|WORKSHOPS (Mini/Major and 2013 Year Long with Reggie)
Workshops are offered to members of
CCS's first, then to the Southwest Calligraphy Conference members.
Non-members are welcome, but pay a surcharge of $25 extra. Become a Member today!
Upcoming MINI WORKSHOPS
2012--2013 (one day each)
See descriptions below!!
February 16th now April 20th
Decorative Flourishing Elements *Trish*
began at the December meeting and has been postponed till APRIL 20th
due to illness.... Get your name on the list! Contact Gabi... info
Major Workshops 2013-2014
(classified typcially as two days in a row, sometimes more)
Major Workshop for the Spring
April 6th and 7th 2013
The Modern Calligraphic Brush
Exploring the pointed and broad-edged brushes
$100 for members
$120 for non members
LCRA Dalchau Center 3505 Montopolis
Your spot is reserved only after your
check has been submitted.
Registration began at the February 14th
meeting ... supply list below...
For more info:marthaAcole@gmail.com
MODERN CALLIGRAPHIC BRUSH
is a Chinese saying: “The brush is more than we thought it should be.” Brush
exploration and diligence will reward you beyond the expectations you have for
it. This is a workshop about both the flat and pointed brush— throwing light on
their mystery and surprise, as well as the texture it leaves behind that a pen
can only dream about.
incredible control and texture a flat brush offers can be a revelation, and its
precise response to the pressure that you supply will lead to the increased
levels of calligraphic sophistication for which you’ve been longing — you have,
haven’t you? Even though the forms it can produce are the same as pen-work, it
performs very differently, so we’ll begin with what the brush requires for
rich, classic calligraphy. That will lead to the tricks that will enable you to
achieve the angularity in modern styles that the pen arrives at in a very
different way. Then we’ll head toward a new awareness of stroke weight control
that will provide unlimited qualities of lightness and boldness to ALL our
lettering styles: caps and scripts.
I love and use just about all the calligraphic tools available.
But if you aimed a Samurai sword at my head, I would probably admit that the
pointed brush is my favorite. There is a flowing freedom about it that just
can’t be felt with any other tool, and a visceral, soul deep expressiveness
that taps into our calligraphic ancestors’ rivers of ink. The standard approach
is to lay the side of the brush down and head south, causing a flat-headed mark
that mimics a pen, but to use the brush in the way it desires in its secret
heart is to achieve the feather-shaped beauty of the parallel stroke. Your work
will flow so much more naturally and you’ll find a voluptuous stroke shape that
occurs absolutely nowhere else in all of calligraphy. Tools, paper,
media, color, technique and a little philosophy.
Supplies needed:Flat Brush:
1/2" W/N Series
995 flat brush or similar (clear handle, gold bristles).
Pentel Color Brush or
similar (or, if you like those empty-handled water brush things, get a MEDIUM,
or a large, but stay away from the small); plus any pointed brushes you like to
use: Lebenzon, Series 7, Chinese, etc.
paper (11x17 or larger) with a bit of tooth (I like STRATHMORE Charcoal
Pads for pen, flat brush AND pointed brush, but NOT CANSON'S charcoal pads: pen
work [only] will bleed), plus any fancier papers you might want to work on --
Canson Ingres or Mi Tientes, Bugra, watercolor, etc.)
A tube or two of
gouache (W/N Indigo and Prussian Blue has excellent texture and power. All
colors are not created equal!)
Pro White or Dr.
Martin's and/or tube of light or bright gouache and black or colored paper if
you wish to write in reverse.
Pencil &/or colored
Optional: You might
want to bring along a few of your favorite pens and some ink.
Major Workshop for the Fall 2013
November 9-10, 2013 Confirmed
COLOR and Calligraphy!
Mark your calendars!!!
Registration will begin at the September meeting ...
Check out his site!
Great Article on Timothy
One Day each
Contact Gabi Glass for more info or to sign up!
2013 Spring Mini Workshop
Decorative Flourishing Elements
RESCHEDULED DUE TO ILLNESS
Date: April 20th, 2013
Registration began at the Dec. meeting ...
Spaces available on the waiting list...
Price $35 per member payable to CCS
contact Gabi Glass
Have you ever seen those beautiful flourishes on
Trish Taylor’s envelopes? This workshop will introduce
participants into the art of flourishing. From basic
strokes to beautiful designs. Basic Pointed Pen
knowledge will be helpful.
Pointed Pen nib (s) Your favorite... and one stiffer/flexible
Nib holder... preferably Oblique
Dr. Martin's Bleedproof White
Sumi Black (Moon Palace) or comparable ink
Sakura Gelly Roll CLEAR pen
Gold that goes through pointed pen.... (examples: FineTec
Gold palette, Dr. Martin's Copperplate Gold, Schminke watercolor palette in gold)
small water bowl
Hot Foil pen (if you have one.. if not that's ok)
Black paper (examples: Strathmore Black Artagain pad,
Wassau Black Eclipse paper, etc. ) SMOOTH black!
