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 703.684.0802.

MonitorsThe monitor is responsible for introducing the instructor, check-ing 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 Kolls by e-mail at kollsjl@state.gov or phone number 703.753.0081.

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 Washington Calligraphers Guild for the appropriate amount to:

Kara Koppanyi744 Camberley Circle, #T-1Baltimore, Maryland 21204

Telephone 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 301.739.5192 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 in the workshop. 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 immediately and will continue 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 will 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.

Classes offered this year are for all skill levels, with the exception of Pat Blair’s Copperplate class, an intermediate level class.

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

Basic Pointed Pen with Lee Ann Clark—March 17 & 18$125 members / $150 non-membersExpressive Boxes with Eliza Holliday—April 14 & 15$125 members / $150 non-membersCopperplate with Pat Blair—May 5 & 6$125 members / $150 non-membersCalligraFun Designs with Sharon Haz Watson—September 22$65 members / $75 non-membersIn Your Own Words with Steven Skaggs—October 5,6,7,8,9$250 members / $300 non-membersPen Drawn Contemporary Capitals with Ann Pope—October 27 & 28$125 members / $150 non-membersUncial for Christmas! with Maryanne Grebenstein—November 17$65 members / $75 non-members

Name ___________________________________________________________Address _________________________________________________________City, State, Zip Code _______________________________________________Phone Numbers (home) ____________________ (work) __________________E-mail Address ___________________________________________________

Are you a WCG member? Yes _____ No _____

Basic Pointed Penwith Lee Ann Clark March 17 & 18 (Saturday & Sunday) at Columbia Art Center9:30am–4:30pm All skill levels welcomeThis course is designed for anyone who has ever admired the beauty of pointed pen calligraphy, but has neither tried nor worked extensively with this versatile tool. We will explore the mechanics of pointed pen letter formation—both miniscule and majuscule—and work on the details and nuances of what gives this style of writing its elegance and grace. We will also work with simple flourishing, layout, and what is involved with working toward a finished project for yourself or for reproduction. Whether your interest lies in formal writing or you are wanting to experiment with a more modern style, this class will arm you with the skills needed to understand and delve into the many possibilities of this particular discipline.

About Lee AnnLee Ann Clark has been a calligrapher and designer for over 20 years. She has taught at Cornish College of the Arts in Seattle, Washington and continues to teach classes and workshops since relocating to the east coast. A Letter Arts Review co-juror for the past two years, her clients have included Nordstrom, Seattle Center Foundation, Vulcan, Inc. and Fila-USA.

Supply List11x17-inch practice grid pad (Lee Ann will have these available)oblique pen holderany pointed pen nibs (that you already have)non-waterproof inkX-acto knifedouble-stick tapegouache (one light, one dark)mixing brush and dishwater containerruler (C-Thru preferable)pencilquote

Expressive Boxeswith Eliza Holliday

April 14 & 15 (Saturday & Sunday) at Pyramid Atlantic Art Center9:30am–4:30pm

All skill levels welcomeEvery manuscript book, especially a one-of-a-kind art book, deserves its own box. The box should be expressive of its contents: color, labels for the front and spine, and even the box’s lining can extend the “expressive surface” of a manuscript book.

This workshop will teach the method for making boxes—clamshell-style boxes, principally, with an introduction to “haku chitsu” or hinged boxes—to protect and transport

your particular work of art. Bring a book (journal, handmade book, or even a rare book that you want to protect) no bigger than 8 x 8 inches, and we will make the box for it.

The boxes are constructed with 4-ply rag board—davey board—and/or book board, then covered with paper-backed silk, hosho, or gampi paper (provided in class). Eliza will provide you with clear, organized instructions and models so that you may continue to make boxes for all of your books.

About ElizaEliza Schulte Holliday has been teaching workshops for twenty-five years and providing students with a structure for self-study beyond the intense two-day weekend workshop. She has worked as a freelance lettering artist for many

years. Her clients are many and varied—you may see her work in your children’s textbooks or on your tissue box.

Her book, Brush Lettering, co-authored with Marilyn Reaves, presents her broad knowledge and experience with flat and pointed brushes.

Visit her website at www.letterist.com .

Supply ListThere will be a supply fee of $15 to

cover book board, book cloth, and glue

a book to cover

Copperplatewith Pat Blair May 5 & 6 (Saturday & Sunday) at Columbia Art Center9:30am–4:30pm Intermediate skill levelThis workshop begins where most others leave off! It is designed for those students with a basic knowledge of the copperplate form, who wish to strengthen their skill and knowledge of this beautiful pointed pen lettering.

