board• Pillow or cushion• T-square• 11" x 17" paper (i.e. grid, 16 lb. layout paper, paper for pens, etc.)• Pencils• Toolbox• Black inks• Assorted pen nibs (Mitchell, Speedball, etc.)• Pen nib holders• Chisel point markers• Watercolor markers or colored pencils• Kleenex, paper towels, or rags• Water jar• Gouache• Containers or palettes for color mixing• Brushes for color mixing• Scissors or X-acto knife• Drafting tape• Eraser

We are always looking for new comfortable and affordable locations.

Do you know of any in your area?

Don’t forget to enter!The deadline is April 30th.

2009

2009 WorkshopsOctober3 & 4 Drawing for Calligraphers with Kristen Doty

10 Roman Miniscules with Julian Waters (2 of 3)

11 Italic Variations with Julian Waters (2 of 3)

November14 Roman Miniscules with Julian Waters (3 of 3)

15 Italic Variations with Julian Waters (3 of 3)

December5 & 6 Relief Printmaking with Annie Cicale

Registration DeadlinesRecently, some of our workshops have been cancelled due to low enrollment. This year’s workshops are given to you for the entire year, allowing everyone time to schedule far enough in advance to make a commitment. We ask that you register at least four weeks prior to a class so that travel plans, hosting, and monitor responsibilities can be scheduled. We will take a few late registrations (those coming less than four weeks prior to the class), so if you suddenly find you are able to attend, please call Kara to see if there are any extra places to fill.

April18 & 19 Spencerian Script for Today with Pat Blair

May2 & 3 Flowers and Flourishes with Victoria Pittman

16 & 17 Gothicized Italic with Sheila Waters

September12 Roman Miniscules with Julian Waters (1 of 3)

13 Italic Variations with Julian Waters (1 of 3)

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