Registration Form Registration is in progress now and continues until one week before the workshop date, or until the maximum number of participants (16 for the Columbia Art Center workshops and 25 for the Library of Congress Rare Books Tour) is reached. If there are not enough registrants one week prior to a workshop, it will be cancelled. Spring 2006 Workshops Registration is assigned in the order received, with preference given to WCG members. You will be notified if you There are four workshops through the Washington are in the class or on the waiting list. If the class is full, your workshop fee will be returned to you. Calligraphers Guild this spring. Three will take place at Fill out the form below and mail it, along with a #10 stamped, self-addressed envelope and check to Washington Calligraphers Guild for the appropriate amount to: the Columbia Art Center in Columbia, Maryland, and one will be at the Thomas Jefferson Building in Washington, DC. Kara Koppanyi 744 Camberley Circle, #T-1 If you are interested, please register as soon as possible. Baltimore, Maryland 21204 Library of Congress Private Guide Telephone registrations are not accepted, but if you have a question, you may call Kara at 410.769.9040 or e-mail “Rare Books Tour” her at [email protected] . You may also call Louise Harris at 310.596.7773 or e-mail her at [email protected] or Karen Daly at 301.365.2664 or e-mail her at [email protected] . Thomas Jefferson Building of the Library of Congress 101 Independence Avenue, SE Cancellations: Refunds are given only if the workshop is cancelled by WCG, your place is actually filled from our waiting Washington, DC 20540-4740 list, or if you find someone to take your place in the workshop. All changes in registration must be handled by Kara Koppanyi. Tuesday, April 4 from 10:00 a.m. to 12:00 noon If you cannot make the workshop, you must call Kara at 410.769.9040 at least 24 hours in There is no charge for this workshop—photo identification required advance of the workshop so that she may notify any wait-listed people. Basic Supply List (Please check the supply list for Directions to the Columbia Art Center: Take I-95 to Rt. 175 toward Columbia. Turn right Up to 25 participants will sit in a conference room and enjoy hands-on viewing and each workshop as all of the items onto Snowden River Parkway. Turn left onto Tamar Drive. Turn left into the Long Reach Vil- discussion of selected illuminated manuscripts housed among the Library’s Rare listed below may not be necessary.) lage Center (Foreland Garth) and park. The Columbia Art Center (6100 Foreland Garth) is Book collection. Drawing board on the other side of the Safeway supermarket. Please contact Gretchen Elson at 703-591-5482 or [email protected] if you Pillow or cushion have any specific requests. T-square Daniel De Simone will be our leader for the rare books tour. He became the curator 11x17 paper The fee for each workshop at the Columbia Art Center is $125 for WCG members and $150 (i.e. grid, 16 lb. layout paper, of the Lessing J. Rosenwald Collection in January 2000, after 25 years in the rare paper for pens, etc.) for non-members. There is no fee for the LOC workshop; however, you still must register. book trade. For most of that time, he owned his own business and helped build Pencils collections for both private collectors and rare book libraries. He recently edited Toolbox Roundhand or Engrosser’s Script with Marcy Robinson—March 18 & 19 A Heavenly Craft: The Woodcut in Early Printed Books (New York, 2004). Black inks Parking around the Library of Congress consists of permit parking, limited Assorted pen nibs Gothicized Italic (Pointed Gothic) with Sheila Waters—April 1 & 2 two-hour zone parking on streets, meter parking, and parking in commercial (Mitchell, Speedball, etc.) lots. The use of public transportation is highly recommended. Pen nib holders Library of Congress Rare Books Tour—April 4 Chisel point markers The two closest Metro stops to the Library are Capitol South (orange/ Watercolor markers Beyond Basic Black–Intro to Black Letter 2 with Julian Waters—May 13 & 14 blue lines) and Union Station (red line). The Thomas Jefferson Building or colored pencils is across Independence Avenue. Kleenex, paper towels, or rags It is best to enter the building at the main entrance at 10 First Water jar Name ______Street, SE (facing the US Capitol). Once past the entrance, Gouache Address ______Containers or palettes there is a central hallway which leads to the east side of for color mixing City, State, Zip Code ______the building where elevators will take you to the second Brushes for color mixing Phone Numbers (home) ______(work) ______floor, on which the LOC’s Rare Book Reading Room is located. Scissors or X-acto knife E-mail Address ______Drafting tape Eraser Are you a WCG member? Yes _____ No _____ Gothicized Italic (Pointed Gothic) Roundhand or Engrosser’s Script Beyond Basic Black–Intro to Black Letter 2 with Sheila Waters April 1 & 2 with Marcy Robinson March 18 & 19 with Julian Waters May 13 & 14