We will take an intense look at the copperplate form to discover what it is that makes these letters sing! We will refine the forms to achieve a lovely grace and elegance, learning that subtle changes can give quite dramatic results. Decorative and stylized capitals will round out a course filled with new perspectives.

About PatPat Blair is currently serving as Chief Calligrapher at the White House, and has been a professional calligrapher for 22 years, being owner of “Calligraphy and Design” in New York, and then in Virginia.

Her work has been published in Letter Arts Review, The Calligrapher’s Engagement Calendar, Scripsit, Martha Stewart Weddings, and Tabellae Ansatae. Sharing and teaching what she loves is a high priority, and she teaches at the Loudoun Academy of the Arts, and has been on the faculty of the 21st International Calligraphy Conference in Boston, Massachusetts. Pat has served two years as President of the Washington Calligraphers Guild, been Chairperson of The Graceful Envelope Contest, and been Co-Director of Letterforum, the 26th International Calligraphy Conference.

Pat’s love of pointed pen lettering led her to her study of Copperplate and Spencerian letterforms. She was recently awarded the honor “Master Penman” by the International Association of Master Penman, Engrossers, and Teachers of Handwriting (IAMPETH) for her work in this area. She uses these styles in her invitation designs, which is her specialty.

Supply Listoblique pen holderyour favorite pointed pen nibs (Hunt 22, 56; Gillott 303 or 404; Nikko G nib; Leonardt Principal)good quality layout bond paper (9 x 12-inch Canson Pro Layout Marker)Higgins Eternal, Moon Palace Sumi, or McCaffery’s Penman’s inksample of your current work for reference

CalligraFun Designs with Sharon Haz Watson

This workshop will explore border designs and ornamentation.

Calligraphic borders and small calligraphic ornaments enhance any calligraphy project. This class is an opportunity to play with simple strokes that you will then build into borders that will make your projects beautiful one-of-a-kind pieces. We will cover the basics of planning your project: lining the paper, using guides, planning the corners, and matching the border to the lettering style. You will learn where and how to find inspiration for creating your own designs, how to combine different strokes of the same nib width and then progress to using combinations of pen widths and colors, and then incorporating corner ornament. You will then complete a project of your choice (see supplies list). This course is for both beginner and advanced calligraphers and anyone interested in calligraphic design.

For your finished project, please bring your choice of pre-cut mat (that you can border and use to frame a calligraphy piece), one or more pre-finished calligraphy pieces to which you can add a border or ornament, plain good quality calligraphy paper (on which you can border and add calligraphy later), or a combination of these.

About SharonSharon Watson has been a freelance calligrapher for over 30 years. She has taught calligraphy classes since the late 1970s at local community colleges and community centers, including classes at the American Embassies in Paris and in Berlin. She has completed jobs for the White House, the Smithsonian, the American Embassy in Paris, George Mason University, Future Business Leaders of America, and the Cordon Bleu in Paris, in addition to many others. Sharon has been developing border designs for 20 years and has done research at the British Library in London and the Berlin Library viewing original 14th and 15th century manuscripts for bordering and ornamental inspiration.

Supply Listpractice paper

pencil

eraser

ruler

graph paper (Clearprint)

combination of calligraphy pens and nibs of your choice (dip pens, bladder-

style pens, felt tip) of different widths (primary work will be done

with a 2.0mm nib)

calligraphy inks, preferably waterproof(black and at least on other color)

thin line felt tip or roller ball pen

portable light table (if you have one)

your choice of material for your finished project

September 22 (Saturday) at a location to be announced9:30am–4:30pm

All skill levels welcome

“A Master Class”In Your Own Words with Steven Skaggs October 5–9 at a location to be announced9:30am–4:30pm All skill levels welcome

Can you imagine what the original verses of Rumi must have looked like? Handwritten passion! I know, it’s scary isn’t it? But what if you had a guide who could help you dip into the waters of your inner voice (only as deep as you care to go)? What if you spent five days exploring both your visual and your verbal language, studying the interplay between them, pushing your creative envelope on both fronts at the same time—in a non-threatening, supportive, fun atmosphere? That’s what this workshop is all about.

About StevenSteven Skaggs is a poet and calligrapher, who also works in an area called semiotics which is not half an otic, but it is too weird to explain in 50 words or less. He is Professor of Graphic Design at the Hite Art Institute at the University of Louisville in the town of his birth. He has taught a series of workshops called “JazzWriting” in the US and Europe since 1998 and has developed this class as a kind of “Son of JazzWriting” sequel, although you certainly do not need prior exposure to JazzWriting.