1 sheet of Arches or Fabriano Hot Press 90# paper
pencils (I prefer Prisma pencils [NOT the Verithin] for their density
and color, but whatever you have will work... I usually have these
colors: 1 dark green, 1 light green, 1 lavender, 1 purple, 1
pink, 1 fuschia, 1 red, 1 blue, 1 dark blue, 1 yellow, 1 white)
Notebook to take notes (optional)
small, c thru Ruler
White charcoal or Fons and Porter White mechanical Pencil
If you are a member and would like
to present something of interest to the other guild members in a
casual, fun gathering, please contact us. We’d love to have you.
See Facebook for more photos from past workshops!
26 Seeds: A Year of Growth
Reggie will be in Austin for the year 2013 and the class is full!
Scribes is happy to announce that in 2013, Reggie Ezell will be returning to
Austin to present 26 Seeds: a Year of Growth. This year long workshop will be given over a two day period (on
weekends) alternating every other month from January to early November. Sign-ups are now
open to all interested participants. The
Saturday/Sunday format provides an opportunity for out-of towners to attend and
spend 6 weekends learning new techniques, meet with new friends, and enjoy the
laid-back hospitality that makes Austin so famous. An overview of the course is
available on Reggie’s web site, www.reggieezell.com.
Ready to expand your horizons? Have you always wanted to take your
skills to the next level? This is your golden opportunity to do both! Sign up
soon, space is limited!
further info, contact Kathy Griffin at firstname.lastname@example.org
Work that was created by student, Lee Ann Calvino in Austin's Reggie class in 2006.
For more photos of projects created during Austin's 2006 class, visit Facebook
General Workshop Supply List
The following supplies can be very useful when attending a workshop.
Both basic and optional supplies, and some "comfort" items, can make
your limited space more productive.
Basics - Depending on the workshops
Pencils - hard and soft
Small Pencil Sharpener
Erasers - Pentel click, Hyperaser, Kneaded, Magic Rub
Fine Point Pens - Micron .0905, Pilot Ps500, Tech Liner, Sharpie Fine
Drafting, Watercolor, or Painter's Tape
Ruler (cork-backed steel) or T-square
Assortment of Nibs
Ink (unless specific brand and color are on instructor's list)
Small Bristle Brush for loading ink onto nib
Writing/slant Board, if preferred
Glue Stick or Adhesive Roller
bone folder with good tip for scoring
Small Water Container
Small dropper bottler with Distilled Water
Pipette or medicine dropper for using water or ink
Paper Towels, Rags, Handi-wipes, Baby Wipes
Notepaper or pad for notes
Xacto knife with new blades
Lightweight Plastic Sheet (approx 1 yd) to cover workspace
Seperate Paper Carier with Paper
Mr. Clean *type* Magic Eraser for cleanups
Optional and Helpful - Depending on Workshop
Layout and Tracing Paper
Colored Pencils, Watercolor, Gouache, Gel Pens (when not included on instructor's supply list)
Peerless Watercolor Sheets or Watercolor pencils - take up little space
Rubber Cement Pick-up
Portable light - Ott or other
Camera - always ask instructor for permission to take photos of their work
Sweater or long sleeved shirt if you are cold-natured
Hand and Tool Cleaner - Masters Soap, Hand Sanitizer (wipes can be used)
Waxed Paper - cut in squares and put in Ziplock bag
Can or Jar Opener - Magic Grip for stubborn lids or containers
Toothpicks and Popsicle Sticks - small amount in small containers
Hole Punch or Japanese Drill Punch
Small Sewing Kit with embroidery thread and bookbinder needle
Tip: As you attend
workshops and decide what kinds of tools you desire, you will also gain
knowledge about the ideal supply carrier to fit your needs, from a
toolbox to a roomy art carrier. A good tip is to pack supplies in small
containers for easy handling, dividing large amounts when possible to
take only a a small portion to workshops. these small containers can be
refilled right after a workshop, repacked in your carrier, and your
basic supplies will be ready for the next workshop. Keep an inventory
of these supplies and add to or delete as you personalize them for your
Final Tip: Most
workshop locations have parking just outside or very near the door and
toolkit and first aid kit in your vehicle's truck can hold additional
supplies that you just may need every now and then, and do not want to
add to your basic supplies. For instance, an extention cord and adapter
for a toolkit might be need if you are using anything electrical, or a
pair of tweezers, Q-tips, plastic gloves, or a razor blade from a First
Aid Kit would come in handy.
Article and items compiled by Jo Guffey - thank you Jo!