This style suffers from being inaccurately named, for it is not based upon Italic at all. This elegant and graceful script is written with a pointed pen by means of a pressure This workshop will begin with a review of the principles of straightforward Textura Its origins lay in cursive medieval Black Letter, typically 14th century French Bâtarde— and release movement. Today this hand is used mostly for invitations, envelopes, writing. Then we will branch out into variations of style, moving toward the later a formalized compromise between Black Letter (Gothic Textura) and cursive hands and place cards. The minuscule and majuscule alphabets will be analyzed. We will Fraktur styles, exploring ways to make our writing more fluid and expressive, more of the time. Italic, and its many variations, derive from Humanistic Roman Minuscules explore the differences among Copperplate, Spencerian, and Roundhand scripts. subtle and sophisticated. To that end, we will address techniques of cornering, weight speeded up into joined Humanistic Cursive in early 15th century Italy. Simple layouts for invitations and envelopes will be demonstrated. All levels of modulation and stroke rotation, with restraint. experience welcomed. Edward Johnston elongated Bâtarde, and in England his version was known as Regardless of style or technique, we will focus on creating vibrant cohesive textures, Johnston’s Compressed Hand. He also experimented with similar styles, less pointed, Supplies and having fun with this exciting form of calligraphy. This workshop is all about derived from his narrowed Foundational Hand. All of those versions are rich and Brause EF 66 or similar nibs (such as Gillot 303, 404, Hunt 22, etc), oblique pen developing understanding of how structural elements and spatial relationships can come together to make our work more effective. decorative, having the density of Black Letter without the rigidity. holder, non-waterproof ink, 9 x 12-inch layout bond paper (such as Borden & Riley– there can be a slight tooth to the paper), dinky dip or empty bottle cap (an inch in Supplies The basic letter shapes and necessary pen manipulations will be studied, followed by depth), adjustable triangle to determine proper slope of the letter, scotch tape, ruler, Slant board, Speedball nibs C-O, C-1, C-2 (and/or equivalent Mitchells, Brause, work on the essential rhythms and texture. The differences between Pointed Gothic pencil, notepad, T-square and Pointed Italic will also be explored. etc.), 1/2” large metal folded style poster pens (Coit, Automatic etc), good smooth layout paper (14 x 17-inch) or grid pad, 2 sheets fine quality white paper, 2 sheets About Marcy fine quality thick dark color paper, free flowing non-waterproof ink (test for bleeding Supplies Marcy Robinson is a freelance lettering artist residing in New Jersey. She has studied Basic supplies, including favorite smooth paper and nibs, including Speedball C1 on different papers before workshop!) and/or black gouache, removable tape, sharp with Sheila and Julian Waters and has taken workshops with many other calligraphic pencil, eraser and C2, straight-barrel pen holders, non-bleeding non-waterproof ink or gouache, lap artists. Her work may be seen in the Calligraphy Engagement Calendars. Marcy was board/portable desk for writing on a slope rather than flat, sandarac (if you have it) also on the faculty of several calligraphy conventions. When not doing calligraphy, About Julian Marcy may be found selling watches at a local Macy’s. About Sheila In his early years, Julian Waters learned much about craftsmanship and letterforms Born in England, Sheila Waters studied at the Medway College of Art in Kent, then from his parents, bookbinder/conservator Peter and calligrapher Sheila Waters, both leaders in their fields. Later, after art school, he became one of Hermann for her Master’s degree, with Dorothy Mahoney (assistant to the great pioneer, Zapf’s most accomplished students. So much so, that Zapf, the legendary German Edward Johnston) at the Royal College of Art in London, specializing in the lettering calligrapher, typographer and font designer, invited Julian to succeed him in teaching arts. Following graduation in 1951, at twenty-two, Sheila was elected a Fellow of the the Calligraphy Masterclasses at Rochester Institute of Technology when Julian was Society of Scribes and Illuminators and began a career devoted to commissions for still in his 20s. Over the last 30 years Julian has taught and lectured all over North royalty, museums, libraries, colllectors and publishers, and some part-time school America, Europe and Asia. During the 1990s he was professor of typography and teaching. While still a student, she began her museum studies, being privileged to lettering at the Corcoran School of Art, a course combining hand work and computer work from rare, valuable manuscripts. These studies have been at the core of her applications. Julian’s corporate clients have included Adobe Systems, National understanding and the development of her precise techniques. Since immigrating to Geographic and the U.S. Postal Service. Besides one-man exhibitions in Washington the United States in 1971 with her family, her influence has reached students across DC, Norway, and Iceland, Julian was one of 14 international font designers to the U.S., Canada, and abroad, and includes being a founding member and the first participate in the seminal “Zapfest” exhibition at the San Francisco Public Library president of the Washington Calligraphers Guild. in 2001, where his award winning typeface family, Waters Titling Pro, was featured. In 2003, the WCG published “Work by Julian Waters—From Sketch to Final Art,” an informative illustrated publication on the process of lettering design, dedicated to his father who died earlier that year. Julian’s web site is www.waterslettering.com .