Supply Listjournal or notebookvarious nibbed pensgel pens in 3 or 4 colorssoft (2B-6B) pencilssumi inkgouache and assorted brusheschalk pastels (non-oil)water and spritzercharcoal sticks or pencilsat least 25 pages of Arches Text (approximately 14 x 22 inches)other favorite supplies/papers

Pen-Drawn Contemporary Capitalswith Ann Pope

In the new, magnificent Saint John’s Bible, parts of which were on exhibit at The Library of Congress last fall, the capital letters used alongside the illustrations were pen and brush-drawn modern Versals, or, as we know them, Contemporary Roman Capitals.

This workshop will begin with a quick pencil revision of the proportions of Roman caps, the basis of these forms. Although these modern capitals appear to be somewhat funky and distorted, they are still soundly based on traditional forms, and so remain strong and handsome. We will then move on to using fine felt-tip pens (broad-edged) for the sequence of strokes that make up each letter, working first with the classical medieval forms and then moving on to contemporary capitals. By observing and studying facsimiles of ancient and modern examples, students will be encouraged to create their own individual versions. On the second day, good-quality papers, fine broad-edged nibs, and gouache or watercolors will be used for designing a holiday greeting card or any other individual piece of art. (Note: Although calligraphers work with gouache as the standard, watercolors give a lovely transparent effect. Suggestions are listed at left.)

About AnnAnn Pope, a founding member of the Washington Calligraphers Guild, has taught calligraphy and related crafts for over twenty-five years in the Wash-ington, DC area, and for many years at Georgetown University, for the School of Con-tinuing Education. She was born in England and grew up in Oxford with an artist father, who was also keenly interested in lettering. She has been able to study original medieval manuscripts in Oxford and Europe while living there. Her love of the craft has been greatly influenced by studies she has done with Sheila Waters, Ieuan Rees, Reggie Ezell, and Ann Hechle. Ann has been a faculty member at two international calligraphy con-ferences, and currently teaches and works on commissions from her DC home studio.

Supply Listeverything from the Basic Supply List

non-waterproof ink

cheap brushes for filling nibs with mixed colors

small bottle of distilled water

notebook

Arches Text Wove paper

small sizes of Rexel/Mitchell nibs (#4, #5)or small Brause nibs

crowquill nibs for touch-up

couple of double-ended felt-tip markers(such as Zig calligraphy markers)

tubes of gouache and/or watercolors(whatever you have that you like,

but suggested lists follow)

Winsor and Newton GouacheCadmium Red Pale (a warm red)

substitute is Flame Red)Alizarin Crimson (a cool red)

substitute is Magentato make a nice purple with Ultramarine

Lemon Yellow (a cool yellow)Cadmium Yellow Pale (a warm yellow)

substitute is Brilliant YellowCerulean Blue (a cool blue)

substitute is Phthalo Blue or Winsor BlueUltramarine (a warm blue)

Permanent WhiteIvory Black

Winsor and Newton WatercolorsAureolin YellowNew Gamboge

Rose Madder Genuine or Permanent RoseCobalt Blue

French UltramarineBurnt Sienna

Cerulean Blue (rather opaque)

October 27 & 28 (Saturday & Sunday) at Columbia Art Center9:30am–4:30pm

All skill levels welcome

Uncial for Christmas!with Maryanne Grebenstein November 17 at the National Postal Museum9:30am–4:30pm All skill levels welcomeHave some fun with your holiday greeting cards!

After a very brief introduction and history of the Uncial alphabet, instructor Maryanne Grebenstein will guide participants in a step-by-step “how-to” for creating beautiful Uncial letters. The workshop will culminate with each student completing a project suitable for printing in greeting card form.

About MaryanneMaryanne Grebenstein is an Adjunct Professor at Massachusetts College of Art in Boston where she teaches calligraphy and letterform drawing. She is a professional calligrapher and graphic designer. Maryanne is the author of Calligraphy: A Course in Hand Lettering published by Watson-Guptill, Inc. Her business, The Abbey Studio, is located in Hingham, Massachusetts.

Visit her website at www.theabbeystudio.com .

Supply Listset of tape pens (or Mitchell pen nibs and reservoirs and/or Platignum Cartridge Calligraphy Starter Set)

2 pen holders

Higgins Eternal ink

drafting vellum pad

paper—vellum bristol (or similar smooth-surfaced white paper if you plan to print your cards) or art paper (such as Ingres if you plan to create one piece suitable for framing)

soft (no. 1) yellow pencil

mechanical pencil (.5mm)

white plastic eraser (Mars Staedtler)

Calligraphy: A Course in Hand Lettering book

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

Locations and DirectionsColumbia Art Center6100 Foreland Garth (Long Reach Village Center)Columbia, MDTake 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.)

National Postal Museum2 Massachusetts Avenue NEWashington, DC 20002202.633.5555, [TTY] 202.633.9849

Metro Red Line to Union StationTake the Metro’s Red Line to Union Station. Leave through the Massachusetts Avenue exit. Exiting the escalator, the National Postal Museum is on the left.

Driving from Maryland–Arriving from the EastFollow New York Avenue (west) into the city. Turn left on First Street, N.E. Drive about 12 blocks to the National Postal Museum. The Museum will be on your right at the corner of Massachusetts Avenue and North Capitol Street.

Driving from Maryland–Arriving from the West or NorthTake the Capitol Beltway. Exit on New Hampshire Avenue (south). Follow New Hampshire Avenue, which will turn into North Capitol Street when you enter the District of Columbia. Keep driving south on North Capitol to Massachusetts Avenue. The Museum will be on your left at the corner of Massachusetts Avenue and North Capitol.

Driving from VirginiaFollow I-395 north. Take the Massachusetts Avenue exit. Turn right onto Massachusetts Avenue (going east). The National Postal Museum will be on your left at the corner of Massachusetts Avenue and North Capitol Street.

ParkingThe National Postal Museum does not have a parking lot. Street parking is available near the Museum and all-day paid parking is available at Union Station, located next to the Museum.

Entrance to usePlease enter the National Postal Museum through the staff entrance on First Street.

Pyramid Atlantic Art Center8230 Georgia Avenue (corner of Georgia Ave & Ripley St)Silver Spring, MD

From The Red Line/Silver Spring METRO StationExit the Silver Spring Metro at the Main exit (not the north exit at Colesville Road). Walk to your right and up the stairs toward the taxi area, then turn left on Bonifant Street (which dead ends into the taxi area). Follow Bonifant Street for two blocks, then turn right on Georgia Avenue. Pyramid Atlantic is at the corner of Georgia Avenue and Ripley Street.

From I-95 and I-495/The Capital BeltwayFrom the Capital Beltway, take exit 30B for Route 29 South Colesville Road, heading towards Silver Spring. Merge onto Colesville Road/US-29 South. Turn left onto Georgia Avenue. Pyramid Atlantic is about three blocks ahead on the right.

From Bethesda/Northwest DC, via the East-West HighwayTravel east on Route 410 (East-West Highway). Turn left on Colesville Road (Route 29) in downtown Silver Spring. Turn right onto Georgia Avenue. Pyramid Atlantic is about three blocks ahead on the right.

From Northwest DC, via 16th Street NW Travel north on 16th Street NW. Bear right on Colesville Road (Route 29) at the traffic circle in Silver Spring. Turn right onto Georgia Avenue. Pyramid Atlantic is about three blocks ahead on the right.

ParkingWhile Pyramid Atlantic has limited parking in the lot in front of their building, there is ample public parking (free after 7pm and on weekends) in the county garage on Bonifant Street. However, it is best to plan ahead to get to this garage because Bonifant Street is before Pyramid Atlantic if you are coming from the Beltway or Colesville Road.

Basic Supply List(Please check the supply list for each workshop as all of the items below may not be necessary.)Drawing board • Pillow or cushion • T-square • 11x17 paper (i.e. grid, 16 lb. layout paper, paper for pens, etc.) • Pencils • Toolbox • Black inks • Assorted pen nibs (Mitchell, Speed-ball, 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

2007

2007 WorkshopsSeptember22 CalligraFun Designs with Sharon Haz Watson

October5–9 In Your Own Words with Steven Skaggs27 & 28 Pen-Drawn Contemporary Capitals with Ann Pope

November17 Uncial for Christmas! with Maryanne Grebenstein

Registration DeadlinesToo many of our recent workshops have been cancelled due to lack of response. 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.

It’s here! The 2007 WCG Workshop Bulletin is here!The first workshop is March 17th & 18th. Register ASAP!

March17 & 18 Basic Pointed Pen with Lee Ann Clark

April14 & 15 Expressive Boxes with Eliza Holliday

May5 & 6 Copperplate with Pat Blair